From the viewpoint of practical implementation, it is necessary to describe the aspects that can improve results of applied ambient marketing. Novelty, creativity and planning are the key factors for ambient advertisement. Besides them, the lived space that is subjected to continual change is an important factor for consideration. Based on these principles, everything that surrounds us can be without limits considered and consequently used as unusual media for propagation. It is important to note, however, that ambient advertisement has its roots in the traditional out-of-home (OOH) and outdoors advertisement. Ambient advertising is derivative of the outdoors advertisement, that includes all of the ambient forms. That is the reason why there are significant notable similarities between ambient and outdoors marketing, especially when we consider placing, localization, the velocity of application, but also the similarities in measuring effectiveness of the communiqués, as well as the limit in its inadequacy for presentation of a wide spectrum of information that would require cognitive associations.

It is necessary for ambient advertisement to carry the essence of the communication, as the exposition times are short. Playfulness and humor are both important, as they rise the recipients’ engagement and mean a higher measure of memorability^[1]. In its genesis, a simple idea might resonate globally and might induce a far stronger reaction than for example television advertisements of the traditional type. An older, but very useful instance of this principle was used on a café shop in New York, in which case an A3 paper sheet said: Bin Laden is dead!! Free Coffee! (Picture 26). Besides receiving higher attention from clients, it was mentioned in NBC news.

Advertisement and propagation using this approach usually utilize unusual places and presentation of a product, service or idea. Another extremely useful instance of this approach was when a small bookstore fought back against dominance of a huge bookstore corporation that opened a multi-story store in the same building. The huge corporate bookstore placed a billboard communicating all the sales and deals on its books, whereas the small bookstore replied with a single small tablet saying: Bookstore entrance here. This example greatly documents the value of the idea, but also its low-cost realization and the creative supremacy of the authors, who were able to effectively react to the new situation in real time and space.

It is the differentiating, innovative, and variable way of thinking that works best when utilizing public spaces along with modern technologies (Marchini a Tebbutt, 2007)^[2], which will inevitably become an integral part of the ambient marketing communication. Installed at unexpected places, they offer a different form, surprising the recipients, capturing their attention, enabling them to witness something new – this increasing the value of the experience (Miko, 1988)^[3], while also enhancing awareness and image of the advertising brand. Using a metaphor or a hyperbolic image are the most commonly used figures in advertisement (see Picture 27).

A communiqué is realized by direct confrontation, most of often by hyperbolization and interaction with environment in which it is presented (Bučina, 2011)^[4]. Ambient media is, on the contrary to the classical advertisement carriers, defined by strengthening of the argumentation rhetoric via building a tight relationship with the environment in which it is exposed and to which it is integrated. A visibly unconventional way of realization enriches it with new meanings. Patalas (2009) presents ambient as a strange advertisement formats used to speak to younger target group, noting that the method is aimingly used in places of high prevalence of the target group’s multipliers – discotheques, bars, toilets, universities, cinemas et cetera (Patalas, 2009)^[5].

Ambient does not exclude any media, on the contrary, exploits even impossibly seeming methods and communication tools in relationship to the recipient, and thus the strength of ambient’s expression is just as important as its content. It is a certain form of creative thinking (Fichnová, 2009)^[6]. It is an advertisement that walks out to meet the recipient, communicates with them where they live, work, spend their free time, look for entertainment, relax and live. Ambient has a much higher potential to reach the supposed recipient than other forms of advertisement not only because it is different, but mainly because it is directed personally at them. It is connected to traditional advertisement which by increasing in prevalence reduces its own effect of unexpectedness and surprise, becoming less original.

The IMAS company’s advertisement titled Happy dogs promoting dog food placed on the rear window of a taxi is not unusual in itself, but the movement of the glass wiper positioned as a dog’s tail makes the advertisement ambient. At the moment in which the frequency of this element rises, becomes used in other campaigns and the approach (via an original and unfrequented idea) becomes mundane, it ceases to exist as ambient – as it loses its creativity and unusualness^[7].

Unusual placement is not the only precursor for this advertisement type. Nature of realization is just as important as timing. Among other important elements necessary for understanding and acceptance of the message spread by the communiqué (Malíčková, 2008)^[8], we can count the context, in which the advertisement emerges, and the circumstances and connections, under which the recipient interacts with the advertisement in the environment (Šalgovičová a Prajová, 2011)^[9]. Media that carry the communiqué therefore utilize technologies that mediate interaction and activize the recipients. Technologies strengthen the sensoric elements of the communiqué, and that allows the recipient to actively participate in the presented game. In campaigns of this kind, technologies that are integrated into the modern ambient marketing can be utilized with great effects (Čábyová, 2009)^[10], for example motion or audio sensors, bluetooth, digital projections, water-mapping and video-mapping (see Pictures 28 and 29).

Despite the fact that ambient advertisement aims to be a less costly and more effective form of advertisement, the utilized technologies often raise costs, in which the forms can deviate from the principles of guerilla marketing. That insists on low-cost solutions. The recent financial crisis, however, has been typical for cutting budgets, on marketing as well, and this the position of ambient marketing forms^[11] has been gaining importance for the contemporary market context.

We present examples of using technologies (such as mechatronics) that affect recipients, surprise them – and the element of surprise is the basic element of guerilla marketing, including the ambient tools. In the examples introduced below, the topic is propagation of horror genre films, for which the expected reactions are surprise and fear, as they are the most appreciated emotional responses for the genre. This way, cinema screens are overcome, creating a sense of closeness with the key story elements or characters from the films, in this case the films were
Carrie (2013) and Devil‘s Due (2014).

In the case of Carrie, the installation was placed in a café in Manhattan and the technical solution created a sense of telekinetic ability characteristic for the main (anti) hero of the film. The trick installation allowed the actress to move chairs and tables, even to send an allegedly unsuspecting guest (a stunt actor) flying, hitting the wall of the café (see Picture 30). The situation inscenated in this fashion created a natural experience, inducing the reaction of surprise and fear, that were followingly used in a viral video that spread on social media.

For promotion of the Devil’s Due film, a baby stroller was used, fitted with a mechatronic doll. The stroller moved unsupervised in New York streets, which resulted in attracting attention. The curious passersby who dared to look inside the strollers were greeted by grimaces and profane gestures from the remotely controlled, dreadly looking mechatronic doll (see Picture 31).

As we mentioned before, emphasis on unlimited and free creativity in keeping the costs low remains. It is the limited financial options that create possibilities, that might have never emerged in conditions of unlimited financial resources, and the success would have never been reached without those spreading the information further because of its potential to attract. These activities create the moment of surprise for the recipients, from the positive or the negative viewpoint, but never leave the audience indifferent towards what they witness, what the communiqué contains. Campaigns in the ambient form do not plan for buying specific media in classical meaning, they rather use the effects of a sensation.

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^[5]       PATALAS, T. (2009). Guerillový marketing: jak s malým rozpočtem dosáhnout velkého úspěchu. s. 75.
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^[10]   ČÁBYOVÁ, Ľ (2009). Bluetooth marketing a jeho kreatívne možnosti.
^[11]    BROSZKO, K. (2011) Available at: <http://pieniadze.gazeta.pl/Gospodarka/1,123716,10585391,Ambient___szach_mat_reklamy.html>