atw: Re: Audience Analysis
- From: "Chris lofting" <lofting@xxxxxxxxxxxxxx>
- To: <austechwriter@xxxxxxxxxxxxx>
- Date: Sat, 21 Nov 2009 14:36:30 +1100
> -----Original Message-----
> From: austechwriter-bounce@xxxxxxxxxxxxx
> [mailto:austechwriter-bounce@xxxxxxxxxxxxx] On Behalf Of
> Michelle Hallett
> Sent: Saturday, 21 November 2009 1:28 PM
> To: austechwriter@xxxxxxxxxxxxx
> Subject: atw: Re: Audience Analysis
>
> Hi Chris,
>
> I think this is about more than just our emotions/intuitions.
> It's more about a habit of use. We understand how to use
> certain things because it's part of previous attempts to use
> these tools (hyperlinks, gripping surfaces on tools).
>
The encoding of an object in our brains, be it a representation of a
physical or mental entity has a methodology involved that encodes details
within the object through the use of recursion. If I DESIGN something I will
encode that design with associations to imagined or real sensory experiences
and these are mapped to classes of meanings governed by the neurology. The
classes cover the basics of wholeness, partness, static relatedness (sharing
of space), dynamic relatedness (sharing of time) and composite forms.
In mental constructs the encoded object will contain a set of properties
that include its purpose/goal and so its reason for existing, for being
defined in the first place. As such access to this data associates with your
statement "an object should show us by its structure where it should be
held" - the SAME methodology in processing physical data applies to mental
data.
The dynamics of the neurology through use of recursion will, given DEPTH in
that recursion, turn a mechanistic, heading-for-an-infinite-regress, form of
categories derivation into a language and so transform the mechanistic into
the organic and so put a brake on the infinite regress.
The unconscious classes of meanings, the 'universal' categories, seed the
development of language and basic information processing such that there are
intuitive elements present that allow for identification of 'wholeness' or
'partness' without previous experience of such - these categories are
'pre-determined' by the very nature of the neurology in that such nature
processes information through patterns of differentiating (thingness,
discretisation, push away, positive feedback, anti-symmetry bias that can
lead to asymmetry) and integration (relatedness, pull together, negative
feedback, symmetry bias). Mediation across that dichotomy elicits the
development of languages from basic categorisations (the oscillations
involve reflect the use of recursing the dichotomy to give us a parts list
of possible meanings/solutions etc)
Thus there is an 'innate' aspect of language in all of us, and in all
neuron-dependent life forms for that matter, where it is neural mass and
especially neural connectivities, that make the difference between our
brains and bandwidth vs, say, the 'brain' of the zebra fish.
An object and its representation is a closed system and comes with
properties and methods regardless of reality - the more details to add the
more the object is refined internally to represent/store such (this includes
associations outside of the scope of the context under consideration where
such includes imaginative elements tied to cultural/personal
history/legend/myth)
The overall goal of our species nature is for the formation of
habits/instincts where such allows for energy conservation and so allows
context to push us. The instincts/habits have a symmetric form, a closed
system, and work off SAMENESS - thus we filter information using
instincts/habits to allow us to conserve energy and thus, consciously, only
deal with DIFFERENCES (as such we habituate to sameness).
Given the above, different audiences will come with different habits
locally, but will cover the generic properties/methods of habits globally.
Given the ability to access the forms of those encoded habits, their sensory
elements translate into emotional elements (gets into the use of secondary
harmonics to differentiate information and the mapping of such harmonics to
emotions) such that intuitive patterns of reasoning come into play and so
ability to estimate what the audience will prefer/try-first based on
identification of the audience's goals/outcomes/purpose. With enough
information derived using dichotomisation it is possible to identify the
goals etc of an object without explicit recognition of such to start with -
this being due to the closed system of the object 'template' we all have in
our heads where such includes a description, through of analogy, of the
goal/purpose.
The DEPTH of details derived in filling-in object content leads to a level
where the categories derived from recursion can in fact form into a language
and a property of a language is the ability to describe itself through use
of analogy to elements of itself.
By understanding the general goals of the audience one can refine the
designs etc to bias them to 'best fit' the audience such that audience
participation is experienced as 'easy', 'intuitive' etc purely by
identifying the unconscious elements at work. We note that the particular
goals of individuals in the audience will differ, but the aggregate of
participants will give the audience a 'persona' and that includes
goals/purpose as a whole.
For example, if the goal of the audience is identified as personal technical
skill development then the presentation focus cover high precision, bullet
points, formulas etc with competitive edge (playful competition that can get
rough) as compared to an audience focused on social habits development (a
more cooperative bias) where the presentation focus demands a more
qualitative, multi-media approach that included narratives etc. we see here
the subtle differences of directing thinking (high precision, think in
words, asymmetries, sequence, date/time stamps) vs mythic thinking (lower
precision, think in images etc, symmetries/anti-symmetries, magnitudes,
emotional highs/lows)
To a high tech audience, E=MC^2 gets the point across and little more need
be said, but for a more social habits audience we need a 2.5 hour, not too
technical, video on the bombing of Hiroshima to get the point across.
The basic sought-after goals/outcomes of these audiences are wrapped-up in
their identities as specialist audiences and we can extract such information
using such techniques as the Emotional I Ching etc. There is no
customisation down to the level of each unique consciousness in the
audience, but there is generalisation covering the audience as a whole where
such generalisation is identifiable, if but vaguely, such that we know how
to 'handle' the audience in general and then use consciousness to customise.
Chris
http://www.emotionaliching.com
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