FRONT PAGE / POSTS
by Marc Dimitrov| Manchester, UK
Wednesday, 18 May 2016
tags: art & design, consumer culture, culture, europe, experts & agencies, making sense, semiotics
Your experiences in education – did you encounter semiotics? If not, what difference do you think such an encounter would have made?
Although not taught as semiotics, there used to be huge focus on textual and visual analysis throughout primary and secondary education in my native Bulgaria. Thinking about it now, it feels like it was often a necessity. Each year, the list of mandatory summer reading books was invariably dominated by authors such as Dostoevsky and Tolstoy, whose works always inevitably required deeper analysis back in the classroom. The constant nudge to look for the deeper meaning in texts and signs quickly evolved into a favourite pastime. So, when I heard about commercial semiotics as a research methodology, I instantly wanted to know more. Luckily, with the international research I do, I often have the opportunity to use semiotics and those early lessons are certainly coming in useful now.
How does it feel being the first (and currently still only) adopter and main spokesperson for semiotics in a business employing over 100 people? What are your best soundbites for catching colleagues’ attention, encouraging them to get involved in semiotics?
I’m lucky to have a very supportive network of colleagues who are constantly looking for new ways of enhancing our offer and openly welcome new ideas. When I came back from the semiotics training course, I didn’t expect there would be such an appetite for semiotics in the business, but it quickly transpired that a few colleagues had worked with semioticians in the past and their experiences were overwhelmingly positive, so it wasn’t a difficult sell at all. Looking at where we are as a business now and how our offer is evolving, it makes a lot of sense to integrate semiotics and make it a de facto methodology for certain types of projects.
For those colleagues who are less familiar with semiotics, talking about going beyond the obvious, unlocking deeper insight, and gaining an understanding of how their categories are structured symbolically seems to have particular resonance and stopping power. For those working on international projects, the hook is ‘cultural insight’ and help in understanding the subtle nuances that drive different interpretations, attitudes and behaviours across different cultures.
Elevator pitch – what would you tell a prospective client about semiotics?
The way I see semiotics is as a higher-gear research methodology that can help you quickly get to the nub of the matter and harness emerging trends. Particularly useful if you’re looking to solve long-standing puzzles, find the edge in crowded categories and/or scale a brand internationally.
The picture you have chosen to illustrate this interview – your thoughts about it, why did this come to mind?
I came across this print ad from Hut Weber (German hat manufacturer) fairly recently and thought it beautifully summed up in 2 simple images and 3 words what semiotics is all about, i.e. understanding how subtle signs, which our brains process intuitively, work to change our perceptions, attitudes and behaviours.
For me, 3 distinctive elements in this comms piece exemplify what semiotics looks at and why it is such a powerful methodology for unlocking fresh insights:
OBJECT: the presence of a simple object – that of a hat – completely changes who we see and what we associate that image with. The hat changes the image of the man from the evil, sadistic Adolph Hitler to the charming, fun-loving Charlie Chaplin. The echo, in the Hitler image, of the cover of Timur Vermes’s satirical novel Er Ist Wieder Da (translated as Look Who’s Back) adds a reflexive twist to this transformation. Vermes’s Hitler, having woken up in Berlin in 2011, reinvents himself as a TV comedy star.
HISTORY: if this same print ad had aired 100 years ago when both Hitler and Chaplin were 25 years old, but certainly not as well-known as they are today, it wouldn’t have carried the same meaning as it does today.
CULTURAL CONTEXT: looking specifically at how the two images are positioned in relation to each other, we see a positive progression from left to right, which is how the encoder of this message intended us to interpret it knowing that the convention in the Western world is to read from left to right. But this subtlety in interpretation can easily be lost in Arabic or certain Asian cultures for example who don’t read or decode messages in the same way. There’re bound to be some differences and from a research perspective, it’s great to know that this is something semiotics can help with by bringing deep cultural insight to the table.
© Marc Dimitrov 2016