March 8, 2017

Brand Aesthetics by Gérald Mazzalovo (auth.)

By Gérald Mazzalovo (auth.)

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Sample text

Here all the techniques of innovation, surprise, provocation, intensity and maximum contrasts come into play. How to keep account of perceptual selectivity? This is based on a number of parameters such as intensity of stimuli, dimensional dominance, expectations, needs, novelty, and persistent values of consumers. We highlight here the importance of the values that constitute the ethics of an individual, in this perception phase, thus justifying the need for a clearly perceivable brand ethics. How to make the maximum appeal to the five senses?

1a Aesthetic dimensions of objects and services Holbrook (1980) gives a restrictive definition of what he calls ‘consumer aesthetics’ by applying it exclusively to cultural products (media, entertainment and arts). While recognizing that any product must The Relevance of the Concept 19 obey aesthetic considerations in the choices that are made to define its design, packaging or promotion, he reserves this designation to products or services that should be appreciated solely for themselves, without any sense of their having utilitarian value.

Reality and fantasy merge and fascination with aesthetic pleasure permeates everything. The end of the real and the end of art lead us to a hyper-reality that the surrealists had anticipated. Marcel Duchamp was a pioneer in this field in 1913 when he presented a bicycle wheel on a stool as a full artistic creation. He systematically introduced industrial objects such as doorknobs, plastic bottles and other everyday utensils into his works. In his quest to demystify the classical notions of artistic creation based on the academic ideal of a transcendent beauty, harmony, and so on, he developed the logic of the work of art as ‘ready-made’ with the famous urinal of 1917.

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