Creative Semiotics Creative Semiotics

10 Things I Learned at Semiofest, Mumbai

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Image: finding my first Semiofest sign, on Day 1 on the way to Santosh Desai's masterclass

So, I'm still in India, down South, in Tamil Nadu, but coming down to earth after a great Semiofest event. For those that have stumbled onto this blog, Semiofest is the world's only and best applied semiotics event. It is held annually, and we have been to London, Barcelona, Shanghai, Paris, Tallinn and Toronto. And now Mumbai. I must concede that I'm a bit biased since I co-founded the inaugural event along with Lucia Laurent-Neva and Hamsini Shivakumar. In 2012. On the internet. This year's was actually the best attended to date with up to 95 delegates on a single day. For a look at the programme, please go to this link.

https://2018.semiofest.com/days.php

As is customary, I'm going to post a review of the event. It's not in any way meant to be the official account of the event - and I've missed out loads of great presentations - I just picked 10 themes and then included a few examples. But before I get started, here are a couple of photos that exemplify the two sides of Semiofest.

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Image: the two sides of Semiofest: a rapt audience behind her, Fangxing Huang asking a question of a speaker

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 Image: the two sides of Semiofest: relaxing at Leopold's a bar down the road from the venue in nearby Colaba

I feel slightly sheepish posting my picture above that of the revered Gandhi-Ji. In this case only chronology is implied in the image sequence, but apologies for the cultural solecism. Let's all practice some Ahimsa (or non-violence) here, please.

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Image: street art stencil of Mahatma Gandhi, on the way back from an early morning tour

NUMBER 01: INDIA: REPUBLIC OF SIGNS

Indian is highly dense symbolic culture, so in a way it's a playground for semioticians, a bit like the Empire of Signs, Japan. This is my sixth time here. On a GAP year in 1993 I travelled from Rajasthan to Darjeeling through Nepal and have been back on business trips (semiotics of India for Mahindra, IIM training) and pleasure, Goa, and a Keralan yoga retreat, but I am still astounded by the richness of the visual culture. Indian visual culture liberally mixes the sacred and the profane. This is a country where religious and commercial signs jostle for attention and are invariably fused. During the Mahindra project 2007 on the emergent codes of India we unearthed a flourishing auto-orientalism and resurgence of Hindu mythology much in evidence which since the ascendancy of the BJP and Hindutva I gather is now in full bloom. I was staggered in that project to discover that the Mahindra logo uses Shiva’s eye. Of course Ashok Leyland use the Ashoka wheel and Maruti a mythical bird. This is leaving aside the widespread use of the lotus as a brand emblem and the use of gods such as Saraswati and Lakshmi in branding Lakmé cosmetics. Santosh Desai in his talk wrote about the Articulate Symbol in India in which he linked modern symbols such as the selfie and mocktails with an emergent Indian youth - yet one of my young fellow walkers told me of the continued resonance of Om as a symbol of oneness. In a presentation as a preamble to the Bollywood dancing session at Gymkhana 91, we also learned about the ‘language of condiments’ – with Aditya Hedge and Akansha Agarwal. It was fascinating to learn about the spiritual and devotional uses of spices too in the Indian kitchen – and that particular permutations of spices in a dish give away the provenance of the maker. And just at the basic level that there are seven basic condiments in the Indian kitchen that are split into seed and powder spices!?! Have I got that right?!

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Image: a tray of sample condiments from the Dinner Talk at Gymkana 91

NUMBER 02: A CULTURE OF FLUIDITY / HYBRIDITY

One image always sticks with me after Semiofest. In this case it is the 'ocean of milk' metaphor from our first keynote speaker, Devdutt Pattanaik. Devdutt is a self styled mythologist and is truly a superstar of Indian pop culture having written over 30 books. Coming onto stage with no notes or visual aids, Devdutt captivated the crowd with his voice and erudition - one of the best speakers I've seen live. He expanded our horizons with Indian philosophy. I have read one of them Shikhandi in which he shows how there was a percursor to queer theory in India in 3000 BC in the way the Gods would freely change gender. His main theme was about the fluidity of Indian culture, as expressed in its many hybridities; for example, the indeterminate (sometimes infuriatingly so) Indian head shake and the fact no definite article in Hindi. He’s just published My Gita - his unique view of the Bhagavad Gita, and to some controversy. What Devdutt said about everyone spinning their own mythia, or myth and this being equivalent to everyone fixing their own truth chimed in beautifully in the event with the Panel discussion on Fake News we had at the end of Day 2. I'm not covering that panel here, because it was so rich that it deserves its own post. This theme of fluidity was a theme also broached by Harmony Siganporia in her presentation on the shampoo brand Patanjali and how the patriarchy is trying to fix Indian womanhood to a traditional archetype. Within an infinite mix there is an eternal truth, but whilst the Gods have millions of eyes, we only have two eyes making our vision necessarily limited and distorted by views of various kind.  He left us with the metaphor of human beings looking for meaning as ‘churning the ocean of milk’ that has no boundaries. That milk might just eventually become butter, then purified ghee that can then light the lamp of wisdom. Devdutt wrote that existence is ‘churning the ocean of milk’. It feels like we have been doing that with Semiofest for seven years. Hopefully the attendees feel we are starting to make butter! But the idea of being lost in a constantly morphing universe was very relevant to the overall Semiofest 2018 theme of Metanoia.

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Left Image: Devdutt Pattanaik's Keynote on Day 2, Semiofest  Right Image: floriate motifs on the roof of a Mumbai taxi

NUMBER 03: METANOIA: ADAPTIVE CHANGE

The theme of this year’s Semiofest was Metanoia – this has been defined as 'adaptation in the face of change' or the 'embracing of change'. We had presentations on socio-cultural change Hamsini Shivakumar and a sense of the long arc of cultural syncretism that has always been practiced in India. But we didn't just have content from India. We were treated to 'Born in the New Russia', a look at Russian youth from Masha Papanthymou, and 'Gender Semiosis' a look at the way gender representation has morphed in Brazil, Argentina, Spain and Mexico from Mariane Cara, Ximena Tobi, Gabi Pedranti and Arturo Rojas including such phenomena as the Muxe, the Third Gender in parts of Mexico and mass apostasies against the Catholic Church. We heard about The Soft Revolution, a look at the front line of fashion feminism and identity  politics ,from the UK's Ashley Mauritzen as well as a primer on the generation of memes to evade censorship through clever symbolism on the Chinese internet from Fangxing Huang. And Charise Mita talked us through the challenges of making people pay attention in the Experience Economy with examples from Westworld at SXSW and Selfridges. On the macro level, the thread through the presentations was of an India on the move, from the virtual city, Gurgoan, by Sunil Vasisth to the embracing of casual relationships in Love 2.0 to the ditching of family bonds and embracing of idiosyncratic sobriquets online presented by Rajan Luthra. 

