How Naive Theories Drive Opposing Inferences from the Same Information

Deval, Hélène; Mantel, Susan Powell; Kardes, Frank R.; Posavac, Steven S.

doi:10.1086/668086

Cited by 130 publications

(112 citation statements)

References 49 publications

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“…Therefore, they often make inferences to fill in these gaps. These inferences have been referred to as naïve theories and serve as common-sense explanations to evaluate and make inferences regarding marketing communication, products and brands (Deval, Mantel, Kardes and Posavac, 2013). Two naïve theories may be linked to the need for uniqueness and conformity: the naive theory of exclusivity or the belief that exclusive products are desirable (Berger and Heath, 2007), and the naive theory of popularity or the belief that popular products are desirable, similar to "bandwagon" effects (Henshel and Johnston, 1987;Deval et al, 2013).…”

Section: The Moderating Impact Of Product Divergence On the Relation mentioning

confidence: 99%

Marketing through Instagram influencers: the impact of number of followers and product divergence on brand attitude

Veirman

Cauberghe

Hudders

2017

International Journal of Advertising

1,454

858

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Findings from two experiments show that Instagram influencers with high numbers of followers are considered more likeable, mostly because they are considered more popular. Important, only in limited cases, perceptions of popularity due to the influencer's number of followers, lead to perceptions of opinion leadership. Furthermore, one should also take into account number of followees, as very low numbers of followees might negatively impact popular influencers' likeability. Also, cooperating with influencers with high numbers of followers might not be the best marketing choice for promoting divergent products, as this lowers the brand's perceived uniqueness and consequently brand attitudes.

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Section: The Moderating Impact Of Product Divergence On the Relation mentioning

confidence: 99%

Marketing through Instagram influencers: the impact of number of followers and product divergence on brand attitude

Veirman

Cauberghe

Hudders

2017

International Journal of Advertising

1,454

858

View full text Add to dashboard Cite

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“…The expectation is that status may act as a safeguard against any negative evaluative tendencies that arise due to aesthetic incongruity, but that the extent to which aesthetic incongruity and status influence the value judgments of a set of artworks depends on the knowledge or expertise of the art consumer (cf. Deval, Mantel, Kardes, & Posavac, ).…”

Section: Theoretical Developmentmentioning

confidence: 99%

“…What sets core consumers apart from casual consumers is that they can draw on a richer, more refined body of domain knowledge (Alba & Hutchinson, ; Deval et al., ; Wänke, Bless, & Schwarz, ). The mental models of core consumers about what constitutes merit in art should make them less susceptible to the influence of status cues, as they are presumably better able to judge the intrinsic quality of the product.…”

Section: Theoretical Developmentmentioning

confidence: 99%

“…Given the contradictory arguments, the expectation is simply that core and casual consumers will differ in (1) their valuation of aesthetically incongruent artworks, (2) their susceptibility to status cues when forming these value judgments, and (3) the cognitive difficulty they experience when evaluating incongruent artworks (cf. Clarkson, Janiszewski, & Cinelli, ; Deval et al., ).…”

Section: Theoretical Developmentmentioning

confidence: 99%

“…The scores for the last two variables ( r = 0.44, p < 0.001) were summed to create an audience‐type index ( M = 6.5, SD = 1.7; cf. Deval et al., ). A median split on that index was used to divide participants into “core” and “casual” consumers (Median = 6.0).…”

Section: Experimental Studymentioning

confidence: 99%

See 2 more Smart Citations

Pièces de Résistance? Core and Casual Consumers’ Valuations of Aesthetically Incongruent Artworks

Althuizen

Sgourev

2014

Psychology and Marketing

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Research in consumer psychology suggests that there is limited room for acclaimed producers or brands to experiment with the aesthetic appearance and design of their products. This premise is rooted in consumers’ preference for aesthetic congruity and the cognitive difficulty associated with evaluating incongruent offerings. Yet examples of successful artists whose work clearly defies the imperative of congruity do exist. Although these artists are the exception rather than the rule, their success suggests that under certain conditions the audience may tolerate incongruity. The effects of the type of audience and the status of the artist on consumer valuations of aesthetically congruent and incongruent artworks were analyzed in a large within‐subjects experiment. The results show that congruity weighs more heavily for core consumers than for casual consumers, regardless of the status of the artist. Mediation analyses reveal that dislike (affective factor) and difficulty of evaluation (cognitive factor) fully explain the negative effects of incongruity on consumer judgments of aesthetic value, monetary value, and creativity. The positive effects of status are only partially mediated by liking and ease of evaluation. The article concludes with the implications of these findings for psychology and marketing, and specifically for “marketing the arts”.

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Consumer Decision Making

Luce

2015

The Wiley Blackwell Handbook of Judgment and Decision Making

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How Naive Theories Drive Opposing Inferences from the Same Information

Cited by 130 publications

References 49 publications

Marketing through Instagram influencers: the impact of number of followers and product divergence on brand attitude

Marketing through Instagram influencers: the impact of number of followers and product divergence on brand attitude

Pièces de Résistance? Core and Casual Consumers’ Valuations of Aesthetically Incongruent Artworks

Consumer Decision Making

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