text:
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text:
Black City Page 1
Author: Elizabeth Richards
Series: Black City #1
Genres: Young Adult , Science Fiction
AN AIR-RAID SIREN wails in the distance, alerting Black City citizens to lock their doors and turn out the lights. They don't want to be out in the dark alone. They might meet something dangerous. Something like me.
I head under the canal bridge and wait for the girl, taking a packet of Sentry-regulation smokes from my back pocket and sparking up. The nicotine courses through my veins, making them throb with adrenaline; the sensation is almost like a pulse . . . almost.
Footsteps approach the bridge, and a short girl with straggly black hair appears from the shadows, dressed in men's work boots, tight black trousers and a tailcoat made from a patchwork of clashing fabrics. Her hazel eyes gaze up into mine. She's brave. Not many cherry-poppers have the courage to look me in the eyes. She hands me an old playing card with two hearts on it, one red, one black. It's my calling card. It seemed an appropriate choice; that's what I'm selling her after all, an illusion of love. I slip it into the pocket of my dark green military jacket.
"You're late," I say. "Last thing I need is to be caught out here after curfew by a Tracker. They're just begging for a reason to throw me in jail."
"Sorry, they've put up extra checkpoints, stopping everyone. There's tanks everywhere!" she babbles. "I guess they can't be too careful with the Sentry Emissary back in the city, what with the boundary negotiations with the Legion and—"
"You paid Beetle?" I interrupt.
The girl nods.
"Terms and conditions," I say. "No refunds. You don't enjoy it, you puke, you freak—not my problem, okay?"
She nods again.
"You pregnant?" She blushes furiously. "I'll take that as a no. It may cause drowsiness, so don't drive or operate any heavy machinery." She smiles at this, and I grin. They always like that. "And no repeats for at least two weeks, all right? I mean it."
"That all?"
"No kissing. Strictly business, okay?"
She seems a little disappointed by this, but I don't like to mix business with pleasure. She shyly unbuttons the collar of her coat, revealing her slim, pale neck. Hunger grips my stomach at the sight.
"What do I do?" she asks.
"Lean back," I say.
She obeys like a good girl. I place a hand against the wall and slip my other hand between her thighs, gently easing her legs apart. Touching her doesn't turn me on, but I groan like it does, knowing she'll enjoy that. They all do, even the guys—it's why they come to me instead of the Haze dens. I slide my body between her thighs so we're face-to-face. Her shallow breaths are warm against my cool skin.
"Relax, okay? It's more enjoyable if you relax."
"My heart's pounding a mile a minute." She gives a nervous laugh.
"Can't say I know how that feels," I admit.
She tentatively presses a hand against my chest, and her eyes widen. "So it's true, then? You don't have a heart?"
"I have a heart," I growl, shoving her hard against the wall. It just doesn't beat.
A small tear snakes down her cheek, her thin lips trembling.
"Sshhh, it's okay, sweetheart. I didn't mean to frighten you." I gently wipe her tear away. "Forgive me?"
She nods, then tilts her head to one side, exposing the smooth whiteness of her neck. The poison sacs behind my fangs swell with venom.
Focus, Ash. Don't blow your load.
I lean toward her, pressing my lips against the soft flesh on her neck, just below her ear. Her pulse flutters under my lips, and I nearly lose it. I begin to nibble on the flesh, tickling the tiny hairs on her neck with my tongue, making them wet with my saliva.
"Do it," she whispers.
So much for foreplay. I sink my fangs into her jugular. Hot blood spills over my tongue, making my taste buds burst with its sticky sweetness. Man, I love the newbies; they always taste the best. She sighs as my venom enters her bloodstream. I wait for the Haze to take effect before I start to drink from her. That's the bonus of Haze; my clients get high from me, and I get high from them by drinking their drugged blood. It's win-win.
A sour, bitter flavor suddenly floods my mouth, and I gag, leaping back.
"What the—" I spit up blood.
The girl stares at me with glazed eyes, blood trickling down from the two puncture wounds in her neck.
"Everything's sparkling," she says dreamily.
"Didn't Beetle tell you I don't take clients on meds?"
She lurches toward me, and I grab her before she falls into the water.
"I love you," she slurs, trying to kiss me.
I shove her, hard. She falls back against the wall and slides to the ground. Her eyes roll back into her head, and she begins to spasm, white foam bubbling out the corners of her mouth.
