to the advertised product – to demonstrate the unconditioned stimulus (US) (music that appeals to the recipient) with the conditioned stimulus (CS) (product), so that the CS (product) can, whether in the presence or absence of music, accomplish the conditioned response (CR) (delight, fulfilment, and so forth)
Colours are amongst the most important symbolic languages of advertising. They appeal directly to ones’ feelings and stimulate emotions. Combinations of colours help us to create fictitious worlds. The relationship of colours with attributes from the external world leads to setting of myth related to the advertised product. Psychologists indicated that the effects of colours can be defined by connection with the world around us and they are a matter of spirit (Vysekalova, 2007), occultism seeks relations between colours, numbers and sets of notes on a musical scale. Although the features and also the individual perception of colour slightly differ across cultures and historical periods, scientific researches on colours taste gives allowance to come to certain conclusions, which may be generally applicable.
CONCLUSIONS
In conclusion, receivers of advertising may not be a group that shares common features/characteristics; therefore, their interpretations of particular product will always vary. In addition to Eco’s theory of the open work this concept is also related to the statements of Stuart Hall that identified how crucial groups and sub-groups of the society bring their own experience into the process of rendition. For instance, perception of the works is affected by individual pursuits and opinions, but also by present state of attention. The involvement of intellect during watching advertisements is constrained; this fact has been confirmed also by the research of some Psychologists. Emotional, automated brain processes that have been defined as System 1 correspond with the setting of the spectators that is related to common reception of any advertisement – they watch it with deep thought, react to it more emotionally instead of radically, while these tendencies are, in most cases, intentionally supported by the advertising itself – it is as much accessible as possible, mostly focused on the emotional communication. The absence of thorough thinking about advertising by nature does not indicate that the receivers accept the products without any objections. For example, the attitude of the receiver is affected b