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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.

The rapid growth of m-commerce and mobile marketing has flooded the users with homogeneous contents that raise little user interest making the users' browsing pattern on these contents aimless free browsing. However, the interface that presents the mobile marketing contents triggers much user attention, especially the layout. Without significant usability defects, the layout poses influences on the user's aesthetic experience. Identifying the layout attributes that affect user aesthetic preference is critical to the design of mobile marketing interfaces since they influence users' interaction intention, cognitive process, and decision-making.

In this paper, 6 layout attributes that quantify the aesthetic design of the interface layout and 3 eye-movement indicators that connect to human aesthetic preference were identified through literature research. An eye-tracking experiment measuring the 3 eye-movement indicators on 6 pairs of interface layout materials corresponding to the 6 layout attributes was conducted. The experiment was designed to mimic the free browsing context in mobile marketing. The materials were divided into Liked/Disliked preference groups according to the response of the subjects. Analysis of indicators on materials between the L/D groups shows that the attributes of balance, centricity, density, simplicity, and symmetry affect user aesthetic preferences.

Analysis of the attribute value levels shows that balance, centricity, and density are responsible for addressing users' aesthetic preferences for a disliked interface layout. The study suggests an attribute set for quantitatively optimizing the aesthetic design of mobile marketing system interfaces and provides evidence for the visual attention and cognitive process under the free browsing context.

The study contributes to the field both theoretically and practically: (1) it provides support for optimizing the interface layout of mobile marketing systems quantitatively from the aesthetic perspective. (2) It promotes the cognitive attention theory by providing evidence for the cognitive process of interacting with mobile marketing interfaces from the perspective of visual attention and cognitive fluency. (3) It expands the objects of visual perception from traditional or symbolic artworks (such as logos) to the abstract visual stimuli of interface layout. (4) It suggests an optimization tool of five quantification layout attributes for mobile marketing businesses and platforms to aesthetically improve their marketing interfaces to improve user experiences.

The purpose of this paper is to explore and examine discrepancies of food aesthetics portrayed on social media across different types of restaurants using a large-scale data set of food images.

A neural food aesthetic assessment model using computer vision and deep learning techniques is proposed, applied and evaluated on the food images data set. In addition, a set of photographic attributes drawn from food services and cognitive science research, including color, composition and figure–ground relationship attributes is implemented and compared with aesthetic scores for each food image.

This study finds that restaurants with different rating levels, cuisine types and chain status have different aesthetic scores. Moreover, the authors study the difference in the aesthetic scores between two groups of image posters: customers and restaurant owners, showing that the latter group tends to post more aesthetically appealing food images about the restaurant on social media than the former.

Restaurant owners may consider performing more proactive social media marketing strategies by posting high-quality food images. Likewise, social media platforms should incentivize their users to share high-quality food images.

The main contribution of this paper is to provide a novel methodological framework to assess the aesthetics of food images. Instead of relying on a multitude of standard attributes stemming from food photography, this method yields a unique one-take-all score, which is more straightforward to understand and more accessible to correlate with other target variables.

The purpose of this study is to examine the influence of semantic fluency on consumers' aesthetic evaluation in graphic designs with text and the mediating effect of visual complexity in this relationship.

The hypotheses are examined in three experiments. Experiments 1 and 2 both verify that Chinese consumers rated the designs with low (vs high) semantic fluency words as more beautiful, and Experiment 3 further confirmed this effect in non-Chinese speakers.

Confirmed by Chinese and non-Chinese consumers, high fluency text leads to lower perceived visual complexity and less aesthetic perception of the entire design.

Findings enrich the theory of beauty standards and put forward challenges to the positive relationship between processing fluency and aesthetic pleasure. Findings are limited to the decorative function of text, and lack discussions on how designers should balance when the informational function of text is equally important.

This study is the first to discuss how designs with text influence consumers' aesthetic perception and provides meaningful guidelines of transnational marketing for fashion designers and enterprises.