"No, no, no! Wake up." I kneel down and shake her, panic rushing through me.
The girl jerks, her boots leaving black scuff marks on the cobblestones. Fragg! This is why I don't take clients on meds. You can never tell how they're going to react to the Haze. I shrug off my jacket and place it under her head.
A Sentry tank rolls over the bridge, and I shut my eyes and wait for it to pass. Even though the war is officially over, I still get chills at that sound. Wherever they went, Death followed. I had a few close scrapes during the war. During those days, the fact that I was a legal citizen and half human didn't mean much to them. If you weren't 100 percent human, you were the enemy. Every day was a fight for survival. Not much has improved since then; I'm still the enemy in most people's eyes. All they can see is the Darkling in me. The tank turns down Bleak Street toward the Sentry Emissary's headquarters.
The girl groans. It's too dangerous here; I have to go. I could just leave her . . . No, that's not an option, but I can't take her to the hospital. I'd get in so much trouble.
I peer down the canal. A yellow barge is moored about one hundred feet away. The lights are off. Where is he? He's meant to be my wingman; that's why I came to the bridge in the first place. Can this get any wor—
An explosion of pain bursts inside my chest, and I clutch a hand over my lifeless heart. I sense someone behind me and turn.
A girl stands by the entranceway, lit by the headlights of a passing truck. In the fleeting light, I catch a glimpse of cornflower-blue eyes flicking between me and the Hazer writhing on the ground.
Her gaze finally fixes on me.
I fall back, struck down, as the pain in my chest blooms again.
Shivers run through my body, rushing toward a single point in my chest. There's a spark of electricity and then:
A flutter.
"I DIDN'T SEE ANYTHING, okay? I'm not looking for trouble," I blurt out, fear spiking in me.
The boy clutches his chest, like he's in pain. He looks up at me with sparkling black eyes, and my heart stumbles and races to catch up with the beat. He blinks, shakes his head like he's trying to remember where he is, while my head spins as it dawns on me that I somehow recognize him. But how? Even in my panicked state, my brain's able to process the fact we haven't met before. I sure as hell would've remembered him. I don't need to see his fangs to know what he is: hair like black fire and glittering eyes are all the evidence I need. A twin-blood Darkling.
I should be running a mile—every instinct is screaming at me to leave, but my feet are glued to the ground, my body paralyzed, as memories I've repressed all year flood my mind: a pair of white fangs, my father's anguished face, blood spraying across the ceiling.
The drugged girl beside him moans, her dark hair falling away from her face. She looks just like my sister, Polly.
"Help me," she whispers.
I hesitate, uncertain. What if she were my sister? Would I leave Polly here with him?
My decision is made for me when a Sentry truck pulls up on the road overhead and the engine cuts out. I dart under the bridge and press my back against the mildewed wall, placing a finger to my lips. A moment later, a door opens and footsteps echo along the road above us. The Darkling boy tenses, glancing up at the sound.
"I'm sure I saw her," a voice says above us. Sebastian.
There's silence for a moment. I shut my eyes and pray he leaves.
A man snorts. "She's more bloody trouble than she's worth." The deep voice sounds like Kurt, one of Sebastian's troop leaders.
"I suggest you hold your tongue—unless you want me to cut it out?" Sebastian says.
"Sorry, chief," Kurt says quickly. "I didn't mean any disrespect."
"Let's try down Bleak Street," Sebastian suggests.
They head off on foot. I let out a long sigh, and so does the twin-blood Darkling boy. We warily eye each other for a few seconds. I doubt he'll attack me when there are Trackers so close by. He's a twin-blood, not one of those mindless Wraths, so he'd understand the risks to himself if he attempted it. This thought eases my mind a little.
"Thanks," I say to him.
"No worries, blondie. Any enemy of the Sentry is a friend of mine," he drawls.
A strange sensation pulls at my heart as I take a step toward him. I pause. That's odd. I take another step. It happens again, a definite tug this time, drawing me closer to him, despite the warning voice inside my head that's telling me to keep my distance.
I kneel down beside him and the Hazer girl, my black tulle skirt fanning around me.
"What happened?" I say, turning the girl's head, revealing the two puncture wounds. "Haze?"
He nods.
"She needs to go to the hospital," I say.
