DOI link for Sensational dimensions
Sensational dimensions book
In creating a meal we select ingredients from diﬀerent regions, planes and domains, and do this for a purpose – to intensify ﬂavours, and to stimulate an experience for a given end. The end result is the generation of properties and aﬀects that do not belong to its constituent parts. While combinatory approaches might be the dominant mode to understanding creativity in advertising we should not lose sight of the purpose of using multiple ingredients, which is to deepen and enrich sensory experience. The initial question then is less ‘what do we think?’, but instead, ‘how do we feel?’ The aim here is to further the task of de-coupling discussion of advertising
away from representation, signiﬁcation and ideology to one that is more aﬀective, sensational, embodied and machinic in orientation, where the idea of the machine is far in excess of its usual association with hardware. One simple reason for doing this is that aﬀect is that which both determines and exceeds cognition (Whitehead, 1948 ; Shapiro, 2012). Another related point is that while ‘the science of signs’ may provide some means of tracing association, and drawing schemes and diagrams of operation, it ignores swathes of human experience in the process. This chapter begins to account for the role of aﬀect in advertising by highlighting its connection to postmodern critique, as broached in the previous chapter. It then examines current practice in relation to advertising and marketing interest in neuroscience. This account provides us with an understanding of the centrality of aﬀect, sensation and a less representational account of advertising. This awareness is employed in the second stage of this chapter that more fully addresses thinking on aﬀect. The practice and implications of commercial interest in neuroscience supply form, depth and illustrations for aﬀect-based critique that, although right, correct and valuable, suﬀers from being vague and imprecise in comparison to more ﬁnely honed and longer-established tools for assessing representation in advertising. A key outcome of this is a questioning of the hegemony of the visual in practice and critique by means of reconsidering the nature of images, and the assessment of production that harnesses the full gamut of sensory and image-making faculties. In considering the aﬀective consequences of advertising, the chapter proceeds with a Spinozan understanding on aﬀect and mind/body parallelism, and via a foray into Deleuzian
thinking on bodies and machines, shifts advertising away from a metaphysical ontology to a more immanent understanding of advertising and creative potential therein.