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Definition
| the immediate response of sensory receptors (eyes, ears, nose, mouth, fingers) to such basic stimuli as light, color ,sound, odors, and textures |
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| the process by which stimuli are selected, organized, and interpreted |
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| the multisensory, fantasy, and emotional aspects of consumers interactions with products |
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| marketing strategies that focus on the impact of sensations on our product experiences |
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| color combinations that become strongly associated with a corporation |
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| a japanese philosophy that translates customers feelings into design elements |
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| an initial stage of perception during which some sensations come within range of consumers sensory receptors |
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| the science that focuses on how the physical environment is integrated into the consumers subjective experience |
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| the minimum amount of stimulation that can be detected on a given sensory channel |
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| the ability of a sensory system to detect changes or differences among stimuli |
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| (Just noticeable difference) the minimum difference between two stimuli that can be detected by a perceiver |
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| the principle that the stronger the initial stimulus, the greater its change must be for it to be noticed |
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| the processing of stimuli presented below the level of the consumers awareness |
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| a condition where consumers are exposed to far more information than they can process |
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| processing information from more than one medium at a time |
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| elements of an online ad that employ movement to gain attention |
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| the assignment of processing activity to selected stimuli |
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| process by which people attend to only a small portion of the stimuli to which they are exposed |
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| the result of acquiring and processing stimulation over time |
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| past experiences that influence what stimuli we decide to process |
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| the tendency for consumers to be more aware of stimuli that relate to their current needs |
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| the tendency for consumers to avoid processing stimuli that are threatening to them |
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| the process that occurs when a sensation becomes so familiar that it no longer commands attention |
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| stimuli that differ from others around them |
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| the process whereby meanings are assigned to stimuli |
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| an organized collection of beliefs and feelings represented in a cognitive category |
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| meaning derived from the totality of a set of stimuli, rather than from any individual stimulus |
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| properties of a stimulus that evoke a schema that leads us to compare the stimulus to other similar ones we encountered in the past |
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| a field of study that examines the correspondence between signs and symbols and the meaning or meanings they convey |
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| in semiotic terms, the product that is the focus of the message |
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| the sensory imagery that represents the intended meanings of the object |
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| the meaning derived from a sign or symbol |
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| a sign that resembles the product in some way |
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| a research tool used to understand how a brand is positioned in consumers minds relative to competitors |
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| an organizations use of elements in the marketing mix to influence the consumers interpretation of a products meaning vis-a-vis competitors |
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Definition
| sensory stimuli (sights, sounds, smells, taste, textures) --> sensory receptors (eyes, ears, nose, mouth, skin) --> exposure --> attention --> interpretation |
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Term
| personal selection factors |
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Definition
-experience
-perceptual vigilance
-perceptual defense
-adaptation |
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Term
| factors that lead to adaptation |
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Definition
-intensity (less intense stimuli habituate b/c less sensory impact)
-duration
-discrimination (stimuli does not require attention to detail)
-exposure
-relevance |
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Term
| stimulus selection factors (why stimuli differ making them more noticeable. contrast) |
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Definition
-size
-color
-position
-novelty (unexpected ways stimuli appears) |
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Term
| gestalt perspective provides several principles relating the way stimuli are organized: |
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Definition
-CLOSURE PRINCIPLE (people tend to perceive incomplete picture as complete)
-PRINCIPLE OF SIMILARITY (consumers tend to group together objects that share similar physical characteristics)
-FIGURE-GROUND PRINCIPLE (one part of stimulus will dominate and others recede into the background) |
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Term
| three basic components of marketing message from a semiotic perspective |
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Definition
1. object
2. sign
3. interpretant |
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| signs related to object in one of three ways (semiotics) |
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