Full Download Consumer Neuroscience Theory and Application 1st Edition Cathrine Jansson Boyd Peter Bright PDF DOCX

Download as pdf or txt
Download as pdf or txt
You are on page 1of 29

Get ebook downloads in full at ebookmeta.

com

Consumer Neuroscience Theory and Application 1st


Edition Cathrine Jansson Boyd Peter Bright

https://ebookmeta.com/product/consumer-neuroscience-theory-
and-application-1st-edition-cathrine-jansson-boyd-peter-
bright/

OR CLICK BUTTON

DOWNLOAD NOW

Explore and download more ebook at https://ebookmeta.com


Consumer Neuroscience
This page intentionally left blank
Consumer Neuroscience
Theory and Application

Cathrine V. Jansson-Boyd
School of Psychology and Sport Science, Anglia Ruskin University,
Cambridge, United Kingdom

Peter Bright
School of Psychology and Sport Science, Anglia Ruskin University,
Cambridge, United Kingdom
Academic Press is an imprint of Elsevier
125 London Wall, London EC2Y 5AS, United Kingdom
525 B Street, Suite 1650, San Diego, CA 92101, United States
50 Hampshire Street, 5th Floor, Cambridge, MA 02139, United States
The Boulevard, Langford Lane, Kidlington, Oxford OX5 1GB, United Kingdom
Copyright © 2024 Elsevier Inc. All rights reserved.
No part of this publication may be reproduced or transmitted in any form or by any means,
electronic or mechanical, including photocopying, recording, or any information storage
and retrieval system, without permission in writing from the publisher. Details on how to
seek permission, further information about the Publisher’s permissions policies and our
arrangements with organizations such as the Copyright Clearance Center and the Copyright
Licensing Agency, can be found at our website: www.elsevier.com/permissions.
This book and the individual contributions contained in it are protected under copyright by the
Publisher (other than as may be noted herein).
Notices
Knowledge and best practice in this field are constantly changing. As new research and
experience broaden our understanding, changes in research methods, professional practices, or
medical treatment may become necessary.
Practitioners and researchers must always rely on their own experience and knowledge in
evaluating and using any information, methods, compounds, or experiments described herein.
In using such information or methods they should be mindful of their own safety and the safety
of others, including parties for whom they have a professional responsibility.
To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors,
assume any liability for any injury and/or damage to persons or property as a matter of products
liability, negligence or otherwise, or from any use or operation of any methods, products,
instructions, or ideas contained in the material herein.
ISBN 978-0-443-13581-1

For information on all Academic Press publications


visit our website at https://www.elsevier.com/books-and-journals

Publisher: Nikki P. Levy


Acquisitions Editor: Joslyn T. Chaiprasert-Paguio
Editorial Project Manager: Barbara L. Makinster
Production Project Manager: Selvaraj Raviraj
Cover Designer: Mark Rogers
Typeset by STRAIVE, India
Contents

Foreword xi
Preface xiii
Acknowledgments xvii

1. Introduction to consumer neuroscience


Advantages of consumer neuroscience 2
Should businesses be skeptical of using neuroscience? 3
Shortcomings 4
Training is required 4
Reverse inference 5
Ethics 6
Can you afford to use neuroscience equipment? 8
Context and individual differences 8
Brain plasticity 9
Expectations guide responses 9
Feeling rejected 10
Benefits to other research areas 10
Trust 11
Neurology and well-being 12
Chapter summary 14

2. An overview of the brain


The neuron 18
Neurotransmitter systems 19
Gross brain structure 20
The cerebrum 20
The cerebellum 22
The brainstem 22
The diencephalon 23
The basal ganglia 24
Subcortical structures 25
The 12 cranial nerves 25
Blood supply to the brain 27
Summary 27

v
vi Contents

3. Methods in consumer neuroscience


Mapping brain activity 33
Functional magnetic resonance imaging (fMRI) 34
Positron emission tomography (PET) 36
Electroencephalography (EEG) 38
Magnetoencephalography (MEG) 40
Tapping into the unconscious 40
Eye-tracking 40
Eye-tracking and consumer research 43
Implicit association tests (IAT) 44
Methods that modulate brain activity 46
tDCS and TMS 46
Measuring skin and facial responses 48
Electrodermal activity (EDA) 48
Reading facial emotions 48
Summary 49

