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CHAPTER 3: PERCEPTION Objective Sensation Sensation: - Sensation refers to the immediate response of our sensory receptors (eyes, ears, nose, mouth, fingers, skin) to basic stimuli such as light, color, sound, odor, and texture, which are divided into groups: ● Vision ● Scent ● Sound ● Touch ● Taste - Perception is the process by which people select, organize, and interpret these sensations The study of perception, then, focuses on what we add to these raw sensations to give them meaning - Examples: (TT) Sensory Marketing: !Definition: marketing strategies that focus on the impact of sensations on our product experiences ! Companies think carefully about the impact of sensations on our product experiences a Vision - Some color combinations come to be so strongly associated with a corporation that they become known as the company’s trade dress (hình ảnh thương mại tổng thể) - Color Forecast: Color of the year b Dollars and Scents - Like color, odor can also stir emotions and memory - Scent Marketing is a form of sensory marketing that we may see in lingerie, detergents and more c Sounds - Audio watermarking: a technique where composers and producers weave a distinctive sound/motif into a piece of music that sticks in people’s minds over time - Sound symbolism: the process by which the way a word sounds influences our assumptions about what it describes and attributes such as size d Touch - Natural user interface: is an interface designed to combine human habitual movements that we not need to learn, making them feel like they are "real" using a product rather than manipulating the interface - For example, a book reader is designed to be used like a real book - Endowment effect: is making shoppers feel like they own a product by making them touch the product, from there they will imagine they already own that product and they will appreciate that product more (according to research) - The haptic (Touch): "Touching" affects product experience and confidence in judgment - the idea that we will be more certain about what we feel when we touch (a problem for online sellers) - For example, when I go to buy instant noodles, I don't want to buy a package of broken noodles inside, so I often touch them to check if the noodles inside the package are still intact or not - Kansei engineering: The term Kansei is formed from Kan (sentimentality) and sei (sensitivity) A philosophy of translating customer emotions into design elements - For example, the classic contoured Coca-Cola bottle also demonstrates the power of touch, which can be recognized by the user as soon as it is touched e Taste - Gastrophysics: This focus on the science of eating considers how physics, chemistry, and yes, perception, influence how we experience what we put in our mouths All of our senses interact with each other to influence cupping position - For example, tomato juice is most often consumed on airplanes due to the change in taste when exposed to loud noise of the plane, making them feel that tomato juice tastes best Augmented and Virtual Reality - Augmented reality (AR): refers to media that superimpose one or more digital layers of data, images, or video over a physical object More likely, though, in the next few years you’ll live in AR through your smart-phone or tablet AR apps open new worlds of information (and marketing communications) The imminent explosion of virtual reality (VR) technology in the consumer mar-ket also is driving the integration between physical sensations and digital information Unlike AR that delivers a combination of both sensory experiences, VR provides a totally immersive experience that transports the user into an entirely separate 3D environment Objective The stage of perception Concept: Perception is a three-stage process that translates raw stimuli into meaning Unlike computers, we not passively process whatever information happens to be present In the first place, we notice only a small number of the stimuli in our environment, simply because there are so many different ones out there vying for our attention Of those we notice, we attend to an even smaller number—and we might not process the stimuli that enter consciousness objectively Each individual interprets the meaning of a stimulus in a manner consistent with his or her own unique biases, needs, and experiences The stage of perception 2.1 Exposure Exposure is the process by which the consumer comes in physical contact with stimulus Exposure occurs when a stimulus comes within the range of someone’s sensory receptors Consumers concentrate on some stimuli, are unaware of others, and even go out of their way to ignore some messages We notice stimuli that come within range for even a short time—if we so choose However, getting a message noticed in such a short time (or even in a longer one) is no mean feat 2.1.1 Sensory Thresholds Before we consider what else people may choose not to perceive, let’s consider what they are capable of perceiving By this we mean that stimuli may be above or below a person’s sensory threshold, which is the point at which it is strong enough to make a conscious impact in his or her awareness 2.2 Attention Attention refers to the extent to which processing activity is devoted to a particular stimulus As you know from sitting through both interesting and “less interesting” lectures, this allocation can vary depending on both the characteristics of the stimulus (i.e., the lecture itself) and the recipient (i.e., your mental state at the time) Although we live in an “information society,” we can have too much of a good thing Consumers often experience sensory overload; we are exposed to far more information than we can process One popular solution to the avalanche of data is mindfulness This movement, which is related to the practice of meditation, encourages followers to slow down, tune out distractions, and focus on what they are feeling at the moment Ironically, mindfulness has itself become an industry Attention is limited: Consumers cannot possibly attend to all stimuli in the environment, even if they would want to see everything Attention is selective: Because attention is limited, consumers must select what to pay attention to and what not to pay attention to Attention can be divided: We can divide our attentional resources over time, by allocating some attention to one task and others to another, or by rapidly switching attention between tasks 2.2.1 Multitasking Getting the attention of young people in particular is a challenge—as your professor probably knows! A large proportion of teens report that they engage in multitasking, where they process information from more than one medium at a time as they alternate among their cell phones, TVs, and laptops Researchers find that heavy multitaskers have more trouble focusing, and they experience more stress One study found that people who are interrupted by email report significantly more stress than those who were allowed to focus on a task Because the brain’s capacity to process information is limited, consumers are selective about what they pay attention to The process of perceptual selection means that people attend to only a small portion of the stimuli to which they are exposed Consumers practice a form of “psychic economy” as they pick and choose among stimuli to avoid being overwhelmed Both personal and stimulus factors help to choose 2.2.2 Personal selection factors - Intensity - Discrimination - Exposure - Relevance 2.2.3 Stimulus Selection Factors - Size - Color - Position - Novelty 2.3 Interpretation Interpretation refers to the meanings we assign to sensory stimuli Just as people differ in terms