These presentations, interestingly, were all consistent with one of Santosh Desai's slides showing that India had shifted from Brahminical restraint to self magnification through selfies, mocktails and brand experience. Billboards and malls showcase Indian alongside overseas brands and I was astounded at some of the builds out here from Mumbai airport to the gargantuan towers some up to 100 storeys high. And as I’ve written before, stand up is a form of semiotics and great litmus test for confidence in playing with cultural codes. The confidence of India can be indexed by their propensity to take the piss out of Brits – I’d seen Anirban Pal’s show Empire at the Edinburgh Fringe this year in which he quips that the sudden 1948 abandonment of the Raj by the British Empire was ‘the first Brexit’. And at the show at the Canvas Laughing Club which I attended with Mark Lemon on Sunday night, as the only non-Indians we were gently heckled as Britishers – the Indians have now made the form their own - I honestly cannot imagine such confidence back in 2007 when I did my Mahindra project. And after all Tata advertise on the tube and own Twinings tea and Ford. But just don't mention recent Test Cricket! ;-)

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Left Image: high rise by DY Works offices, Lower Parel | Right Image: Carlos Scolari's Keynote, Day 3, Semiofest

NUMBER 04: METHODOLOGICAL INNOVATION

Evolution of semiotic methodologies was a salient part of this year’s proceedings. Our Day 2 Keynote, Carlos Scolari, Associate Professor (tenure) at the Department of Communication of the University Pompeu Fabra - Barcelona, who was a sensation at Semiofest 2013 in Barcelona, presented from his new work, the Laws of Interfaces. The link between Pattanaik and Scolari was acute awareness of change. Scolari wrote of trying of attempting to understand changes in media environment (I'm paraphrasing) 'it is impossible to theorise about lava inside a volcano' - another 'ocean of milk'. Scolari defines interface as “a surface that separates two substances (osmosis) – but at the same time acts as a filter – by which some things can travel between one and the other one". He went on to make a convincing case that interfaces must evolve and that our political and educational interfaces are broken. Senses in Semiotics by Thierry Mortier on the influence of sensory in semiotic – showed how the future, we multiple sensors will be beyond the visual. Wei Fen Lee presented on Quilt AI and how she and her colleagues have been able to help public bodies to improve sex education and reduce suicide rates. Her case study involved using colour sensors to track the incidence of skin tones of guests at the Met Gala showing gradual diversification with a neat infographic in order to interrogate the claims of #OscarsSoWhite. Wei Fen fielded some tough questions by the crowd after her talk, with great aplomb. Semiofest perennial Sonia Marques, of Indiz then opened our minds to the potential of neologisms – coinages such as Soligado, (I know, it's missing an accent on the first 'o'), meaning Lonely + Connected (for the smartphone addicted) Destattuado, (sp??) meaning without a tattoo - given how ubiquitous they have become . This also tied in with Santosh Desai's idea of bhai-friend. Sonia argued that inventing new terms and  short words legitimises and validates latent cultural changes. “If it takes you two sentences to describe something, then you’ve failed.” We also had Anirban Chauduri present evolution of the classic Residual, Dominant and Emergent trajectory and how it can be modified and nuanced and Lyudmila Zaporozhtseva, on the organsing committee of Tallinn, 2016, presenting on the Mother Nature symbolism and how it informed the brand image of Manizha a Russian pop star.

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Image: (Left to Right) Me, Alpana Parida (DY Works), Lucia Laurent-Neva (Semiofest), Tanvi Shah (DY Works), Hamsini Shivakumar (Semiofest)

NUMBER 05: COMMERCIAL CASE STUDIES

Some great #semiotics case studies including DY Works working with local grocers Safal in order to dramatically increase the kilogram weight of produce sold at their stores from 200kgs to 650kgs per day, through a visual identity refresh and store merchandising refresh informed by semiotics. Alpana said that she started using semiotics out of necessity since it helps to articulate the ‘language of the unsaid’ and provides critical strategic justification. Ashutosh Tiwari of Cosmos Strategy showed how an exclusively semiotics project helped to increase sales of hair extensions through semiotic analysis of African culture. And Martha Arango and Seta Stalberg presented on how a semiotics analysis led to recommendations to the Sweden Forestry Commission that helped them create a new ad to improve their corporate reputation. (*they plant two trees for every one cut down, apparently*).We also had Maximino Matus presenting on how semiotics contributed to organizational change in a tough blue collar workplace in Mexico. I'm now itching to showing the impact of a study I've recently finished at a future Semiofest.

This further swells the impressive list of commercial semiotic studies presented at Semiofest over the years. There have been discussions about creating a Hall of Fame to store them all to slay, once and for all, this pernicious myth still circulating about semiotics lacking impact. At this Semiofest, many of the presenters were planners, such as Nainika Chauhan of DDB Mudra Mumbai - who deployed cognitive metaphor to create a brand promise around love for Netflix rival, Hotstar - qualitative researchers, ethnographers or trends scouts. So the insights may have been arrived at without explicitly using semiotic techniques, but the atmosphere allowed all to be exposed to different degrees of semiotic specialism, from light, to much more academic.

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Image: (Left to Right) Samuel Grange, Semiotics Factory, France, Thierry Mortier, of Kantar Sifo, Sweden and Me

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Left Image: Martha Arango and Sonia Marques greet each other | Right Image: selling the excellent Semiofest posters

NUMBER 06: OUR STRONG BRAND ADVOCATES

I'm heartened by the continuing passion of the regular punters for Semiofest – just the fact that previous organisers and others are willing to jump on a plane to support the event every year every year staggers me and makes me realise what a special thing we have co-created here. So a special thanks to Gabriela, Ximena, Sonia, Thierry, Mariane, Samuel, Mark, Wei Fen, Ashley, Martha, Maximino, Masha, Lyudmila, Charise, all those who flew in from around the world in order to make this event so special.

Thank you. Hope I've not left anyone out.

Honestly, we have such loyal brand supporters who back up their passion with their attendance. But we never forget that they are also stakeholders in our brand too – all of our previous organisers have a role in judging subsequent Semiofest bids and all previous attendees hold us accountable because they see the preciousness of Semiofest want to see it stay true to its roots. But also means pressure for the Board; we realise that Semiofest advocates are watching us! As it should be...

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Image: (Left to Right) Sumeet Anand and Me

NUMBER 7: SOME EMERGENT YOUNG TALENT

Another aspect that was very palpable at this year's Semiofest is the young talent coming through the ranks. I mention those that I met such as Sumeet Anand, Chirag Medratta, Tanvi Gupta and Mili Sethia and all the others on the programme who came through and are developing their semiotic eye and interpretive sensibilities. Chirag's presentation on the case for Veganism, the internal changes undergone to become a Vegan, and the external symbolism I think impressed and shook us up in equal measure, even if it gave some of us 'Meatnoia' (a word we coined to describe the paranoia of meat eaters in the presence of vocal vegans). Tanvi Gupta even made Charles Peirce relatively palatable and understandable while telling a compelling story on UX design and magical contagion  in modern India. I have been in touch with Tanvi on Twitter for ages and met at IIM training in Noida in 2015. It is great to see her perseverance and how she has developed her passion and skills. Mili, ex Flamingo was only given 10 minutes but presented with great aplomb. Great close analysis of analysis of jewellery communication codes and arrangement into quadrants that gave us a window into evolving Indian femininity. I also met Sumeet Anand again who was presenting on the anatomy of Tinder interfaces, showing how the kinaesthetics of thumb action somehow matches iconography and function when analysed semiotically. In addition to this, we had Varun Sathees present on the evolving idea of 'destiny' in pop culture. Something for everyone.

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Image: rolling video set up in the DY Works offices

NUMBER 08: ORGANISATIONAL SLICKNESS

Excellent organization and slickness from DY Works – at Semiofest we have an allergy to bland and insipid hotel conference rooms – we favour a kooky venue with some charm and history. This year we had a very prestigious venue. very well organised in general, despite no Wifi – slickly branded and great promotional materials around – fantastic videos, the nice touch with a souvenir hat. The 12 posters were great too each of them illustrating the context of a Hindi slang word such as Jugaad, (Indian improvisation and resourcefulness) all explained with funny scenarios of various kinds.

