Online multimedia advertising

Master'sMASTER OF SCIENC

Mobile advertising effectiveness versus PC and TV using consumer neuroscience

This Doctoral Thesis, entitled Mobile Advertising Effectiveness versus PC and TV, Using Consumer Neuroscience, while analyzes both the evolution of mobile advertising and its current situation, also discusses, how effective is mobile advertising when compared against advertising in other digital devices, such as PC and TV. The last few years have been characterized by an increase of the time that consumers spend on their mobile phones and as a result, by an increase in the expending on digital mobile advertising. Brands are already demanding models that measure digital advertising effectiveness, and consumer neuroscience technology may help, not only to measure it, but also to understand its impact on consumers. Considering this environment, this research proposes various recommendations for advertisers that may be considering using consumer neuroscience technology to measure mobile advertising effectiveness, as well as recommendations on how to design mobile ads that increase advertising effectiveness

Extreme metal : subculture, genre, and structure

Le métal extrême est un amalgame de plusieurs sous-genres qui partagent des caractéristiques musicales et discursives. Pour des raisons de concision, une attention particulière sera donnée au black métal et au death métal – deux sous-genres très populaires qui font partie de l’amalgame de l’extrême métal. Chaque chapitre entreprend une perspective différente afin d’offrir une analyse comparative entre le death métal le black métal. Le premier chapitre débutera avec l’historique de l’extrême métal, en plus d’inclure une comparaison des deux sous-genres en matière d’iconographie et de syntaxe mélodique/harmonique. Le deuxième chapitre, poursuivra avec une analyse sur la conception du timbre entre le death métal et le black métal. Plus précisément, je ferai une distinction entre les timbres qui sont engendrés par la production audio, comparativement aux timbres qui résultent de performances musicales, comme par exemple, la distorsion de la voix. Par la suite suivra une analyse sur la conception rythmique et métrique du death métal en particulier, car cette approche va simultanément me permettre d’entreprendre une discussion sur la fluidité qui distingue les sous-genres death métal et le métal progressif – ce dernier étant largement conçu par sa complexité rythmique et métrique. Le quatrième chapitre, quant à lui, entreprendra une approche sociologique afin de répondre à certaines questions engendrées dans les trois premiers chapitres. Ultimement, ce mémoire vise à élucider deux questions en particulier: Quelles sont les intentions esthétiques qui distinguent les praticiens de death métal de ceux qui pratiquent le black métal? De plus, comment les amateurs des deux sous-genres conceptualisent ces différentes intentions esthétiques? Afin de répondre à ces questions, l’approche sociologique du quatrième chapitre fera lumière sur la notion de capital de sous-culture – introduit par Sarah Thornton, mais dérivée du concept de capital culturel de Pierre Bourdieu.Extreme metal is a conglomeration of numerous subgenres with shared musical and discursive tendencies. For the sake of concision, the focus throughout this thesis will mainly be on death metal and black metal – two of the most popular subgenres categorized under the umbrella of extreme metal. Each chapter is a comparative analysis of death metal and black metal from different perspectives. Thus, Chapter One is historical account of extreme metal but also includes discussions pertaining to iconography and pitch syntax. Subsequently, Chapter Two concerns itself with the conception of timbre in death metal and black metal. More specifically, timbre will be discussed in the context of sound production as well as timbre derived from performance, in particular, vocal distortion. The conception of rhythm/meter will be discussed in Chapter Three which will simultaneously allow for a discussion of the fluidity of genre boundaries between death metal and progressive metal – largely because of the importance placed on rhythm by the latter subgenre. Instead of a focus on musical practices, Chapter Four will instead take a sociological approach with the aim of answering certain issues raised in the first three chapters. Ultimately, this thesis aims to elucidate two questions: What are the different aesthetic intentions between practitioners of death metal and black metal? And, how do fans conceptualize these aesthetic differences? Sarah Thornton’s notion of subcultural capital – which is derived from Pierre Bourdieu’s notion of cultural capital – will help to answer such questions

The content and critical metaphor analysis of illustrated print advertisements in China.