"That's not going to happen. She knew the risks."
"She could die."
He shrugs. "Not my problem. I'm not getting executed for her."
I glance down at the girl again and anxiously bite my lip, drawing blood. Big mistake. The Darkling boy's head snaps up, his nostrils flaring, and the air around us sparks with static. His gaze is like a thrilling darkness sliding over my body, cold like winter's frost, leaving a trail of goose pimples where his eyes have touched me.
The Sight.
It's a force Darklings use to mark their prey in order to ward off others of their kind. I've only been touched by the Sight once before, the night my father died. The Darkling boy slowly surveys me, his eyes drifting to the shiny red scar cutting across my skin over my heart, visible beneath the fine lace of my corset. I hurriedly cover the scar with my hand, and he drops his gaze, breaking the spell.
Footsteps approach the bridge, and my stomach leaps into my throat. Sebastian and Kurt have returned.
"Let's get back to headquarters," Sebastian says to Kurt as he climbs into the truck. "Natalie's probably gone home."
"She better have," Kurt mutters. "The Emissary will have my head if her daughter gets chomped by a rogue Darkling. Bloody nippers, I don't know how they keep getting over the wall."
The Darkling boy's eyes narrow. "You're the Emissary's daughter?"
Fear tiptoes down my spine. I gulp, realizing the danger I'm in.
"I don't want any trouble," I say.
"Too late for that, blondie." The corners of his mouth curl up to reveal his fangs.
I hurriedly edge away from him. My back slams into the cold stone wall. I'm trapped.
The Hazer girl groans.
"I think she's going to be okay. There's no need for anyone else to get involved," I say, panic rising in my voice.
We eye each other steadily, waiting to see what's going to happen next. There are only two options: he lets me go and trusts I won't report him. Or he kills me.
My heart bangs against my chest. I hold my breath, waiting.
He snarls. "Tell anyone about me, and you're dead."
He gets to his feet, and in a flash, he's gone.
THE BLACK COBBLED STREETS are deathly quiet as I head home, but that's normal at this time of night. You'd have to be suicidal or insane to be out here after curfew. I'm still deciding which one I am.
I hurry home, knowing it's unlikely I'll encounter any more trouble tonight but not wanting to push my luck. The soot-encrusted Cinderstone houses on either side of me smolder in the dark, still burning after last year's air raids that destroyed the city.
I can't resist running my fingers through the soft ash coating the walls of the houses, staining my skin black. Black. That's the color of my world here: black streets, black buildings, black skies. Black everything. I've almost forgotten what color looks like.
A memory of the Sentry girl's blue eyes flashes across my mind, and my chest tightens. What happened back under the bridge? I swear I felt my heart . . . what? Stir? I laugh. The idea's so stupid; my heart's never moved a millimeter in my whole life. It just sits lifelessly inside my chest. It must've just been the bad blood from that Hazer girl. That can mess you right up. Yeah, that must've been it. I can't allow myself to hope.
Above me, digital screens the size of billboards dominate the rooftops, looking out of place against the Gothic architecture of the centuries-old buildings. The screens broadcast continual footage from SBN, a government-owned network. It only shows propagandist messages, advertisements and news stories promoting the Sentry government.
A female voice booms out from the monitors. "And now a message from your government."


text:
Advances in Consumer Research Volume 21, 1994 Pages 175-180
Jon D. Morris, University of Florida
James S. McMullen, University of Florida
Research on emotion and advertising has focused on emotional responses in the viewer and include links between emotional responses, recall, attitude-toward-the-ad, and purchase behavior (Holbrook & O'Shaughnessy, 1984; Thorson, 1989). The fact that both positive and negative emotional responses to the same advertisement have been found (Edell & Burke, 1987) suggests that these relationships might be more complex than previously thought. If more than one emotional response occurs within the same commercial, then a measurement of overall emotion may be insufficient to explain the effects of emotion. For example, one McDonald's commercial has a father sharing french fries with his eight-year-old daughter and then feeling left out when she becomes a teenager and shares fries with her friends instead. After watching the entire ad, viewers might describe it as slightly pleasant. This description would miss the fact that more than one emotional response may have been experienced, a very pleasant emotional response to the first part and a slightly sad emotional response to the second half. These multiple responses may or may not turn out to be significant in the long run, but no researchers have yet addressed this problem empirically. If a method is found for detecting multiple emotional responses to a single commercial the next step may be to explore the relationship among the responses.