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Image: (Left to Right) Ximena Tobi, Me, Mariane Cara, Gabriela Pedranti, Arturo Rojas #LatinPower

NUMBER 09: NEWBIES TOUCHED BY AN EVENT WITH SOUL

Every Semiofest we get a heart warming message from a participant new to the event about their first exhilarating Semiofest experience. Usually these quotes focus on the special atmosphere of the event, the informal sharing and welcoming atmosphere. This to be honest is worth more than a million ticks on a million feedback forms. This year it was Peter Glassen who first stumbled upon Semiofest Toronto, catching the last day last year in 2017 who decided to come back. He wrote this in his feedback forms and says he is happy to share it:

“For many years I searched for such a community of like-minded people. I didn't find them in marketing, not in advertising, not in the often dry humanities. The three days in Mumbai were like coming home after a long search. Thank you for founding Semiofest. A community like this is precious!”

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Image: Harmony Siganporia making a point at the Day 1 Training Day session

NUMBER 10: ROOM FOR IMPROVEMENT

I introduced myself in a workshop as obsessed with the Japanese principle of kaizen – or all about constant improvement. This is never truer than with Semiofest. Every edition we look to see what we can improve, and there’s still loads. We got positive feedback overall, and, as you would expect from an event of this size and logistical complexity, some quibbles, some technical and logistical glitches but also a desire for more stringent curation of the papers presented, more interactive exercises, primers on semiotics, and continuing education were all things people want to see. But the most significant aspect is the most critical delegates still intend to come to the next one or to recommend Semiofest. Suggested locations for the next Semiofest? People are prepared to go anywhere form Iceland to Istanbul from Cape Town to Tokyo. But it won't happen next year. We are now taking a sabbatical from organizing the event. So there will be no Semiofest 2019. However, there will be a Semiofest 2020 and we believe it will be bigger than ever. As usual we will review this event, collate feedback and work out what to improve for next time. We will open up bids in March / April 2019 and we look forward to hearing. In the meantime we have some work to do – we are working on building a Semiofest.com website. Our vision for this in the future is that it should become a useful resource, a global hub for all things applied semiotics. We are exploring opportunities for creating some common definitions for clients and the curious, educational opportunities and other relevant content. We’ll be giving this a lot of thought over the next few months, so look out for updates and we'll keep you posted on our progress as it happens – every year's Semiofest is always in beta: meaning that we programme, test, review, improve, repeat, programme, test, review, improve, repeat each year.

That's why, I can pledge that on my watch, Semiofest will never become a White Elephant.

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Image: white elephant statue spotted in a square off an arcade in Lower Parel, Mumbai

For more about this year's Semiofest event please go to: https://2018.semiofest.com/about.php

 

Five Ways BBC Two's Re-Brand Went Right

I just ( I say 'just' I this was actually 2 weeks ago, but, er I got like, sidetracked) got the Creative Review bulletin showcasing the new BBC Two idents. So I thought I'd set down some thoughts.Creative Review reports that: "It’s the first rebrand for the channel in 20 years, according to BBC Two Controller Patrick Holland is intended to “re-invigorate BBC Two” and reflect its “constantly eclectic” collection of documentary, drama and comedy."

https://www.creativereview.co.uk/bbc-two-rebrands-with-set-of-abstract-idents/?cmpid=crnews_6274127&utm_medium=email&utm_source=newsletter&utm_campaign=cr_news

I attach a series of the BBC2 idents created by the SuperUnion agency on YouTube.

Clearly BBC is always keen to demonstrate its relevance in a much more competitive climate – clearly it still has its public service remit to uphold. Clearly BBC Two clearly need to demonstrate that they remain innovative and experimental and to maintain the quality. The idents - gosh there are a bunch of them - over 20 of them, seem to signal different moods with different forms of art. They are visually arresting and intriguing. From the semiotic perspective I believe they've picked the right creative resources to do it. Plus because they do 5 things well.

1. SYMBOLIC MANIPULATION

Idents are ways for media channel brands – whether cinema or video production companies or TV channels - to demonstrate their editorial authority and command of digital technology through symbolic manipulation. Symbolic manipulation - whether used in Olympic Games Opening Ceremonies or in through branding animation, is about the project of power through technology and it is at a premium for channel brands.

Whether this is A Jazeera with a controlling calligraphic emblem or Russia Today showing us a clockwork interior inside its logo it is about demonstrating technological expertise, especially, agility, construction and SFX and demonstrating a striking point of view. This does work for the brand because it is a proxy for editorial authority and quality of channel programming. Motion graphics is a particularly resonant art form for branding. BBC 2 do it well through foregrounding the svelte curve of the 2 across the collection in a subtle way (more than classic Silk Cut ads) through a variety of vignettes that play with movement of various artistic media. Motion design is an inherently poetic form, in the semiotic sense of 'poetic' this means that it draws attention to and flaunts its formal qualities its evolving form language, just like a poem makes palpable sound world of words, their form, allusive and metaphorical resonances. Motion design, is literally a form of poetry in motion.

2. SUBVERTING VISUAL EQUITIES

The most confident brands tend to play with their visual equities – it shows a confidence and a munificence – we are so well known that we are happy to take a relaxed view of our own intellectual property, and like you, we believe that creativity and imagination are more important than corporate regulations – and you do too – Coke ribbon, Nike with their swoosh, and McDonalds with their trademark M have subverted or messed with their integrity. Even HSBC with their weird bow tie brand motif. We might call them 'metaforms', recognisable shapes or Gestalts that crystallise the brand essence in some way – BBC Two are not unprecedented here: Channel 4 with their shards in 2016, and more recently the new MTV brand identity rolled out globally which evokes human emotions and was responsive to crowdsourced CGC entries.

3. EXPERIENTIAL OVER REFERENTIAL

Brands are moving away from the conceptual to something more visceral and experiential. Eurostar and Renault have both very recently experimented with pure audio branding and ASMR recently. There is definitely something in the zeitgeist about this. The Visual ASMR trend that has been big online (particularly Instagram) for a while now, has spawned corporate versions -we can see below in these ads for Adidas, Kvadrat, and Baidu Raven H (see below) all using this medium for different creative purposes. And it has to be said the svelte sinuousness of the 2 motif fits this trend exceedingly well. Particularly the versions with the blobs that look like shiny blobs of lacquer bobbing around.

4. VISUAL WHIMSY AND WIT

This goes on to humour. Visual wit and playfulness is so important these days – used on packaging, merchandising, in tone of voice. Think of the brand language of a Pret a Manger (see image below). Shrewd humour does so many things – invites brand and content engagement, shows self-awareness and shades of self deprecation and softens corporate image. Whimsy is close to irony and for the BBC in particular this is vital in a world where it can be seen as an authoritarian, conventional monolith up against nimbler, more transgressive youth oriented rivals. The rebrand balances quirkiness and whimsy with gravitas an important balance to strike – it is less bubbly trivial than its predecessor.

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5. CULTURAL CAPITAL

In tying in with artist animators of various types, including one of my favourites – David Batchelor – the channel is showing that they are alive to collaborations – and commissioning artists also shows confidence in the largesse of your brand. In this BBC2 follow so many premium and luxury fashion brands that tie up with artists to borrow their cultural capital in this case it probably benefits them more than the channel.

This is a nice look at cultural capital how Lenovo in this madcap Yoga ad skewer bullshit jobs and capture a random and 'meme-tastic' post internet art aesthetic.

