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This study aims to identify the effect of the format of a presentation and the form of information on the decision-making process of non-professional investors in Indonesia. Investor behaviors, including acquisition, evaluation, weighting, judgment, and allocation decisions, are explained explicitly after taking a look at the form of the information and the way it is conveyed in various presentation formats.

This research used web-based experiments. It used a 2 × 2 between-subjects design. Eighty-nine selected students acted as surrogate investors. They were provided with company performance reports presented in different report formats (integrated versus non-integrated) and different forms of information (visual versus descriptive).

The results showed that information, when presented visually, is more influential on investment allocation decisions in Indonesia. In addition, the result of the post hoc test indicated that integrated reports are more influential than non-integrated reports.

The results of this study have significant implications for companies that publish financial and non-financial disclosures. The reports are required to be presented in an integrated and visual form in order to increase the investors' level of understanding so they can comprehend a company's performance holistically.

It is necessary for Indonesian policymakers to create regulations regarding the presentation of financial and non-financial information in an integrated and visual way.

This study fills a gap in the literature on integrated reports by showing that the visualization of information in such reports increases the level of understanding that underpins investment decision-making. Furthermore, this study contributes to cognitive load theory by providing evidence that the kind of presentation of information that facilitates people's cognitive ability is not only in the narrative form but visual presentation also works.

Underpinned by the fit-fluency framework, this research aims to explore the effect of visual entropy (i.e. the neatness or disorder of food presentation) on the likelihood to purchase under different time-related positioning conditions.

Two experiments were conducted with customers who are located in the USA via Amazon Mechanical Turk. Study 1 employed a 2 (visual entropy: neat vs non-neat) × 2 (time-related positioning: traditional vs modern) between-subjects design using four advertisements for a fictitious ice cream brand. Study 2 employed a 2 (visual entropy: neat vs non-neat) × 2 (time-related positioning: traditional vs modern) between-subjects design using four book covers for fruit salad recipes.

The findings demonstrate low entropy (i.e. neatness) increases purchase likelihood when being paired with modern positioning, whilst high entropy (i.e. non-neat presentation) positively influences the propensity to purchase a traditional product on account of temporal fit. These relationships are mediated by perceived quality and nostalgia.

This research extends the understanding of visual entropy and addresses the inconclusive evidence of the impact of the neatness of product presentation on consumer behavior. The authors elucidate the mechanisms behind which neatness and non-neatness of food presentation affect purchase likelihood when different types of time-related positioning are featured.

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 paper is to examine the strategic importance of visual aesthetics and presentation modality for consumer responses to fashion luxury brand content posted on Instagram.

A content analysis of 40,679 posts on the official Instagram accounts of 15 global luxury brands was conducted.

Brand posts using expressive aesthetic image received more likes and comments on Instagram than those with classical aesthetics. Brand video content received more likes and comments than static content. There was also a significant interaction between visual aesthetics and presentation modality in generating likes and comments. Brand content adopting expressive aesthetic and audio-visual modality generated more responses when using audio-visual modality, while content using classical aesthetics produced more responses in a visual-only format.

As visual aesthetics and modality resulted in different responses to Instagram ads, luxury marketers should consider using appropriate approaches when creating brand posts on Instagram.

This is one of the few studies examining the effectiveness of visual aesthetics and presentation modality in Instagram advertising, especially in luxury fashion brand context.

The purpose of this study is to explore how undergraduate and graduate students use visual resources in their papers and presentations and what role images play in their academic work. It also focused on analyzing the types of image use/reuse in academic work.

This study was designed using an exploratory, qualitative approach. In all, 15 participants were recruited. Multiple sources of data were collected, including visual evidence, questionnaires and interviews. It adopted consensual qualitative research for data analysis.

This study finds a prevalent reuse of images in student presentations but limited use and reuse in papers. Images in presentations were primarily reused as objects for engaging and esthetic purposes. Reuse of images as a source of information was not common and in some cases problematic when students were missing context. The type of use/reuse of images in the papers was more varied with examples of creative use and transformative reuse.

This paper contributes to a better understanding of how students use and reuse images for academic papers and presentations. Results have important implications for teaching visual literacy and re-purposing images in higher education.

This paper analyses educational use/reuse of images along the data/object spectrum and distinguishes between different types of image use and reuse.

The purpose of this study is to investigate the effects of visual and verbal information presentations on mental imagery, perceived informativeness and purchase intention. The study assesses two types of product-related information: (1) visual information: static product images and augmented reality (AR) and (2) verbal information: abstract and concrete product reviews.

A total of 320 mobile consumers participated in the experiment. To increase external validity, this study was conducted in an existing digital shopping environment.

The results suggest that AR has a greater effect on consumers' shopping outcomes than static images. The findings further reveal that concrete product reviews are important in increasing mental imagery, perceived informativeness and purchase intention when visual information does not provide an AR function.

