Английская Википедия:Annoyance factor

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Шаблон:Short description Шаблон:About Шаблон:Multiple issues An annoyance factor (or nuisance or irritation factor[lower-alpha 1]), in advertising and brand management, is a variable used to measure consumers' perception level of annoyance in an ad, then analyzed to help evaluate the ad's effectiveness. The variable can be observed or inferred and is a type that might be used in factor analyses. An annoyance effect (or nuisance or irritation effect[lower-alpha 1]) is a reference to the impact or result of an annoying stimulus, which can be a strategic aspect of an advertisement intended to help a message stick in the minds of consumers. References to annoyance effects have been referred to as annoyance dynamics.[lower-roman 1][lower-roman 2] While the words "factor" and "effect," as used in the behavioral sciences, have different meanings, in casual vernacular, they have been used interchangeably as synonymous. A more general or umbrella term would simply be advertising annoyance.

History

Comment on advertising in 1850 associated some practices (disparagingly) with begging.[1]

Measuring annoyance factors

The discipline of identifying and measuring annoyance in quantitative research became prevalent around 1968,[lower-roman 3] an outgrowth of the quantitative revolution in social sciences that began in the 1950s.[2] Before that, use and assessment – theoretical and applied (pre-testing, case studies, etc.) – was mostly qualitative (even simply intuitive or anecdotal); although the literature, since 1968,[lower-alpha 2][lower-roman 4] has been a mix of qualitative and quantitative. Identifying, testing, and evaluating annoyance factors is both cross-disciplinary and interdisciplinary. Activity includes psychology, sociology, anthropology, semiotics, economics, management science, and (since the advent of the information revolution about 1992) many fields related to information technology and engineering.

Generally, annoyance from an ad can be identified in three areas:[lower-roman 5][lower-roman 3][lower-roman 6]

  1. content
  2. execution
  3. placement

Annoyance in ad production and placement

Setting aside advances in technology, the interdisciplinary fields involved in production phases of broadcast media (including digital online) that deal with advertising annoyance – including film (videography), music, art, design, and copy – have remained relatively similar since the dawn of broadcasting.Шаблон:Cn

Applications

An annoyance stimulus can be (a) a desired marketing strategy or (b) an unavoidable, albeit inherent mix of attributes of a marketing message to weigh and balance or minimize. Traditional annoyance stimuli might feature repetitive phrases or repetitive ads[lower-roman 7] or an annoying communicator. Annoyance stimuli – whether nuanced, subtle, or overt – might involve creating an unpleasant sound, such as a bad jingle – one that consumers can't get out of their heads. In the Northeastern United States, specifically the New York and Philadelphia metropolitan areas, the Mister Softee jingle, officially titled "Jingle and Chimes," is both loved and hated. It sticks in people's heads. The New York Times characterized it as "exquisitely Pavlovian, triggering salivation or shrieking — sometimes both at once." In the same article, the New York Times asserted that "it is the textbook embodiment of an earworm: once heard, never forgotten."[3][4]

Generally, broadcast and streaming advertising is annoying. Exceptions might include product placement – which avoids interruptions. Advertisers commonly try to appeal to positive emotions – and, with a careful mix of various gradations of annoyance(s), appealing to those emotions can be achieved. Nonetheless, the goal is to etch a message in the minds of consumers without turning them off. Capital outlay for the use of it can be relatively expensive for major consumer product companies and the research behind it, sophisticated.[5]

Annoyance stimuli – visual or auditory or perceptual – can be in any combination of loudness, repetition, length Шаблон:Nowrap On television,[6] radio, print media, packaging, product displays, billboards, mail, telemarketing (especially robocalls), the internet – including email, and mobile devices, e.g.: Шаблон:Div col

Шаблон:Div col end Шаблон:Nowrap also direct-to-consumer ads (especially pharmaceuticals), call to action marketing, and false ads.[lower-roman 10]

The annoyance stimuli of some ad campaigns might be so subtle that, initially, it is unnoticeable, but over time, highly noticeable. For instance, Folgers Coffee, which was acquired by Procter & Gamble in 1963, ran high frequency ads on TV and in print from 1965 to 1986 featuring "Mrs. Olson," portrayed by actress Virginia Christine (1920–1996). Some consumers initially perceived her messages as pleasant, but over time, annoying – as some research found. Yet, the annoyance technique was a successful brand-strengthening strategy. Under P&G, Folgers became the number one coffee brand in America. The target market of P&G's high-frequency campaign became multipronged. Consumers who infrequently watched TV were likely to see the message at least once (an effective reach strategy) – while those who binge-watched, even if annoyed, might still choose Folgers, if for no other reason, because the name is etched in their minds (an effective weight strategy). Although interruptions are annoying – whether high-frequency or long run-slots – the disruptions caused by the interruptions are most often intentional efforts to redirect the attention of viewers with the aim of sharpening their focus.[7] Primetime TV (as of 2019) has breaks that run back-to-back 30-second ads for as long as 6-minute intervals.