The music (quirky) and use of art sequences (educational) seems to suffuse the work with seriousness – more art and design focused that belies the quirk – It is sort of BBC4 meets Tate Modern – but in doing so it creates more clear blue water between BBC 2 and BBC1, perhaps moving it closer to BBC4 but away from BBC3 and reasserting some of the mystery, danger and edge that BBC2 at its best is known for Channels are clearly struggling to reassert the value and relevance of their brand identity in a world where content sits across platform and content consumption is increasingly eclectic and omnivorous. I think BBC2 has done a pretty good job of it though, given the constraints.

I'm looking forward to their forthcoming collaboration with artist David Batchelor - who wrote one of my favourite books on visual culture, Chromophobia.

Summarising the above, it strikes me that BBC Two have essentially triangulated between their visual equities (previously a mischievious 2 shape) their strategic aim of being more distinctive and seizing on stuff out in the world likely to resonate. In this case visual trends around visual tactility, viscosity and ASMR. And the tone of voice is that of wit and whimsy with purpose – something very current and contemporary.

For anyone reading this that has an upstream brand identity question, FYI, semiotics specialises in looking at the glue between strategy (an abstract brand personality or positioning) and creative (how to bring this to life in communication) which is often where the brand idea gets lost in the process, or a victim to creative detours! This is a classic example of how you can see a coherent brand idea brought to fruition. My collaborator, Tilly Oswell-Wheeler suggests there is potential for semiotics thinking to help generate tighter briefs for motion designers too.

 

Right... that's 60 minutes of my life I'll never get back. Hope you found it a useful read.

Triangulating Semiotics with Other Methodologies

1. Introduction

This piece is first of a two parter on the state of the art of applied semiotics in consumer insight. It is primarily written for practitioners of semiotics interested in the development of the methodology and for interested researchers, strategists, planners and ambitious, progressive insight specialists. So I write this piece to give my opinion on the utility of approaches to give a sharper sense of the demarcation lines between them and how they can best work together as a consolidated insight.

Semiotics has grown in currency in the last two years. It is on companies’ radars there is increasing demand for semiotic insight, however as it makes modest inroads into research budgets, another issue hoves into view: lack of clarity amongst clients on where semiotics sits in the insight suite: how it works with other methodologies.

Miscellaneous queries I have fielded recently from clients and prospective clients range from a confusion between semiotics and ethnographic approaches, uncertainty over how combinable semiotics is with neuro-metrics or with behavioural economics, whether semiotics is legitimate if it analyses consumer generated content from qualitative research, and the difference between trends findings and a emergent cultural code. There is a lot of uncertainty out there. So I wanted to address this.

To state an interest, my mission is to move upstream in the insight chain to tackle the big strategic problems facing companies and individual brands. I am a creative problem solver, not just a semiotics methodology provider. I want to become an insight broker bringing the above suite of tools to brand creation, product innovation briefs where there is a genuine appetite for a culturally sensitive approach to the big strategic choices but also a need for triangulation of results from other approaches. I would welcome views from practitioners and clients on aspect of this, in particular those who want to collaborate with and partner with Creative Semiotics on projects.

Some semioticians see semiotics as a singular cultural critique that stands outside of and can never be mixed with empirical positivist science. Some prospective clients only see semiotics as a stand alone approaches for a narrow range of applications.

I used to be Head of Semiotics at Flamingo Research so I started off applying the methodology in triangulation using qualitative research. Often a combination of focus groups, triangulated with semiotic and ethnographic approaches - that at the time seemed to be termed 'bricolage'' - were the lifeblood of my day to day work. 

a WARC Best Practice report, ‘What we know about bricolage and semiotics’ July, 2017 writes “Bricolage does not put interviewing, or any particular information-collection method, at the centre of solving the client's problem. Instead, it puts the researcher's detective and analytical skills at its core. It means treating many more things as empirical materials to be read than the products of groups and interviews.”
Vice President of ABM Research, Charles Leech, wrote at Toronto, Semiofest 2017:


"One of the challenges in the search for rich and accurate insights is the inevitable partiality of any one research approach. If you only examine an issue from one perspective (or with one research method), you end up with a distorted view of reality (a can looks like a circle, not a cylinder, from only one angle). The only way to get a true picture of reality is to triangulate: look for the same truth using at least two different methods, and see what comes up... As a result, Triangulation, or mixed methods research has become increasingly popular".

The core of the piece compares insight techniques for decision making such as trends syndication gathering, big data analytics, behavioural economics, implicit response and neuro-metrics All these approaches potentially replicate aspects of the semiotics toolkit. All of them help to highlight different facets of the unconscious factors and context that underpin and drive consumer mindsets. I believe that the simultaneous deployment of these approaches get us to a richer insight and can give a fuller picture, to eliminate blind spots and be of better service to our clients.

2. Triangulation

Semiotics has alluded to above has long been blended with other insight tools, for example ethno- observational techniques. Observational research helps to capture behaviours and patterns subjects reveal in the course of their lives in unguarded moments, things they themselves are not aware of. Semiotics can then bring the essential 'structure' and a cultural backdrop to 'amorphous' observational data.
But what about more contemporary technology and science inspired methodologies? In the below, I attempt to set out what these individual specialisms claim to provide, the insights they provide, and the types of semiotic project they replicate. For each methodology I cover what the method is, how it works, the semiotics services substituted, the threat level and potential for semiotic friendly combination.

DISCLAIMER *This is not meant to be an exhaustive account of the way these methodologies operate. I seek only sketch out their utility so as to be able to compare them with semiotics. Please comment and correct me if you feel I have misconstrued or misrepresented a methodology in which you work. Whilst I have a working understanding of these areas, my specialism is semiotics; I cannot be an expert in everything!*

2.1 TRENDS SYNDICATION

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Source: LSN Global website, https://www.lsnglobal.com

Trends Houses are focused on keeping in touch with the latest in popular culture, in technology and social and cultural practices. In an accelerationist and hyper-cycling culture industry where things move faster than ever, and we all infected by FOMO (Fear Of Missing Out), this sort of insight helps clients spot innovation opportunities and helps them see where the cultural zeitgeist is moving.


Trends in general are very well curated and smart.

Drawing on in house resources, trends are usually packaging in a very attractive way using glossy photography with examples from digital art and smart custom design infographics. trends provide a blanket, generalised market intelligence which is distinct from the specific enquiries posed to semioticians to forensically deep dive on specific cultural or category areas. I am doing a talk on hip-hop and masculinity in a few weeks and have downloaded LSN's Masculinity report, as well as Faith Popcorn's to give me a snapshot of prevailing discourses.

COMBINATION POTENTIAL

The only rub is that some trends (not all, but some) identified can be rather frothy,ephemeral and transient without a sense of their place in a cultural churn and likely longevity. There is also sometimes a lack of nuance towards the way culture works. An inherent neophilia with some of this work blinds us to the deeper patterns of recurrence and repetition and longer arcs and trajectories of change that the art of the long view afforded by semiotics can provide. As Rachel Lawes writes, when encountering some interesting socio-cultural change we need to ask of it: "Is it a micro-trend? Is it the start of something large? How long will it last? How can all of our business respond to it with new consumer goods and services"

Creative Semiotics recently contributed to a BackSlash, the TBWA agency thinkpiece entitled Wacko World. This is a timely exposé on the excrescence of wacky aesthetics on and offline. Semiotics added some perspective on the history of collage and randomness (Dada etc) in art and connected these aesthetics with ideologies. Semiotics need not vie with Trends Agencies on being first to unearth the super new but just needs to concentrate on their significance, placing them in wider context.

