Receptividad + (predictibilidad - sorpresa) + potencia melódica + (repetición rítmica · 1,5) = = tema pegadizo
Some interesting recent research related to sonic branding revolves around a
strangely common psychoacoustic condition. For James Kellaris, earworms cause a neurodisturbance that he terms “stuck tune syndrome,” the effect of a seemingly innocuous piece of music lodging itself into the brain and refusing to leave. Kellaris has noted that certain types of music (particularly anomalous stimuli) operate as “mental mosquito bites.” They create a “cognitive itch” that can be scratched only by replaying the tune in the mind. The more the mind “scratches,” the worse the itch gets. Using terminology close to memetics, Kellaris talks of conditions such as “stuck tune syndrome,” which describe earworm infection. Musically, the primary vector of earworm transmission is what is referred to as the hook. But how do hooks hook? What is the aff ective dimension of sonic branding? How does an earworm worm its way into your memory to replicate?
Of course, the cultural industry symbiotically intertwined with branding and advertising, and that makes its everyday business the engineering of audio viruses is popular music. Advertising has learned much from the success of popular music’s viro-tactics of hook engineering. In Kylie Minogue’s “I Can’t Get You out of My Head” captured this potency on two levels as her voice intensified the insinuating refrain. In the economy of attention and distraction of viral capital, marketing force fi elds traverse bodies from every angle, implanting earworms. Earworms are the virological vectors onto which sonic branding latches.
Goodman, S. (2010). Sonic Warfare: sound, affect and the ecology of fear. Massachussets Institute of Technology.
Rather than focusing on feeling as circulating between bodies, I have in my work tended to attend to objects: objects which circulate accumulate affective value. They become sticky. An object of fear (the stranger’s body as a phobic object of instance) becomes shared over time, such that the object, in moving around, can generate fear in the bodies of those who apprehend it. Fear does then “in effect” move around through being directed toward objects. It remains possible that bodies are not affected in this way; for example, someone might not be suspicious of a body that has over time been agreed to be suspicious (there is nothing more affective than an agreement because what is in agreement often does not tend to be registered). [...]
Institutions too make strangers. [...] The charged figure of the stranger is one we encounter in the room. And when things are sticky, they are fast: this is how the figure of stranger can end up “in the room” before a body enters that room. When you are caught up in its appearance, emotions become work: you have to manage your own body by not fulfilling an expectation.
Ahmed, S. (2014). "Making Strangers". feministkilljoys. https://feministkilljoys.com/2014/08/04/making-strangers/