7: Visual Persuasion
- Page ID
- 199319
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)- 7.1: Introduction to Visual Persuasion
- This page discusses the influence of visual images on human perception and memory, highlighting the brain's rapid processing of images and their emotional impact. It emphasizes the picture superiority effect, stating that images are often more memorable than words, and notes their role in enhancing the perceived truth of claims.
- 7.2: Indexicality
- This page examines indexicality, focusing on how photographs and videos act as evidence of events, emphasizing their representational nature rather than being actual objects. It discusses the impact of influencer culture and manipulated images, like deepfakes, on younger audiences, stressing the importance of critical viewing. The text advises viewers to stay cautious and discerning in evaluating visual content.
- 7.3: Iconicity
- This page discusses the concept of icons, defining them as emblematic figures or objects that evoke strong emotional responses and represent cultural ideas, like Betty White or the Eiffel Tower. It highlights J. Howard Miller's "Rosie the Riveter" as an example of visual persuasion and underscores the importance of visual icons in marketing, such as the Starbucks mermaid and McDonald's arches, in establishing brand identity and emotional connections with consumers.
- 7.4: Syntactic Indeterminacy
- This page discusses how language and visuals function differently in communication. Words clearly convey messages, while images require interpretation, enhancing cognitive engagement and persuasion. Visuals allow for implicit associations without direct claims, reducing accountability for advertisers. Examples include attractive individuals linked to brands and political imagery, demonstrating syntactic indeterminacy in visual communication.
- 7.5: Framing Images- More Than Decoration
- This page emphasizes the importance of visuals in persuasion, noting they are deliberately designed to influence perception and evoke emotions. The author shares personal experiences in selecting visuals and references Susan Sontag's views on framing, which involve decisions about inclusivity and representation. The discussion highlights how both image composition and contextual choices impact the effectiveness and message of visual persuasion.
- 7.6: Visual Hierarchy
- This page discusses Larry Jordan's six priorities for effective visual information presentation: movement, focus, difference, brightness, size, and proximity. These elements help direct viewer attention and elicit emotions. Analyzing visuals through these guidelines reveals the intricate composition behind images, which our brains can process in a remarkably quick thirteen-thousandths of a second.
- 7.7: Works Cited
- This page provides a comprehensive list of works cited that examine the significance of images in fields such as psychology, communication, and advertising. It highlights themes like emotional responses to images, cognitive advantages of visual aids, and the efficacy of visual persuasion. Key contributors include Molly Bang, Eryn J. Newman, and Susan Sontag, with research dating from 1991 to 2023, encompassing journal articles, books, and online resources on visuals and human perception.