Advertisements ordinarily work their wonders, to the extent that they work at all, on an inattentive public.

Different groups are differentially vulnerable to advertising; and their vulnerability varies not so much with the character or quantity of advertisements as with the informational resources they can claim by age, education, station in life, and government guarantees of consumer protection.

If advertising is not an official or state art, it is nonetheless clearly art.

Even if, as is generally the case, everything that the ad says about the product is scrupulously honest, or at any rate scrupulously avoids outright dishonesty, the implication of the direct address of most commercials - that the announcer speaks with the viewer's welfare at heart - is fraudulent.

Expensive, well-executed, and familiar ads convince the investors, as nothing in the black and white tables of assets and debits can, that the company is important and prosperous.

Objectivity, in this sense, means that a person's statements about the world can be trusted if they are submitted to established rules deemed legitimate by a professional community. Facts here are not aspects of the world, but consensually validated statements about it.

American advertisers rely on 'essentially illogical' approaches to determine their advertising budgets.