The document explores the concept of perception strategy, emphasizing that perception is a constructed experience influenced by context, prior experiences, and presentation forms rather than just content alone. It discusses how factors like packaging, storytelling, and even sensory experiences shape our understanding and appreciation of products, using chocolate and various examples from psychology. The author encourages designers to consider how to intentionally shape perceptions and enhance user experiences by recognizing the complexities of human cognition.

1. WHAT IS YOUR
PERCEPTION
STRATEGY?
(WHY IT'S NOT ALL ABOUT CONTENT)
@stephenanderson
#IAS12

2. Product
Stephen P. Strategy
aND
n
Deonsisuglting
C
Anderson

3. Product
Stephen P. Strategy
aND
n
Deonsisuglting
C
Anderson

4. Product
Stephen P. Strategy
aND
n
Deonsisuglting
C
Anderson

5. PSYCHOLOGY.
COGNITION.
NEUROSCIENCE.
#FASCINATING!
BUT, I AM A DESIGNER.
DIS CL AI ME R)
(

6. Chocolate.

7. Chocolate.
Can you recommend any
good chocolatiers in NOLA?
The first chocolatier that comes to mind is Sucre!
The owner/chef Tariq Hanna is considered one of
the top chocolate and pastry chefs in the USA and
is known for unique chocolates.

8. Mmm.
Chocolate.
At Sucré, it is our mission to share our passion for
the confectionary industry with the world through
exceptional products and uncompromising
customer service. Everything we create is
handmade in small batches and crafted from the
finest ingredients available, often inspired from
local, homegrown flavors.

9. Mmm.
Chocolate.
At Sucré, it is our mission to share our passion for
the confectionary industry with the world through
exceptional products and uncompromising
customer service. Everything we create is
handmade in small batches and crafted from the
finest ingredients available, often inspired from
local, homegrown flavors.

10. Mmm.
Chocolate.
At Sucré, it is our mission to share our passion for
the confectionary industry with the world through
named one of the country’s TOP TEN pastry chefs by Dessert Professionals Magazineproducts and uncompromising
exceptional
customer service. Everything we create is
handmade in small batches and crafted from the
finest ingredients available, often inspired from
local, homegrown flavors.

11. Mmm.
Chocolate.
Avery
Caramel milk chocolate ganache
coated in dark chocolate and
topped with a touch of salt.
Meuniere
Brown butter folded into
white chocolate ganache,
coated in dark chocolate

12. But, it’s not
just about the
Chocolate.
Avery
Caramel milk chocolate ganache
coated in dark chocolate and
topped with a touch of salt.
Meuniere
Brown butter folded into
white chocolate ganache,
coated in dark chocolate

13. your current
appetite
your opinion ratings
of chocolate
Chocolate.
packaging
the ingredients
appearance
the experience pricing
story my (and my friends)
recommendation
national
recogntion local connection

14. MY “EXPERIENCE”
CHOCOLATE SENSES OF THE CHOCOLATE
+ A WHOLE LOT MORE!

15. YOUR BRAIN CONSTRUCTS
(AN EXPERIENCE OF) REALITY
MY “EXPERIENCE”
CHOCOLATE SENSES OF THE CHOCOLATE
+ A WHOLE LOT MORE!
Reality Simulation

16. YOUR BRAIN CONSTRUCTS
(AN EXPERIENCE OF) REALITY
MY “EXPERIENCE”
CHOCOLATE SENSES OF THE CHOCOLATE
+ A WHOLE LOT MORE!
Reality Simulation
PERCEPTION IS NOT A PROCESS OF
ACTIVE ABSORPTION BUT OF ACTIVE
CONSTRUCTION, BASED ON PRIOR
EXPERIENCES AND MEMORIES

17. Chocolate.
+ Luxury?

18. PERCEPTION IS YOUR (NEURAL) MAP OF REALITY

19. PERCEPTION IS YOUR (NEURAL) MAP OF REALITY

21. Chocolate.

22. Chocolate.
C ontent!

23. “IT’S ALL ABOUT CONTENT”

