Advertising is an age-old concept of conveying the messages to the people. In prehistoric days, people used to write with chalk, which was available in plenty, in their own languages the messages they wanted to propagate on the walls of the caves or on tree trunks. While doing excavations in Pompeii, signs and evidence were found that services and goods were advertised as early as in 79 A.D.

Later, Egyptians wrote the messages and drew images on papyrus. When paper and printing press were invented, advertising became popular, first in Great Britain, then in other countries. Illustrated ads were placed in newspapers and magazines. Products like Pears soap, Woodbury’s Facial soap, Michelin Tires and Encyclopedia Britannica were among the first to advertise. Advertising companies like J. Walter Thomson, Ogilvy, Leo Burnett, Volney Palmer and N.W. Ayer were among the pioneers, responsible for creating ads and getting them placed in newspapers and magazines. J. Walter Thomson was however the first to expand internationally.

Today, we live in the world of advertising. Nothing sells without advertising; may it be a product or service. It is a well-known fact that you need to create an awareness of the product you want to sale, then promote it through means of advertising; hence the importance of advertising cannot be denied. That is why ad agencies are flourishing and their clients are spending millions of dollars to promote their products or services. Ads should be clever and to the point. Yet, many advertisers rely on belittling the competitors’ products which results in a big confusion in the minds of consumers.

David Ogilvy, the guru of advertising, said that ‘a good advertisement is one which sells the product without drawing the attention to itself.’. One wonders how many ads these days conform to this belief. The Chief Executive of one the agencies where I used to work way back in Pakistan had a motto framed behind his desk. It read: Advertising is supposed to be impactful and clever without being overpowering. In short, be subtle.

There are various outlets where the ads are placed. Generally, your product is promoted through TV, Radio and social media, newspapers and magazines, billboards and brochures and your product gets consumers’ awareness and impulse to buy. This is the common practice, yet there is another means to advertise. It is called subliminal advertising, and it has been found that this means alone can soar the sale of your product. Only few clients and advertisers know and realize the positive effect such advertising would produce. Others simply do not believe in its efficacy and consider it a fallacy.

Subliminal Advertising

Subliminal advertising is described as the use of images, logos and sounds to influence consumers’ responses without being conscious of it. A subliminal message passes below the normal perception. It might be inaudible to the conscious mind, but audible to the subconscious mind, because it is a brief flash of the product, escaping the conscious level of mind but getting stored in the subconscious mind, so that when a consumer goes to the market and sees the product along with other products, he is inclined to buy the product subliminally advertised.  They are ‘hidden persuaders’ – as said by Vance Packard in his book,’ Hidden Persuaders’ which was published in 1957. There are various ways to do it:

Single Frame Effect

This was often practiced in the days when movies were processed by 35 mm cameras. It involves the insertion of ‘hidden’ messages into movies or TV programs. The concept ‘moving pictures’ relies on persistence of vision to create movement in a series of images projected at 25 frames per second. A single frame of the ad is then inserted after every 25 frames on the editing table. The hidden command in a single frame flashes across the screen so quickly that it is not perceived consciously but is registered in the subconscious mind.

As mentioned in QUORA journal, an experiment was conducted by James Vicari, a marketing researcher and psychologist, in 1957 when a popular movie PICNIC was released. Every five seconds the words, Hungry? Eat popcorns. Drink Coca-Cola, were projected for 0.003 seconds. The sales of popcorn and Coke in that New Jersey theater increased by 57.8 percent and 18.1 percent respectively.  

In the early seventies, we, at an advertising agency where I worked, made a similar experiment. In the cinema house where one of our client’s products was advertised subliminally through the screening of the movie, I stood near a concession stand. During the interval – in those days we had intervals of 10 to 15 minutes – a good number of moviegoers were seen to buy that soft drink.

