companies trying to misrepresent the product they sell by playing with our cognitive biases, our unconscious associations, and that’s sneaky. The latter is done by, say, showing a poetic picture of a sunset with a cowboy smoking and forcing an association between great romantic moments and some given product that, logically, has no possible connection to it. You seek a romantic moment and what you get is cancer.
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With a plethora of products in every category, how does a company use advertising to blast its way into the mind? The basic underlying marketing strategy has got to be “reposition the competition.” Because there are so few creneaus to fill, a company must create one by repositioning the competitors that occupy the positions in the mind. In other words, to move a new idea or product into the mind, you must first move an old one out.
An ad that pretends to be art is — at absolute best — like somebody who smiles warmly at you only because he wants something from you. This is dishonest, but what's sinister is the cumulative effect that such dishonesty has on us: since it offers a perfect facsimile or simulacrum of goodwill without goodwill's real spirit, it messes with our heads and eventually starts upping our defenses even in cases of genuine smiles and real art and true goodwill. It makes us feel confused and lonely and impotent and angry and scared. It causes despair.
Anything that makes it easier for the associative machine to run smoothly will also bias beliefs. A reliable way to make people believe in falsehoods is frequent repetition, because familiarity is not easily distinguished from truth. Authoritarian institutions and marketers have always known this fact.
While words take time to utter and hear, and require attention to parse their meaning, the impact of the image is instantaneous, its influence decadent. Before the primacy of the image, a salesman or an advertisement would have to describe the attributes of a product in a rational appeal to the intellect. Afterward, it was the mythology of the brand, usually concocted by psychologists, that would sway a consumer’s heart. Likewise, with the rise of the image in politics, the policy platform of a presidential candidate would come to matter less than the ability of his image to convey ineffable or irrelevant values.
The principles underlying propaganda are extremely simple. Find some common desire, some widespread unconscious fear or anxiety; think out some way to relate this wish or fear to the product you have to sell; then build a bridge of verbal or pictorial symbols over which your customer can pass from fact to compensatory dream, and from the dream to the illusion that your product, when purchased, will make the dream come true. They are selling hope.
We no longer buy oranges, we buy vitality. We do not just buy an auto, we buy prestige. And so with all the rest. In toothpaste, for example, we buy not a mere cleanser and antiseptic, but release from the fear of being sexually repulsive. In vodka and whisky we are not buying a protoplasmic poison which in small doses, may depress the nervous system in a psychologically valuable way; we are buying friendliness and good fellowship, the warmth of Dingley Dell and the brilliance of the Mermaid Tavern. With our laxatives we buy the health of a Greek god. With the monthly best seller we acquire culture, the envy of our less literate neighbors and the respect of the sophisticated. In every case the motivation analyst has found some deep-seated wish or fear, whose energy can be used to move the customer to part with cash and so, indirectly, to turn the wheels of industry.
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