4. Visual neuroscience
Vision 52
The eye 52
The visual cortex 54
Visual perception 56
Visual search 58
Object recognition 59
Principles of perceptual organization: Gestalt theory 61
Valence perception 63
Pricing 63
The ‘look’ of packaging 64
Visual imagery in advertising 66
The human face of advertising 66
Emotionally arousing imagery 67
Summary 68

5. The multisensory consumer


The tactile sense 72
‘Understanding’ touch 73
Interpersonal social consumer touch 75
Tactile congruency 76
The auditory sense 77
Understanding sound 77
Music 79
Food and sound 80
Auditory input and the other senses 82
The olfactory sense 82
The olfactory system 83
Interacting with other senses 85
Contents vii

Individual differences 85
Taste 86
The influence of consumer culture on taste perception 87
Oral-somatosensory information and choice 89
Visual and auditory factors that play a role in taste 89
Summary 90

6. Memory and learning


Sensory and working memory 95
Sensory memory 96
Working memory 97
Memory formation 100
Consolidation 101
Associative network 103
Repetition and product placement 104
Experts 105
Long-term memory 106
Declarative memory 107
Nondeclarative memory 109
Memory and emotions 112
Decision making 114
Cued and context-dependent recall 114
Sensory input 116
Forgetting 117
Summary 117

7. Attention, awareness, and consciousness


Visual attention 121
Capacity limitations and selectivity 122
Overt and covert attention 124
Bottom-up and top-down processing 126
Measurement of attention 128
How to capture consumer attention 130
Attention and decision making 132
Awareness and consciousness 133
Implicit processing 134
Preference and decision making 135
Emotions and unconsciousness 136
Subliminal advertising 137
Summary 138

8. Understanding emotions
Measuring emotions 142
The nature of emotions 143
Brain regions involved in detecting emotions 144
Basic emotions 147
viii Contents

Constructed emotion 148


The role of cognition in experiencing emotions 149
Emotions, attention, and recall 149
Selective attention 150
Recall 150
Decision making and affect 151
Subliminal emotion exposure 152
Affective forecasting 152
The choices people make 154
Social aspects 156
Advertising 157
The influence of others 159
Music 161
Summary 163

9. Decision making
Cognition and emotion 166
Cognition 166
Emotions 169
Uncertainty 171
Motivation and reward 171
Sex and money 172
Intertemporal choice 172
Branding 174
Gambling 175
Does dopamine serve pleasure or motivation? 177
Consumer values 178
Social influence 179
Aesthetics 180
Neuroaesthetics 181
Product and packaging design 181
Online decision making 182
Purchase reviews 183
Payment methods 184
Summary 184

10. Neuroscience: A lifespan perspective


Early development 189
Cerebral cortex development during childhood 191
Adolescence 191
Adolescence and addiction 192
Social influences 194
Sensory systems in older consumers 195
Vision 196
Hearing 197
The sense of smell 198
Contents ix

Taste 200
Haptics 202
Food and the older consumer 203
Food textures 204
Memory and food 205
Memory 206
Decision making 207
Online decision making 208
Chapter summary 209

11. An overview of published articles in consumer


neuroscience

References 227
Index 281
This page intentionally left blank
Foreword

As a prelude to this foreword, let me first place my cards on the table. I am


an academic neuroscientist who, in the mid-1990s, stepped out of academia to
take up a post in Unilever R&D (Port Sunlight Lab, Wirral, UK), returning to
academia in 2008. During my time working in the fast-moving consumer goods
(FMCG) sector, I established and led what may well have been one of the first
consumer neuroscience research groups in this sector, supported by Blue Sky
funding. The types of projects funded included topics such as nanotechnology,
proteomics, systems biology, high-throughput screening, and new molecules,
and neuroscience was one of these specially funded new research areas. And the
reason why such a group was built was not by design but by necessity, as the
more traditional consumer research and market research approaches, reliant on
focus groups and questionnaires, failed to predict the success of a new product
launch, with one senior executive confessing that ~70% of the products the
company launched had failed. Clearly, existing methods of predicting consumer
choice and reaction were not working! What was needed was a more evidence-
based approach to understanding what people liked and why they liked it—
without necessarily asking them.
Enter Consumer Neuroscience: Theory and Application. This book is a tour
de force as it lays down the essential background reading for anyone interested
in predicting the mysteries of choice and, by default, the mysteries of liking. As
succinctly stated by the authors:
Understanding consumers is not easy, and as many market researchers know all
too well, consumers do not always say what they mean.

