An Empirical Evaluation of the Reversal Theory State Measure: Tracking Changes in the Experience of Video Commercials of Three Leading Running Brands

Abstract of paper delivered at the 17th International Reversal Theory Conference, Day 3, session 4, 01.07.15

An Empirical Evaluation of the Reversal Theory State Measure Using Three Running Brand Video Commercials

This paper reports on the first known empirical use of the Reversal Theory State Measure (RTSM) since its publication by Desselles et al. (2014). The RTSM was employed to track responses to three purposely-selected video commercials in a between-subjects design. Results of the study provide empirical support for the central conceptual premise of reversal theory, the experience of metamotivational reversals and the ability of the RTSM to capture them. The RTSM was also found to be psychometrically sound after adjustments were made to two of its three component subscales. Detailed account and rationale is provided for the analytical process of assessing the psychometric robustness of the RTSM, with a number of techniques and interpretations relating to component structure and reliability discussed. Agreeability and critique of the two available versions of the RTSM – the bundled and the branched – is also examined. Researchers are encouraged to assist development of the RTSM through further use, taking into account the analysis and recommendations presented.

Context-Based Sound and the Ecological Theory of Perception

This paper aims to investigate the ways in which context-based sonic art is capable of furthering a knowledge and understanding of place based on the initial perceptual encounter. How might this perceptual encounter operate in terms of a sound work’s affective dimension? To explore these issues I draw upon James J. Gibson’s ecological theory of perception and Gernot Böhme’s concept of an ‘aesthetic of atmospheres’. Within the ecological model of perception an individual can be regarded as a ‘perceptual system’: a mobile organism that seeks information from a coherent environment. I relate this concept to notions of the spatial address of environmental sound work in order to explore (a) how the human perceptual apparatus relates to the sonic environment in its mediated form and (b) how this impacts on individuals’ ability to experience such work as complex sonic ‘environments’. Can the ecological theory of perception aid the understanding of how the listener engages with context-based work? In proposing answers to this question, this paper advances a coherent analytical framework that may lead us to a more systematic grasp of the ways in which individuals engage aesthetically with sonic space and environment. I illustrate this methodology through an examination of some of the recorded work of sound artist Chris Watson.