Some investigators have hypothesized that more than one emotional response occurs either simultaneously (Burke & Edell, 1989; Mitchell, 1986), in sequences (Aaker, Stayman & Hagerty, 1986; Burke & Edell, 1989; Rossiter & Percy, 1991; Yi, 1990), or combines to make new emotions (Batra & Holbrook, 1990; Hill, 1988; Hill & Gardener, 1987; Mano, 1990; Mitchell, 1986) Some have even gone as far as to predict the effects of multiple emotions (Aaker et al. 1986), arguing that sequence effects would occur according to adaptation (Helson, 1964) and assimilation contrast theory (Sherif & Hovland, 1961).
While Edell and Burke (1987) provide empirical evidence of co-occurring multiple emotional responses, other data also point to this phenomenon. Aaker, Stayman, and Hagerty (1986) have shown that the intensity of one emotion, warmth, varies across a single advertisement. Rossiter and Percy (1991) have suggested that intentionally eliciting multiple emotional responses can benefit advertisers. They propose that a sequence of emotions must be present to motivate behavior. In an approach/avoidance construct (Mowrer, 1960) viewers could be motivated to avoid negative stimuli and search out positive stimuli. For instance, a commercial might begin by eliciting a negative emotional response and end by removing the negative stimuli, which would create a "relief" reaction in the viewer. These types of ads have been called poignant commercials (Thorson & Friestad, 1989).
Dimensions of Emotion
Several methods for measuring emotional responses to advertisements have been tested (eg: Izard, 1977; Plutchik, 1984; Mehrabian and Russell 1974, 1977) with the greatest support for the dimensional approach (Holbrook and Westwood, 1989). This approach holds that emotions are dimensional and measurements of response can be plotted in a single three-dimensional space. The axes of the space, the three dimensions that compose each emotion, are named pleasure, arousal, and dominance (PAD). These dimensions are bipolar, so the pleasure dimension, which is also called valence, runs from pleasant to unpleasant. The arousal dimension runs from aroused to asleep, and the dominance dimension runs from in-control to controlled. By finding an emotion's pleasure, arousal, and dominance scores, it can be plotted in the three-dimensional space, and each emotion's position in the space is unique.
Even using Mehrabian and Russell's (1974) PAD framework, however, measurement of more than one response is problematic. To measure emotional responses to parts of an ad, it is necessary to use one of three methods: 1) rely upon the viewer's memory of all of his/her emotional responses and where they occurred in the ad; 2) continuous measure of emotional responses; or 3) stop the ad at the point of measure. Of these three methods, the first can be ruled out because only the memory of an emotional response, not the actual emotional response itself, would be measured. The other two methods are not as easy to judge.
Continuous autonomic measures or physiological measures have not enjoyed wide acceptance in advertising studies. Among the physiological measures available are heart rate (HR), galvanic skin response (GSR), electrodermal activity (EDA), the electrocardiogram (EKG), electromyogram (EMG), electrogastrogram (EGG), electrooculogram (EOG), electroencephalogram (EEG), pupil dilation, eye movement, and facial expressions. While this is a large arsenal of measures, none of these have been widely accepted as useful in advertising research for measuring emotion (Holbrook & O'Shaughnessy, 1984) and any one physiological measure is inadequate to detect a full range of emotional responses (Russell, 1989; Cacioppo & Petty, 1989).
Aaker et al. (1986) developed a warmth monitor that provides a possible continuous measure. To apply their technique to the measurement of PAD, however, would require a separate instrument for each dimension. If we accept the three dimension theory (PAD) of emotion then a single dimension continuous measure would be inadequate or at best cumbersome.
Measurement of an Ad by Halves
Measuring an ad by halves should be sufficient to determine if more than one emotional response occurs. This assumption is based upon research showing that emotional intensity varies by the midpoint and the end of an advertisement (Aaker et al., 1986). In addition, measuring ads by halves will allow for the comparison of each half alone to the ad as a whole. If this research uncovers multiple emotional responses, then a more continuous analysis of advertisements might be warranted.