The purpose of this study is to analyse online consumers' experiential responses towards visual user-generated content in social commerce fashion online shopping environments. The study develops and tests a UGC OCE framework incorporating aesthetic and relational experiential paths in the OCE.

This paper adopts a quantitative approach to examine fashion consumers experiential responses to UGC content. The sample comprised 555 respondents recruited via a consumer panel. SEM analysis was employed to analyse and test the framework model.

The findings illustrate that consumers are initially stimulated by an aesthetic experience, which then triggers a combination of relational, emotional and interactive experiences in fashion social commerce. The study extends the S-O-R framework by integrating it to the experiential “path” that indicates the series of experiences consumers encounter. Using S-O-R, the study presents the consumers' online experiential responses to viewing visual UGC, revealing that there are five experiential responses, all of which have an influence on online consumer behaviour. Responses towards visual UGC include visual, relational, emotional, cognitive engagement and interactive engagement, which were all identified to influence purchase intention.

This study is original in finding that, in the context of online fashion shopping, aesthetics drive relational experiences, and relational experiences drive flow and interactive behaviour and also purchase intention. Aesthetic experiences and positive emotions are powerful drivers of purchase intention and drive connectedness, flow and interactive behaviour. This study extends the literature by extending the frameworks in OCE and CE into the fashion UGC context.

This paper aims to consider the visual literacy mobilized by consumers in their use of brand aesthetics to construct and communicate a curated self.

The research surveyed a range of visual material from Instagram. Specifically, the goal was to use “compositional interpretation”, an approach to visual analysis that is not methodologically explicit but which, in itself, draws upon the visual literacy of the researcher to provide a descriptive analysis of the formal visual quality of images as distinct from their symbolic resonances. The research also incorporates 10 phenomenological-type interviews with consumers. Consistent with a phenomenological approach, informants were selected because they have “lived” the experience under investigation, in this case requiring them to be keen consumers of the Orla Kiely brand.

Findings indicate that consumers deploy their visual literacy in strategic visualization (imaginatively planning and coordinating artifacts with other objects in their collection, positioning and using them as part of an overall visual repertoire), composition (becoming active producers of images) and emergent design (turning design objects into display pieces, repurposing design objects or simply borrowing brand aesthetics to create designed objects of their own).

This research has implications for the understanding of visual literacy within consumer culture. Engaging comprehensively with the visual compositions of consumers, this research moves beyond brand symbolism, semiotics or concepts of social status to examine the self-conscious creation of a curated self. The achievement of such a curated self depends on visual literacy and the deployment of abstract design language by consumers in the pursuit of both aesthetic satisfaction and social communication.

This research has implications for brand designers and managers in terms of how they might control or manage the use of brand aesthetics by consumers.

To date, there has been very little consumer research that explores the nature of visual literacy and even less that offers an empirical investigation of this concept within the context of brand aesthetics. The research moves beyond brand symbolism, semiotics and social status to consider the deployment of abstract visual language in communicating the curated self.

Product design is an important marketing variable. Most literature about consumer preference for product design focuses on aesthetic product value. However, the appearance of a product also influences consumer perception of functionalities, quality, and ease of use. This paper therefore, seeks to assess how preference for visual complexity and symmetry depends on the type of product value that is important to people.

In a conjoint study the utility of visual complexity and symmetry in determining preference for eight VCR pictures are assessed (n=422). These utilities are used as dependent variables in regression analyses with the different product values (aesthetic, functionalities, quality, and ease of use) as independent variables.

The effects of visual complexity and symmetry on consumers' preferences depend on the product value to which consumers paid attention.

To increase insight into the relationship between design and consumer product preference, the impact of a design on consumer perception of all types of product value – not only aesthetic value – should be taken into account.

This research has direct implications for managers overseeing aspects of product development relating to aligning the design effort with target customers and determining specific product design executions.

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.

