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This paper surveys theoretical and practical issues associated with a particular type of information retrieval problem, namely that where the information need is pictorial. The paper is contextualised by the notion of a visually stimulated society, in which the ease of record creation and transmission in the visual medium is contrasted with the difficulty of gaining effective subject access to the world's stores of such records. The technological developments which, in casting the visual image in electronic form, have contributed so significantly to its availability are reviewed briefly, as a prelude to the main thrust of the paper. Concentrating on still and moving pictorial forms of the visual image, the paper dwells on issues related to the subject indexing of pictorial material and discusses four models of pictorial information retrieval corresponding with permutations of the verbal and visual modes for the representation of picture content and of information need.

This paper discusses how mystery was imprinted into the Jesuit Spiritual Exercises, supporting their diffusion across space and time. It shows that the book of the Spiritual Exercises is a practice in itself and fosters a practice or set of practices. The book is more than an object: it is an action, unleashed not by the specification of what actions it dictates but by the mystery the “book-as-practice” carries. The paper contributes to the literature on practice-driven institutionalism, namely by showing how mystery furthers our understanding of the mutual constitution of practices and institutions. The Spiritual Exercises have been practiced for more than four centuries, even though their meaning is not stable and they are never fully understood. Therefore, our paper asks: how do the Jesuits understand what they have to do if the book does not prescribe everything? The authors argue that it is indeed this mystery that distinguishes religious practices, explaining their endurance across time and space and, henceforth, their institutionalization. The authors show that the Spiritual Exercises are to be practiced and it is this practicing that allows them to diffuse and institutionalize a new understanding of how the individual relates to God. “God’s will” is searched through the practicing, without ever being determined by the practice. It is by practicing the book that the mystery of “God’s will” reveals itself. Moreover, “God’s will” is never known or knowable. Instead, it is embodied and felt while practicing the book of the Exercises. Emotions thus reconcile, through mystery, the book and the practicing of it. Our paper contributes to practice-driven institutionalism by showing how mystery can drive institutionalization processes.

This study aims to investigate coolness – a hedonic attribute – in online consumer reviews (OCRs) by exploring the relationship between OCR framing, presence of pictorial images and OCR-perceived coolness. It also demonstrates how reviewers and brands can create or identify cool OCRs.

Two studies – one experimental and the other using archival data from an OCR platform – were used to test three hypotheses on the effect of OCR framing and pictorial images on perceived OCR coolness.

The results reveal that OCRs framed with negative words but reflecting positive views about products are perceived as cooler than OCRs framed with positive words and reflecting positive views. OCRs with pictorial images are perceived to be cooler than those without pictorial images.

Studies on coolness have focused on people and products but not message content. This research links a message’s framing and pictorial images to its perceived coolness in the OCR context. It provides practical suggestions to marketers, coolhunters and individuals interested in creating cool message content.

Arts-informed, visual research was conducted to document the pictorial metaphors that appear among original drawings of information. The purpose of this paper is to report the diversity of these pictorial metaphors, delineate their formal qualities as drawings, and provide a fresh perspective on the concept of information.

The project utilized pre-existing iSquare drawings of information that were produced by iSchool graduate students during a draw-and-write activity. From a data set of 417 images, 125 of the strongest pictorial metaphors were identified and subjected to cognitive metaphor theory.

Overwhelmingly, the favored source domain for envisioning information was nature. The most common pictorial metaphors were: Earth, web, tree, light bulb, box, cloud, and fishing/mining, and each brings different qualities of information into focus. The drawings were often canonical versions of objects in the world, leading to arrays of pictorial metaphors marked by their similarity.

Less than 30 percent of the data set qualified as pictorial metaphors, making them a minority strategy for representing information as an image. The process to identify and interpret pictorial metaphors was highly subjective. The arts-informed methodology generated tensions between artistic and social scientific paradigms.

The pictorial metaphors for information can enhance information science education and fortify professional identity among information professionals.

This is the first arts-informed, visual study of information that utilizes cognitive metaphor theory to explore the nature of information. It strengthens a sense of history, humanity, nature, and beauty in our understanding of information today, and contributes to metaphor research at large.

This paper delves into evaluating the effectiveness of warning messages as a deterrent against excessive fat consumption. It examines how consumers perceive the fat content of food products when presented with two distinct label types: (1) a textual warning, providing succinct information about the fat content, and (2) a pictorial warning, offering a visual representation that immediately signifies the fat content.

Two quantitative studies were carried out. Study 1 employed a questionnaire to evaluate the efficacy of textual and pictorial warning messages on high- and low-fat food products. Similarly, Study 2 replicated this comparison while incorporating a neuromarketing instrument to gauge participants’ cerebral reactions.

Results indicate that pictorial warnings on high-fat foods significantly deter consumers’ purchasing intentions. Notably, these pictorial warnings stimulate the left prefrontal area of the cerebral cortex, inducing negative emotions in consumers and driving them away from high-fat food items.