Measuring ads by halves could be accomplished using several popular verbal measures. Present verbal measures include emotion and adjective checklists such as the Multiple Affect Adjective Check List (MAACL) (Zuckerman & Lubin, 1965) and the Nowlis (1965) Anxiety Scale. These scales are used in many studies in both psychology and advertising, and are reported to have high reliability and validity scores. Some advertising researchers (e.g., Holbrook & Westwood, 1989; Wells, Leavitt, & McCouville, 1971) have attempted to create their own emotion scales, but have not succeeded in convincing their colleagues to adopt their instruments. Advertising professionals have even gotten into the act with scales such as Leo Burnett's Viewer Response Profile (Schlinger, 1979). These verbal measures are not well suited to the present study because they take several minutes to complete. If an ad is to be stopped in the middle, a measurement taken, and the ad then continued, the pause between halves must be as short as possible. If the pause is too long, it is likely that subjects will lose the flow of the advertisement, including the emotional responses being measured.
The Self-Assessment Manikin
The Self-Assessment Manikin (SAM) (Lang, 1984) is a graphic character that is used to represent the three dimensions of PAD. Figure 1 is an example of the entire SAM scale. SAM depicts each PAD dimension with a graphic character arrayed along a continuous nine-point scale. The first row of figures is the pleasure scale, ranging from pleasant to unpleasant. The second row is the arousal scale, ranging from aroused to asleep, and the final row is the dominance scale, ranging from controlled to controlling. SAM visually represents Mehrabian and Russell's three PAD dimensions and was designed as an alternative to cumbersome verbal self-report measures (Lang, 1980).
Initially, SAM was compared to PAD by using the catalog of situation employed by Mehrabian and Russell(1974) to standardize the PAD dimensions. The results indicated that SAM "generated a similar pattern of scale values for these situations as was obtained for the semantic differential (Pleasure +.937, Arousal +.938 and Dominance +.660)" (Lang, 1980, p.123). Several studies both in the United States and abroad have validated the SAM scales and demonstrated their effectiveness for measuring emotional responses. Greenwald, Cook and Lang (1989) examined the relationship of affective judgements using SAM and psychophysiological responses based on a dimensional analysis of emotion. Morris, Bradley, Lang and Waine (1992) successfully tested SAM in an advertising context. Thus, SAM presents a promising solution to the problems associated with measuring emotional response to advertising (Morris & Waine 1993).
SAM has been shown to be highly reliable in psychological studies (Hodes, Cook & Lang, 1985) and also highly correlated with traditional measures of PAD (Mehrabian & Russell, 1977) and physiological measures (Lang, Greenwald, Bradley & Hamm, in press). SAM is easy to use and quick, requiring less than 15 seconds. This is of critical importance to the present study. In addition, as a graphic instrument, SAM avoids cultural and language problems suffered by verbal measures (Lang et al., in press). These factors make SAM a good measure for advertising research and a nearly ideal measure for the present study.
The primary purpose of this study was to determine if multiple emotional responses to a single advertisement can be detected with a non-verbal measure of PAD.
H1: Two different mean score levels of emotional responsesCpleasure, arousal and dominanceCwill be detected within one television advertisement. H2: Measurement of PAD mean scores by ad halves using SAM will detect two distinct emotional responses.
H1: Two different mean score levels of emotional responsesCpleasure, arousal and dominanceCwill be detected within one television advertisement. H2: Measurement of PAD mean scores by ad halves using SAM will detect two distinct emotional responses.
H1: Two different mean score levels of emotional responsesCpleasure, arousal and dominanceCwill be detected within one television advertisement.
H2: Measurement of PAD mean scores by ad halves using SAM will detect two distinct emotional responses.
This study utilized a 2 x 2 x 4 repeated measures design. The lone between-subjects variable was gender. Within-subjects variables were ad type (2 levels) and presentation mode (4 levels). Table 1 shows the four presentation modes and the measures derived from them.
Forty-one 30-second television advertisements were chosen from a pool of more than 200 commercials collected from several advertising agency reels, the 1989 Clio awards, and some commercials taped from the television in geographic areas other than where the study was conducted. Advertisements known to be currently running or that had been recently run in the study's geographic area were eliminated from the pool. Commercials in the pool were then watched by three judges who were asked to indicate whether they believed the ads would or would not have detectable shifts in levels of Pleasure, Arousal and Dominance. One group, the bi-emotional response ads (bi-ER) included 20 ads that the judges felt (87 % agreement) would elicit two different emotional responses. The second group, the uni-emotional response ads (uni-ER) included 20 ads that the judges felt (93 % agreement) would elicit one emotional response.