Annoyance factor thresholds

When advertisers intentionally use annoyance stimuli, they strive to know annoyance thresholds (compare to anxiety thresholds) and carefully monitor them. Crossing thresholds can adversely affect brands and consumer behavior.[lower-roman 1] For example, TV channel surfing – especially in eras following the emergence of remote controls, is a concern for advertisers and program producers. To mitigate viewer drift from surfing, programmers strategically place ads just moments in front of the apex of a plot device or rising action or climax or conclusion or in the midst of suspense – leaving viewers hanging. It doesn't significantly deter channel surfing, but it does lure surfers back. Strategic timing, however, is not commonly deployed in internet broadcasts. For example, a YouTube re-broadcast of CNN news might simply insert ad interruptions in random spots. Another way that major TV networks attempt to mitigate viewer drift from surfing is to synchronize ad-breaks with those of other networks so that their respective ads run at the same time; when a viewer switches to another channel during a commercial break, they will be switching to another advertisement. In some situations, the same sponsor will air an ad simultaneously on one or more of the other channels.

Advertising in premium venues or platforms (where consumers have already paid) – movie theaters, cable TV, satellite radio – are routine and generally accepted. Any associated annoyance factors, even perceptions of bait-and-switch, are dismissed by consumers as negative albeit long-standing unavoidable economic realities of the respective industries.[8]

Email spam, universally accepted as an annoyance factor threshold breach,[lower-alpha 3] can be effective from a statistical perspective. However, since 1998, when unsolicited political bulk email first became widespread, legal analyst Seth Grossman pointed out (in 2004) that state and federal governments increasingly have regulated unsolicited commercial email, but political spam had almost uniformly been exempted. Grossman averred that politicians apparently did not feel a need to regulate political spam, their argument being that they would never use spam, due to the annoyance factor.[lower-roman 11]

Challenges of minimizing avoidance of longer ads

For DVR-TiVo users, studies have shown that short ads, 5 seconds, are more effective than 30-second (and longer) ads – due to the annoyance factor of longer ads. The problem, however, is whether programmers can sell 5-second ads instead of 30-second (and longer) ads, with similar pricing – especially considering the challenge of consistently producing effective 5-second ads.[9][lower-roman 12][lower-roman 13]

Annoyance factors that influence ad avoidance

Annoying albeit effective ads

Some ads are deliberately annoying. Some are cute or funny, but, for some, wear thin over time. "Memorable, but not always effective"[10] Шаблон:Nowrap

North America Шаблон:Div col

Mascots
Jingles
(audio via YouTube)
Phrases

Шаблон:Div col end

Exhibit of an annoyance factor analysis table

Factor analysis of perceptual items and attitude measures in online advertising:

Academicians Kelli S. Burns, PhD, and Richard J. Lutz, PhD, surveyed online users in 2002. In doing so, they chose six online ad formats: (i) banners, (ii) pop-ups, (iii) floating ads, (iv) skyscrapers, (v) large rectangles, and (vi) interstitials.

To develop perceptual factors, ratings of the 15 perceptual items for all six on-line ad formats were run through principal components analysis with varimax rotation. The authors inferred – from a scree plot – a possible three-factor solution. The first three factors accounted for over 68% of the total variance. The remaining 12 reflected no more than 5% of the variance, each. The first of the seven tables in their paper, Table 1 (below), shows the loadings of the factors generated through principal component extraction and varimax rotation.[lower-roman 9]