While the influence of images over text in shaping consumer decisions is well understood in marketing, this study accentuates the underlying mechanism of such an impact through the elicitation of negative emotions. By understanding this emotional pathway, the paper presents fresh academic and managerial perspectives, underscoring the potency of pictorial warnings in guiding consumers towards healthier food choices.

1. Textual warnings do not seem to discourage high-fat product consumption.

2. A pictorial warning represents the fat content of an equivalent product.

3. Pictorial warnings decrease the intention to purchase a high-fat product.

4. Pictorial warnings determine an increase in negative emotions.

Textual warnings do not seem to discourage high-fat product consumption.

A pictorial warning represents the fat content of an equivalent product.

Pictorial warnings decrease the intention to purchase a high-fat product.

Pictorial warnings determine an increase in negative emotions.

The purpose of this study is to investigate how the positioning of textual and pictorial design elements on a package affects visual attention (detection time) toward these element types.

The study has a 3×2 (stimulus×location) between‐subjects design. One pictorial and two textual package elements, located on the top right‐ or top left‐hand side of a package, were used as stimuli. Visual attention was measured by eye‐tracking. A total of 199 university students participated. The data were analysed using a two‐way ANOVA and a Pearson's chi‐square analysis with standardised residuals.

The results show that in order to receive the most direct attention, textual elements should be on the left‐hand side of a package, whereas pictorial elements should be on the right‐hand side. This is inconsistent with previous design directions (based on recall), suggesting the opposite element organisation.

Previous research has focused on recall (whether respondents remember having seen package elements) or preference (whether respondents prefer a package based on element positioning). The focus of the present study determined whether respondents actually saw the different elements on a package, and how long it took them to detect such elements. Detection time for certain element types can be viewed as a new and complementary way of evaluating the position of package elements. The paper also addresses whether preference is a result of easy information acquisition.

Visual merchandising has a direct impact on shopping experience, making it pertinent for the retailers to ensure that their store environment has an effective design. This study blends fuzzy numbers and Analytical Hierarchy Process to create a fuzzy evaluation model prioritizing the relative weights of visual merchandising dimensions of online fashion apparel store. This study will help the fashion retailers in creating more engaging and informative online stores leading to subsequent increase in online retail sales.

Visual merchandising dimensions and sub dimensions used by retailers for online stores were identified through review of literature and discussion with experts. Twenty experts were interviewed and their responses captured. The responses were analyzed using Fuzzy AHP technique resulting in prioritizing the dimensions according to the weight. For testing the stability of the results, sensitivity analysis was conducted.

Four key dimensions and sixteen sub dimensions were extracted. Weights were calculated using FAHP. “Pictorial Presentation” has the highest weight followed closely by “Product Information” dimension. Amongst the sub-dimensions “Number of Product Images” scored highest followed by “Product Presentation mode”. “Alterable Background” scored the least weight.

Previous studies have identified Online Visual Merchandising dimensions and have also studied the impact of some of these dimensions on consumer buying behavior, but the relative significance has not been determined yet. This study fills the gap.

The purpose of this article is to document the acquisition and processing of an important Native American pictorial archive, the Lee Marmon Pictorial Collection, and to elucidate some of its research and cultural value.

This paper combines research into archival and secondary sources with documentation of professional procedures relating to the acquisition, processing, and digitizing, as well as the content of the Lee Marmon Pictorial Collection.

The paper finds that working directly with the creator of the archive increased its value significantly by both improving the archive's organization and enriching the identifying information accompanying the items. It also shows the broad scope and valuable content of the Lee Marmon Pictorial Collection.

The collaborative efforts of the archive's creator and its processors made available to the public an archive that will undoubtedly contribute to scholarship in a number of fields, including Native American Studies, American Studies, and historical and cultural studies of the Southwest.

The paper discusses the unique vision of photographer Lee Marmon and his professional legacy. While the paper gives an overview of Marmon's work, it focuses on two distinct groupings, photographs of Pueblo elders and celebrities in show business and politics, and explains how Marmon's ability to serve as a conduit between these groups and the public makes the collection so valuable.

To help further our understanding of how keymethodological issues in conjoint analysis influence outcomes, a choice‐based conjoint study measuring consumer preferences for pre‐packed apple selection packs was conducted. The role of stimuli presentation format was considered by comparing the performance of physical prototype stimuli and realistic pictorial representations. This indicated no substantial differences in the choice decisions made using the two presentation formats and suggested that photographic images may be used instead of prototype stimuli. A second issue pertained to the need for training and warm‐up exercises prior to the actual conjoint choice task. While this indicated some differences in choice strategies, a significant improvement in internal validity of choice decisions made with and without training was not achieved. One possible explanation for this finding may be that respondents made choices between apple products, a product category for which decision strategies are likely to be stable and well‐developed.