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The purpose of this paper is to contribute to research on information sharing by drawing on the reader-response theory developed by Louise Rosenblatt. To this end, information sharing is approached by examining how bloggers communicate their reading experiences of fiction and non-fiction books.

The conceptual framework is based on the differentiation between efferent and aesthetic reading stances specified by Rosenblatt. The efferent stance directs attention to what is to be extracted from reading for instrumental purposes such as task performance. The aesthetic stance focuses on what is being lived through during the reading event. Rosenblatt’s framework was elaborated by specifying eight categories of efferent reading and six categories of aesthetic reading. The ways in which bloggers communicate their responses to such readings were examined by scrutinising a sample of 300 posts from two book blogs.

The bloggers mainly articulated responses to efferent reading by sharing information about the content of the reviewed books, as well as their strengths and weaknesses. Responses to aesthetic reading were mainly articulated by describing how the bloggers experienced the narrative, what kind immersive experiences they had and what kind of emotions were felt during the reading process.

As the study is explorative in nature and focusses on a sample of blog posts, the findings cannot be generalised to depict how people share their responses to efferent and aesthetic reading in social media forums.

The paper pioneers by examining the potential of Rosenblatt’s theory in the study of sharing information about reading experiences in book blogs. The findings demonstrate that the categories of efferent and aesthetic reading can be elaborated further for the needs of information behaviour research.

Two studies investigate how different structural properties of images – symmetry (vertical and horizontal) and image contrast – affect social media marketing outcomes of consumer liking and engagement.

In Study 1’s experiment, 361 participants responded to social media marketing images that varied in vertical or horizontal symmetry and level of image contrast. Study 2 analyzes field data on 610 Instagram posts.

Study 1 demonstrates that vertical or horizontal symmetry and high image contrast increase consumer liking of social media marketing images, and that processing fluency and aesthetic response mediate these relationships. Study 2 reveals that symmetry and high image contrast improve consumer engagement on social media (number of “likes” and comments).

These studies extend theory regarding processing fluency’s and aesthetic response’s roles in consumer outcomes within social media marketing. Image posts’ structural properties affect processing fluency and aesthetic response without altering brand information or advertising content.

Because consumer liking of marketing communications (e.g. social media posts) predicts persuasion and sales, results should help marketers design more effective posts and achieve brand-building and behavioral objectives. Based on the results, marketers are urged to consider the processing fluency and aesthetic response associated with any image developed for social media marketing.

Addressing the lack of empirical investigations in the existing literature, the reported studies demonstrate that effects of symmetry and image contrast in generating liking are driven by processing fluency and aesthetic response. Additionally, these studies establish novel effects of images’ structural properties on consumer engagement with brand-based social media marketing communications.

This study aims to provide a holistic understanding of how visual storytelling influences the objective and subjective cognitive responses of consumers, namely objective aesthetic impression and subjective aesthetic association, and aesthetic judgments in response to differing levels of novelty in design innovations.

A mixed-factorial experimental study manipulating the novelty of chair designs (moderate/high) and visual design stories (present/absent) was conducted among 263 female US consumers to test the proposed research model.

With respect to the main effects of novelty and visual design stories, consumers had more positive cognitive responses and aesthetic judgments to: product designs with moderate (vs high) novelty; and products with visual design stories than without. A significant interaction effect uncovered that visual design stories particularly aided products with high (vs moderate) design novelty with respect to objective aesthetic impressions. Examination of the structural relationships between the variables revealed that subjective aesthetic associations mediate the relationship between objective aesthetic impressions and aesthetic judgments.

To mitigate risk in radical design innovations, marketers should use visual storytelling to communicate product form associations and enable consumers to successfully decode the meaning of novel designs during initial encounters.

By examining a holistic model involving both perceptual and conceptual product concepts, this study fills a critical research void to develop insightful implications on bridging the gap between novel product designs and consumer understanding.

This study aims to investigate the combined effects of product design and environment congruence on consumers’ aesthetic, affective and behavioral responses.

Two lab experiments with a 2 (high-level design cues vs low-level design cues) × 2 (congruent environment vs non-congruent environment) between-subjects design were conducted to test the hypotheses. The experimental stimuli (product: digital camera; environment: product display in a retail environment) were presented in a 3D simulation environment using a large TV (Experiment 1) and a stereoscopic virtual reality headset.

The results support the notion that product design cues elicit more positive aesthetic and affective responses. Environment congruence, on the other hand, plays a moderating role; product design cues elicit more favorable consumer responses in a congruent environment. In contrast, no such effect was found in a non-congruent environment.

Creating a congruent environment is only effective for well-designed products. In contrast, for products with low-level design elements, the congruence of promotional environment is not instrumental and may not elicit more favorable responses. Hence, such products can simply be presented in a generic display, especially considering the significant costs associated with designing, building and setting up a congruent display.

Despite the empirical findings supporting the significant role of product design and environment congruence on consumers’ perceptual and behavioral responses, there is a paucity of research on the combined effect of these two factors. The present investigation is an attempt to fill this gap and challenges the generalizations made in previous research suggesting that a product’s environment must be aligned with the design elements embedded in the product.

This paper aims to interrogate the place of literature in the digital world and the way a narrative is represented in digital spaces. In the changing landscape of digital, mobile and virtual texts, the authors aimed to examine how multimodal and animated elements in digital narratives engage young readers and encourage affective and aesthetic reader response?

The study was an exploratory, interpretive qualitative research study undertaken in a classroom of 28 10-year-old boys in grade 5. The investigators analysed data recorded during a lesson where students responded to the textual conventions and literary features of a traditional story read in print and multimodal digital format. Two coding systems were used to identify students’ understanding of textual conventions along with the nature of their responses.

