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This research explores the impact of classical aesthetics (e.g. order and symmetry) and expressive aesthetics (e.g. creativity and distinctiveness) on consumer green consumption.

This research conducted three studies. Study 1 explored the main effect of appearance aesthetics (appearance: plain vs classical vs expressive) on green products purchase intention through a one-factor between-subjects design. Study 2 verified the mediating role of perceived naturalness through two types of appearance aesthetics (appearance: classical vs expressive) between-subjects design. Study 3 verified the moderating role of product identity-symbolic attributes through a 2 (product identity-symbolic attributes: non-identity-symbolic vs identity-symbolic attributes) × 2 (appearance: classical aesthetics vs expressive aesthetics) between-subjects design.

Consumers will be more likely to purchase a green product that has classical aesthetics appearance (vs expressive aesthetics). Perceived naturalness mediates the effect of aesthetic appearance on consumer green consumption. Product identity symbol attributes moderate this effect. Specifically, for non-identity-symbolic green products, classical aesthetics can effectively enhance consumer purchase intention. For identity-symbolic green products, expressive aesthetics can effectively enhance consumer purchase intention.

Existing research suggests that aesthetic appearance can increase consumers’ evaluation of electronic products, beauty products and food, but the difference between aesthetics has not yet been explored. This research compares two aesthetics, contributing to the literature on aesthetic appearance in green products and offering valuable insights for managers’ green products marketing.

The study applies a multimodal approach to position aesthetic innovation, i.e., the strategic use of aesthetic design attributes, such as color and shape, as an institutionalized aspect of competition, rather than as a firm-specific differentiation strategy, in settings that favor the symbolic meanings of products. Empirically, the study offers a detailed case study of the personal computer (PC) industry to examine the institutionalization of aesthetic innovation as a dimension of competition across industrial firms. The study examines the color and shape of PCs over the 1992–2003 period and situates changes to these attributes in the competitive conditions that characterized the industry, paying particular attention to the introduction of the Apple iMac in 1998. Furthermore, it examines the discursive manifestations of aesthetic innovation by content analysis of reviews of PCs and interviews with industry executives. Findings demonstrate that, in a period coinciding with a decline in demand for PCs and an overall mature market as well as with the introduction of the iMac, the majority of firms engaged in aesthetic innovation and used a greater number of aesthetic words in describing their PCs.

This paper highlights that the strategic use of design, a competitive pattern typically associated with creative industries, those creating and trading meanings, also characterizes industries that produce functional or utilitarian goods not typically considered creative. The paper explores the origins of this phenomenon in the context of three industry settings: cars, speciality coffee and personal computers. The analysis theorizes three distinct strategic paths that explain how design may become an institutionalized aspect of competition in industries that are not creative. We explain how firms link their products to the identities of their users, how design is linked to stakeholders' emotions and visceral reactions to products and how intermediaries are relevant to enhancing attention to design. Illuminating these strategic paths allows harnessing some of the well-established understandings about competition in creative industries towards understanding competition in noncreative industries.

Although criticized as illegitimate, literary elements are necessary features of legal argument. In a modern liberal state, law motivates compliance by justifying controversial prescriptions as products of an appropriate process for representing the will of society. Yet because law constructs the will of individual and collective actors in representing them, its representations are necessarily figurative rather than mimetic. In evaluating law's representation of society, citizens of the liberal state are also shaping their own ends. Such self-expressive choices, subjective but non-instrumental, entail aesthetic judgment. Thus the literary elements of rhetorical figuration and aesthetic appeal are fundamental, rather than merely ornamental, to legal justification.