On each tape, an ad was shown in one of four presentation modes. These presentation modes were balanced across ads, such that each mode was represented equally often on each tape. For example, on the first tape, ad #1 was shown in mode 3, ad #2 in mode 1, ad #3 in mode 3, etc. Also, across tapes, each ad was seen equally often in each mode, so for ad #1, tape one showed it in mode 3, tape two in mode 2, tape three in mode 1, and tape four in mode 4.
The 40 ads were then randomly ordered for placement on the four experimental tapes. Different versions of each of the 40 ads were randomly ordered for placement on the experimental tapes. Four tapes were made, and the ads were placed in the same order on each tape. This means that effects of ad order should have been the same for all tapes. The break points of the ads came at the 15-second mark unless the scene, jingle, or story made this impractical. In those cases, the break point came at a logical break in the story or scene (as close to the 15-second mark as possible). This was done to allow for easier understanding by subjects who saw only the second half of the ad, and for a less abrupt ending for those who saw only the first half.
Thirty-seven subjects, 19 females and 16 males, were recruited from an introductory advertising class. They were primarily freshmen and sophomores and received extra credit in their class for their participation in this study. Subject were randomly assigned to videotape groups. Emotional responses were measured using SAM. The order of the three dimensions was varied to make subjects pay attention to the scale, and to keep them from making the same marks in the same order on every page.
In selecting the television commercials for this study, judges were used to produce two groups (ad types). To determine if the groups were significantly different, each type was analyzed by first-half-alone and second-half-alone presentation modes. A within-subjects MANOVA revealed a type by mode interaction (F(1/29)=4.66) for pleasure only. As expected, pairwise t-tests revealed that, for ads which were pre-judged to have more than one emotional response (bi-ER ads), pleasure for the second half was significantly greater than the first half (t(31)=-2.07). Ads which the judges felt would elicit the same emotional response throughout (uni-ER ads) showed no difference between halves (t(31)=0.30). Pairwise t-tests between types of ads (uni-ER or bi-ER) revealed a significant difference for the first half. Uni-ER ads were significantly more pleasurable than bi-ER ads in the first half (t(31)=2.34). No such difference was found for the second-half-alone presentation mode (t(31)=-0.04). These results support the premise that ads differed by type in the first half of the commercial. Typically, the second half would be constructed to leave the viewer with a positive feeling about the product. The second half of both presentation types (uni-ER or bi-ER) should be the same.
PAD Results
Mean ratings for pleasure, arousal, and dominance by presentation model are given in table 2. A mixed-model MANOVA was run on the subject means to determine main effects and interactions. No main effects of either gender or ad type were found, nor were any interactions found. Significant main effects for presentation mode were obtained for both pleasure ratings (F(3/87)=6.88) and arousal ratings (F(3/87)=6.45) but not dominance. These results indicate that levels of pleasure and arousal varied depending upon what part of the ad was seen.
To further examine these effects, paired t-tests were conducted on the pleasure and arousal means by mode. Figure 2 illustrates the means by mode for pleasure. The valence results showed that the first-half-alone and second-half-alone presentation modes were significantly less pleasurable than the whole-ad mode (t(31)=-3.93; t(31)=-3.50 respectively) or the second-half-split mode (t(31)=-3.22; t(31)=-2.01 respectively). If the second-half-split mode is considered to be a measure of the entire ad, these results imply that whole ads were more pleasurable than either half alone. For arousal, the t-tests revealed that the first-half-alone and whole-ad presentation modes were more arousing than the second-half-alone mode (t(31)=2.66; t(31)=-3.10). The whole-ad mode was also significantly more arousing than the second-half-split mode (t(31)=2.43). Figure 3 illustrates these results. Thus, in all instances where the first half of the ad was included in the presentation, whether alone, split, or in the whole ad, arousal ratings were higher. Viewing the second half in the absence of the first half produces lower emotion ratings.
