Visuals misleading consumers? Testing the visual superiority effect in advertising

Purpose The purpose of this study is to test the visual superiority effect in a verisimilar scenario that an industry association seeks to manipulate consumers using a visual element in its ad while providing an ostensibly balanced claim about the potential health effects of stevia. Design/methodology/approach Two experiments were conducted. In Study 1, an online experiment was conducted with a sample of 112 adult consumers using a two-group (headline frame type: gain vs loss), post-test only design with additional planned analysis of an individual difference (i.e. regulatory focus). In Study 2, another online experiment was implemented with a sample of 175 adults using a 2 (headline frame type: gain vs loss) × 2 (image valence: positive vs negative) between-subjects design with additional planned analysis of regulatory focus. The hypotheses were tested by running the PROCESS macro on SPSS. Findings The results showed that when exposed to the advertising message designed to elicit uncertainty, participants relied more on the visual than the textual content (i.e. framed headline and body text) in forming attitude toward the behavior (i.e. consuming stevia). Analysis of cognitive responses also revealed that those who received the stimulus ad with an image added (Study 2) generated significantly fewer thoughts related to the textual content of the ad than those who received the ad with no image (Study 1). Originality/value This study represents one of the earliest experimental inquiries into the visual superiority effect in an advertising context. While earlier studies have tended to rely on dual-processing models to test the effects of advertising stimuli featuring both textual and visual elements, the findings of this study (e.g. visual content overwhelmed its textual counterpart in producing persuasive effects) somewhat contradict the premise of dual-processing models.

Color in Architecture: Before and After Industry Revolution

Color as a visual element cannot be separated from architectural design. The development of knowledge about color involved artists and scientists. In the past, color was always associated with the activities of artists as creators of decorative works using pigments produced by nature. Artists and scientists assume that color occurs due to the influence of light and dark which is homogeneous. This was later refuted by Newton's findings that color is produced by heterogeneous light. Different colors are a result of different refractive indexes. The discovery of artificial colors by Perkin encouraged the industry to create colors not only to produce colors that exist in nature, but also according to the wishes of the user as an individual. The opportunity to use colors according to the needs of individual users then encourages businesses to control colors so that the industry does not suffer losses if the colors of the products they produce do not sell well in the market. They work closely with color forecasters and color designers to determine color trends according to the interests of producers through color cards. This condition is followed by architects who create color schemes based on their own favorite color palette. This article finds out how the development of science positions color in architectural works? The research was conducted with a historical approach and data interpretation methods through a literature review.

Hello, computer. Approaches to designing speech-based user experiences

<p>The burgeoning field of speech–based user interfaces, pushed heavily by most major technology vendors, including Google (with Assistant), Apple (Siri), Amazon (Alexa), and Microsoft (Cortana), presents a new challenge in designing end user experiences; one where we cannot rely on there being a visual element at all. With the individual interests of the vendors, we have seen a growth of very distinct guidelines and platforms, resulting in a lack of consistency across the field. There is an opportunity to consider these platforms and this modality of interaction, and how we can design for it more generally. By reviewing the current array of literature on voice and conversational user interfaces, as well as general speech and user interface metaphors, an understand- ing and framing for the potential of this field is to be achieved. The different core vendors and their corporate attitudes and business goals are examined to find issues that may affect building for them. Thematic analysis of the current vendor and platform-specific guidelines (such as Apple’s Human Interface Guidelines) will allow for determining important commonalities, feeding the creation of a set of voice-focused usability heuristics to evaluate these designs. Finally, the broader research is distilled into a systematic approach for designing speech–based experiences. Technical case study work is informed, and reciprocally informs this approach, ensuring it works in practice.</p>