How do we write from the sensory body in ways that can convey the lived experience of the researcher and the researched, which can allow other researchers to make sense of their lived experience as well? What alternative writings could transform disembodied academia through dialogue and relational reflection? The aim of this chapter is to reflect on the value of the researcher’s embodied reflexivity in academic writing. More specifically, this chapter explores the ways in which we can write differently about organisational phenomena by experiencing aesthetic moments in the field. To accomplish this, I share examples of the aesthetic moments that I, as a researcher, experienced while undertaking three ethnographic projects: a study on professional dance, a study on academic motherhood and a study on female-canine companionship. This chapter identifies three aspects that allow the researcher to experience aesthetic moments – namely, appreciating sensory cues, writing ‘in and from the flesh’ and allowing vulnerability to flourish. Paying attention to the social micro-dynamics that exist between researchers and research phenomena and addressing the analytically marginalised experiences of researchers, therefore, allows for developing academic writing practices in more reflexive and sensory-appreciative directions.

The very soul of cultural and arts entrepreneurship (CAE) is aesthetic. However, what is the importance of being aesthetic in CAE? An understanding of aesthetics substantially improves both our comprehension of CAE and our capacity to theorise about entrepreneurship and creative industries. Furthermore, when seeking to understand CAE, the authors expand their knowledge about aesthetics, an ordinary but complex and neglected kind of knowledge. The authors mobilise three perspectives in organisational aesthetics theory (sensible knowing, connection, and judgements) to develop and propose initial ways to connect aesthetics to CAE. These perspectives help to explore and explain the vital importance of aesthetics in CAE and its innovation process. Aesthetics is a source of innovation in CAE, and the authors propose to perceive entrepreneurial innovations as aesthetic learning, persuasion, and flow.

Drawing on sociolinguistics, this chapter proposes an encoding–decoding perspective on evaluation, conceptualizing codes as interpretive schemas that are encoded by firms and decoded by audiences. A key element in this process is code complexity, denoting combinations of interdependent elements. We demonstrate that the evaluation of code complexity depends on the type of audience (professionals and laypersons) and the type of complexity (technological and aesthetic). We analyze the attribution of awards by professionals and the public in luxury watchmaking, featuring three mechanisms: the social embeddedness of audiences, their motivation for evaluation and supply-and-demand matching. The results attest to significant differences in the evaluation of technological and aesthetic code complexity by professionals and laypersons. There is a premium attributed to aesthetic code complexity by professionals and a premium attributed to technological complexity by laypersons. Finding the right type and level of code complexity to pursue in their offerings is a key strategic challenge for producers.

This study aims to explore image-based visual price determinants (image features and visual aesthetic perception) and how image features affect Airbnb listing price on a sharing accommodation platform.

The study uses an SOR model and a hedonic price model to examine the connections between the characteristics of image features, visual aesthetic perception and Airbnb listing prices. The model is then examined by an econometric model using data from Insideairbnb.com.

Empirical results revealed that image features have a significant positive effect on visual aesthetic perception, visual aesthetic perception has a significant positive effect on Airbnb listing price and visual aesthetic perception has a significant mediating effect between image features and Airbnb listing price.

This study contributes to the relationship and effect mechanism among image features, visual aesthetic perception and Airbnb listing price and has some implications for both property operators and the sharing accommodation platform.

本研究探讨了基于图像的视觉价格决定因素（图像特征和视觉美学感知）以及图像特征如何影响共享住宿平台Airbnb价格。

本研究采用SOR模型和hedonic价格模型来检验图像特征特征、视觉美感与Airbnb房源价格之间的关系。然后使用Insideairbnb.com上的数据, 通过计量经济学模型对该模型进行检验。

实证结果显示：1）图像特征对视觉美学感知有显著的正向影响; 2）视觉美学感知对Airbnb价格有显著的正向影响; 3）视觉美学感知在图像特征和Airbnb价格之间有显著的中介效应。

本研究有助于探讨图像特征、视觉美学感知和Airbnb价格之间的关系和影响机制, 对房源经营者和共享住宿平台都有一定的借鉴意义。

Este estudio explora los determinantes visuales del precio basados en las imágenes (características de las imágenes y percepción estética visual) y cómo afectan las características de las imágenes al precio de los anuncios de Airbnb en una plataforma de alojamiento compartido.