24. IN TERMS OF AN EXPERIENCE, IT IS
NOT “ALL ABOUT CONTENT”

25. IN TERMS OF AN EXPERIENCE, IT IS
NOT “ALL ABOUT CONTENT”
Content doesn't exist independent
of some presentation form. Even type
choice & delivery mode affects
perception of written content. (My 2¢)
content + presentation (+ other forms
of context) = perception / meaning.
(Meaning is constructed via prcptns)

26. CONTENT
What
PRESENTATION
How

27. CONTENT
What
EXTERNAL
CONTEXT
Who, Where,
When, Why
PRESENTATION
How

28. CONTENT
What
EXTERNAL INTERNAL
CONTEXT CONTEXT
Who, Where, Under what
When, Why circumstances
PRESENTATION
How

30. brain scans confirmed that
people don't just think the
more expensive (but identical)
wine tasted better—it actually
really did taste better…
Changing the label on wine
bottles changes the taste
http://www.psychologytoday.com/blog/brainstorm/200803/is-5000-prostitute-worth-the-price

31. Changing the context
changes appreciation
http://www.washingtonpost.com/wp-dyn/content/article/2007/04/04/AR2007040401721.html

32. Effect of typefaces
on legal briefs?
http://www.ca7.uscourts.gov/Rules/Painting_with_Print.pdf , http://www.typographyforlawyers.com/ and http://www.amsciepub.com/doi/abs/10.2466/pms.106.1.35-42

33. Easily Pronounced Names May
Make People More Likable
Though it might seem impossible, and
certainly inadvisable, to judge a person by
their name, a new study suggests our brains
try anyway.
The more pronounceable a person’s name is,
the more likely people are to favor them.
http://www.wired.com/wiredscience/2012/02/name-pronunciation-success/

34. Easily Pronounced Names May
Make People More Likable
Though it might seem impossible, and
certainly inadvisable, to judge a person by
their name, a new study suggests our brains
try anyway.
The more pronounceable a person’s name is,
the more likely people are to favor them.
http://www.wired.com/wiredscience/2012/02/name-pronunciation-success/

36. (THE WORLD OUT THERE)
STIMULUS
Reality

37. HEARING
TASTE
SMELL
TOUCH
VISION
(THE WORLD OUT THERE)
STIMULUS SENSORY ORGANS
BALANCE
Reality PAIN
TIME
TEMPERATURE
AND
MORE!

38. HEARING
TASTE
SMELL
TOUCH
VISION
(THE WORLD OUT THERE) (THE WORLD YOU PERCEIVE)
STIMULUS SENSORY ORGANS PERCEPTUAL ORGAN
BALANCE
Reality PAIN
Simulation
TIME
TEMPERATURE
AND
MORE!

39. HEARING
TASTE
SMELL
TOUCH
VISION
(THE WORLD OUT THERE) (THE WORLD YOU PERCEIVE)
STIMULUS SENSORY ORGANS PERCEPTUAL ORGAN
ICONIC SHORT-TERM LONG-TERM
MEMORY MEMORY MEMORY
BALANCE
Reality PAIN
Simulation
TIME
TEMPERATURE
AND
MORE!

40. (THE WORLD YOU PERCEIVE)
(THE WORLD OUT THERE)
Reality Simulation

41. THE WORLD “OUT THERE”
- +
THE WORLD YOU PERCEIVE

42. THE WORLD “OUT THERE”
- +
THE WORLD YOU PERCEIVE

43. 2006…

44. From ‘user experiences’ to ‘The Experience
Economy’ to ‘designing for experiences,” not to
mention “brand experiences,” “customer
experience management,” and “experiential
marketing”— experiences are definitely the
topic du jour. But with so many different
perspectives, each with substantial merit, I
found myself asking
what creates a
great experience…?

45. IS A GOOD EXPERIENCE
SIMPLY ABOUT TASK
ACCOMPLISHMENT?

46. WHAT ABOUT THOSE
EXPERIENCES WE PAY FOR?

47. WHAT ARE WE
REALLY BUYING?

48. WHAT ARE WE
REALLY BUYING?

49. WHAT SHAPES AN
EXPERIENCE, REALLY?
“neuromarketing”
“...when you understand more
about how the human brain
works, and when you
understand more about how
your potential consumer’s
brain works, then you can
more effectively drive the
decision-making process of the
brain.”