Table 1
Summary of Factor Loadings for the Rotated Three-Factor Solution for Perceptual Items
Шаблон:SpacePerception Factor scores
Factor I
entertainment 		Factor II
annoyance 		Factor III
information
1)Шаблон:Space Шаблон:SpaceInnovative 0.81 (0.01) 0.07
2)Шаблон:Space Шаблон:SpaceDifferent 0.75 (0.01) (0.06)
3)Шаблон:Space Шаблон:SpaceEntertaining 0.75 (0.27) 0.14
4)Шаблон:Space Шаблон:SpaceSophisticated 0.72 (0.07) 0.22
5)Шаблон:Space Шаблон:SpaceAmusing 0.71 (0.34) 0.11
6)Шаблон:Space Шаблон:SpaceElaborate 0.70 0.24 0.17
7)Шаблон:Space Шаблон:SpaceEye-catching 0.70 0.24 0.17
8)Шаблон:Space Шаблон:SpaceAttractive 0.64 (0.37) 0.32
9)Шаблон:Space Шаблон:SpaceDisruptive (0.04) 0.89 (0.21)
10)Шаблон:Space Шаблон:SpaceIntrusive 0.06 0.87 (0.14)
11)Шаблон:Space Шаблон:SpaceOverbearing (0.03) 0.86 (0.23)
12)Шаблон:Space Шаблон:SpaceAnnoying (0.12) 0.85 (0.25)
13)Шаблон:Space Шаблон:SpaceInformative 0.08 (0.23) 0.84
14)Шаблон:Space Шаблон:SpaceUseful 0.29 (0.37) 0.74
15)Шаблон:Space Шаблон:SpaceBeneficial 0.35 (0.45) 0.65
Шаблон:Space(2002) Шаблон:SpaceGreen boldface data indicate items loading on each factor

Performing arts analogy

Using annoyances as disruptive devices in advertising to help messages sink-in can be analogous to jarring devices used in performing arts. For example, in the Alvin Ailey American Dance Theater December 6, 2019, premier of Greenwood at City Center in New York, Donald Byrd (born 1949), the choreographer, described his work as "theater of disruption" Шаблон:Nowrap "it disrupts our thinking about things, especially, in particular, things around race." The dance performance addresses a 1921 racist mob attack in Tulsa's then segregated Greenwood District, which, at the time, was one of the country's most affluent African American communities, known as "America's Black Wall Street."[11][12][13]

See also

The following subjects may address certain aspects or fall within the scope of annoyance dynamics. Шаблон:Div col

General
Broadcast
TV-online hybrid
Illicit, malicious, or misleading
Internet and mobile
Psychology
Research and criticism
Advertising research organizations and firms
Categories
In other languages on Wikipedia

Шаблон:Div col end

Notes and references

Notes

Шаблон:Reflist

References

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Academic and/or peer reviewed references

Шаблон:Reflist

Партнерские ресурсы
Криптовалюты
Магазины
Хостинг
Разное


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  1. ↑ Ошибка цитирования Неверный тег <ref>; для сносок Literary-American 1850 Jul 13 не указан текст
  2. ↑ Ошибка цитирования Неверный тег <ref>; для сносок Kierlanczyk 2016 Feb 4 не указан текст
  3. ↑ 3,0 3,1 Ошибка цитирования Неверный тег <ref>; для сносок NYTs 2016 Apr 27 не указан текст
  4. ↑ Ошибка цитирования Неверный тег <ref>; для сносок Gopinath-Stanyek 2014 не указан текст
  5. ↑ Ошибка цитирования Неверный тег <ref>; для сносок NYTs 1981 Aug 26 не указан текст
  6. ↑ Ошибка цитирования Неверный тег <ref>; для сносок Time 2014 May 12 не указан текст
  7. ↑ Ошибка цитирования Неверный тег <ref>; для сносок Medium 2017 Dec 1 не указан текст
  8. ↑ Ошибка цитирования Неверный тег <ref>; для сносок Houston-Chron 2018 Oct 30 не указан текст
  9. ↑ Ошибка цитирования Неверный тег <ref>; для сносок AllBusiness не указан текст
  10. ↑ Ошибка цитирования Неверный тег <ref>; для сносок USDataCorp 2012 Mar 7 не указан текст
  11. ↑ Ошибка цитирования Неверный тег <ref>; для сносок WNYC 2019 Dec 6 не указан текст
  12. ↑ Ошибка цитирования Неверный тег <ref>; для сносок encyclopedia-com Byrd-bio не указан текст
  13. ↑ Ошибка цитирования Неверный тег <ref>; для сносок NYTs 2019 Nov 28 2019 не указан текст
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