This study contributes to the current literature by providing empirical support for AR effects and concrete reviews on consumer responses. The results further provide an important perspective for retailers seeking ways to develop effective information presentations in digital retailing.

Drawing on the theoretical framework of Grabe and Bucy (2009), this chapter presents the findings of an exploratory study concerning the visual self-presentation strategies that the political leaders of the two main political parties in Greece (Syriza and New Democracy) employed in their political adverts on YouTube during the campaign for the 2019 European Parliamentary elections. The findings illustrate that, despite the fact that both leaders made equal use of the two master frames, of the ideal candidate and the populist campaigner, their visual strategies differed in the emphasis given to the various subdimensions of the visual framework. Both leaders attempted to project a public persona characterised by ordinariness and professionalism. Tsipras used a series of spots through which he sought to both ‘renew’ his relationship with the electorate and reinforce perceptions of his statesmanship as a widely respected political leader. Mitsotakis' visual strategy was primarily based on building a more relatable image and strengthening his leadership profile, as well as the frequent use of patriotic symbols.

The purpose of this study is to examine how visual elements along with textual narratives are used to disclose workplace diversity-related information in corporate social and environmental reports.

A qualitative content analysis is used to examine the workplace diversity-related information in the 2016 standalone sustainability/corporate responsibility reports of 47 Fortune companies. A total of 539 tables, figures and photographs and their related textual narratives are analysed through an impression management lens.

The study finds that multiple types of visual elements are used to supplement textual narratives to communicate workplace diversity-related messages. The positive and often non-verifiable workplace diversity-related information is symbolically suggestive of the companies’ workplace diversity commitment and success. While tables and figures are typically presented using numbers, percentages and words to enhance and promote the positive information, the “feel-good” photographs are used to arouse positive feelings in the readers. These visual elements are presented in either a single-visual or mixed-visual presentation form.

This study has the potential to inform and assist preparers in the use of multiple visual elements and textual narratives to promote an impartial and substantive reporting of workplace diversity-related information. Understanding the motivation behind the usage and presentation of visual elements can be useful for the promulgation of guidelines for workplace diversity disclosure, and make readers aware that the visual elements can be exploited for impression management and symbolic legitimacy.

This study provides empirical evidence on the use of multiple types of visual elements in the reporting of workplace diversity-related information. It demonstrates how these visual elements are strategically used and presented to deliver an impression of workplace diversity to the readers.

The aim of this paper is to introduce the topic of poster presentation as legitimate area of academic study and practice within the marketing discipline.

The paper presents the output of one part of a research project that reviewed the state of knowledge and practice within poster presentation as a dissemination medium for research information. The results of the literature search are presented as an annotated bibliography.

The literature search reveals a sizeable body of material on the use of poster presentation as a dissemination media, indicative of a set of key themes that guide good practice in poster design, construction and presentation. It also includes material that has studied the use of poster design and presentation exercises as pedagogical devices.

The research on which the paper is based is limited by virtue of not offering a more complete survey of contemporary poster presentation practice across the sciences. It draws observations from the author's attendance at several marketing and management‐related conferences where poster presenters have been interviewed and examples of poster presentation have been collected. However, in the sciences, especially the medical sciences, poster practice is well‐established and in some cases moving towards digitisation.

The aesthetics of poster design remain unclear in the case of poster design for the dissemination of scientific information. However, a set of templates has been produced based on the close study of a database of over 600 poster designs and ten years' experience of using posters as teaching tools for research training. A methodology for poster design has also been developed known as “The Block Architecture Method of Poster Design”. It uses the software Powerpoint and Photoshop to develop poster design electronically.

The bibliography will help interested teachers and students explore the various issues surrounding poster design, construction and presentation. It will also help to understand some of the advantages of using poster‐design exercises as creative and critical devices in a pedagogical context.

The purpose of this paper is, first, to assess the potential of the visual to enact multiplicity and reflexivity in organizational research, and second, to develop a performative approach to the visual, which offers aesthetic strategies for creating future research accounts in organization and management studies.

The paper reviews existing visual research in organization and management studies and presents an in‐depth analysis of two early, almost classical, and yet very different endeavors to create visual accounts based on ethnography: the multi‐media enactments by Bruno Latour, Emilie Hermant, Susanna Shannon, and Patricia Reed, and the filmic and written work by Trinh T. Minh‐ha and her collaborators.

The authors’ analysis of how the visual is performed in both cases identifies a repertoire of three distinct and paradoxical aesthetic strategies: de/synchronizing, de/centralizing, and dis/covering.

The authors analyze two rarely acknowledged but ground‐breaking research presentations, identify aesthetic strategies to perform multiplicity and reflexivity in research accounts, and question the ways that research accounts are written and published in organization and management studies by acknowledging the consequences of a performative approach to the visual.