Warm up your audience

Sep292009
Bruce Hall

There are some interesting implications for how we do

advertising in some recent research on temperature. The

science blog Neurophilosophy asks, why is it that we have so

many metaphors which relate temperature to social distance? We

might, for example, hold “warm feelings” for somebody, and

extend them a “warm welcome”, while giving somebody else “the

cold shoulder” or “an icy stare”. These aren’t just figures

of speech: we judge others on the basis of warmth because

abstract concepts, such as affection, are firmly grounded in

bodily sensations.

Several different experiments have shown that physically

warming people up, by itself, causes them to feel warmer

relationships to the people and things around them. And the

interaction between social cognition and temperature is

bi-directional: warmer temperatures induce social proximity,

while loneliness makes people feel colder.

We don’t usually think about the physical temperature we

communicate in ads, at least not on a conscious level. But it

has an impact on how people feel about what they see in the

ad. It changes the nature of their engagement with the

characters in an ad. Since one of those characters is the

brand, that will also affect their future engagement with the

brand, not just the ad.

It would be interesting to compare the temperature profiles of

ad campaigns within categories, to see how that contributes to

the long term success of the brand. Corona’s warm tropical

breezes have been part of a long-term success story. Coors

Light finally broke through with a cold message– will the

brand be able to maintain a social bond among its users, or

will it establish a franchise of lonely losers who like thin

beer? That could of course be a huge franchise,

business-wise, but the focus groups would be grimly

depressing.

Thoughts and comments welcome.CL Love Train

Foiled Again

Aug312009
Bruce Hall

Another nasty blow for traditional question-and-answer research to find out what consumers think about aesthetic materials. From an ingenious experiment reported in the Journal of Experimental Social Psychology, we learn that:
“Two experiments examined whether appreciating art verbally would aesthetically confuse viewers. Participants were asked to verbalize why they either liked or disliked two different kinds of paintings; one piece was representational, the other piece was abstract. Those who verbalized their reasons for liking the artworks were more likely to prefer the representational painting, whereas those who verbalized their reasons for disliking the paintings were also more likely to dislike the representational painting. While it was easy to describe reasons for both liking and disliking representational art, the same proved difficult for abstract art. The findings suggest that due to its figurative qualities people will be encouraged to generate reasons to describe representational art, rather than abstract art, and that these reasons could potentially be biased and cause them to change their preferences in line with these reasons.”

This study was about fine art, but it applies to advertising and design, as well.  To interpret, the more representational (i.e. ‘left-brained’) an ad may be, the more reasons respondents will find to like it. The more abstract (i.e., ‘right-brained’) the fewer reasons they’ll find to like it. Ads that are abstract and emotional are fighting an uphill battle in focus groups and surveys when they’re pitted against ads that are literal and logical.

Mental Subtraction and the Whopper

Jul232009
Bruce Hall

Stimulating a strong emotional response on the part of the

viewer of an ad is critical if the ad is to be effective in

driving behavior. But that doesn’t necessarily tell us how to

create that emotional response from an ad. It just tells us we

want one.

Last week at our internal Lunch ‘n Learn, where we talked

about creative work, we looked at tv ads that had received

recognition in the business,and looked at how emotion worked

in those ads. Two of the most famous, and most-acclaimed,

were the original “Got Milk” ad, and the more-recent “Whopper

Freakout”. Both shared a common theme, taking away the brand

from the consumer rather than sharing it with him. I

suggested that the use of the counter-factual, absence rather

than presence of something, might have added emotional power.

It requires imagination, which can be a more powerful stimulus

than observation.

A new study in the Journal of Personality and Social

Psychology now provides some solid data to support that

interpretation. For years happiness researchers have done

studies showing that acts of gratitude, such as writing notes

of appreciation, can have a significant positive effect on

individuals’ life satisfaction and happiness. Now the power

of the counter-factual has also been established. As described

in Mind Matters:

“The researchers show that people prompted to write about how

a positive event may not have happened experience a greater

uptick in mood than those prompted to describe the positive

event.”

In other words, feeling appreciation for a relationship you

have may not make you feel as good as imagining what your life

might have been like if you had never met the person.

If this trick of mental subtraction (What if I’d never met my

husband?) works for relationships, it seems logical that it

works for other things too (What if I couldn’t get a Whopper?)

Sewer Monster Invades Raleigh!

Jul22009
Laura McAliley
YouTube Preview Image

Well actually, as the N&O reports, it’s  tiny organisms. But, it looks like something out of a b-rate horror flick. Let’s hope it stays out of our pipes.

Media choice and emotions

May132009
Bruce Hall

One question we hear from clients is, which media are most effective to achieve the maximum impact on the emotions, and on the brand.  On judgment, it seems likely that a medium like television, where you can impact both auditory and visual senses, is likely to be more impactful than a one-dimensional medium, like print, or radio.  Finding science to support that isn’t so easy, though.  For that you need evidence that, for example, the emotions evoked by a piece of music are similar to, and can influence, other emotional experiences.  So far the proof for that has been elusive.
But a new study, which has just been published in Neuroscience Letters, reported here, provides both behavioural and physiological evidence that the emotions evoked by music can be transferred to the sense of vision, and can influence how the emotions in facial expressions are perceived.
Two experiments were performed.
“In the first, 30 participants were presented with a series of happy or sad musical excerpts, each lasting 15 seconds. After each piece of music, the participants were shown a photograph of a face, expressing either a happy, sad, or neutral expression. The photographs were flashed on a screen for 1 second, after which the participants were asked to rate the emotion on a 7-piont scale, where 1 denotes extremely sad and 7 extremely happy.
Thus, the visual emotional stimuli – the photos of faces – were “primed” by an emotional state conveyed by a piece of music. All the participants correctly identified the emotions expressed by the faces in the photographs presented to them. However, happy faces primed by a happy piece of music were rated as happier than when primed by sad music. Conversely, sad faces primed by a piece of sad music were rated as sadder than those primed with a happy piece of music. Finally, neutral faces were rated higher when primed by a happy piece of music and lower when primed by a sad piece.

The size of the priming effect for neutral faces was found to be almost twice that of the effect for happy and sad faces. [Emphasis mine]This may be because neutral faces contain less information than those expressing one emotion or the other, and hence are somewhat ambiguous. We know that the brain integrates information from different senses to construct representations of the external and internal worlds; thus, in the absence of relevant visual information, it may therefore become more reliant on information from other senses when generating these representations.”

If we think of the brand as a (relatively) emotion-neutral element, at least compared to the faces in this experiment, it seems obvious that the ability to prime the emotions with music makes an audiovisual medium more flexible, and potentially powerful, than a visual medium alone.

It was already known that music can influence the perception of emotions in visual stimuli when presented simultaneously, but this new study is the first to show the emotions evoked by music can affect the perception of emotional content in visual stimuli presented afterwards.

According to this study, these new findings also suggest that emotional processing takes place outside of conscious awareness, rather than being based on judgments and decisions.