Hello, computer. Approaches to designing speech-based user experiences

<p>The burgeoning field of speech–based user interfaces, pushed heavily by most major technology vendors, including Google (with Assistant), Apple (Siri), Amazon (Alexa), and Microsoft (Cortana), presents a new challenge in designing end user experiences; one where we cannot rely on there being a visual element at all. With the individual interests of the vendors, we have seen a growth of very distinct guidelines and platforms, resulting in a lack of consistency across the field. There is an opportunity to consider these platforms and this modality of interaction, and how we can design for it more generally. By reviewing the current array of literature on voice and conversational user interfaces, as well as general speech and user interface metaphors, an understand- ing and framing for the potential of this field is to be achieved. The different core vendors and their corporate attitudes and business goals are examined to find issues that may affect building for them. Thematic analysis of the current vendor and platform-specific guidelines (such as Apple’s Human Interface Guidelines) will allow for determining important commonalities, feeding the creation of a set of voice-focused usability heuristics to evaluate these designs. Finally, the broader research is distilled into a systematic approach for designing speech–based experiences. Technical case study work is informed, and reciprocally informs this approach, ensuring it works in practice.</p>

Video feedback in tertiary music performance classes

Video feedback can be an important and key mechanism for supporting online student learning in higher education. In the context of online music teaching, video feedback provides a necessary audio and visual element to support music students’ learning of music performance practice. A predecessor to a larger study in video feedback, this pilot study sought to explore instructor perceptions of the use of video feedback in music performance teaching classes. Using self-study methodology, findings suggest that video feedback can effectively complement individualised online music teaching within an undergraduate performance class and a Master of Music Performance Teaching group music class, provide supportive scaffolding for self-regulated learning, and offer students opportunities to create meaningful student-instructor connections and community. Strategies for effective implementation by way of self-regulation and communication are also addressed.

Neural decoding dissociates perceptual grouping between proximity and similarity in visual perception

Previous research on perceptual grouping primarily focused on the dynamics of single grouping principle in light of the Gestalt psychology. Yet, there has been comparatively little emphasis on the dissociation across two or more grouping principles. To tackle this issue, the current study aims at investigating how, when, and where the processing of two grouping principles (proximity and similarity) are established in the human brain by using a dimotif lattice paradigm and adjusting the strength of one grouping principle. Specifically, we measured the modulated strength of the other grouping principle, thus forming six visual stimuli. The current psychophysical results showed that similarity grouping effect was enhanced with reduced proximity effect when the grouping cues of proximity and similarity were presented simultaneously. Meanwhile, electrophysiological (EEG) response patterns were able to decode the specific pattern out of the six visual stimuli involving both principles in each trail by using time-resolved multivariate pattern analysis (MVPA). The onsets of the dissociation between the two grouping principles coincided within three time windows: the earliest proximity-defined local visual element arrangement in the middle occipital cortex, the middle-stage processing for feature selection modulating low-level visual cortex in the inferior occipital cortex and fusiform cortex, and the higher-level cognitive integration to make decisions for specific grouping preference in the parietal areas. In addition, brain responses were highly correlated with behavioral grouping. The results therefore provide direct evidence for a link between human perceptual space of grouping decision-making and neural space of these brain response patterns.

Color in Architecture: Before and After Industry Revolution

Color as a visual element cannot be separated from architectural design. The development of knowledge about color involved artists and scientists. In the past, color was always associated with the activities of artists as creators of decorative works using pigments produced by nature. Artists and scientists assume that color occurs due to the influence of light and dark which is homogeneous. This was later refuted by Newton's findings that color is produced by heterogeneous light. Different colors are a result of different refractive indexes. The discovery of artificial colors by Perkin encouraged the industry to create colors not only to produce colors that exist in nature, but also according to the wishes of the user as an individual. The opportunity to use colors according to the needs of individual users then encourages businesses to control colors so that the industry does not suffer losses if the colors of the products they produce do not sell well in the market. They work closely with color forecasters and color designers to determine color trends according to the interests of producers through color cards. This condition is followed by architects who create color schemes based on their own favorite color palette. This article finds out how the development of science positions color in architectural works? The research was conducted with a historical approach and data interpretation methods through a literature review.