Enter “NEUROSCIENCE.” In response to reports written by the National


Institute of Neurological Disorders and Stroke, the National Institute of Mental
Health, and at the urging of Congress, President George Bush signed a presiden-
tial declaration designating the 1990s to be the “Decade of the Brain,” unleash-
ing much-needed research funding to probe this organ’s function. Apart from
the priority of research funding to better understand the causes and treatments
of mental health conditions, this period also saw the emergence of neuromarket-
ing, fueled by developments in functional magnetic resonance imaging (fMRI),
as well as other neuroimaging techniques such as EEG, MEG, fNIRS, and
PET—all of which are explained in this book. The ambition here was to uncover
how the brain is responding to a stimulus, be it the taste of a Hershey bar or an

xi
xii Foreword

image of a Tesla car, and thereby understand what are likely to be subconscious
processes that may ultimately manifest as a decision to buy or not buy the bar
or the car. And here we have to dig even deeper into a myriad of contributing
factors that underpin what, on the surface, looks like a simple decision to say
yes or no. What this book will disabuse anyone of is that this simple response
is anything but simple, as the 11 chapters explain in a readily digestible writ-
ing style. A driving theme of this book is to measure the implicit processes that
govern low-level decision-making and to further recognize that these behaviors
are primarily rewarding, i.e., they are not solely functional.
A major impact and potential of the products FMCG companies manufac-
ture and market lies in the implicit emotional interaction consumers have with
these products, leading to subjective states of pleasure and liking. These inter-
actions are complex, as they are largely inaccessible to verbal reporting owing
to their essentially covert and subconscious nature. In order to understand and
thereby optimize pleasure and liking, it is important to uncover robust and pre-
dictive measures for them, and here this book lays down the ground rules. New
tools are required to enable us to measure and assess these subtle interactions
and effects and to understand the factors governing human interactions with the
vast array of stimuli impacting, for example, grooming and feeding behaviors in
sensory, perceptual, and emotional terms. This book builds on recent advances
in cognitive neuroscience to provide the knowledge needed to develop an inte-
grated covert analysis approach to “measure” affective (emotional) as well as
discriminative (feeling) processes. It is the gold standard.

Francis McGlone
Preface

The popularity of consumer neuroscience has become increasingly evident in


the last decade. Academics and business alike are making use of it to try and
deepen the understanding of consumer behaviors. While the area is growing,
there are not many books on the topic of consumer neuroscience, and this is
why we decided to write this book. This book is different from other books on
the market in that it is set out more like a traditional textbook, which makes it
suitable as a core text for courses covering this field. As there is currently no
“typical” textbook for consumer neuroscience, we hope that this book will serve
as a prototype for future books to provide some consistency for what readers
can expect. The “textbook” format used here also means that it is easier for a
reader who is new to the subject to understand the topic. Furthermore, the book
is written by two authors (rather than different authors writing different chap-
ters) who are specialists in consumer psychology and neuroscience. Based on
our backgrounds, we have developed a synthesis of the theoretical interests of
each of our fields to provide a richer understanding of consumer neuroscience.
When we decided on the content of this book, we made sure to include popu-
lar areas of consumer neuroscience that we know many readers will have an
interest in. However, we have also explored areas of consumer psychology and
neuroscience that have not been extensively explored from a consumer neuro-
science perspective but are nevertheless important to fully understand consumer
behaviors.
In this book, we set out to provide readers with aspects of consumer neuro-
science that we think are essential to understand the topic. The book consists of
11 chapters that are broadly structured in the same way and for each one there
is a summary at the end of the chapter. Each chapter focuses on a different area
of consumer neuroscience.
Chapter 1 introduces the reader to reasons why neuroscience is important
to consumer sciences. It explores the limitations of consumer neuroscience and
delineates which types of questions can and which ones cannot be answered us-
ing the methods currently available to us. The chapter also outlines why training
in neuroscience is essential for anybody who wishes to undertake research in
this field. Furthermore, it addresses potential doubts about applying neurosci-
ence techniques to answer business and marketing questions.
Chapter 2 provides an overview of human brain structure. This chapter also
includes a “brain index” that is additional to the traditional index at the back of