You may think that this is a very easy and economical way of advertising. No, it is not. It took a series of meetings with the client to convince him about this method of promotion. The client eventually agreed, but still seemed doubtful. Then we had to approach the movie producer who was shooting a blockbuster movie with famous stars. After being assured that it would not make any difference in projection, and paying him the agreed amount, he consented. When the movie was shot and ready for editing, I went to see the editor to get the frames of our product inserted after every 25 frames of the movie. The editor simply shook his head and said that it was just an experience in futility, but he had to do it, because the producer asked him to do that. It took him two weeks to complete the editing. I met him again and saw that the one frame of the product was inserted after every 25 seconds in the master print of the movie. I was happy to learn that and took the editor, who had by now become a good friend, for a lunch at a Chinese restaurant on my expense account.

The client later reported that the sale of his soft drink had increased by thirty-five per cent.

This form of subliminal advertising was gaining grounds and proving to be an effective vehicle for promoting products. This became a matter of concern for public relations officials and some advertising agencies, probably because they feared that budgets for regular advertising on TV and press would plummet, resulting in lesser profit. They argued that such a way of promotion is ineffective, counter-productive and unethical since it invaded the minds of the people without their consent. The other school of thoughts pleaded that it is not the only way that does that, there are many happenings in everyday life that do so, and on which we do not have any control.

In USA, Federal Communications Commission took up the matter, held several hearings and declared that subliminal advertising is contrary to public interest, because it involved ‘intentional deception’.

Terry Lane in CHRON journal reported, ‘While the US Congress has never passed a law restricting subliminal advertising, government agencies have said that the practice is unfair and could result in enforcements, especially for broadcast stations.’

Since then this form of advertising gradually decreased. It may still be in existence, but countries like Australia, U.K. and Canada have banned it. Other forms of subliminal advertising, like product-placement and hidden messages through logos are very much in practice throughout the world.

Product placement

A highly popular technique is product placement. Here again you need a movie producer or a TV show producer. Subject to his consent and agreed payment, a can or a box of food products such as cereal, jam, jelly, butter or a soft drink is strategically placed on a dining table – or any other place – at a home. When the scene of a family dinner is shot, the product is placed on the table in such a manner that it is quite visible. It is flashed for only a few seconds, and the message is delivered.

Products or services are also promoted when a character drives a car and it passes through a street where there is a billboard or a store front where it is displayed. The camera briefly focuses on it while the car is passing by.

An unethical and detrimental trend is now prevalent in our movies and TV dramas and shows. The hero or another important character is shown smoking a cigarette or a cigar leisurely and enjoying the puffs, while at the bottom of the screen you read a sign ‘smoking is injurious to health’. This is a subliminal advertising for tobacco smoking, and one is sure that some tobacco companies must be paying the producers or channels to promote this habit among viewers, especially youngsters. The tobacco companies have to rely on such a means for advertising, because they are not allowed to advertise directly through electronic or print media or through billboards. Authorities should take note of this and take proper action to stop such a practice.

Meaning of logos

Logo is an intelligent way of subliminal advertising. Let us look at some logos:

• amazon.com. Did you find a hidden message? Observe carefully. There is a curved line connecting a and z, meaning that everything from A to Z is available on this online store.
• Logo of FedEx shows an arrow in white space, an indication of the company’s speed and ability to deliver.
• In the current TOSTITOS logo, can you see two friends sharing chips and salsa?
• In the SONY VAIO logo, the design of the word Vaio shows the symbol of analogue and digital that defines the two worlds in which the brand works.

It was 3 o’clock in the morning. The rain outside beat on the windows and the loud thunder ripped through the night. A loud knock on the door startled the boy. All alone in the mansion, he was not really expecting anyone this late. But the stranger insistently knocked on the door. The boy got up hesitantly and grabbed the doorknob with shaking hands… Flash forward. He woke up with a scream, drenched in a pool of sweat. “Thank God, it was all a dream.”

I turned off the TV, feeling a mix of boredom and hunger gnawing hunger at the pit of my stomach. I headed down to the kitchen to grab a bite.

