[...]ractice and profession ='lgc'>='lgc'>--> gained ="trms">responsibility in American culture='lgc'>:
="prgrph">-1 advertising became ="trms">instrumental in en="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listing soldiers during ="trms">world war I ='lgc'>='lgc'>==> lending it a moral force which served more noble purposes besides commerce
="prgrph">-2 it was elevated through its incorporation into education (first in Harvard University 1924)
="prgrph">-3 it becames adept at referencing styles and com="trms">missioning work from the realm of high culture
='lgc'>}='lgc'>--now='lgc'>='lgc'>--> advertising does not just produce culture, but ='strcls'>***culture produces advertising='strcls'>***

(one of the central ="trms">questions of advertising in contemporary times has been the extent to which) ='strcls'>*advertising enframes everything within its discourse and logic='strcls'>*
='lgc'>--="ppl">Campbell='lgc'>='lgc'>--> ='strcls'>****if advertising is everything, what is it not='qstn'>?='strcls'>**** ='lgc'>[='at'>@="nms">apass='lgc'>] ='lgc'><='lgc'>-- this is a crucial ="trms">question about advertising and it is part of a larger global crucial devate about the commodification of life and previously inalienable aspects thereof

="trms">scientific advertising ='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">="ppl">Haraway

="large lg2" stl="font-size:112%"> advertising='lgc'>:
="lstsrd">1. fascinates us
="lstsrd">2. it works

an average person in the western ="trms">world is exposed to 3000 advertisements per day

everyday, it transforms me from this ="trms">world to an ="trms">imaginary one for a moment

(advertising) offers through a ='strcls'>*constant stream of visual cameos='strcls'>* برجسته کارى, ='strcls'>*implicit standards='strcls'>* of cleanliness, ="trms">sociality, family life, health, happiness, and a great many other values ='lgc'>='lgc'>==> ="trms">affect me


='strcls'>****="trms">modern advertising works by appearing not to care if it works='strcls'>**** ='lgc'>='lgc'>--> when someone utters the immortal phrase “advertising doesn't ="trms">affect me"='lgc'> = advertising has achieved its ultimate goal ='lgc'>='lgc'>--> ='strcls'>*****advertising empowers us to feel distant to it='strcls'>*****

="ppl">Campbell ='lgc'>='lgc'>--> advertising='lgc'>: organizs meaning in the most powerful and generic of senses ='lgc'>+ a ="trms">symptom of the organization


1920 - 1930
="trms">modern advertising's coming of age (creating compelling signs)
(its signs underwent a qualitative shift in) sophistication
personalized testimonials
='strcls'>*participatory tone of voice='strcls'>* ='lgc'>[='lgc'>=/= direct imperative command='lgc'>]
="trms">consumer goods ="trms">embodied values (that had normally been attributed to humans and the ="trms">natural ="trms">world) ='lgc'>[='lgc'>=/= mere economic entities='lgc'>]
(through the ="trms">system of advertising='lgc'>: ='strcls'>*="trms">imagining the product as a benefit sought by the ="trms">consumer='strcls'>* ='lgc'>~ illumination instead of lighting fixtures, prestige instead of automobiles, sex appeal instead of mere soap,,) ='strcls'>*products ='lgc'>--offer='lgc'>='lgc'>--> mini-solutions to the dilemmas of ="trms">modernity='lgc'>[= the pace and scale of rationalization, depersonalization and ="trms"nttrm="disturban">urbanization brought by ="trms">modern industrial capitalism ='lgc'>==exerted='lgc'>='lgc'>==> هزینه خسارت a toll on the human psyche='lgc'>]