xiii
xiv Preface

the book. The brain indexes are images of brain structures that are labeled with
the page numbers throughout the book that provide information about these
regions. At the very end of this chapter, there is also a glossary of key terms that
will help the reader quickly look up the basic functions of different brain areas.
In Chapter 3 different neuroscience methodologies are outlined. Here we
provide information on tools such as functional magnetic resonance imaging,
electroencephalography, and eye-tracking.
Chapter 4 delves into visual neuroscience. It covers the fundamentals of
visual neuroscience from basic processing in the primary visual cortex to fine-
grained visual object processing and conceptual levels of representation. The
chapter explores a range of consumer science-related matters that are important,
such as the visual features of packaging and visual imagery in advertising.
Multisensory perception is explored in Chapter 5. In addition to vision, the
influence of touch, hearing, smell, and taste is outlined, as they are all important
in guiding consumer perception. The senses are discussed separately, to provide
a clearer understanding, and how they come together to form multisensory per-
ception of products and services.
Chapter 6 is concerned with memory and learning. With the vast amount of
information that consumers are exposed to, it is vital to understand what they
remember and how they learn. Key brain structures associated with encoding
and laying down of new memories and the retrieval of existing memories are
outlined. Evidence for the separability of different forms of memory such as
semantic and episodic memory is described. The role of emotions in memory is
also considered in this chapter.
Attention, awareness, and consciousness are the topics of Chapter 7. The
chapter describes how visual attention works and why consumers may attend
to certain stimuli over others. Here we outline key differences between bottom-
up and top-down attention, which are essential for marketers to know, as well
as the role of attention in decision making. The chapter also explores to what
extent consumer neuroscience can explain whether consumers can be affected
by marketing without conscious awareness.
Chapter 8 introduces the reader to how consumers are influenced by their emo-
tions. How emotions can be measured and the brain regions involved in detecting
emotions are included. So also is the role of emotions in attention and recall.
Furthermore, the chapter looks at the relationship between emotions and decision
making and different socially based factors that can mold how people feel and act.
In Chapter 9, the focus is on decision making. As you will see, it is evident
that neuroscience can provide consumer scientists with a deeper understanding
of the underlying process determining why people make the decisions that they
do. The connection between cognition and emotion in the decision-making pro-
cess is highlighted. How consumers are motivated by rewards is another topic
covered here. Furthermore, the chapter looks at how esthetic components can
influence decision making and how consumers make decisions when they are
online.
Other documents randomly have
different content
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free


distribution of electronic works, by using or distributing this work (or
any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg™ License available with this file or online at
www.gutenberg.org/license.

Section 1. General Terms of Use and


Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand, agree
to and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ electronic work and you do not agree to be
bound by the terms of this agreement, you may obtain a refund from
the person or entity to whom you paid the fee as set forth in
paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be


used on or associated in any way with an electronic work by people
who agree to be bound by the terms of this agreement. There are a
few things that you can do with most Project Gutenberg™ electronic
works even without complying with the full terms of this agreement.
See paragraph 1.C below. There are a lot of things you can do with
Project Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project
Gutenberg™ electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all the
individual works in the collection are in the public domain in the
United States. If an individual work is unprotected by copyright law in
the United States and you are located in the United States, we do
not claim a right to prevent you from copying, distributing,
performing, displaying or creating derivative works based on the
work as long as all references to Project Gutenberg are removed. Of
course, we hope that you will support the Project Gutenberg™
mission of promoting free access to electronic works by freely
sharing Project Gutenberg™ works in compliance with the terms of
this agreement for keeping the Project Gutenberg™ name
associated with the work. You can easily comply with the terms of
this agreement by keeping this work in the same format with its
attached full Project Gutenberg™ License when you share it without
charge with others.

1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside the
United States, check the laws of your country in addition to the terms
of this agreement before downloading, copying, displaying,
performing, distributing or creating derivative works based on this
work or any other Project Gutenberg™ work. The Foundation makes
no representations concerning the copyright status of any work in
any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other


immediate access to, the full Project Gutenberg™ License must
appear prominently whenever any copy of a Project Gutenberg™
work (any work on which the phrase “Project Gutenberg” appears, or
with which the phrase “Project Gutenberg” is associated) is
accessed, displayed, performed, viewed, copied or distributed:
This eBook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this eBook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived


from texts not protected by U.S. copyright law (does not contain a
notice indicating that it is posted with permission of the copyright
holder), the work can be copied and distributed to anyone in the
United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must
comply either with the requirements of paragraphs 1.E.1 through
1.E.7 or obtain permission for the use of the work and the Project
Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted


with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works posted
with the permission of the copyright holder found at the beginning of
this work.