The world is full of wonders. We are amazed at how fish swim or how birds fly; by imitating their systems, we attempt to swim or fly. One of our most precious attributes is curiosity. Once I attended an exhibition associated with a popular movie. I was amazed at the power of human imagination and the dreams it can conjure, turning them into reality. The props and costumes used in this movie were displayed lavishly for the curious eyes of the fans and the flash of the cameras. We, as human beings, were being entertained with the products of the human imagination. Even the flow of events that happened at the exhibition, the flashing cameras, the décor and costumes, which seemed so important at that time, were all a design of the human imagination; they were not real. As the actors and actresses took on the personalities of their characters, they not only assumed the role of a movie character, but also became a player in a man-made dream world. We followed the entertainment with curiosity and interest. The characters, the story, the costumes, the light, and sound: all this captivated our attention. As the glow of the entertainment slowly faded off, I began to feel that this popular movie and even the exhibition itself existed within another movie… a more real movie in which we all played our roles.

My favorite pieces in the exhibition were the “magically alive” animated portraits. I couldn’t help but smile when I saw the people in the portraits applauding us, as if we had accomplished some feat. I liked the idea of animated portraits and photos. A picture is ultimately just a 2D image, but an animated image encompasses a third dimension: time. A movie’s ability to capture the charm of time is what appeals to us and captivates our attention.

Early in the morning, I glanced out my window and noticed the autumn leaves falling from the tree in my back yard. About two or three weeks ago they were all green, but now the scene had completely changed. Tinted with different shades of orange, yellow, red and purple, the leaves ruffled on their branches with the whoosh of the light breeze.

I imagined that my window was an animated picture inside my home. There was someone insistently striking His brush against my easel, coloring this picture day by day, moment by moment, and giving it motion for me, making me feel the changes He brought about. Filled with these wondrous thoughts, words fell out of my mouth: “He is truly a magnificent artist.” At the moment, I recalled what the lead character in a movie had said as he looked, bewildered at the harmony of colors in the sky during sunset: “God must have been an artist.”

In order to make an animated picture or create a video sequence, the consecutive pictures or “frames” of a scene must be joined together. If the difference between the capture times of two consecutive frames is too long, the video will not run smoothly, stuttering like an old silent film, with intermittent flickers. Modern day movies use a larger number of frames per unit of time. The greater the number of frames, the smoother the images will appear. When I focused my attention on this outside “movie,” a movie in which I was an actress along with the rest of humanity, I couldn’t help but wonder what the number of frames was. Since we are living in a “perfect” movie, the movie of our world that we see through our eyes everyday must have an infinite number of frames. I contently followed the descent of a snowflake onto my hand. It made me admit once again that we’re part of a great cinematography and screenplay. The producer is not only an artist who covertly paints the pictures with His gentle brush strokes, but is also someone who strings an infinite number of picture frames with great skill and attention to detail, creating the perfect animation of “life.”

Imagine the animation of a falling bird feather; one would need to perform an enormous number of calculations between the sequences of frames. It would be necessary to run many computers in parallel to be able to process such animation in real time. Then I used this same information and applied it to the scene of the falling snowflake. Contemplating the details of each moment within that scenario and considering each moment to be a single frame helps you appreciate the complicated task of stringing these frames together in real time.

When you see a man inscribing circles with a light source you actually see a circle of a light. In fact, you perceive it as a circle because of the speed and the continuity of the motion. Life is analogous to that imaginary circle; it exists because of the continuity of the artist’s efforts. Yes, life as a “perfect” movie is similar to the continuity of this circle of light, because the artist’s magnificent skills continuously color and illuminate each picture frame, stringing them together in a perfect fashion.

Wait, wait, it doesn’t end here. I close my eyes; it is easy for me to see things that happened years ago in all their details. The time I dropped my ice cream on my favorite shirt when I was five, the gift that my brother gave me on my thirteenth birthday, the day I graduated from college… like a movie, I can watch all these whenever I like. This illustrates another issue in video processing, storing the videos, in other words, the frames, in an efficient way so that they can be accessed promptly when needed. I already have a good technique to store the story of my life in my memories. Moreover, in order to remember any sequence, all I need to do is just remember a small detail of the time, an event, or a memento. This is the fastest content-based image retrieval system I have ever seen! No moment of life is wasted and all is saved somewhere, providing relief for the human heart, which is helplessly attracted to eternity. Any art necessitates an exhibition and an audience. Then there must be a place and a time in which the whole movie will be watched again by the audience.