50. WHAT SHAPES AN
EXPERIENCE, REALLY?
“...the brain was recalling
images and ideas from
commercials, and the brand
was overriding the actual
quality of the product.”

51. IS PACKAGING
PART OF USER
EXPERIENCE?

52. IS PACKAGING
PART OF USER
EXPERIENCE?

53. user experience
the experience economy
designing for experiences
brand experiences
experience design strategy
customer experience management
experiential marketing
...
Experiences are definitely the topic du jour.
But what creates a great experience…?

54. http://www.poetpainter.com/thoughts/article/classifying-experiences

55. communications layer
presentation
layer
The ‘thing’
itself
perceptions

57. COMPANY
SPACE
communications layer
presentation
layer
The ‘thing’
itself
perceptions
PERSONAL
SPACE

59. COMPANY
SPACE EM
PH
AS
S IS ON IS O
EMPHA BR
AND N
ECT communications layer BUI
DIR G LD
AGIN ING
M ESS
presentation
layer
TRANSACTIONAL The ‘thing’
itself
ENGAGING
perceptions
AP
PE
TO AL
RE S TO
AS A LS
ON PE S
AP T ION
E MO
PERSONAL
SPACE

61. COMPANY
SPACE EM
PH
AS
S IS ON IS O
EMPHA BR
AND N
ECT communications layer BUI
DIR G LD
AGIN ING
M ESS
presentation
layer
The ‘thing’
itself
RATIONAL EMOTIONAL
perceptions
AP
PE
TO AL
RE S TO
AS A LS
ON PE S
AP T ION
E MO
PERSONAL
SPACE

62. http://www.poetpainter.com/thoughts/article/classifying-experiences

63. http://www.poetpainter.com/thoughts/article/classifying-experiences

64. http://www.poetpainter.com/thoughts/article/classifying-experiences

66. THE WORLD “OUT THERE”
- +
THE WORLD YOU PERCEIVE

67. THE WORLD “OUT THERE”
- +
THE WORLD YOU PERCEIVE

68. THE WORLD “OUT THERE”
- +
THE WORLD YOU PERCEIVE
THINK ABOUT ASSOCIATIONS
(AKA “PATTERN MATCHING”)

69. Why do we know these are all the letter A?
A A A A
A A A A
A AA A

77. “Message of Love from the Dolpins”
(Message d’Amour des Dauphins)
If you look at the vase you’ll probably agree
that it depicts a man holding and kissing a
woman from behind. What if I told you that
the image in fact depicts a number of
dolphins?
In fact it depicts both - it’s all a matter of how
your brain interprets it. Kids, who are
“inexperienced” tend to see the dolphins.
Grownups tend to see the loving couple, Some
grownups can’t even see the dolphins if they
try really hard.
It’s all about what the brain expects and
knows. If you know how to see a certain
pattern, you’re more likely to see that pattern.

78. “Message of Love from the Dolpins”
(Message d’Amour des Dauphins)
If you look at the vase you’ll probably agree
that it depicts a man holding and kissing a
woman from behind. What if I told you that
the image in fact depicts a number of
dolphins?
In fact it depicts both - it’s all a matter of how
your brain interprets it. Kids, who are
“inexperienced” tend to see the dolphins.
Grownups tend to see the loving couple, Some
grownups can’t even see the dolphins if they
try really hard.
It’s all about what the brain expects and
knows. If you know how to see a certain
pattern, you’re more likely to see that pattern.

79. http://www.happyplace.com/10999/incredibly-ill-conceived-headline-photo-pairings

80. http://www.happyplace.com/10999/incredibly-ill-conceived-headline-photo-pairings

81. http://www.happyplace.com/10999/incredibly-ill-conceived-headline-photo-pairings

82. http://www.happyplace.com/10999/incredibly-ill-conceived-headline-photo-pairings

83. http://www.happyplace.com/10999/incredibly-ill-conceived-headline-photo-pairings

84. http://www.happyplace.com/10999/incredibly-ill-conceived-headline-photo-pairings

86. "Let’s take Susan Boyle. Her music
was irrelevant. She was irrelevant.
What sold her albums was her
story. Of course, the music has to
be good, too. But there’s a lot of
good music out there. But there
aren’t a lot of good stories."

