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This paper addresses a critical problem in macroeconomic planning for natural disaster losses: how to incorporate potential future losses into current planning activity. The authors develop a technique to integrate probabilistic natural hazard losses into macroeconomic planning models. Probabilistic losses to capital stock (direct losses) serve as input to a macroeconomic model, which consequently calculates the macroeconomic impacts. The macroeconomic effects calculated comprise the indirect effects of losing and not being able to replace capital stock sufficiently or in a timely manner, as well as the effects of diverting funds to relief and reconstruction activities. The modeling can serve as a tool for planning for the effects of natural disasters before they occur and for engaging in appropriate risk management activities.

The purpose of this paper is to propose that, within the practice of motion branding, transforming type has been largely neglected by existing theorists and its importance to wider marketing trends overlooked. It will be observed that previous texts on transitional letterforms have tended to focus on changes in global arrangement and in doing so have neglected to recognise the significance of changes that occur at a local level, within individual letterforms.

Taking an interdisciplinary approach, with examples including idents and bumpers from Channel 4, Sky, FOX, Five and MTV. New methods of understanding these artefacts will be introduced, with emphasis on how they affect the relationship between broadcaster’s identities and the medium of television. Modes of definition and understanding that have previously been applied to holographic poetry will be applied to the field of on-screen artefacts.

The paper will discuss how branding has adapted to incorporate the features of the medium of television, and propose new methods of classification for the associated processes of metamorphosis, construction, parallax and revelation.

Motion branding, in the form of television idents, is frequently described as containing “motion typography”, but this and related terminology is vague or misleading – and reduces all forms of kineticism to simple motion. On-screen branding often operates more complex temporal behaviours. Lack of sufficient vocabulary to describe such transformations has forced practitioners to describe their work in terms of previously existing work, thereby limiting the perceived scope of their ideas and the possibility of innovation. This paper resolves the lack of existing vocabulary by providing new definitions of four categories of fluid transformation that appear in contemporary television idents.

This paper aims to discuss the early brand protection efforts of Coca‐Cola.

The paper examines the hundreds of trademark infringement challenges brought by Coca‐Cola in courts and before the US Patent and Trademark Office and develops a tripartite system of categorizing these challenges by primary legal issue.

Coca‐Cola developed several innovations in brand identity protection including challenges to a wide variety of similar names, logos and packaging, the use of detectives in service settings and the use of consumer psychological evidence in legal proceedings. Ultimately, it protected it name against those rivals that closely imitated both words in its name or words similar to Coca or Coke. However, it was unable to obtain exclusive rights to the word cola which became the generic designation for such drinks.

Even today, the scope of Coca‐Cola's brand protection efforts provide a useful model for modern brands. This work also presents and summarizes important historical data.

This study examines Coca‐Cola's brand protection efforts and legal challenges in much greater detail than previous historical works on Coca‐Cola.