2.2 QUANTITATIVE / BIG DATA ANALYTICS

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Source: Scenario DNA website: https://www.scenariodna.com/work

What is Big Data? Typically it can be defined as extremely large data sets that can be analysed computationally to help us to see patterns. So for example mashing up Ordnance Survey data and Department of Transport accident data to create a map of road junctions where most accidents happen so as to improve warning signage.
Marion Tanis writes:
“The dream of accurate market segmentation and audience targeting is now a reality through the usage of these new devices and the output of big data and metrics. As a result, the industry has become obsessed with this profitable dimension of market sustainability and the quantification of consumer behavior. Spending on big data is set to reach $48.7 billion by 2019, with associated revenues reaching $187 billion by the same year (Olavsrud, 2016). “
So, what sort of problems does Big Data solve in the consumer insight realm:
If we consider a company such as Palantir. “Palantir is helping Hershey’s Chocolate better understand how and where their chocolates sell in stores. For instance, Palantir were able to mine customer transaction and store data to figure out that when Hershey’s chocolate is placed next to marshmallows, it increases sales.”
Steve Verba, in the RWC ESOMAR series on semiotics series looking at Big Data and opportunities for semiotics notes about its obsessive appeal:
“The biggest appeal of Big Data application in business is that the sheer amount of data provides a sort of intrinsic credibility. Secondly, the appeal also comes from the notion that the tools used to analyze Big Data are positioned as applying pure logic to that data to make precise predictions. This is both a great Brand Promise and a Unique Selling Proposition for Big Data.”
https://rwconnect.esomar.org/big-data-semiotics-big-answers-powered-by-meaning/
COMBINATION POTENTIAL
Marion Tanis notes, in an research proposal Big Data and the Future of Technology in which she ponders: “Is big data evolving faster than our ability to properly use it?’ asks, quoting Joe Stanhope at Forrester whether we are reaching the limits of our ‘cognitive power’ when it comes to the interpretation of digital data. Tanis writes that: ‘it is important to note that we are currently ill-equipped to make decisions on the highly advanced outputs from rapidly growing technologies. In other words, the problem is that big data is outpacing our ability to properly handle it.’
Semiotics can help to correct some of the biases in as Verba writes: “Semiotics draws our attention to the existence of an underlying code system informing the choices made within the discipline (e.g. what is ignored, devalued or glossed, or what is valorized, optimized or rewarded)”. The big issue with Big Data is the problem of meaningful interpretation, digging into statistical significance etc.
Verba challenges the axioms of Big Data as transparent logic applied to immutable documented evidence by showing the limits to the interpretive frameworks used. He gives an example of gaining competitive advantage using semiotics to reverse engineer social media data.
I recently shared a stage with the Digital Forensics team from Flamingo, my old employers showing how the Big Data can work with other methodologies which they call digital forensics which involves analysing a repository of self-ethnographic data.
There have been companies operating in this space for a while. Scenario DNA, run by Tim Stock, a previous attendee at Semiofest specialises in data visualisation based on Linguistic and Machine Learning. Previously (SEmiofest, 2012) he has tracked the spread of affiliation with Anonymous or the Raw movement in the US by detecting as is stated on the website “and tracking cultural signals to reveal critical patterns and emerging narratives that create competitive market advantage.”
Signoi have started a service called quantitative semiotics, that helps "clients quickly cut through the cloud of culture and focus on what signals are truly important for your brand or category. What’s growing and emergent, the natural meaning structures and codes within a category? How do we track their evolution and use them for commercial advantage?” Quilt AI that are seeking to pair semiotics and Artificial intelligence to create powerful synergies. Where they combine the scale of data points along with the cultural nous and interpretive skill of the digital anthropologist.
http://www.quilt.ai/note-from-a-digital-anthropologist/
However, it is harder to see how quantitative semiotics can make the sharp, precise interventions such as are required in account pitches or creative inspiration – and if you are interested in a very specific area of culture, you need bespoke, rather than off the shelf insight combination of the weight of numbers and semiotics insights. In this case crowdsourcing and semiotics might be as good or even better combination.

2.3 BEHAVIOURAL ECONOMICS

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Source: The Behavioural Architects website https://www.thebearchitects.com

Behavioural Economics has been bubbling under as a methodology for use in research and insight since 2010 or so. Behavioural Economics has striking parallels with semiotics. Both focus attention on context, on the unconscious factors that influence decision making and looking for patterns in order to create insight.
As a qualitative researcher colleague wrote:
"Behavioural science tends to start with a behaviour and seeks to explain it; its expertise is centred on its ability to drill into psychological process, but not so much on understanding the environment's inputs. Semiotics on the other hand starts by describing environments/stimuli and what they mean to people apprehending them."
Behavioural economics, popularised by books such as Freakonomics and Predictably Irrational, and Nudge can be used to evaluate anything relevant to where a decision is to be made – clearly relevant to buying decisions as there are many variables involved. Areas of research researched by behavioural economics is anything to do with the influence of consumer-brand interfaces, service design or consumer journey work where the principal interest is in gauging nudges or levers of engagement at every point. It is also becoming influential in understanding organizational dynamics.
Behavioural Economists apply a panoply principles such as Framing, Social Norms, Loss Aversion, Framing, Choice Architecture. Much of these have been derived from Daniel Kahnemann, a Nobel Prize winner for the book Thinking Fast, Thinking Slow, a psychologist who coined the term System 1, to designate the more impulsive part of the brain which works on a nonconscious/ implicit brain processing model, responsible for the vast majority of the actions and which processed billions of bits of data, versus System 2, the more reflective part of the brain which is more purposeful, effortful, but less efficient, and is easily overwhelmed.
Behavioural economics has done a much better PR job than semiotics. Rather than languish for years as an obscure backwater, it was dramatically heralded as a revolutionary technique, gathered powerful advocates and then quickly set about carving itself out a niche. It enjoys a higher profile, and perceived relevance.
For this reason some clients may, erroneously, believe that it covers off exactly the same ground as semiotics - analysis of the context of communications and decision making. The thrust of BE findings can also seem more relevant because they focus on the mechanism by which the environment cause behaviours, rather than the way we interpret visual signs in culture and how these findings unconscious influence us.


COMBINATION POTENTIAL
Along with ethnographic research, this is the most compatible with semiotic data. This is because though the pure academic subjects are based on different epistemological foundations, they are siblings within market research and consumer insight industry for the reasons of shared concerns and premises set out above.
I just worked with a Behavioural Economist on a project and this lens helped, along with the semiotics to explain why the category service design and packaging posed an acute Empathy Gap for consumers, involving bewildering shelf layout (-ve Choice Architecture) and created friction and paralysis in decision and Cognitive Overload and how the category needed to combat Endowment Effect with some smart heurists. The semiotics contributed sharp analysis on garish colour choice, and misconceived speed metaphors on pack. Together, the semiotics and behavioural economics was a dynamite combo in explaining why this packaging wasn't working!
As Nick Southgate writes:
"Behavioural Economics says framing works. Semiotics, commercially applied, could be seen as analysis of framing - the cultural norms, symbols, etc. that are part of the implicit message of the presentation of any decision. When BE identifies a framing issue, semiotics should be able to suggest widest array of levers to pull"

2.4 NEURO METRICS

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Source: Neuro-Insight website https://neuro-insight.com

Neurometrics techniques have risen in credibility in the eyes of marketeers and cases studies seem now to be ubiquitous at research conferences. This has been driven by the increasing sophistication in brain understanding and the decreasing cost of technology on the one hand, heightened need for data in decision-making and a greater appetite to embrace neuroscience on the other. The Advertising Research Federation in the US has embraced Neuroscience. In the UK, WARC runs regular seminars to popularise these techniques.
Neuro-metrics tend to work through either EEG or Electroencephalography which measures electrical activity in parts of the brain and fMRI or functional Magnetic Resonance Imagery which measures the blood flow to various parts of the brain. Neuro-Insight have pioneered and patented a retuned version of EEG called SST or Steady State Topography. Neuro-metrics helps clients or agencies to optimize communication by tracking the emotional intensity, approach withdrawal or long term memory encoding happening in the brain during the exposed stimulus.
Neuro-metrics claims to identify the creative factors correlated with peaks of brain response and across a range of measures. These measures can be correlated with desirable consumer responses, for instance, emotional intensity or long term memory encoding. The latter, in particular is somewhat of the holy grail amongst effectiveness metrics since it is shown to correlate very highly with ad effectiveness.