87. "Let’s take Susan Boyle. Her music
was irrelevant. She was irrelevant.
What sold her albums was her
story. Of course, the music has to
be good, too. But there’s a lot of
good music out there. But there
aren’t a lot of good stories."

88. “How fast was the car going when
it hit the other car?”
“How fast was the car going when
it smashed into the other car?”

89. “How fast was the car going when
it hit the other car?”
“How fast was the car going when
it smashed into the other car?”

90. SURVEY QUESTIONS:
(1) How happy are you?
(2) How often are you dating?
low correlation (.11)
(1) How often are you dating?
(2) How happy are you?
(high correlation (.62)

91. “CODED ICONIC MESSAGES”

92. http://www2.psych.ubc.ca/~rensink/flicker/index.html

93. http://en.wikipedia.org/wiki/Change_blindness
http://www2.psych.ubc.ca/~rensink/flicker/index.html

94. Depth of Field:
Mimicking Your Biology
The closer an actual object is,
the more narrow your range of
focus becomes… Our brains
have spent a lifetime (or at
least youth, for the far-
sighted) associating a tight
depth of field with closeness.
http://uxblog.idvsolutions.com/2012/03/brain-hack-tilt-shift-hows-and-whys.html

95. LITERAL-METAPHORICAL CONFUSIONS
Volunteers would meet one of the experimenters,
believing that they would be starting the experiment
shortly. In reality, the experiment began when the
experimenter, seemingly struggling with an armful of
folders, asks the volunteer to briefly hold their coffee.
As the key experimental manipulation, the coffee was
either hot or iced. Subjects then read a description of
some individual...
Students who had recently been
cradling the warm beverage were
far likelier to judge the fictitious
character as warm and friendly
than were those who had held the
iced coffee.
http://opinionator.blogs.nytimes.com/2010/11/14/this-is-your-brain-on-metaphors/

96. Hey, it’s a video!
eos.html
http://www.theinvisiblegorilla.com/vid
.

97. INATTENTIONAL BLINDNESS
Visual perception is more
than photons entering your
eyes and activating your
brain. To truly see, you
must pay attention.

98. My “A-Ha!” moment about pattern recognition

99. Aesthetic Perceived Semiotics/ Conceptual Narratives
Associations Affordances Iconography Metaphor & Stories
(shapes, colors, movement) (shadows, reflections, etc.)
What do all these have in common?

100. Aesthetic Perceived Semiotics/ Conceptual Narratives
Associations Affordances Iconography Metaphor & Stories
(shapes, colors, movement) (shadows, reflections, etc.)
Bouba-Kiki Effect
What do all these have in common?

101. Aesthetic Perceived Semiotics/ Conceptual Narratives
Associations Affordances Iconography Metaphor & Stories
(shapes, colors, movement) (shadows, reflections, etc.)
What do all these have in common?

102. Aesthetic Perceived Semiotics/ Conceptual Narratives
Associations Affordances Iconography Metaphor & Stories
(shapes, colors, movement) (shadows, reflections, etc.)
What do all these have in common?

103. Aesthetic Perceived Semiotics/ Conceptual Narratives
Associations Affordances Iconography Metaphor & Stories
(shapes, colors, movement) (shadows, reflections, etc.)
What do all these have in common?

104. Aesthetic Perceived Semiotics/ Conceptual Narratives
Associations Affordances Iconography Metaphor & Stories
(shapes, colors, movement) (shadows, reflections, etc.)
What do all these have in common?

105. Aesthetic Perceived Semiotics/ Conceptual Narratives
Associations Affordances Iconography Metaphor & Stories
(shapes, colors, movement) (shadows, reflections, etc.)
What do all these have in common?

106. Aesthetic Perceived Semiotics/ Conceptual Narratives
Associations Affordances Iconography Metaphor & Stories
(shapes, colors, movement) (shadows, reflections, etc.)
What do all these have in common?

107. Aesthetic Perceived Semiotics/ Conceptual Narratives
Associations Affordances Iconography Metaphor & Stories
(shapes, colors, movement) (shadows, reflections, etc.)
What do all these have in common?