My brain not only stores my memories as videos, but also creates videos as I dream. These are mostly movies in the making; because I can do everything in my dreams, they do not need to be logical. I heard the phrase “Dream Theater” and I smiled. What else can one call a dream other than a grand theater full of surprises? Moreover, although the length of time that a dream takes up is not that long, it still contains a sizeable story that takes up days of real life. It’s one rabbit warren inside another.

As the rain hits the Boston ground, I look outside my window at my moving picture. Through this open window, I also hear the pitter-patter of the falling rain. The smell of wet soil seeps into my room. I shut my eyes and I can repaint the entire picture, using nothing but sounds and smell. What kind of magic is this? I cannot stop myself as I think about Him, the Producer of the real movie of my very existence. After all, I know that He loves me. No matter how busy I am watching man-made movies inside the real movie, I feel the presence of the true artist always with me and the imprint of His ever-lasting art in every moment of my life.

The surfaces of soap bubbles have a very important feature. These surfaces which have minimum surface-tension potential energy also have minimum areas. That is, soap bubbles or clusters have a natural tendency to minimize area for the volumes they enclose. Two different frames and the areas formed are shown in Figure 1. For a given closed frame, at least one such minimal area can be formed; however, mathematicians have had to strive to prove it.

The famous mathematician Richard Courant (1888–1972), together with his students, did soap bubble experiments with various frames.

Minimal areas can also be formed by using more than one closed frames. Figure 2 shows the minimal surfaces obtained by holding two circular frames parallel. If the frames are kept too far from each other, no surface will form. If they are kept sufficiently near to each other, surfaces similar to those shown in Figures 2a and 2b will be obtained. If they are kept close enough to each other, then three minimal surfaces adjacent to each other as shown in Figure 2c can form.

The minimum energy principle is commonly observed not only in living organisms, but also in lifeless matter. A chain will take the shape which produces the least potential energy of attraction when it is fastened at two points onto a rod as shown in Figure 3. This form (function) is called “catenary” in mathematics.

The areas which are formed as a result of rotating the catenary curve around an axis A are called catenoids. Two different types of catenoids are shown in Figures 4a and 4b. As presumed, catenoids are minimal areas and can be obtained by the use of soap bubbles. If such formations were selected and used in everyday utensils, such as glasses, dishes and so forth, ideal shapes which cause the least loss of heat could be designed.

If the katenoid shown in Figure 5a is cut from its edge as shown in Figure 5b and turned by being slightly extended, a helical form or a helicoid will be obtained as shown in Figure 5f. This helicoid also is a minimal surface. Architects have widely used this form in spiral-shaped staircase structures. See Fig. 6.

Fig. 1-Closed frames and soap film surfaces formed1 Fig. 2a&b–Single foam film surfaces over two parallel circular frames1 Plus, the perpetual screw system which is widely in use in technology is also in a form similar to this geometry.

If a cylinder of the smallest volume that can house a helicoid is drawn (Fig.7a) and the lines on which the surface and the cylinder intersect are marked, then a double helix structure (Fig. 7b) is obtained; this is used in modeling DNA molecules which are the genetic codes of living species.

There are two elementary principles related to soap bubbles. The first principle says that if a bubble touches a surface that supports it, it unites with that surface in a way to make 90° angles. The soap bubble on that plain surface forms into a semi-spherical shape and the angle between the bubble surface and the supporting surface will be 90° at every point of contact. The second principle says that if three soap bubble surfaces come together, they form 120° angles along a line. If soap films come together within a tetrahedron frame as in figure 8, then the angles between the lines will be 109° 28′ 16″.