In a think piece developed for Thinkbox, the trade association for commercial television advertisers, Neuro-Insight, with whom I have worked before, present a series of elements: emotion over hard facts, classic storytelling techniques, and skilful placement of branding and music that can help to maximise the impact of communication. This clearly give another approach alongside semiotics as technique for deconstructing brand texts.
https://www.thinkbox.tv/Research/Thinkbox-research/Creative-Drivers-of-Effectiveness

Darren Bridger in his 2016 book Neuro-Design sets out effectiveness principles – including neuro-aesthetics, gestalt psychology, behavioural economics - to help the designers of all sorts. The chapters cover such aspects as processing fluency, how first impressions work, multi-sensory design, visual saliency and persuasion and even virality of memes. The book is laser focused on distilling techniques that will help to move the needle on work in fields like advertising, architecture, UX design.


COMBINATION POTENTIAL
Semiotics, on balance semiotics tends to operate at the level of big creative ideas, their cultural resonance. Semioticians tend to do so by delving into the detail but we seek to connect these with the bigger picture. Semioticians in creativity know that what is left out is just as important as what included. The semiotician would start with the question: what meanings are you trying to convey and through what signs?
Starting from the perspective that all branded signs are freighted with cultural meanings, the semiotic will change the meaning, for instance, how swapping out frame A instead of frame B shifts visual impact or connotations of a print ad, or how a different music track can transform our interpretation of a visual montage.
Neuro-metrics is more tactical; signs (shots, frames, scenes within a video or ad) is about the optimization. This leaves untouched the more upstream brand ideation, positioning and brand proposition studies which semiotics specialises in. Neuro-metrics tends to be more developmental, not inspirational.
semioticians, when working with neuro-metrics specialists can bring heightened awareness to analysis of visual features, their potential connotations, multi-modal aggregation of meaning (for example the likely effects of types of music or sound used). Semiotics can create testable hypotheses for alternative approaches, via commutation test tweaking of different meaning units to optimise performance.

2.5 AFFECTIVE BIO-METRICS

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Source: Affectiva website https://www.affectiva.com

Bio-metrics is not just about market research.
It is a technique used to detect, sense and measure the unique biological signs or even features of human beings for some purpose. In a blog post about this area of research within consume insights…Are Implicit Techniques the Future of Market Research?, Neal Cole writes: “Biometrics are implicit research techniques that measure the body’s physical response to a stimuli. Biometrics monitor bodily functions such as heart-rate variability, skin conductance, respiration and eye movement. This allows researchers to identify unconscious responses to marketing activity that self-reporting would never be able to accurately measure.
Companies like Affectiva, Imotions and Real Eyes use software recognition hyper sensitized to facial micro expressions on a second to second basis in response to video and other types of visual media, and who can report on the emotional responses moment to moment to stimulus, this very much like neuro-metrics.
Emotient writes: “Emotient software translates facial expressions into actionable information that helps companies make better decisions based on audience response to media, products and experiences.” http://fortune.com/2015/09/11/affectiva-emotient-startups/
Bio-metrics is clearly more of a developmental rather than an upstream strategy tool. It is not going to threaten the ideating, provocative side of semiotics, but it will certainly be a threat to the evaluation of multi-media, traditional TV ad, music video and other moving image artefacts. This is a parallel threat to that posed by the neuro-metrics agencies. The threat may be greater in this case however as the availability and the accessibility of the desktop cam technology can make it scale faster and the emotional pull of the tests might help reduce any resistance.


COMBINATION POTENTIAL
So for bio-metrics like, neuro-metrics, tests require the textual literacy needed to dissect and pinpoint what elements in the given stimuli which spark meaning. A classic example of the sort of study that might eventuate a blended bio-metrics, semiotics study would be a recent enquiry from a qualitative research agency who had commissioned a Galvanic Skin Response study and wanted a semiotic facet.
For example, a recent enquiry for some semiotics read:
"we are exploring the moments of high arousal and aggravation when shopping in a co-op by combining eye tracking and GSR data with qualitative questioning and observations. We’re interested in adding a semiotic layer of analysis to the outputs"
In this case, the semiotics brings interpretive skill and would review the footage of the respondent, or photos, the ambient media other sensory elements respondents are being exposed to at key points when a spike or dip occurred in measurements.

2.6 IMPLICIT RESPONSE TESTS

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Source: Vision One website http://visionone.co.uk

Branding is based on associative thinking. This is clearly very enticing for clients, in 2018 since it chimes in with the focus on distinctive assets as driver of brand choice - as promoted by Byron Sharpe in his book How Brands Grow so it is about owning equity irrespective of whom else does. Van Praet in his book his book Unconscious Branding: How Neuroscience can Empower and Inspire Marketing writes:
“when a brand consistently repeats a coherent, compelling message over a period of time, the net result is…a physical change in the brain’s circuitry at a cellular level.”
Implicit response typically measures the relative speed of response to different types of stimulus to determine how closely associated a given brand or visual brand asset is with a desired brand value. The respondent is asked to rate something that is either congruent or incongruent in 500 – 600 milliseconds. It is based on associative and semantic priming, which typically involves – 2 or 4 different concepts and attributes. As Andy Dean from System 1 Insights whom I spoke with explains, "by triggering concepts in consumers’ minds, requiring them to respond indirectly within a very short time window, tests measure precisely the strength of association between a brand and a fragrance / packaging / ad / taste and related concepts it evokes. The idea is to circumvent an individuals' conscious mind, to do this they are confronted with alternatives and purely react to how they see on the screen."
Implicit seems to be most useful when you are considering how closely brands or commercial entities match up with various desire values - and this clearly has very wide application. It seems to be best at working with static imagery, so brand logos, packaging that can be flashed up and registered instantaneously. The main areas of usefulness for implicit being Brand Category Positioning, Advertising Sponsorship, Product Placement, Celebrity Endorsement. It also helps in Sensory branding too.

COMBI POTENTIAL
Brand value is said to reside in the neural networks in the brains of consumers. Brand equity is at least partially built via the associations and values accumulated by brands through their identity and communications. Both these methodologies help in understanding associations, semiotics through dissection the culture to see what associations are encoded in the culture within which people are conditioned, it is a rich, and suggestive technique. Implicit response tests how tight associations are.
Semiotics focuses on how these associations work through the web of culture and how they are reliant on cultural codes and can be complex and multi-layered and inter-textuality or work through disentangling subtle metaphors or allusions.
Implicit response cuts through the speculation by simply assessing the speed of reaction time as a proxy for the gross relative tightness of association between values. This is great for comparison and selection, but as Darren Bridger, a lead Consultant at Neurostrata recently wrote, “I think that Implicit Response could work very well in tandem with semiotics. With semiotics covering the ‘why’ of iconography triggering associations, and implicit measuring the ‘how much’ of particular designs”.
A brand audit by a semiotician would pull out the various cultural and inter-textual references giving a rich account of the meaning potential in each alternative. And then when determining which of a series of strategic options generated by semio, most closely associates a given value needs the failsafe arbiter of implicit response.
Semiotics can be used up front to sift brand or design alternatives and to build justified, non-arbitrary creativity in , generating a palette of design sample of alternatives into an array of prototypes. Semiotics can helps in post rationalisation of implicit results or help provide interpretive guidance to development pointers.