of the stimuli that they perceive, the meanings we assign to these stimuli vary as well Many of these meanings depend on our socialization within a society: Even sensory perception is culturally specific The meaning we assign to a stimulus depends on the schema, or set of beliefs, to which we assign it This in turn leads us to compare the stimulus to other similar ones we encountered in the past Identifying and evoking the correct schema is crucial to many marketing decisions because this determines what criteria consumers will use to evaluate the product, package, or message Objective Stimulus Organization ( cuối trang 110) Khoa Concept: Stimulus organization is a concept in psychology that refers to how stimuli are organized and interpreted by the brain It is a fundamental concept in the study of perception and learning According to Hunt (1962), stimulus organization is the process by which a stimulus becomes the signal for a response The role of the stimulus as an undefined variable can be seen most clearly by examining those learning models in which the stimulus, and changes in it, are represented solely by changes in the parameters determining the rate of conditioning When RJR Nabisco introduced a version of Teddy Grahams (a children’s product) for adults, it used understated packaging colors to rein- force the idea that the new product was for grown-ups But sales were disappointing Nabisco changed the box to bright yellow to convey the idea that this was a fun snack, and buyers’ more positive association between a bright primary color and taste prompted adults to start buying the cookies This example demonstrates how marketers use semiotics to create effective campaigns that resonate with their target audience The stimuli we perceive are often ambiguous It’s up to us to determine the meaning based on our past experiences, expectations, and needs We tend to project our own desires or assumptions onto products and advertisements This interpretation process can backfire for marketers if they not take into account their target audience’s perceptions Interpretational Biases: The Eye of the Beholder Gestalt psychology is a school of thought based upon the notion that people interpret meaning from the totality of a set of stimuli rather than from any individual stimulus The German word Gestalt roughly means whole, pattern, or configuration, and we summarize this term as “the whole is greater than the sum of its parts.” A piecemeal perspective that analyzes each component of the stimulus separately can’t capture the total effect The Gestalt perspective provides several principles that relate to the way our brains organize stimuli: The closure principle states that people tend to perceive an incomplete picture as complete That is, we tend to fill in the blanks based on our prior experience This principle explains why most of us have no trouble reading a neon sign even if several of its letters are burned out The principle of closure is also at work when we hear only part of a jingle or theme Marketing strategies that use the closure principle encourage audience participation, which increases the chance that people will attend to the message The similarity principle tells us that consumers tend to group together objects that share similar physical characteristics Green Giant relied on this principle when the company redesigned the packaging for its line of frozen vegetables It created a “sea of green” look to unify all of its different offerings The figure-ground principle states that one part of a stimulus will dominate (the figure), and other parts recede into the background (the ground) This concept is easy to understand if you think literally of a photograph with a clear and sharply focused object (the figure) in the center The figure is dominant, and the eye goes straight to it The parts of the configuration a person will perceive as figure or ground can vary depending on the individual consumer, as well as other factors Similarly, marketing messages that use the figure-ground principle can make a stimulus the focal point of the message or merely the context that surrounds the focus In summary, these Gestalt principles are fundamental to understanding how people perceive and interpret the world around them Marketers and designers often use these principles to create more effective and engaging advertising and messaging by considering how consumers naturally process visual and sensory information By applying these principles, marketers can enhance consumer engagement and improve the impact of their messages and designs Semiotics: The Meaning of Meaning Semiotics is the study of how signs and symbols correspond to and convey meanings Marketers use semiotics to understand how consumers perceive and assign meanings to products and their associated symbols From a semiotic perspective, every marketing message has three basic components: an object, a sign (or symbol), and an interpretant The object is the product that is the focus of the message (e.g., Marlboro cigarettes) The sign is the sensory image that represents the intended meanings of the object (e.g., the Marlboro cowboy) The interpretant is the meaning we derive from the sign (e.g., rugged, individualistic, American) Types Types of Signs: Semiotician Charles Sanders Peirce identified three ways in which signs relate to objects: ● Icon: An icon is a sign that resembles the product in some way For example, the Ford Mustang logo featuring a galloping horse is an icon ● Index: An index is a sign that connects to a product because they share some property For instance, a pine tree on a cleaning product symbolizes a fresh scent ● Symbol: A symbol is a sign that relates to a product through conventional or agreed-on associations For example, the lion in Dreyfus Fund ads symbolizes fearlessness and strength associated with the company's investment approach Hyperreality Hyperreality occurs when advertisers create new relationships between objects and interpretants by inventing new connections between products and benefits Advertisers often establish artificial connections between products and benefits, blurring the line between the symbol and reality This can lead to the development of associations that take on lives of their own For instance, We see this a lot lately when fans create products that correspond to “realities” that never actually existed These include The Unofficial Harry Potter Cookbook, The Unofficial Narnia Cookbook, A Feast of Ice and Fire (Game of Thrones), and Abbey Cooks Entertain (Downton Abbey) Perceptual Positioning Our perception of a brand comprises both its functional attributes (e.g., its features, its price, and so on) and its symbolic attributes (its image and what we think it says about us when we use it) Our evaluation of a product typically is the result of what it means rather than what it does This meaning as consumers perceive it constitutes the product’s market position, and it may have more to with our expectations of product performance as communicated by its color, packaging, or styling than with the product itself When a marketer understands how consumers think about a set of competing brands, it can use these insights to develop a positioning strategy, which is a fundamental component of a company’s marketing efforts as it uses elements of the marketing mix (i.e., product design, price, distribution, and marketing communications) to influence the consumer’s interpretation of its meaning in the marketplace relative to its competitors For example, although consumers’ preferences for the taste of one product over another are important, this functional attribute is only one component of product evaluation