Pearson product moment correlations were also calculated to test for relationships between PAD ratings as a function of mode. Overall, pleasure was positively correlated with arousal (r(31)=.4199) and dominance (r(31)=.1570), whereas arousal and dominance were not correlated. Of particular interest are the correlations for the whole-ad presentation mode, because they indicate which halves are most related to the ad as a whole. For the pleasure and arousal dimensions, the correlations revealed that ratings for the whole ad are highly correlated with both the first-half (r(39)=.6425, r(39)=.5568 respectively) and second-half-split modes (r(39)=.6747, r(39)=.3858 respectively). The second-half-alone was also correlated with the whole ad for pleasure (r(39)=.4562) but not for arousal or dominance. The first half was correlated with the second-half-split for all three dimensions (r(39)=.4563, r(39)=.5567, r(39)=.4526 respectively), but the second-half-alone was correlated with the second-half-split only for pleasure and arousal (r(39)=.3160, r(39)=.2659 respectively). Finally, in none of the dimensions were the first and second halves alone correlated.
The first half of the ad seems to be the most important in determining emotional responses to the ad as a whole, because correlations are greater for the first half than the second half in the whole and split modes, and for arousal, the second half is not even correlated with the whole. Furthermore, the correlations with the whole ad are stronger for pleasure than for arousal, signifying that pleasure was the more meaningful dimension for this set of advertisements. Finally, the lack of correlations between the halves suggests that the emotional responses to the two halves are different from each other.
The results of this study supported both of the stated hypotheses. The first hypothesis predicted that multiple emotional responses would be found within a single advertisement. This was found to be true for both pleasure and arousal, but not for dominance. Subjects reported that they experienced more arousal in the first half than in the second half of the advertisement. Furthermore, they reported that the entire ad was more pleasing than either half. This demonstrates the complexity of emotional responses to television advertising.
The second hypothesis predicted that the technique of measuring emotional responses by ad halves would allow for the detection of multiple emotional responses. The fact that more than one emotional response was found supports this hypothesis. This shows that it may not be necessary to use impractical continuous physiological measures to measure parts of a television commercial.
The Self-Assessment Manikin (SAM) seems to be an effective method for measuring multiple emotional responses. The fifteen seconds given for completing each SAM proved not to be adequate.
Sequence Effects
By comparing emotional responses from entire commercials to emotional responses from their respective parts, combinations of emotional responses can be evaluated. Although several researchers (Hill, 1988; Hill & Gardener, 1987; Mitchell, 1986) have suggested that emotional responses combine over time, they were not able to determine whether the resulting evaluation would be greater, less, or somewhere between the two emotional responses. The results of this study indicate that, for pleasure, the emotional response to the entire advertisement (mean pleasure in whole ad mode = 6.93, in split mode = 6.68) is more pleasurable than either half alone (first half = 6.30, second half = 6.37). Interestingly, though, this study suggests that if viewers watch the whole ad, it doesn't matter whether more than one emotional response is generated. Overall, levels of arousal and pleasure were the same for ads that elicit more than one emotional response and ads that elicit multiple emotional responses.
Finally, the Self-Assessment Manikin (SAM) was found to be a useful measurement instrument for assessing parts of advertisements, and could be refined even further by using a shorter reaction time. Perhaps a device could be given to each subject to allow them to complete SAM at their own pace and start the next ad segment. Investigators operating within the PAD framework may want to consider SAM as the measuring instrument.
Additional research to determine the relationship between the first half of the commercial and the second half would be interesting. Would changing the first half of the ad affect the second half of the advertisement? What types of changes, on the front end of the commercial, would have the greatest affect on the second half? Multiple emotional responses to the same ad appear to be part of strategy in many advertising campaigns. The results of further study could help assist advertisers in selecting the best combination of stimuli to place in an ad.
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When it comes to negotiating a lease for medical office space, several unique factors play into identifying the appropriate property. Working with hazardous materials, complying with HIPAA, easy access, and convenient parking—all of these things should be considered when looking at a potential medical facility.
Having experienced counsel on your side can help identify key issues in the lease that make a difference down the road. Eric St. John, Broker at Crunkleton Commercial Real Estate, has brokered various medical office negotiations and has outlined some of the major factors that play into finding the ideal space for medical use.
"There are many differences between a general office space lease and a medical space lease," said Eric. "You have to look at everything from the flow of the space to determining what specific pieces of equipment will be used in it. While every deal is unique, there are a few major questions that always need thoughtful answers. And it's up to the tenant to understand what those are to ensure an effective practice."
So, here they are—five things to consider when leasing medical office space:
1) Does the space work with your needs?