We can see a summary of the above below along with the aspects of semiotic services substituted as well as threat level to these services:

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3. Conclusion

What I have attempted to do in this piece is to set out pragmatically the place of semiotics within a suite of other insight techniques. I look at the burgeoning area of neuro-metrics and behavioural science and show the facets of semiotic applications that overlap with or are infringed on by aspects of methodologies, but argue that this should be a cause for celebration not trepidation on the part of semioticians. It should also be fertile fishing ground for companies and agencies interested in best in class insight – offering cross-fertilisation of perspective and valuable synergies too.

Semiotics can bring valuable interpretive nous and textual awareness to the stimulus and cultural materials studied by these other disciplines. Moreover, it brings humanist instincts, hyper vigilance, ornery counterblast, to fast changing, accelerationist, confusing world. I am however keen to 'right size' semiotics amongst in the world of insight. Semioticians need to respect and gain respect from neighbouring disciplines. Semiotics in and of itself is not a panacea, and is not appropriate for all research problems. However, neither some of the other disciplines mentioned here catch-all solutions. There is often a fetishization of Big Data for instance without adequate attention paid to hidden assumptions and interpretive nuance.

Triangulating approaches afford rich potential for inter-disciplinary blends that generate more than the sum of their parts. Firstly, because the triangulation principle allows you to layer perspectives to give a fuller picture to more confidently iterate towards the true state of affairs as well as throwing up anomalies that are actually opportunities to dig deeper or are themselves commercial opportunities. Secondly, because there is invariably rich corroboration between the findings of independent work stream and that gives added confidence to clients through reduced risk of skews. Thirdly, because shrewdly planned interventions across methodology can be more cost effective than splurging on a single methodology that is brittle, and does not optimise ROI.

For example, the below diagram shows how semiotics could work alongside the other methodologies in part of an insight suite in comprehensive brand development and communication projects that run from the Exploratory, Analytical and Developmental through to Evaluative phases. Please contact me if you’d like to pilot such a project.

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We live in a complex, fasting moving and joined up world and the most intractable and interesting communication, insight or behaviour change projects require multi-faceted solutions with imaginative inter-disciplinary teams covering each others’ blind spots. These solutions are available, we need to be bolder in utilizing them. This is a Brave New World and a very exciting prospect for us all. Ideally, more research commissioners would have the confidence to green light these multi-methodology, blended approaches.

I would welcome views from semiotics practitioners and those involved in related fields and clients on aspect of this and in particular those who want to collaborate with Creative Semiotics on projects or who want to partner on methodology development.

Semiotics and Stand Up Comedy

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I have been thinking  about the parallels between semiotics and comedy a lot recently. This is partly because I have just finished a mind blowingly interesting project on the semiotics of humour. And partly because, having done poetry open mics for quite some time, I have started a stand up comedy course recently too and am immersing myself in the world of what makes things funny.

It is definitely out my comfort zone. Building rapport with the crowd draws more on qualitative research chops for connecting with a bunch of randoms in a focus group than the ivory tower seclusion of semiotic thinking. But the writing itself is highly semiotic – it is all about what you have noticed, that others probably haven’t noticed, its uncanny connections to other things that have kernel of truth to them and deconstructing social mores, in and out group distinctions and social etiquette and the rules we have have.

At the superficial level, semioticians and comedians have something obvious in common. Both are outsider figures who work at the margins of culture and are often seen as eccentric provocateurs. Greg Rowland in his paper the Slag of All Semioticians said his clients seemed to view and treat somewhere between Moses and an idiot savant. And semioticians study humour too. Canadian Paul Bouissac, who gave a Keynote on Catchy Memes at Semiofest 2017 has written extensively on clowning and the circus, a highly semiotic entity. Malcolm Evans deconstructed the idea of the 'fool' in Shakespeare as a sort of carnivalesque sage / prophet.

But if we look closer we can see more parallels. Both of them are disciplines that rely on:

1. Observational detail

2. Surprising connections

3. Revealing cultural norms

4. Insight and epiphany

5. Subverting the status quo

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1. Observational Detail

in an interview recently a comedian wrote that comedy was about seeing things in a way that Michael McIntyre - naming something that has not been named, which leads to a relatable insight = funny. This is something we need to be alive to and skilled at as semioticians in order to meet the clients's brief.  Or Mo Gilligan pastiching different types of rapper in his routine - something others vaguely note, but don't see with such clarity. Pastiche and parody in general are based on keen observations.

2. Surprising Connections

One of the comedians I spoke, Stuart Goldsmith who runs the excellent Comedian's Comedian podcast waxed lyrical about the imaginative and lexical brilliance of a comment once made by Charlie Brooker to describe a contestant on Big Brother. "Dot Cotton as reflected in a dented kettle". Making these surprising connections show the genius of vision and insight and is common to both disciplines. And so called 'benign violation' is the basis of the way most jokes are said to work. The listener's expectations as they listen to the set up are violated, benignly in the punchline. When we think of imagination we think of an Eddie Izzard talking about how Darth Vader would negotiate the canteen at the Death Star - cramming together the fantastical and the mundane to create funny incongruity. A main school of humour theory holds that surprise and resolution of that surprise by a satisfying punch line are absolutely key to humour.

3. Revealing cultural Norms

So much, too much to mention in this section- comedians are constantly naming culture and showing up its flaws. Comedy of Manners and social satires as well as pastiche and The Two Ronnies in their famous class sketch.  Dave Chappelle’s or Key and Peele’s soisticated deconstruction and multi-layered – and Ali G’s ambiguous minstrelry and playing with social taboos in the US for instance. And Ricky Gervais and Larry David in Curb your Enthusiasm scurrilously plumb the depths of awkwardness. Indeed in the book Awkwardness: An Essay – Kostko writes about the penchant for awkward or cringe humour being about social rules. He gets quite technical when he talks about awkwardness as the social tension that eventuates when we or others transgress or are unable to properly negotiate cultural or social norms. Which, let's face it, in the hyper cycling, accelerationist, liquid modern world we live in nowadays, is pretty endemic for anyone who doesn't live in a cave. Social norms and mapping and understanding their limits is inherently semiotic. And in the hands of someone like Azeez Ansari, in Master of None it becomes the wellspring of great humour.

And when we talk about humour. What about the UK?

Humour has long been an inextricable part of Britishness both in terms of wit and word play but also British traits such as phlegmatic pluck in the face of adversity, a taste for piss taking and sharp satire, puncturing pomposity and comical nihilism.

The culturally omnivorous demonstrate cultural capital through appreciation of more sophisticated comic styles on social media. Arguably its technocratic humourlessness and the faceless arrogance this represented was a fatal blunder for the Remain campaign in the 2016 EU Referendum in the UK. Donald Trump’s mock indignation, clown like celebrity demeanour though appeared more likeable than did Hillary Clinton's. Though, it seems that no-one is laughing any more!

