Free Transcript of Episode 2.13 Abducting Creatives: Applying the Most Appropriate Semiotic Solution
Semiosis 101 Season 2, Video 13 Transcript
Hello readers.
In this free transcript for the video published on Semiosis 101 on 26 July 2023, we logically examine how to use Semiosis to connect with your target audience, through abductive reasoning or the logic of design. To do this I will not be demanding any ransom payments…
Watch the free video on YouTube for the full impact…
…and here is the video’s transcript.
NOTE: As with any video transcript the tone used is conversational. The following transcript text features ad libs, and therefore should be read in the spirit of any semi-scripted video.
In previous Semiosis 101 I have outlined how Peirce’s choice of terms can be… problematic and confusing. Semiosis 101 is all about explaining Peirce in designer-centric terms instead to avoid confusion. But sometimes, there is no way around a word.
To the lay-people who attempt to read Peirce to quickly get an understanding of his theories, there is an immediate disconnect from their lived experiences of what words mean. To the philosopher, when focusing on logic, the three forms of logical reasoning: deduction, induction, and yes, abduction are clear. To the non-philosopher, abduction conjures up different mental images.
Ironically, that is an example of semiotics in action.
If, when you read or heard “abduction,” your first mental image was not “logic” but sacks over heads, chloroform, and notes cut from newspapers, this video is for you.
Stop dialling the police.
Abduction is a form of reasoning.
Abduction has been referred to as the “Logic of Design” by Nigel Cross.
So let us quickly stop using the term “Abduction,” and from now on use the term abductive reasoning instead. In fact, I would prefer to use the term HYPOTHESIS instead, but first we will explore why Cross refers to abductive reasoning as the logic of designing. All within the context of using Semiosis to enhance visual communication of course.
Thomas Wendt, in his book on designing experience Designing for Dasein states that creatives use reason in different ways. Wendt says that creatives, “Use induction and deduction to understand the present state of [the audience’s] world, and use that insight to abductively create alternate futures” (p18).
Logic used to understand.
Logic used to CREATE.
Klaus Krippendorff argues that “meanings are constructed from previous experiences, expanded on them, and drift, much like imagination does” (p56). During the ideation phase of creativity, a designer or illustrator will be sketching possible ways to solve the client’s communicational need. We can call this ideation the “What could be?” phase. As creatives, the what-could-be is not an absolute truth to deduct. The what-could-be is not a scientific proof to induct from the evidence. The what-could-be a creative devises to visually communicate to the target audience, is the most appropriate solution to hook target audience attention, and to semiotically retain it long enough to visually communicate to them.
This what-could-be is reasoned …abductively… in the creative’s ideation, as hypotheses for how designers or illustrators can appeal to the audience’s lived experiences. With a working hypothesis a creative can quickly begin to seek CREATIVE solutions. With a working hypothesis a creative can quickly begin to sketch visual ideas to represent the intended communication.
With a working hypothesis a creative can quickly begin to shape their understanding of what visual qualities and resemblances their audience will be familiar with. With a working hypothesis a creative can be wrong, but as this is ideation any errors are not terminal. Errors in thinking are just steps in the design process TOWARD a visual communication solution. In ideation, creatives dare themselves “To Fail” enough times to begin to get a sense of what will visually communicate the intended message.
With a working hypothesis on the target audience’s shared lived experiences, visual qualities and resemblances can be explored through what Peirce defines as “abductive reasoning.” Peirce sees abductive reasoning, “as a form of guessing or inference to the best explanation” (Atkin, 2016, p296). In his collected papers Peirce gives an example (CP5.189), but let us give his example some designer-centric context and make it about a target audience.
Okay, the following example may be fatuous to some, but bear with me as we begin to unpack abductive reasoning within ideation and applying Semiosis
Qualities and Resemblances: A cinema-going target audience
Working Hypothesis:
The “surprising” quality we observe in a cinema-going target audience is that they all enjoy being in the dark, together.
Abductively Reasoned Conclusion:
We can state the experience of being in the dark together with other strangers (obviously to watch a film) is comfortable to the target audience, rather than being a problem to avoid.
So, IF (an inference) it was true that the target audience are comfortable in the dark, the quality of “darkness” would be a suitable visual language starting point to begin to visually communicate with.
By beginning to semiotically encode qualities of “DARKNESS” through resemblances, a suitable visual language can be crafted to evoke the qualities of being in a cinema. Think of this as basic visual communication building blocks of semiotic Iconic representations, utilising dim outlines, fuzzy projected light glares, silhouettes of dark head shapes, a tiered point of view, etc. to begin to suggest that comfortable, enjoyable vibe the target audience enjoys in the real world.
From that initial visual aesthetic to “hook” the audience’s attention then the rest of the design or illustration can have a chance to maintain that attention. Once the target audience’s perception is visually triggered, this is when the semiotic sign-action can really begin to work on the target audience’s further subconscious interpretations of the design or illustration.
By framing a client’s need to communicate someTHING they need action on, by steering the visual language used to first subconsciously evoke a feeling of something familiar to a certain audience, then Semiosis can enhance the visual communication further.
In this example I am using a cinema-going target audience, mainly because as I wrote this week’s video I was sitting in Edinburgh’s Cameo Cinema bar. What do I have in common with the other people in the bar on a sunny day? Is everyone in here going to sit in the dark and watch a film on the day? The answer is NO. Some of the patrons may just be in for a coffee and a sit-down out of the sun. Some of the patrons may be like me, and are in the bar to have some quiet time to do something other than watch a film. But, as a cinema bar there are many people who use it who fall into the target audience of “cinema-goers” who prefer to sit in the dark with strangers surrounding them to watch a film, rather than watch Netflix at home.
In previous videos we have discussed primary, secondary and tertiary audiences. As we are discussing abductive reasoning we are only concerned about the shared qualities of “cinema-goers” and not cafe visitors, or laptop Wi-Fi hoggers. With abductive reasoning we can very quickly arrive at the working hypothesis that “cinema-goers” enjoy the “darkness.”
From this working hypothesis of “enjoyable darkness” creatives can begin to semiotically craft possible aesthetic decisions to appeal to the target audience. The client’s brief may have nothing to do with films, or going to a cinema, but the client has identified their target audience as “cinema goers…”
(Remember this is just an example using some designer-centric context about a possible target audience. They could all instead be goat farmers or anything! It is just a working example).
…So, whatever starting point you use to get some quick (free) insights into your target audience, abductive reasoning can begin to reveal experiential qualities that can provide creatives with visual clues on how to grab attention. Once perceptually grabbed, the visual language (from the aesthetic choices the creative makes) can be strengthened through sign-action, with Iconic representations.
To end this thirteenth season two video, we can conclude that the visual qualities and resemblances that a target (primary) audience will connect with, can first come from a creative’s (free) working hypothesis.
Firstly, this is not simply guessing without any firm evidence. It is a legitimate logical thought-exercise called abductive reasoning.
Secondly, as a working hypothesis it can change once more is known.
What the hypothesis does provide the creative during ideation is a starting point… to begin sketching visual communication ideas.
Thirdly, from the hypothesis visual qualities (e.g. darkness) can be visually explored as an aesthetic, to hook the attention of the desired primary audience. This ‘hooking’ is semiotically encoded with qualities and resemblances that are familiar to the audience.
Come back next week and we will semiotically explore this further.
Watch the free video on YouTube for the full impact…