1950 - 1960
(from) public role of sign identification ='lgc'>--to='lgc'>='lgc'>--> private and psychological space of one's mind and ="trms">interior life
rise of ='strcls'>*depth men='strcls'>* (='lgc'>='lgc'>--> Mad Men TV series, people in advertising ="trms">agencies that reportedly used psychological ="trms">techniques to uncovers the subconscious needs, desires, insecurities, fears of ="trms">consumers)
='strcls'>*product='lgc'> = unconscious fulfilments, solutions, comforts and fantasies to them='strcls'>*
='lgc'>[Packard's Betty Crocker cake mix and Esso's Tiger in your Tank campaign ='lgc'>='lgc'>--> alleged power of small groups of people to organize meaning on a massive and uncontrolled level='lgc'>]
="lsts lst1">•freezer='lgc'> = a nostalgic site of security in a threatening environment ='lgc'>=/= a device for cooling foodstuffs (='strcls'>*giving of food ='lgc'><='lgc'>--='lgc'>='lgc'>~='lgc'>~> ="trms">love='strcls'>* ='lgc'>+ insecurity ='lgc'>='lgc'>==> more food than you can eat)
="prgrph">-more sophisticated motivational research and appeals

='strcls'>****advertising='lgc'>: a form of ="trms">literacy='strcls'>**** (a new and be="trms">wildering ="trms">code)

sign ="trms">system of advertising is not static
the generations to come will regard contemporary sign ="trms">systems as rudimentary and easy to de="trms">code
ultra-sophisticated images will appear antiquited and perhaps even humorous (='at'>@="frds scrmbld"nttrm="Godard">Goda hating contemporary sign ="trms">system)
="prgrph">-the way in which advertising today visualizes software, the environment, nano="trms">technology as seemingly ='strcls'>*undeconstructible ='and'>& transparent='strcls'>* will be staple examples in classroom curricula


(the most obvious and immediate way of conceptualizing) advertising='lgc'>: a ="trms">system that creates signs with the purpose of ="trms">communicating meaning ='lgc'>=/= ="ppl">Campbell

discipline of ="trms">marketing ='lgc'>--support='lgc'>='lgc'>--> investigation of image ="trms">consumption


early models of advertising (='lgc'>='lgc'>--> ='strcls'>**how we understand the philosophy of what information and ="trms">communication are='strcls'>**)
="lsts lst1">•1949 Bell Laboratories ='lgc'>='lgc'>--> information='lgc'>: universalized component of any ="trms">system that ="trms">communicated ='lgc'>=/= “information” as rather ="trms">poetic and sipritual term (at home in philosophy ='lgc'>=/= engineering) ='lgc'>--advertising='lgc'>='lgc'>--> hierarchy of effects='lgc'>: cognitive ='lgc'>--to='lgc'>='lgc'>--> ="trms">affective ='lgc'>--to='lgc'>='lgc'>--> behavioral ='lgc'>[='lgc'>='lgc'>--> informationalize and ="trms">measure aspects of advertising='lgc'>]

(to understand) ='strcls'>*information theory of ="trms">communication as a reflection of larger ="trms">scientific and philosophical aims of the time='strcls'>*
='strcls'>***information theory of ="trms">communication ='lgc'>='lgc'>==>
="lsts lst1">•providing ="trms">codified models that predict ="trms">response
="lsts lst1">•enframe ="trms">communication within a logic of relative effectiveness or ineffectiveness
='lgc'>}='lgc'>=/= my ="trms">lectures


brand ="trms">memories
brand equity

boundary between advertising and everyday life

='lgc'>[="ppl">Campbell ='lgc'>=/=='lgc'>]
='thdf'>the idea that qualitative advertising research has a manageria="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list axiology
a ="trms">priori ='thdf'>assumption of “advertising='lgc'> = information ="trms">communication” (='lgc'>=/= people incorporate advertising so that it functions as a ='strcls'>*="trms">social glue='strcls'>* within groups)

="large lg3" stl="font-size:111%"> (vernacular specter of advertising)
="trms">spectacular vernacular of ="trms">social fabric

site of investigation='lgc'>:
="lstsrd">1. site of ="trms">consumption='lgc'> = reception (the field of meaning from a ="trms">consumer's perspective)
="lstsrd">2. site of production='lgc'> = processes involved in making ads (favoured in media studies and ethnographic approaches to advertising)
="lstsrd">3. site of the image='lgc'>: analysis of the meaning of the image itself (independent of intention and reception) are the most powerful way to show what images in="trms"nttrm="cluster,club">clude and ex="trms"nttrm="cluster,club">clude (drawing influence primarily from the disciplines of ="trms">history, philosophy, ="trms">sociology and ="trms">linguistics)

how meaning moved from ='strcls'>*the ="trms">world of advertising='strcls'>* ='lgc'>--to='lgc'>='lgc'>--> ='strcls'>*the ="trms">world of the ="trms">consumer='strcls'>* ='lgc'>: ways in which advertising is ="trms">integrated into the life-="trms">world of people