El estudio emplea un modelo SOR y un modelo de precios hedónicos para examinar las conexiones entre las características de los rasgos de la imagen, la percepción estética visual y los precios de Airbnb. A continuación, se examina el modelo mediante un modelo econométrico utilizando datos de Insideairbnb.com.

Los resultados empíricos revelan que 1) las características de la imagen tienen un efecto positivo significativo sobre la percepción estética visual, 2) la percepción estética visual tiene un efecto positivo significativo sobre el precio de los anuncios de Airbnb, y 3) la percepción estética visual tiene un efecto mediador significativo entre las características de la imagen y el precio de los anuncios de Airbnb.

Este estudio contribuye al mecanismo de relación y efecto entre las características de la imagen, la percepción estética visual y el precio del anuncio de Airbnb, y tiene algunas implicaciones tanto para los operadores inmobiliarios como para la plataforma de alojamiento compartido.

This study aims to explore aesthetic atmospheres and their affordances in urban squares to advance knowledge on the research and design of attractive living environments.

Descriptions of pleasant and unpleasant experiences of urban squares were collected using qualitative questionnaires with open-ended questions. The theoretical framework and the lens of aesthetic affordances were applied to pinpoint and understand the connections between the place attributes and experiences.

This study found four distinct aesthetic atmospheres formed by perceived synergies of both the material and immaterial aspects of the environment. It was also found that the atmospheres may shift. A model that shows the aesthetic atmospheres and their potential affordances as layered and emerging is presented.

Everyday aesthetics considered as affordances open new research perspectives for the understanding of what generates attractive living environments – or not.

Aesthetics affordances may provide the design professionals and alike means on how to design places that engender specific aesthetic atmosphere.

Gathering and discussing commonplace aesthetic experiences in everyday life may enhance democratic participation in place development among people with different levels of design expertise.

This study combines theories of place with a novel concept of aesthetic affordances to identify distinct aesthetic atmospheres. A holistic overview structure of how the various constituents of aesthetic atmospheres relate to each other provides new ways of studying and understanding urban aesthetic atmospheres.

Few studies illustrate how contextual effects (e.g. assimilation and contrast) in pay-per-click ad design may impact consumers' attitudes and purchase intention. To fill this research gap, the authors provide theoretical predictions and empirical evidence on how ad design may prompt an assimilation and/or a contrast effect that may influence consumers' attitudes toward the ad and the brand and purchase intention. They also investigate whether the impact of contextual effects on consumers' decisions depends on the level of vividness in the ad.

A 2 (vividness: dynamic motion vs. static page) × 2 (information design: assimilation vs. contrast) × 2 (aesthetic design: assimilation vs. contrast) between-subjects experimental design is used to examine the effects of vividness, information design and aesthetic design. Conditional process analysis is used to assess the mediating role of attitudes toward the ad and the brand in the relationship between contextual effects and purchase intention.

For dynamic ads (i.e. high vividness) but not for static ads (i.e. low vividness), combined information contrast and aesthetic contrast designs generate a more favorable attitude toward the brand and a higher purchase intention than do combined information assimilation and aesthetic assimilation designs. Notably, combined information contrast and aesthetic contrast designs have the strongest effects than any other combination of assimilation and contrast designs of information and aesthetics. Attitudes toward the ad and the brand are significant mediators between contextual factors and intention to purchase.

The study examines the effectiveness of online ads from a new theoretical angle based on the attributes of pay-per-click ads.

The results suggest that when advertisers decide to use dynamic ads, they should adopt a contrast design for both the ad information and its aesthetics.

This study fills a research gap in the contextual effects literature, including providing evidence of an underlying process in the relationship between certain contextual effects and purchase intent. It also extends previous findings of assimilation/contrast in information design to aesthetics design and advances the literature on vividness by examining a moderation effect of vividness.