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| the immediate response of our sensory receptors (eyes, ears, nose, mouth, and fingers) to basic stimuli (light, color, sound, odor, and texture). |
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| the process by which sensations are selected, organized, and interpreted. |
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| The impression or image we have of objects or products in the marketplace. |
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| The impression we form of people from viewing their outward appearance. |
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| Occurs through the five senses |
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| companies pay extra attention to how our sensations affect our product experiences. |
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| Marketers recognize that our senses help us to decide which products appeal to us |
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| multisensory, fantasy, and emotional aspects of consumers’ interactions with products |
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| Marketers use impact of sensations on consumers’ product experiences |
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| Meanings are communicated on the ______ channel through a product’s color, size, and styling |
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| Arousal and stimulated appetite |
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| Haptic senses—or “touch”— |
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| is the most basic of senses; we learn this before vision and smell |
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| exposure, ________, interpretation |
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| ______, attention, interpretation |
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| exposure, attention, __________ |
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| occurs when a stimulus comes within range of someone’s sensory receptors |
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| science that focuses on how the physical environment is integrated into our personal, subjective world |
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| the minimum amount of stimulation that can be detected on a given sensory channel |
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| The ability of a sensory system to detect changes or differences between two stimuli. The minimum difference that can be detected between two stimuli is known as the j.n.d. (just noticeable difference). |
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| occurs when stimulus is below the level of the consumer’s awareness (absolute threshold). |
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| is the extent to which processing activity is devoted to a particular stimulus |
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| People attend to only a small portion of the stimuli to which they are exposed. |
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| Consumers are aware of stimuli that relate to their current needs |
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| People see what they want to see - and don’t see what they don’t want to see |
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| The degree to which consumers continue to notice a stimulus over time |
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| The result of acquiring and processing stimulation over time Filters what we decide to process |
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| Less-intense stimuli habituate because they have less sensory impact. |
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| Stimuli that require relatively lengthy exposure in order to be processed tend to habituate because they require a long attention span. |
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| Simple stimuli tend to habituate because they do not require attention to detail |
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| Frequently encountered stimuli tend to habituate as the rate of exposure increases. |
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| Stimuli that are irrelevant or unimportant will habituate because they fail to attract attention. |
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| refers to the meaning we assign to sensory stimuli, which is based on a schema |
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| Set of beliefs to which the stimulus is assigned. |
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| Process by which certain properties of a stimulus typically will evoke a schema, which leads consumers to evaluate the stimulus in terms of other stimulus they have encountered and believe to be similar. |
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| the whole is greater than the sum of its parts |
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| people perceive an incomplete picture as complete |
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| consumers group together objects that share similar physical characteristics |
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| one part of the stimulus will dominate (the figure) while the other parts recede into the background (ground) |
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| correspondence between signs and symbols and their role in the assignment of meaning |
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| product that is the focus of the message |
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| sensory image that represents the intended meanings of the object |
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| a sign that resembles the product in some way |
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| a sign that is connected to some object because they share some property |
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| a sign that is related to a product through conventional or agreed-upon associations |
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| The becoming real of what is initially simulation of “hype”. |
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| functional attributes + symbolic attributes |
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| A fundamental part of a company’s marketing efforts as it uses elements of the marketing mix to influence the consumer’s interpretation of its meaning. |
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| map of where brands are perceived in consumers’ minds |
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