1.E.4. Do not unlink or detach or remove the full Project


Gutenberg™ License terms from this work, or any files containing a
part of this work or any other work associated with Project
Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this


electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if you
provide access to or distribute copies of a Project Gutenberg™ work
in a format other than “Plain Vanilla ASCII” or other format used in
the official version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original “Plain
Vanilla ASCII” or other form. Any alternate format must include the
full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,


performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing


access to or distributing Project Gutenberg™ electronic works
provided that:

• You pay a royalty fee of 20% of the gross profits you derive
from the use of Project Gutenberg™ works calculated using
the method you already use to calculate your applicable
taxes. The fee is owed to the owner of the Project
Gutenberg™ trademark, but he has agreed to donate
royalties under this paragraph to the Project Gutenberg
Literary Archive Foundation. Royalty payments must be
paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as
such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4,
“Information about donations to the Project Gutenberg
Literary Archive Foundation.”

• You provide a full refund of any money paid by a user who


notifies you in writing (or by e-mail) within 30 days of receipt
that s/he does not agree to the terms of the full Project
Gutenberg™ License. You must require such a user to
return or destroy all copies of the works possessed in a
physical medium and discontinue all use of and all access
to other copies of Project Gutenberg™ works.

• You provide, in accordance with paragraph 1.F.3, a full


refund of any money paid for a work or a replacement copy,
if a defect in the electronic work is discovered and reported
to you within 90 days of receipt of the work.

• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™


electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend


considerable effort to identify, do copyright research on, transcribe
and proofread works not protected by U.S. copyright law in creating
the Project Gutenberg™ collection. Despite these efforts, Project
Gutenberg™ electronic works, and the medium on which they may
be stored, may contain “Defects,” such as, but not limited to,
incomplete, inaccurate or corrupt data, transcription errors, a
copyright or other intellectual property infringement, a defective or
damaged disk or other medium, a computer virus, or computer
codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except


for the “Right of Replacement or Refund” described in paragraph
1.F.3, the Project Gutenberg Literary Archive Foundation, the owner
of the Project Gutenberg™ trademark, and any other party
distributing a Project Gutenberg™ electronic work under this
agreement, disclaim all liability to you for damages, costs and
expenses, including legal fees. YOU AGREE THAT YOU HAVE NO
REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF
WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE
FOUNDATION, THE TRADEMARK OWNER, AND ANY
DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE
TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL,
PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE
NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you


discover a defect in this electronic work within 90 days of receiving it,
you can receive a refund of the money (if any) you paid for it by
sending a written explanation to the person you received the work
from. If you received the work on a physical medium, you must
return the medium with your written explanation. The person or entity
that provided you with the defective work may elect to provide a
replacement copy in lieu of a refund. If you received the work
electronically, the person or entity providing it to you may choose to
give you a second opportunity to receive the work electronically in
lieu of a refund. If the second copy is also defective, you may
demand a refund in writing without further opportunities to fix the
problem.

1.F.4. Except for the limited right of replacement or refund set forth in
paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED,
INCLUDING BUT NOT LIMITED TO WARRANTIES OF
MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied


warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted
by the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the


Foundation, the trademark owner, any agent or employee of the
Foundation, anyone providing copies of Project Gutenberg™
electronic works in accordance with this agreement, and any
volunteers associated with the production, promotion and distribution
of Project Gutenberg™ electronic works, harmless from all liability,
costs and expenses, including legal fees, that arise directly or
indirectly from any of the following which you do or cause to occur:
(a) distribution of this or any Project Gutenberg™ work, (b)
alteration, modification, or additions or deletions to any Project
Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of


Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers.
It exists because of the efforts of hundreds of volunteers and
donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the


assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a
secure and permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help,
see Sections 3 and 4 and the Foundation information page at
www.gutenberg.org.
Section 3. Information about the Project
Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West,


Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact

Section 4. Information about Donations to


the Project Gutenberg Literary Archive
Foundation
Project Gutenberg™ depends upon and cannot survive without
widespread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can
be freely distributed in machine-readable form accessible by the
widest array of equipment including outdated equipment. Many small
donations ($1 to $5,000) are particularly important to maintaining tax
exempt status with the IRS.

The Foundation is committed to complying with the laws regulating


charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and
keep up with these requirements. We do not solicit donations in
locations where we have not received written confirmation of
compliance. To SEND DONATIONS or determine the status of
compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where


we have not met the solicitation requirements, we know of no
prohibition against accepting unsolicited donations from donors in
such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make


any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of
other ways including checks, online payments and credit card
donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project


Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.

Project Gutenberg™ eBooks are often created from several printed


editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,


including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how
to subscribe to our email newsletter to hear about new eBooks.
back

You might also like