The Steiner problem which is an elementary problem in mathematics can be solved by the application of the 90° and 120° principles. The Steiner problem investigates how n points over a surface can be united in the shortest way by a web. Two transparent surfaces are connected with thin and parallel pins of equal lengths and then dipped into a soapy solution. When it is taken out, soap films will form. These films have a 90° angle with the supporting transparent surfaces and when three soap films come together, they connect at 120° angles with one another.

When observed from above, the intersecting lines between the soap film and one of the surfaces give the shortest web which unites the points in n numbers. How four points are united is shown in Figure 9a and how five points are united is shown in Figure 9b. Someone seems to have equipped lifeless objects such as soap bubbles with the ability to solve complex problems like a math genius.

Periodically repeated minimal areas have been observed on walls separating organic and inorganic substances in the skeletons of certain sea animals like the sea urchin and the starfish. Figure 10 shows the micro structure of a sea urchin’s skeleton. It has calculated that the geometry of its skeleton has perfectly been shaped in such a way as to prevent the extension of possible cracks.

Experiments with soap bubbles have been a source of inspiration also for architects. Such experiments have yielded inspiration for roof and tent designs. The German architect Frei Otto is one of the most eminent names in this regard. Figure 11 shows the minimal areas which Frei Otto managed to obtain by dipping hair-thin threads in soapy water.

In order for such a soap bubble model to be converted into an architectural structure, it is carefully photographed and precisely measured. Later, solid models are made and tested in wind tunnels. The tensile pressures likely to form under loads of wind and snow are measured by special precision instruments. In real structures, thin steel cables having high tensile strengths replace the hairy threads, and transparent plastic and synthetic materials replace the soap bubble film.

Figure 12 shows roof of the Munich Olympic Stadium, Figure13 shows the roof of the Munich Olympic Athletic Arena and Figure 14 shows the roof of the Olympic Swimming Arena in the same city. All these roofs have been designed and erected using the minimal surfaces obtained from soap bubble experiments.

Children love playing with soap bubbles very much; they usually blow a round circle after dipping a wand into soapy water and then watch the bubbles flying out of it. However, it is not only children who play with soap bubbles and soap films. Scientists have, for hundreds of years, been doing experiments with soap bubbles, developing mathematical theories, obtaining various surfaces and transferring the compiled data into technology.

Experiments with soap bubbles have been a source of inspiration also for architects. Such experiments have yielded inspiration for roof and tent designs.

2) These roofs can easily be erected, dismantled and transported to elsewhere, whereas traditional buildings cannot easily be re-located.

3) These structures which are designed according to tensile strengths are very sturdy all over, whereas the tensile pressures of classical buildings are so high that extremely heavy materials such as concrete and brick are used in order to balance the pressure.

The structures of light and strong materials granted to living things are splendid. The lightness and endurance of our skeleton system, the perfect endurance in the stems of slender plants such as wheat and barley, the extremely thin and elastic structure of a fly’s wing, and thousands of similar examples can be given.2 The word of German architect Frei Otto in this subject are expressive: “Biology has become indispensable for architecture.” Witnessing similar perfections also in inanimate structures such as soap bubbles proves that laws in nature originate from the same hand.

Obtaining minimal surfaces has become much easier as a result of immense increases in computer capabilities. Extremely complicated minimal surfaces which can be obtained through computer-aided-designs and calculations have become easily available as alternatives to soap bubble experimentations. If we, as human beings, are aiming to realize developments in science and technology, we should look,more carefully and meditatively, at events which are seemingly simple and unimportant around us and we should also discover the beauties and perfections that God has granted us and put them into service of humanity. The more our designs are compatible with the laws of nature, the higher our chances of success will be.

References

• S. Hilderbrandt, A. Tromba, The Parsimonious Universe, Springer-Verlag, New York, 1996.
• M. S. Polatöz, Tabiatta Mühendislik (Engineering In Nature), Kaynak Publications, Izmir, 2003.
• A. B. Smith, The stereom microstructure of the echinoid test. Special Papers in Palaeontology, 25, 1–85, 1981.