BUILDING BLOCK dimensional to 8-level
An oblique line indicates an unstable situation, which causes unrest. Objects are found calmer, stronger and more controlled with more balance in the image and more restless, unstable and uncontrolled with an increasing degree of imbalance in the image (Van Rompay et al., 2005).
Lakoff and Johnson (1999) saw that there are many proverbs and sayings that have to do with form characteristics and emotions. Parallel / equal movement / oneness: togetherness, concomitant, positive, appropriate, power, strong, suitable, assisted, helped. Perpendicular / disunity: wrong, not combining, opposing, less strong, hindering.
All countries: black, red and chromatic colours.
Jung et al (2018)
Not only the Celtic mind is obsessed with the trinity. The Slavs also showed a special interest in the number three. In temple construction, there are triangular structures (Zuarasici), three entrance gates (Zuarasici), erected on the middle of three mountains (Triglav). The priests of Triglav and Sventovit used to prophesy by leading a sacred horse back and forth between nine lances three times. Also in Slavic epic poetry, just as in Irish, the number three plays a prominent role.
This idea of omnipotence, expressed through multiplicity and polycephaly, is also reflected in the naming. Names like Sventovit, Gerovit are derived from the root jar-, which actually means the same as svent (Slavic jar = strong, severe, angry). In this word lies the idea of “fertilizing power.” The same idea of ‘horny power’ is even more strongly expressed in the concept of Rugievit or Rujevit, derived from the root ruj-: horny. Rujevit thus seems to mean ‘horny lord’. Porevit means ‘the powerful lord’.
It is seen that the very naming of the many-headed idols places a strong emphasis on power, omnipotence, especially on the plan of preserving and propagating the cosmos.
The following keywords derived from this text, related to the number three, and classified in the DSD are: power (red, 8-level keyword), strong (height dimensional keyword), severe (red-on-black, 64-level keyword), anger (black-on-red, 64-level keyword), fertile (red-4, 64-level keyword), horny (purple-on-red, 64-level keyword), in the sense of potent, sexuality, masculine (red-on-red, 64-level keyword). It is noticeable that the red colour code is omnipresent.
This study investigates how subtle visual cues related to the design of a product’s package (i.e., label position) and the context (i.e., shelf orientation) influence consumer evaluation and behavioral intention. Extending research on metaphorical cues, Study 1 shows that consumers perceive a product as more powerful when the label on the package is placed in a higher (vs. lower) vertical position. Extending the focus from package design to the display context of packages, Study 2 shows that consumer perception of a product’s power is similarly enhanced when the package is placed on a shelf that is vertically (vs. horizontally) orientated. Across both studies effects of enhanced power perception extend to positively influence product quality inferences and behavioral intentions. These findings add to current knowledge on metaphorical cues in package design and the package’s presentation context and offer insights into the underlying mechanism.
(Machiels & Orth, 2017)