5.1: Introduction
- Page ID
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Chapter Objectives:
- To define esoteric persuasion
- To relate esoteric persuasion to dual process theories of persuasion
- To examine esoteric forms of persuasion, including color, music, sonic persuasion, aroma/smell, and typography
- To discuss the scientific validity of these forms of persuasion
Introduction
On my last trans-Atlantic flight, I noticed that Miley Cyrus' "Flowers" was playing as we boarded the plane. They played the same song when we were deplaning. Why? Did one of the flight attendants have a serious thing for that song? It turns out that boarding music "is a common practice among airlines to create a calming and relaxing atmosphere for passengers, making the flight experience more enjoyable" (Foster). As for deplaning, research by airlines has shown that people move faster to up-tempo music (Odom). It turns out that music is used intentionally and persuasively to change the experience of travelers - and to hustle them off the plane!
Music isn't the only form of esoteric persuasion, however. I have also found myself moved to the line at a cookie counter in a shopping mall, after having been assailed by the aroma of freshly-baked chocolate chip cookies. Can people be influenced by things such as music, sound, color, smell, or even a font? And if so, how?
Esoteric Persuasion: A definition.
What, exactly, is esoteric persuasion? “Esoteric” is defined as being understood by or meant for only the select few who have special knowledge or interest. Words synonymous with esoteric include abstruse (meaning hard to understand); arcane (known or understood by few); recondite (beyond ordinary knowledge or understanding); and enigmatic (puzzling, perplexing, or mysterious). According to these definitions, one might think that esoteric persuasion is either a somewhat elite form of influence understood by a select, erudite few, or that esoteric persuasion is not considered to be a mainstream, widely accepted form of persuasion. Regardless of how one defines esoteric persuasion, its various forms are fascinating.
What constitutes this esoteric or extraordinary form of influence? This chapter will examine color, music, sonic persuasion, aroma/smell, and typography.
Esoteric Persuasion: Theoretical Implications.
Before examining various forms of esoteric persuasion, it is important to understand some possible explanations as to why or how esoteric forms of persuasion might work. Elsewhere in this book, dual processing models of persuasion, such as Petty and Cacioppo’s elaboration likelihood model and the heuristic-systematic information processing model, have been examined. Both of these theoretical models assert that when one encounters some form of communication, this information is processed with varying degrees of thought. The elaboration likelihood model contends that, when a high degree of thought or mental elaboration is being used to process information, a central route is being used, whereas when a low degree of thought or elaboration is being employed, a peripheral route is being used. The heuristic-systematic model of persuasion asserts that systematic processing is defined by effortful scrutiny and comparison of information, whereas heuristic processing is defined by the use of cues to arrive more easily at a judgment (Trumbo 391).
In these models, the central and systematic routes are associated with a person’s motivation and ability to think: therefore effort, reasoning and mental energy are at play. The peripheral and heuristic routes, on the other hand, are associated with the message recipient having little motivation or ability to process a message. In the elaboration likelihood model, the peripheral route relies on association with positive characteristics such as positive emotions (Petty and Cacioppo). In the heuristic-systematic information processing model, certain heuristics or indicators, such as consensus (“everyone is doing it”); expertise (“experts know what they’re talking about'') or argument length ("a long argument is a strong argument”) tend to influence opinions and attitudes (Chen and Chaiken 75). In short, central and systematic routes rely on processing information; peripheral and heuristic routes rely on cues or associations.
How are color, music, smell, sound, and typeface processed? When we encounter the smell of freshly-baked cinnamon rolls, hear the tell-tale sound of a beating heart, or fill our ears with music, we are probably not engaging in critical analysis, the evaluation of evidence, or heavy reasoning. And yet, evidence shows that, in some instances, persuasion is occurring. Esoteric communication is largely persuasion through association; we associate color, smells, music, etc. with emotions and memories.