108. PRACTICAL APPLICATION?

112. short verbose lengthy,
answer answer digestable
answer
“poor quality” “too much effort
(for me to read)” “ah, just right!”

113. short verbose lengthy,
answer answer digestable
answer
“poor quality” “too much effort
(for me to read)” “ah, just right!”

116. {Long email. Short reply.}

117. {Long email. Short reply.}
“Sent from my iPhone.”

118. “my kids” vs ‘four boys”

119. “cucumber chips”

122. anchoring a
‘new’ concept

123. TWO POINTS (SO FAR)
1. THE WORLD OUT THERE !=
THE WORLD WE PERCEIVE.
2.ATTENTION & AWARENESS
ARE HACKABLE.
(AND WE SOMETIMES HACK IT WITHOUT INTENDING TO!)

124. THIS ALL SOUNDS A BIT…
ESOTERIC?

125. “ The core of
every trick is a
cold, cognitive
experiment in
perception.”
MAGIC!
Read more: http://www.smithsonianmag.com/arts-culture/Teller-Reveals-His-Secrets.html#ixzz1nbqB85k0

126. FILM!
http://www.slideshare.net/adamconnor/applying-filmmaking-tools-and-techniques-to-interaction-design

127. DISNEY!

128. DISNEY!

129. HOSPITALITY!

130. PHOTOGRAPHY!
BEFORE AFTER

131. ADVERTISING
MUSICIANS
EDUCATORS
ARCHITECTURE
PHOTOGRAPHY
IANS
WHAT ABOUT UX?
MAGIC
FILM
POLITICIANS
LAWYERS
NEGOTIATIONS
ARTISTS
UBLISHERS

132. WHAT ARE YOU DOING TO
(INTENTIONALLY) SHAPE
PERCEPTIONS IN YOUR WORK?

133. !

134. PERCEPTION STRATEGIES: (TAKEAWAYS?)
Equalize the Starting Point Explore the space “Between Design each “Micromoment”
We make sense of things based on prior the Lines” To isolate perception possibilities, think
experiences. What visual or narrative Consider a" possible associations, about each progressive state along the
anchors can you offer to orient someone’s intended or unintended. way, not just the overarching scenario.
experience? (Until it’s possible to meet
people where they are at)
Set the Mood Declare Why Arouse, Engage and Grab
Our emotional states contribute Want a better experience? Design based Attention!
significantly to how we perceive the on motivations and intent. It’s not What does the brain pay attention to?
world around us. Have you thought about what, but also why. Visuals, the unexpected or out of the
intentiona"y about the affective ordinary, stories…
experience?
Adjust the Fidelity of Design Whole Experiences, Context, Context, CONTEXT!
Information Shared not Parts. Where does the experience take place,
More fidelity equals less room for Human beings don’t subdivide their litera"y and emotiona"y? What’s going
interpretation. This is true of visual as experiences into pieces like “graphics” on in the background? What’s going on
we" as verbal or written fidelity. and “content.” UIs aren’t so complex interna"y, with that person?
that we can’t iterate quickly at a high-
level of visual and interaction fidelity.

135. Explore the space “Between
the Lines”
Consider a" possible associations,
intended or unintended.

136. Explore the space “Between
the Lines”
Consider a" possible associations,
intended or unintended.

137. Explore the space “Between
the Lines”
Consider a" possible associations,
intended or unintended.

138. Explore the space “Between
the Lines”
Consider a" possible associations,
intended or unintended.

139. Explore the space “Between
the Lines”
Consider a" possible associations,
intended or unintended.

140. WHAT IS YOUR
PERCEPTION
STRATEGY?

141. Thank you!
slideshare.net/stephenpa
getmentalnotes.com
Stephen P Anderson
.
@stephenanderson
www.poetpainter.com

142. MORE: Fantastic books to learn more about the inner workings of the brain
The prequel to this presentation:
http://www.sleightsofmind.com/
http://amzn.com/0061771295
http://amzn.com/0393077829
http://www.slideshare.net/stephenpa/the-stories-we-construct
Not mine, but a bril iant presentation on memory!
http://koenatclaes.com/

143. MORE:
Fascinating research on developing a new sense:
http://feelspace.cogsci.uni-osnabrueck.de/