='strcls'>****advertising='lgc'>: a powerful ="trms">translator of the cultural ="trms">world='strcls'>**** ='and'>& داور a central arbiter of meaning in ="trms">consumer ="trms">worlds (='lgc'>='lgc'>--> ='thdf'>this is why advertising concerns me)

="large lg4" stl="font-size:111%">
="ppl">Barthes ='lgc'>+ Saussure ='lgc'>+ ="ppl">Peirce ='lgc'>+ Jacobsen ='lgc'>='lgc'>--> ="trms">semiotics can be regarded as one of the most comprehensive studies of sign ="trms">system ='lgc'>~ advertisement='lgc'>: bundle of signs that formed finely constructed conventions ='lgc'>='lgc'>==> ‘image='lgc'> = text’ (its grammar='lgc'>:)
="lstsrd">1. micro-level='lgc'>: tiny units, vectors, colors, forms (within the visual plane)
="lstsrd">2. mid-level='lgc'>: human-level characteristics of gender, hairstyle, posture, facial expression, buildings, ="trms">rhetorical devices in the image (such as ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor and troping)
="lstsrd">3. ="trms"nttrm="metaph,metamorph,metabol,metal">meta-level='lgc'>: ="trms">narrative structure, mythic in ="trms">nature, to see ="trms">embodied in the properties and dynamics of the image the macro properties and fynamics of ="trms">social ="trms">world (='lgc'><='lgc'>-- business of ="trms">semiotic)

="ppl">Barthes ='lgc'>='lgc'>--> (new medium of) photographic advertisement='lgc'> = a ="trms">codified structure ='lgc'>=/= a transparent reflection of the ="trms">world


="prgrph">-='strcls'>*="ppl">Barthes ="trms"nttrm="already,spread">reading of Citroen DS car
impossible newness
it appears at first sight as a superlative object صفت عالی
object which appear at first sight as completely finished ="trms">present to us at once a perfection and an absence of o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin, closure and a brilliance, ='strcls'>*a transformation of life into ="trms">matter='strcls'>*, a silence that belongs to the realm of fairy tales
='strcls'>*smoothness is not a property of ="trms">material, but a ="trms">social value='strcls'>*
="prgrph">-Christ's robe was seamless, ="trms">science ="trms">fiction, made of unbroken ="trms"nttrm="metaph,metamorph,metabol,metal">metal, ="trms">phenomenology of assembling, hold together by sole virtue of their wondrous shape ='lgc'>='lgc'>==> ='thdf'>the idea of benign ="trms">nature
='lgc'>}='lgc'>--learn='lgc'>='lgc'>--> (to make) lines of connection='lgc'>: visual convention ='lgc'>+ ="trms">religious painting, ="trms">science ="trms">fiction film, politics of ="trms">nature (constructed over the ="trms">past 2000 years of western culture) ='lgc'>[='lgc'><='lgc'>-- to understand this in your own work ='at'>#feedback ='at'>@="nms">apass='lgc'>]

="large lg5" stl="font-size:127%">
="prgrph">-='strcls'>*="ppl">="ppl">Haraway
neutral images of (high-tech) ="trms">science ='lgc'>='lgc'>--> stock of Renaissance visual analogues ='lgc'>='lgc'>==> legitimate lineage ='lgc'>+ o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin ="trms">story (for ="trms">technical revolutions)

(="ppl">Barthes > ="ppl">Campbell) ='strcls'>**what sign constructions do westerners use to tell the ="trms">story of how ="trms">technology comes to be ="trms">present in the ="trms">world='qstn'>?='strcls'>**


="prgrph">-='strcls'>*="ppl">Campbell ="trms"nttrm="already,spread">reading of Simens’ ad “builing blocks” (2005)
Simens products float into space, as ="trms">naturally and as pure white snowflake falling to the earth
[...]