This may seem like an obvious question, but taking note of certain factors will help you come up with more concrete answers. Close your eyes and imagine the space at your current family doctor's office. Are the exam rooms far away from the waiting area? Does the space allow the staff to be productive and efficient? All of these things play into proper flow within a space.
"The first thing many medical tenants look at when it comes to location is the space's proximity to the major hospital system they are affiliated with," said Eric. "From there, things like the flow of a space and accessibility are at the forefront of decision making."
Making sure your location is easily accessible for your patient base—including those with limited mobility—is something that should be deliberated. Know what major roadways and paths your patients will take to get to your building, and make sure it's an easy one.
2) How will you handle the disposal of hazardous waste/materials?
Medical office spaces often house materials that are a biohazard. With general office spaces, most leases prohibit the introduction of any hazardous wastes on the property. This is not the case with medical leases. Instead, the lease should provide well-defined guidance as to who will be responsible for the removal of such wastes. Liability for this issue shouldn't be ignored.
"Most leases address the guidelines for hazardous materials," said Eric. "The tenant is usually responsible for the handling and disposal of such waste."
It may be just a few sentences within the lease that save you from any future trouble. Have confidence that the materials are stored and disposed of properly. Make sure the lease is crystal clear on how it will be executed, as well as who will be granted access to those materials.
3) What will you do to ensure HIPAA compliance?
While every office space is sure to contain some form of confidential documents, medical spaces are required to comply with the Health Insurance Portability and Accountability Act (HIPAA). The laws outlined by HIPAA vastly affect the functionality and accessibility of medical office spaces.
"It's important to include information in the lease that outlines the landlord's access to the space," said Eric. "Usually, landlords are required to provide a certain notice before entering, unless there is an emergency. Leases can also outline the restriction of certain areas at certain times."
4) Will you need to accommodate special equipment/procedures?
Special equipment requires specialized accommodations. Because many machines need their own rooms, generate extra heat or require specific insulation, these terms need to be outlined in the lease. Completing your homework beforehand will ensure that utility services are able to accommodate any additional needs.
"You'll notice that not every practice has an X-ray machine," said Eric. "These types of machines need shielded rooms lined with lead or other materials to operate—something that may not be readily available in certain spaces. Knowing what equipment or procedures the physician plans on offering certainly affects the deal, what type of space they need, and the negotiation as a whole."
5) Who are your neighbors?
Many medical doctors seek spaces that include other primary care and internal medicine specialists because it allows for a "built-in referral system." Rather than sending your patient across the city to follow up on a matter, doctors can send them to another office within the building, cutting down on confusion and adding convenience for the patient.
"Knowing who is in the building with you is important," said Eric. "Because their business can affect your business."
Thinking ahead.
At Crunkleton, we do our best to help clients find the medical office space that fits their needs. By paying attention to the diverse needs of medical tenants, anticipating future trends, and connecting with clients, we create a relationship that aims to meet the unique needs of medical office lessees.
"We do our best to understand the medical business to make sure clients get what they need," said Eric. "Our job is to read between the lines and make sure they are taken care of in any situation. It's always rewarding when we are able to negotiate a lease that benefits both the landlord, the tenant, and the public who needs exceptional medical care."
To learn more about how Crunkleton can help you with your medical office leasing needs, contact Eric St. John at email@example.com.
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Source: The Canadian Press – Broadcast wire
Apr 16, 2018
OTTAWA – Members of Parliament return to Ottawa after a two-week break today, with the prime minister away in Europe and the Liberal government still struggling to break an impasse over the Trans Mountain pipeline.
The sitting resumes a day after Justin Trudeau instructed his finance minister to enter negotiations with Kinder Morgan to — quote — "remove the uncertainty" hanging over the project.
Trudeau announced the move after a meeting with the premiers of Alberta and B-C yesterday failed to produce a compromise between the two provinces.
Trudeau says legislation is also likely this week that would re-assert federal jurisdiction over energy projects that cross provincial boundaries.
The prime minister is in France, where tomorrow he'll become the first Canadian prime minister to address the French National Assembly, before he heads to a Commonwealth summit in London.
His visit to Paris comes only days after France joined Britain and the U-S in launching airstrikes against the Syrian government for an alleged chemical-weapon attack this month. (The Canadian Press)
(The Canadian Press)