The purpose of this paper is to explore how interior spaces can be differently represented across home magazines of different background and target audiences. And investigates how visual texts can differentiate a brand, increase brand loyalty and target different market segments.

This paper draws on material for comparative analysis from three home magazines (Wallpaper, Ideal Home and Elle Decoration). It combines quantitative methods (content analysis) and qualitative methods (fieldwork observations).

This research suggests that Wallpaper is not just a magazine, but it has expanded to become a brand with a well-recognized logo. Practitioners managed to create a strong brand through the creation of a magazine with a very distinctive style among its competitors that clearly address the elite.

This paper focused on the production of magazine features and representations of interior spaces. Further research could be conducted to explore how readers belonging to different economic, social and cultural groups “receive” and comprehend the home magazine features.

The findings of this research could be used to analyse fashion photography in editorial, fashion advertising, fashion brand websites and social media, thereby assisting in the analysis of fashion photography and the relationship between fashion items, set design, styling of space, target audiences, branding and visual communication; exploring further how fashion photography can effectively target different market segments and enhance a fashion brand and its identity.

The area of magazine features, photography, set design and styling of space has received limited attention from scholars. The method of analysing interior spaces/set design presented in this paper can be developed further to provide in depth analysis of window and in store display design and the use of display design and visual merchandising as a way to reflect the fashion brand identity, target-specific market segments, differentiate and gain competitive advantage.

The purpose of this paper is to propose an initial, exploratory and tentative theoretical construct related to the current consumption of landscape as a key symbolic and physical element in territorial representation and evocation, and for the deployment of place branding strategy. It constructs a line of argument to support what shall be referred to as “landscape branding”, that is, the paradigmatic role of landscape in place branding. It is, therefore, of interest to define the value of landscape as a social and cultural construction, which is why the paper awards importance to the specific analysis of their capacity for visual and/or aesthetic evocation within the context of a general branding strategy for geographical spaces.

To develop a sufficient proposal for sustaining “a theory of landscape branding”, the paper deploys a meta-analysis, that is, an extensive review and interpretation of the literature related to visual landscape and place branding, to propose a tentative initial approach to landscape-infused place branding theory.

The relationship existing between landscape images and texts and their possible situating and subsequent interpreting within the context of the political, cultural and economic logics of contemporary society give rise to a renewed analytical framework for cultural geographies (Wylie, 2007). At this point, place branding becomes a recurring argument for the consumption of carefully staged places, representing, to use Scott’s terms (2014), the arrival of a cognitive-cultural capitalism characteristic of post-Fordism.

From a practical perspective, the landscape branding approach provides several benefits. First of all, regardless of the fact that many commentators have argued that logos, slogans and advertising campaigns are relatively ineffective in place branding, practitioners still seem to be focussed on these visual design and advertising tools. The landscape branding approach facilitates an identity-focussed perspective that reconfirms the importance of linking reality with perception and hence reinforces the need to link place branding to policy-making, infrastructure and events.

Landscapes’ imageability facilitates visual storytelling and the creation of attractive symbolic actions (e.g. outdoor events/arts in attractive landscape and augmented reality or landscaping itself). This is the type of imaginative content that people easily share in social media. And, of course, landscape branding reiterated the importance of experience. If policymakers and publics alike understand this considerable symbolic value of landscape, it might convince them to preserve it and, hence, contribute to sustainability and quality of life.

The novelty lies not in the familiar use of visual landscape resources to promote places, but in the carefully orchestrated construction of gazes, angles, representations, narratives and interpretations characteristic of geographic space, which somehow hijack the spontaneous gaze to take it to a certain place. Everything is perfectly premeditated. According to this, the visual landscape represents a critical point as a way of seeing the essence of places through a place branding strategy. In this sense, that place branding which finds in visual landscape a definitive argument for the projection of aspirational places imposes a new “way of seeing” places and landscape based on a highly visual story with which to make a particular place desirable, not only for tourism promotion purposes but also with the intention of capturing talent, infrastructures and investment, among other objectives.