Virtual skin: Assessing Player Experience of Attractiveness with the User Experience Questionnaire (UEQ)

There are numerous subfields within visual communication, one of which is new media, alongside conventional practices such as advertising, photography, the web, animation, and signage. Blogs, social media, video games, email and the pervasiveness of smartphones have all resulted in the emergence of new media that are inextricably linked to the internet and the online environment. since the first mobile game, "Tetris", in 1994 and “Snakes" in 1997, the visual element in mobile games has evolved significantly, culminating in the modern-day mobile gaming world. These changes have involved progress from the black and white images of the early games to the variety of colours used in game visuals today and the creation of virtual goods in-app games. A skin is one of these virtual goods or items and is synonymous with a virtual appearance, outfit or cosmetic item that can be used to modify and enhance the appearance of a player's avatar. This is a cosmetic item and purely aesthetic in nature, serving no functional purpose. Among players, the desire for a skin is undeniable. Apart from the "beauty factor," another hidden value is inherent in players' perceptions of their interactions with purely aesthetic items. To determine the attractiveness of the skin in mobile games, preliminary research on skin evaluation was conducted to ascertain players' perceptions of recent virtual skins they had used in-game. The purpose of the study was to identify players’ perceptions of the attractiveness of the skin they used. To conduct the research, the Standard User Experience Questionnaire (UEQ) was used to determine the attractiveness of the skin as a virtual product. The UEQ is composed of six scales and twenty-six items that assess attractiveness on a hedonic and pragmatic level. Thirty respondents were chosen, and data analysis was performed using UEQ Data Analysis Tools. The product's benchmark was divided into five UX quality categories: excellent, good, above average, below average, and bad. The results indicate that stimulation is an excellent proxy for the UX quality of skin and efficiency is above average; meanwhile, attractiveness, perspicuity, dependability, and novelty were below average.

ANALISIS SEMIOTIKA POS STRUKTURAL PADA FOTO RHEIN II (A POST-STRUCTURAL SEMIOTICS ANALYSIS OF THE PHOTOGRAPH RHEIN II)

<p>Abstract This paper is a study of Andreas Gursky’s photo Rhein II. In this study, the post-structural semiotic analysis method is used to interpret meaning based on signs on the Rhein II. The post-structural semiotic analysis becomes the basis for interpreting meanings using related references. In the study of Rhein II photo objects, visual text analysis is expected to provide positive benefits for the development of photography, especially academically. Rhein II is a photo by Andreas Gursky. In Rhein II’s photograph, a contemporary photo is presented as a multi-reality representation analyzed using the post-structural semiotic method. The object of research is interpreted as a text that has a layer of meaning that is squeezed out of its essence by semiotics. The deconstruction of the signification system in the visual element is identified by reading the structural postal semiotic theory codes: text analysis process, creation process. The results of semiotic extraction produce an interpretive study of Rhein II which is full of meaning.</p><p>Keyword: imagery, photography, semiotica</p><p>Abstrak Makalah ini merupakan kajian dari foto Rhein II karya Andreas Gursky. Dalam kajian ini digunakan metode analisis semiotika post struktural untuk menginterpretasikan makna berdasarkan tanda-tanda pada Rhein. Analisis semiotika post struktural menjadi landasan dalam menginterpretasikan makna-makna dengan menggunakan referensi terkait. analisis teks visual, dalam kajian objek foto Rhein II diharapkan dapat memberikan kebermanfaatan yang positif bagi perkembangan fotografi khususnya secara akademis. Rhein II adalah foto karya Andreas Gursky. Dalam karya Rhein II, sebuah foto kontemporer dihadirkan sebagai representasi multi realitas yang dianalisis menggunakan metode semiotika post struktural. Objek penelitian dimaknai sebagai teks yang memiliki lapisan makna yang terperas esensinya oleh semiotika. Dekonstruksi sistem penandaan dalam elemen visual diidentifikasikan dengan pembacaan kode-kode teori semiotika pos struktural. Proses analisis teks, proses penciptaan. Hasil ekstraksi semiotika menghasilkan kajian interpretatif Rhein II yang sarat makna.</p><p>Kata kunci: citra imaji, fotografi, semiotika</p>