The results suggested that when students are prompted to attend to the impact of multimodal layering in digital literature, affective, aesthetic and critical responses, they are encouraged in their interpretations. The responses emphasised the importance of teacher scaffolding and development of meta-language in teaching literature in both print and digital form.

Because of the small sample and limited data set, the research results lack generalisability. Therefore, researchers are encouraged to test the proposed implications further.

The paper includes implications for teacher pedagogy, while teaching reading with multimodal narratives in digital form.

This paper offers insight into the differences between print and multimodal literary texts; it codes students’ responses to multimodal texts and offers a method for analysis.

There are numerous design principles that can guide strategic decisions and determine good product design. One principle that has received considerable attention in the literature is the MAYA principle, which suggests that consumers seek a balance of typicality and novelty in products. The purpose of this paper is to test the MAYA principle specific to various categories of apparel. By drawing from the MAYA principle as a two-factor theory, the effects of specific aesthetic properties (i.e. typicality and novelty) of apparel products on consumer response were examined.

An experimental design in three phases was implemented.

Results revealed that typicality is the primary predictor of aesthetic preference relative to pants and jackets, while both typicality and novelty are significant predictors of aesthetic preference relative to shirts, suggesting that the MAYA principle better explains aesthetic preference relative to shirts.

Understanding consumers’ reactions to product design provides potential value for academics as well as practitioners.

Consideration of both aesthetic properties is needed when implementing the MAYA principle in apparel design.

Although studies have examined the MAYA principle relative to consumer products, few have examined how the principle operates relative to apparel products. The definition of a design principle, such as the MAYA principle, assumes that the logic proposed should apply to all types of products. Yet, this empirical study reveals that this is not the case when applied across different apparel categories.

This research aims to investigate the impact of missing visual information on tourists’ decision-making processes and visit intention. Drawing on perception completion law and signaling theory, the study hypothesized that tourists might use visual information to infer about a destination, even if the information is incomplete or ambiguous.

To assess the impact of missing visual information, the authors asked a group of 392 participants who had no prior familiarity with a specific garden museum to envision the interior environment of the museum garden and provide feedback on their emotional responses and aesthetic evaluations. To aid in their imagination, they were presented with a video showcasing the surrounding landscape and exterior of the museum.

The study found that participants could anticipate their overall experience of the location by inferring the resemblance of unseen areas to the images they had viewed, even without prior exposure or information. This study provides valuable insights into the cognitive processes underlying tourism decision-making and advances our understanding of how people form expectations of new and unfamiliar places.

The originality of this research relies on the mediating role of missing aesthetics and emotion on the relationship between available aesthetics and visit intention using a structural model. This study highlights the significant role of visual information in influencing tourist decision-making, even with incomplete or ambiguous data.

The purpose of the paper is to compare the aesthetic responses of three groups (architects, engineers and non‐experts) to a set of non‐conventional structures.

A group of 150 respondents (divided into three equal sub‐groups of architects, structural engineers, and non‐experts) were selected to participate in the main study, which used 14 different non‐conventional structural systems. The images of these systems were derived from an earlier pilot study. The evaluation tool included 38 semantic items, also derived from the pilot study. Two statistical analyses were applied to the collected data: factor analysis and ANOVA.

Finds, first, that factor analysis revealed a set of factors identified by all participants as meaningful dimensions, by which they evaluate structural systems. Second, ANOVA revealed differences between the three groups when evaluating different structural systems using the identified factors. Differences between the groups were attributed to their different backgrounds and technical training.

The study argues that understanding the aesthetic experience of architects, engineers and ordinary users of structures is essential. First, it helps the designers to establish the basis for selecting appropriate structural methods and materials in relation to building design. Second, it would also help the designers to better understand the relationship between the structure and architecture in terms of a trade‐off between the technical and aesthetic issues. Third, it helps the designers to better understand how their designed structures are perceived by the public.

This study introduces an alternative approach to the study of the aesthetics of structures, with a focus on non‐conventional structures.

The purpose of this study is to investigate reactions to the divine proportion (a ratio of 1: 1.618) in logo design across different cultures.

The approach is a survey in three different countries: Australia, Singapore and South Africa.

Results showed there is universal preference for the divine proportion across cultures. Logos based on forms found in nature that were expressed in the divine proportion were most preferred, but for artificially constructed logos, a 1:1 ratio was preferred.

A limited set of ratios were considered. Further research could investigate different ratios and different logos.

International brand managers should commission designs that use natural forms based on the divine proportion. Different national cultures react similarly to logo designs, in contrast to many other fields of business where strong cultural differences exist.

This paper is the first exploration of responses to the divine proportion in logo design across cultures.

In the modern era, the significance of product design has increased because customers’ priorities in the evaluation of products have changed from product price to product design. Companies consider product design to be one of the most important sources of competitive advantage and standards for evaluating their performance. Therefore, the purpose of this study is to develop and validate a new scale to measure product design along with its dimensions.

An extensive literature review and consumer interviews and surveys were conducted to generate an initial item pool. Exploratory factor analysis was used to reduce the initial item pool, and confirmatory factor analysis was performed for measurement validation. A total of four separate studies were conducted for the conceptualization and operationalization of a product design scale.

Using data from three samples, the authors develop and validate a new scale to measure product design along affective, cognitive, ergonomic and reflective dimensions. Furthermore, the results provide strong evidence of the reliability, discriminant validity, measurement invariance and nomological validity of the four product design dimensions. Finally, the effects of these product design dimensions on harmonious and obsessive brand passion were assessed. The results show that the affective and reflective dimensions appear to be prominent for capturing the obsessive brand passion, whereas the cognitive and ergonomic dimensions are capable of increasing harmonious brand passion.

This is the first study that develops and validates the measurement of product design as a four-dimensional construct that can be transferred to a scale and applied across a wide range of product categories.