Previously I discussed the concept of spatial presence relative to video games, in which the user is subject to an experience allowing them to transcend physical presence and ‘immerse’ themselves into the media (Madigan, J. 2010). This spatial presence stems from the individual’s perception failing to differentiate between the technological artifact and physical space. For my research project one potential aspect to explore the concept of spatial presence beyond the medium of video games. Rather looking at how spatial presence attributes can be applied to marketing, specifically that of commercial posters and digital spaces.
However we also need to understand the position of the individual and the material as the observer, with presence split into two categories non-spatial and spatial (Lee et al. 2004).
Slater illustrates that presence is about form rather than content, with presence being the response to a certain level of immersion. With presence stemming from simulated data and perceptual processing creating a ‘place’ in which an individual has capacity to act (Lee et al. 2004).
Due to events being high involvement products and deal with purchase decisions that involve risk, and are made to satisfy an underlying positive motivation. Percy, L. Rosenbuam-Elliot, R. (2012) illustrate that not only do we need to create emotional authenticity for the consumer, but we have to create the opportunity for the target audience to personally identify with the product – i.e they need to feel the material. Strong visual content is necessary to achieve this. Visual Marketing explores the relationship between an object, the context it represents and the relevant image. The study aims to understand how best to communicate the object through imagery.
An important component of visual communication is eye movement, with Wedel, M. Pieters, R. (2012) stating that our eyes move every 250 – 350 ms. During eye movement information is suppressed, and only once fixated we consume information.
Additional project research has been the undertaking of DJing, producing and the construction of a vibe or aura and how an artist interprets the product, and developing a vibe that an audience comprehends on a personal level. According to Benjamin, this vibe can be illustrated as the ‘strange weave of space and time’ and ‘unique appearance or resemblance of distance.’ The sphere of radiatory activity is the foundation for DJing. An avenue of interest includes utilising the information sent from DJ hardware and apply it to construct audio-reactive visuals. This allows for the transmission of DJ and sound knowledge and apply it the above visual communication methods.
Lee et al. (2004) Formation of Spatial Presence: By Form or Content? University of Souther California, LA, viewed 30.03.17 <http://cg.skku.ac.kr/pub/papers/2004-lee-presence-presence.pdf>
Madigan, J. (2010) The Psychology of Games, viewed 30.03.17 <http://www.psychologyofgames.com/2010/07/the-psychology-of-immersion-in-video-games/#foot_text_514_3>
Wedel, M. Pieters, R. (2012) Visual Marketing: From Attention to Action, Psychology Press, viewed 30.03.17 <https://books.google.com.au/books?hl=en&lr=&id=0yaRWQGabQ0C&oi=fnd&pg=PT15&dq=visual+marketing&ots=By2CYOKhJi&sig=VNAndKLaB892hkEYrXyJ7rz-qeA#v=onepage&q&f=false>
Walter Benjamin (2008) The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media, Belknap Press, viewed 30.03.17
Wirth et al. (2007) A Processing Model of the Formation, Media Psychology, viewed 30.03.17, viewed 30.03.17