This dissertation takes Chinese advertisements as the research subjects to see in what way a quantifiable large number of advertisements with its metaphorical nature and instrumental mission can reflect social cultural change, in specifics, ideology and identity change of China in the last thirty years by combining four methods of research: content analysis, Critical Discourse Analysis, Conceptual Metaphor Analysis and Pictorial Metaphor Analysis. The dissertation goes through the sign or ad interpretation process of linguistic, semiotic and critical analysis of 300 sample illustrated print advertisements collected from popular and award-winning illustrated print advertisements in Chinese media in the three periods of 1980s, 1990s and 2000s respectively. After comparing and contrasting the high frequency key words, advertising appeals and metaphorical expressions and images (categories and groups) appeared in the advertisements of the three periods the following conclusions are made: First, although advertisements in all the three periods belonged to the commercial public discourse, those in 1980s were inclined towards public discourse without much consideration for specific target groups while those in 1990s and 2000s tended to denote private and personal discourse with clear target groups in mind. While the advertisements in 1980s were characterized largely by the direct informative style, the majority of the advertisements in 1990s manifested a hybridization of both informative and involving styles. The advertisements in 2000s demonstrated strong involving and interacting style. Second, it can be seen from the shift of advertising appeals from the use of rational appeal to personal appeal that the overall society is moving up the ladder of Maslow\u27s Hierarchy of Needs Analysis from the basic need satisfaction to more social need and personal need satisfaction. Third, with regard to semiotic image categories used, the result shows the tendency that China is increasingly becoming a male-dominated society with a big increase in using male images from 1980s to 2000s and in particular adult male images. The representational images in the ads show a decline in intimacy but an increase in positional communication. The social setting is the dominant advertising background for all the three periods. Meanwhile with regard to the typical types of metaphorical images that are used as signifieds or secondary subjects to be projected onto the signifiers or primary subjects, there is a decline in using human images as opposed to non-human images. The dominant metaphorical image types used in three periods are in concomitant with the ideology and identity needs of each specific period of time. Fourth, on the whole the critical metaphor analysis of 300 sample illustrated print advertisements in mainland China from 1979 to 2008 has revealed advertisements during this period, implicitly or explicitly, have served the evolving ruling and dominant ideology very well. The dominant ideologies have changed from political ideology to economic ideology in 1980s, from economic ideology to national ideology in 1 990s, and from national ideology to balanced harmonious ideologies in 2000s. The individual consumers have transformed their identities from political self to material social self in 1980s, from material social self to national cultural self in 1990s, and from national cultural self to a individualized myself in 2000s. The dissertation contributes both theoretically and practically to the advertising research as well as visual culture research. On the one hand it confirms the critical discourse theory that discourse change can reflect socially-constructed reality. On the other hand, it contributes to pictorial metaphor theory by that visual metaphors are deep-rooted in human conceptualization and are cultural-specific

PREFERENCE OF CONSUMERS TOWARD NON-DISTORTED GRAPHICS ON FULL-BODY SHRINK SLEEVE LABELS

Past research has indicated that shrink sleeves can lead to higher product trial rates, better long-term sales, and greater likelihood of brand loyalty. A pilot study and a primary experiment were conducted to investigate the significance of distortion and the ability of the Human Visual System (HVS) to recognize it in packaging design. Distortion works primarily in shrink film on which an image is printed, so these studies dealt only with reductive distortion. The pilot study aimed to identify the absolute threshold, or Just-Noticeable-Difference (JND) for a change from no stimulus, for simple polygons. The primary experiment focused on graphic distortion in full body shrink sleeves (FBSS). Treatments presented each of the stimulus levels, along with a control for comparison, using a 2-AFC (Alternative Forced-Choice) Method. This study used a mixed 2 (labels) x 3 (bottles) x 5 (distortion increments) model, effectively 30 treatments in a Randomized Complete Block Design (RCBD). Label was a between-subject variable while Bottle Shape and Distortion Percentage were within-subject variables. Data indicated that distortion has a significant effect at 100%, but that there is not a threshold at which consumers are guaranteed to perceive graphic distortion on FBSS. Men detected distortion better than women. Participants who said distortion would prevent a purchase decision had the same tolerance as those who reported that it would not. Bottle shape may only impact consumer acceptance of distortion with some percentages of distortion. Familiarity with a brand name label may increase consumer tolerance and acceptance of distortion, and may do so more on some bottle shapes

Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century

This dissertation explores issues of gender politics, market segmentation, and taste through an examination of the contributions of several artists who have achieved Adult Contemporary (AC) chart success. The scope of the project is limited to a period when many artists who figured prominently in both the broader mainstream of American popular music and the more specific Adult Contemporary category were most commercially viable: from the mid-1980s through the 1990s. My contention is that, as gender politics and gendered social norms continued to change in the United States at this time, Adult Contemporary – the chart, the format, and the associated music – was an important, if overlooked or even trivialized, arena in which these shifting gender dynamics played out. This dissertation explores the significance of the Adult Contemporary format at the end of the twentieth century through analysis of chart performance, artist image, musical works, marketing, and contextual factors. By documenting these relevant social, political, economic, and musical factors, the notable role of a format and of artists neglected by scholars becomes clear. I explore these issues in the form of lengthy case studies. Examinations of how Adult Contemporary artists such as Michael Bolton, Wilson Phillips, Matchbox Twenty, David Gray, and Mariah Carey were produced and marketed, and how their music was disseminated, illustrate record and radio industry strategies for negotiating the musical, political, and social climate of this period. Significantly, musical and lyrical analyses of songs successful on AC stations, and many of their accompanying promotional videos highlight messages about musical genre, gender, race, and age. This dissertation ultimately demonstrates that Adult Contemporary-oriented music figured significantly in the culture wars, second and third wave feminism, expressions of masculinity, Generation-X struggles, postmodern identity, and market segmentation. This study also illustrates how the record and radio industries have managed audience composition and behavior to effectively and more predictably produce and market music in the United States. This dissertation argues that, amid broader social determinations for taste, the record industry, radio programmers, and Billboard chart compilers and writers have helped to make and reinforce certain assumptions about who listens to which music and why they do so. In addition, critics have weighed in on what different musical genres and artists have offered and for whom, often assigning higher value to music associated with certain genres, socio-political associations, and listeners while claiming over-commercialization, irrelevance, aesthetic insignificance, and bad taste for much other music

Planning the Charging Infrastructure for Electric Vehicles in Cities and Regions

Planning the charging infrastructure for electric vehicles (EVs) is a new challenging task. This book treats all involved aspects: charging technologies and norms, interactions with the electricity system, electrical installation, demand for charging infrastructure, economics of public infrastructure provision, policies in Germany and the EU, external effects, stakeholder cooperation, spatial planning on the regional and street level, operation and maintenance, and long term spatial planning

Victorian Material Culture in Memphis, Tennessee: The Mallory-Neely House Interiors As Artifact

The interiors of the Mallory-Neely House are valuable surviving documents of nineteenth century American culture warranting careful research, preservation and interpretation. Victorian Village, where the mansion is located in Memphis, is a nationally recognized enclave of nineteenth-century domestic structures. Previous research has centered primarily on the genealogical background of the owners and to a much lesser degree on the architectural history of these houses; none had focused in a scholarly manner on the interiors and furnishings. This is especially true of the Mallory-Neely House, the only one containing its original interior decor. These represent stratification of occupation and renovation by five families. Major phases of Victorian interior architectural treatment, changing approaches to interior decoration, and myriad Victorian furniture styles are represented. Due to an almost total lack of written documentation directly concerning the Mallory-Neely interiors, a material cultures methodological approach was used. Each of the interconnected ceremonial rooms was treated as an artifact. A system was developed in order to read” and gather data about each component of these interiors as well as the room ensemble as a whole. This information was then coupled with written evidence from various archival sources to form a base for interpretation. The artifacts comprising the Mallory-Neely interiors were found to be reflective of a society evolving towards modernization and representative of technological change. Dynamic change brought disruption of the social order and created a desire among Victorians for stabilizing symbols. The Mallory-Neely ceremonial interiors were created as a stage of status where symbolic social ritual was enacted. The interiors and their contents along with their closely related architectural and landscape surround visually communicated the owners\u27 elite status in the hierarchial class structure of the time

Planning the Charging Infrastructure for Electric Vehicles in Cities and Regions

Planning the charging infrastructure for electric vehicles (EVs) is a new challenging task. This book treats all involved aspects: charging technologies and norms, interactions with the electricity system, electrical installation, demand for charging infrastructure, economics of public infrastructure provision, policies in Germany and the EU, external effects, stakeholder cooperation, spatial planning on the regional and street level, operation and maintenance, and long term spatial planning

Hack the Experience: Tools for Artists from Cognitive Science

Hack The Experience will reframe your perspective on how your audience engages your work. This will happen as you learn how to control attention through spatial and time-based techniques that you can harness as you build immersive installations or as you think about how to best arrange your work in an exhibition. You’ll learn things about the senses and how they interface with attention so that you can build in visceral forms of interactivity, engage people’s empathetic responses, and frame their moods. This book is a dense bouillon-cube of techniques that you can adapt and apply to your personal practice, and it’s a book that will walk you step-by-step through skill sets from ethnography, cognitive science, and multi-modal metaphors. The core argument of this book is that art is a form of cognitive engineering and that the physical environment (or objects in the physical environment) can be shaped to maximize emotional and sensory experience. Many types of art will benefit from this handbook (because cognition is pervasive in our experience of art), but it is particularly relevant to immersive experiential works such as installations, participatory/interactive environments, performance art, curatorial practice, architecture and landscape architecture, complex durational works, and works requiring new models of documentation. These types of work benefit from the empirical findings of cognitive science because intentionally leveraging basic human cognition in artworks can give participants new ways of seeing the world that are cognitively relevant. This leveraging process provides a new layer in the construction of conceptually grounded works