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16

QRCA VIEWS

SPRING 2016

www.qrca.org

British

strongpoints, each interconnect-

ed to the other within a socio-cultural

frame. A cloth around the neck is residu-

al as a neck cloth and dominant as a tie.

A bowtie from residual male code

becomes emergent today in female fash-

ion. Again, we see an interconnection.

I have always used both the aforesaid

schools, either separately or more often

together because, as Wendy Gordon pro-

fesses, I prefer a healthy “bricolage” in

our job, to a know-it-all attitude.

Adopting semiotics means to free our

mind from any restriction!

Obviously, it is not the task of this arti-

cle to go deeply into the different types of

semiotics. I leave it to the reader’s curiosi-

ty and interest to explore this in-depth.

Interconnectedness—what a passion!

Thus, the focus of this article is to

observe how semiotics essentially studies

the systems of signs and their intercon-

nectedness. Semiotic cultural roots work

similarily on both sides of the Atlantic:

• Opposition or Strife: everything exists

because of its opposite. There is no

white without black, nor heroes with-

out villains, nor peace without war.

• Interconnection or Interdependence:

the signs in a linguistic system are

interconnected to each other in a

never-ending cycle.

According to the Semiotic Solutions

team—Virginia Valentine, Monty

Alexander, and Greg Rowlands, to name

a few—quoted worldwide for their

innovative approach to semiotics, “…

making cultural links, understanding

the

inter-textual

nature of semiotics,

and realizing that one socio-cultural

development potentially creates a radi-

cal shift in other socio-cultural dynam-

ics, is critical. If we understand the

brand as one of these cultural texts,

then this is the essence of what we can

begin to call transformative semiotics—

the ability of semiotics to help trans-

form the culture of a brand and hope-

fully its fate in the market for the better,

through recognition of the brand’s

relationship with broader social and

cultural phenomena.”

Where does Qualitative Research fit in?

My provocative question, if anything,

is: are there any pre-established bound-

aries between qualitative research, semi-

otics, ethnology, sociology, psychology,

etc., or are they…interconnected?

Semiotics is a discipline with its own his-

tory and rules; it can replace or comple-

ment qualitative “tools” or be considered

as an “extension” of qualitative research.

Likewise, it asks for flexibility and inde-

pendence of thought.

I will now describe how semiotics can

be used in qualitative research by sum-

marizing a case study.

My hair is so semiotically in order!

Last year, an important worldwide

hair care brand asked my agency, Focus

srl, to investigate the women’s universe

of hair and hair care (focus on dry hair).

Qualitative research was done through

focus groups and a blog, and we gath-

ered important insights about how

women perceive their hair. But we

decided it would be very important to

our clients to have a comparison

between how women’s problems and

wishes are conveyed and what they real-

ly want, in order to avoid possible gaps

in communication. Thus we proposed—

and our clients agreed—to an extension

of the qualitative research through

semi-

otic research,

analysing hair care adver-

tising in order to see how that advertis-

ing does or does not match the insights

that emerged in the preceding qualita-

tive study.

We were inspired in the background

by the three Umberto Eco parameters of

intention: what they (the advertisers)

wanted to say (about hair care), what

they really say, and what they focused

on within the context. We looked at

these parameters as if they were an

objective per se.

And now let’s go through the semiotic

operative part.

We thought a double analysis was nec-

essary—to examine in detail the adver-

tising by using

semiotic grids

, in order

Everything You Always Wanted to Know

CONT INUED

“The advertising

rejects the women’s

perspective...and,

instead, proposes a

totally opposite one of

‘being part’ of a product’s

myth: people are not

looking at you but at the

‘miracle’ performed on

you by the product!”