4. insight and epiphany

Andrew Stott writes in the book Comedy: A Critical Idiom:

“Jokes therefore emerge from within the social framework and are necessarily produced in a relative relationship to the dominant structures of understanding and epistemological order. Despite the violation of the social order implied by joking, the joker enjoys a kind of immunity through the belief that his or her wit represents insight into a different type of consciousness… the joker appears to gain privileged access beyond the social construct... Joking reveals the practical limits of cultural structures…” 

This is where humour gets dangerous. We would normally think of Richard Pryor and his meditations on race, Bill Hicks’s mordant take on politics and religious in the 90s US. Chris Rock’s broke through ‘black respectability’ and intra-racial taboos with his famous N word routine. And in the UK someone like Paul Chowdry deconstruction of acceptable racism in his shows What's Happening White People ? and Political Correctness in PC's World or Hannah Gadsby looking at rape culture... And Jess Thom who has Tourette's and others with disabilities foregrounding of societal blind spots in being unable to deal with someone's unique needs.

5. Subverting the Status Quo

Andre Stott, in his book Comedy: A Critical Idiom, writes:

“Instances of humour, joking or irony invoke a separation between ‘authorized’, egocentric or rational versions of the world and revealed alternatives, commenting on established conventions as they go.”

Comedians are often troublemakers. Dissident anti-Assad Syrian theatre group Masasit Mati  for instance. The Five Star Movement in Italy was headed up by a stand up, Beppe Grillo. Soviet Union's collapse was said to have been heralded by the emergence of scurrilous and subversive jokes. These are more blatant examples. My Jeremy Corbin comic book is my favourite example of this.

https://forbiddenplanet.com/231279-the-corbyn-comic-book/?gclid=CjwKCAjw3cPYBRB7EiwAsrc-ubNu5L6E_UsySTUhL8LZc_iZztOUdQuIRc5oHEDQa7wnNlZkTJD18hoCUMoQAvD_BwE

But comedy can also be lethal. I once met the Colombian radio satirist Jaime Garzon through friends on a trip to Bogota in 1995. I was later shocked to hear he had been gunned down in 1999, because of his mockery towards political figures on his radio show.

So yes. Comedy can certainly be dangerous.

But with the so called Culture Wars, comedy has become increasing political. Of course we also see an emerging hybridity between humour as politics, the need for satire in a world going mad and where any covert ideologies are increasingly being called out. We know that a shared joke is the quickest ways to build rapport. And to determine shard views 4Chan, Breitbart and Black Twitter shared very different forms of funny! The Left laughs at the Right for being out of touch, privileged and unaware and the Right scoffs at the Left for being up tight, sanctimonious and oversensitive. As do The Spectator and The Canary within UK politics for instance. Political scientists have even coined the term ‘Unlaughter’ to describe conscientious withheld mirth because of not 

The semiotician is often the provocateur in the room, allowed to play the fool – as Malcolm Evans has said in order to challenge received wisdom. And as in King Lear to – a semiotician I was once told by a US client that he admired my ability to be provocative but said that too many of me in an organisation and it would fall apart – which I took as a (sort of a) back handed compliment!

Conclusions

So what are the overall take outs here? Well comedians could probably learn from a semiotic breakdown of comedy for sharper cultural understanding. Some rare comics like Stewart Lee deconstruct their own routine and its scaffolding of meaning, ‘meta comedy’ but that is not the norm. The laughter is usually the signal that insight has landed, and the joke suffers through added explanation. But there is no doubt that doing a deep cultural analysis yields jewelled nuggets of great value for any stand up.

And education and edification is becoming a bigger part of comedy as humour becomes the palatable way to deliver difficult truths.

And semioticians could learn from comedians in terms of how they communicate their insights. Ricky Gervais’s subtle inflections of UK class and post colonial melancholia Simon Manford on class. Bill Bailey does very clever things with the meanings in music and connotations of different genres as well as the tonal character of minor and major chords. Noel Fielding’s flights of fancy draw on surrealism and confounding expectations. But they all do it by and large by hiding the working and presenting only the juice.

As Chris Head – a stand up comedy coach (and tutor for my course), who gives courses to creative agencies - said recently in a recent issue of Creative Review, he suggested humour is a just a way to make a point more memorably. "Essentially, comedy is communication messages, ideas, opinions and thoughts in an appealing way that the audience can understand and buy into"

And there is of course a close link between comedy and brand communications.

Stand up gigs in the 1990s in the UK famously used to be full of ad execs hoping to nab an award winning catchphrase for their new ad campaign. But more recently corporates have cottoned on to the more subtle use are using it to create empathy – the think:  the visual wit of Pret-a-Manger bags, TfL with their tannoy announcers. Humour is now for creating empathy and rapport. 

Both comedy and semiotics are critical perspectives that help us see prevailing social or cultural norms and to help us imagine alternatives. Both show up incongruities and break codes and lead to epiphanies. Both can be used to cement or to challenge the status quo. After all, we only have to recall The Name of the Rose, the Umberto Eco novel in which mysterious murders committed in a monastery are finally revealed to be buy a monk trying to prevent the discovery and dissemination of a forbidden manuscript, a treatise on comedy. In the murder's eyes it was highly threatening since ridicule can shake the foundations of one’s solemn faith.

Both semioticians and comedians are somewhat like Socratic gadflys that are there to provoke us to question the Establishment. Or like Gramscian 'organic intellectuals' keeping tabs on power as it mutates and challenging narrow, hidebound technocracies.

I see semiotics as akin to other critical and subversive perspectives such as hip-hop culture, street art as well as stand up. They all foreground are all about inter-textual linkages, witty one liners, outrageous metaphors, pastiches, parodies, and the like.

As scholar Stephanie Koziski noted, comics have more in common with anthropologists than either group is willing to admit: “The comedian and the anthropologist share a way of seeing. This involves the capacity to stand outside themselves and to empathise with people who are different in order to more fully understand their actions and beliefs”. This is why both anthropology (for which read semiotics) and comedy tend to be the refuge of cultural outsiders and those with “double consciousness”. This is taken from The Humor Code: A Global Search For What Makes Things Funny. Peter McGraw and Joel Warner. Notice the use of the word 'code'!

Like this middle class precariat, mixed race Londoner! 

So, I'm not promising to inject more gags into my presentation but I do see rich cross-fertilisation here. I have in a mind a one man show. Semiotician Impossible. One man’s struggle to make meaning out of a firehose of visual culture… Would you come? In the mean time I'll shortly be presenting Sixty Seconds of Semiotics – a time compressed humorous take on ads and visual culture.

And semiotics related joke. Well, I quite like this one:

Why did the semiotic architects firm go bankrupt? Because they kept de-constructing their own buildings. 

This was a joke curated, ironically enough by Thierry Mortier, a Semiotic Architect and regular attendee at Semiofest Tallinn, 2016.

 

Mind the Empathy Gap

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INTRODUCTION

I have been thinking about Empathy a lot recently. In my work as a semiotician I have recently had two projects related to empathy. In both cases, empathy was key to a big brand relating to its audience. One was about ‘democratising’ the value proposition of a brand through communications, a brand anxious that it was losing its franchise to more agile and nimbler, niche brands, the other one wanted to ‘humanise’ and empower their brand personality through revamping the brand language of on shelf packaging. In both of the projects, it felt as if there was a significant empathy gap between the client and customers.

Semiotics as Creative Science (and Art)

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I do semiotics. "What’s that?!" I hear you choke. Er, semiotics. Semiotics derives from the ancient Greek word semion, meaning sign and is a subject devoted to evidence based analysis of signs and meaning.

It is a field that encompasses, culture, communication and meaning including logos, branding and street art. Semiotics is used now as a powerful insight tool brand strategy and communication.

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