Brand assets are crucial elements that define the visual and perceptual identity of a brand. They include not only visual components such as logos, typefaces, icons, and graphics but also non-visual elements
International Advertising, generally speaking, is the promotion of goods, services, companies and ideas, usually in more than one country performed by an identified sponsor. Marketers see advertising as part of an overall promotional strategy. Other components of the promotional mix include publicity, ...
He then tries to imagine what it is like tobea bat. He chooses a bat as its perceptual world is so different and alien to our own. In particular at night they “perceive the external world primarily by sonar, or echolocation”, and “bat sonar, though clearly a form of perception, is...
Abstract Thanks to artificial intelligence, chatbots have been applied to many consumer-facing applications, especially to online travel agencies (OTAs). This study aims to identify five quality dimensions of chatbot services and investigate their effect on user confirmation, which in turn leads to u...
Hotel sustainability falls into the broader category of sustainable tourism, which encompasses various practices aimed at “minimising environmental and cultural impacts, optimising visitor satisfaction and maximising long term economic growth for the region where tourism is developed” (Liu and Nepal, 2009...
This dual-edged nature of speech synthesis underscores its pivotal role in the broader landscape of audio deepfakes. 2.2. Voice Conversion Voice conversion (VC), also known as speech-to-speech conversion, is a technology that modifies the vocal characteristics of a source speaker to emulate those...
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On the one hand it is so famil- iar. Indeed, my conscious experiences of the world and of dreams—flowing in the river of time, eternally locked into this moment of "now"—is all that I know. I am intimately and fundamentally a manifestation of my consciousness. On the other hand, ...
(1970: 553). Eric S. Rabkin, a decade later, wrote that “all reading of narrative is both diachronic and synchronic”, and [that] “all narratives have always played on both perceptual modes” (1981: 80). One can “easily imagine a paratactic plot in which one event is juxtaposed to...
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