What makes a semiotician tick? SEMIOVOX’s Josh Glenn has invited his fellow practitioners in the field of commercial semiotics, from around the world, to answer a few revealing questions.

Taipei…

SEMIOVOX

When you were a child/teen, how did your future fascination with symbols, cultural patterns, interpreting “texts,” and getting beneath the surface of daily life manifest itself?

SU LUO

Growing up with Chinese as my mother tongue, I was immersed in a language inherently rich in symbols and layered meanings. This exposure nurtured my ability to deconstruct and interpret complex ideas, recognizing the interplay between form and meaning.

Learning piano at the age of 4 introduced me to staff notation—a seemingly simple system of dots and lines that encapsulates a sensory-rich universe. Through music, I began to interpret emotions, narratives, and cultural nuances from my own perspective. Western classical compositions offered cues into Western traditions, while Eastern songs often carried distinct cultural signatures; Chinese piano music, for example, often imitates the tonal qualities and melodic patterns of the suona, the guzheng, and other traditional instruments.

As I entered my teenage years, listening to diverse genres and attending gigs became a favourite pastime — enriching the “text” of music by adding visual and experiential elements. Observing musicians’ interpretations, and the dynamics of the music scene, offered new layers of meaning.

SEMIOVOX

Describe your first encounter(s) with the theory and practice of semiotics.

SU LUO

My undergraduate degree in Cultural Industry Management prompted me to reflect on the concept of “culture.” In a course on Chinese cultural history, I first encountered semiotics through learning how to decode traditional Chinese patterns. This process captivated me — not just because it made the abstract notion of “culture” more tangible, but because I found the act of uncovering meaning through symbols and representations deeply fulfilling.

Later, I pursued a master’s degree in Critical & Creative Analysis in Sociology in Goldsmiths, which further deepened my interest in semiotics and cultural interpretation.

SEMIOVOX

How did you find your own way to doing semiotics?

SU LUO

After Goldsmiths, I returned to Shanghai and began my career as a media and creative strategist. It wasn’t until I joined Kantar Consulting as a Cultural Analyst that I discovered the field of cultural insights and the application of semiotics in commercial practice. This opportunity not only introduced me to this discipline but also connected me with a mentor, Panos. He unveiled the magic of using semiotics to help brands solve business challenges, and helped me develop my skills as a professional semiotician.

Driven by my growing passion for semiotics, I later transitioned into freelancing… thanks to which I’ve connected with the global community of semiotics practitioners

SEMIOVOX

What are the most important attributes of a good semiotician?

SU LUO

Appreciation for and curiosity about culture. This includes a willingness to analyze culture at an abstract level, and a commitment to continuously deconstruct it from diverse angles — seeking to understand its underlying patterns and meanings.

Equally essential are critical thinking skills, and a love for observation and analysis. It requires patience to dig into details and uncover hidden insights.

Also: Openness is crucial, in order to stay attuned to the ever-evolving cultural landscape.

SEMIOVOX

What three books about semiotics have you found the most useful and enlightening in your own work?

SU LUO

• [American sociologist] Jeffrey C. Alexander’s The Meanings of Social Life. The book is easy to read, and Alexander’s point that “culture is not a thing, but a dimension” has really aided my own understanding of the role of cultural symbols in shaping societal behaviour. 
• Clifford Geertz’s essay collection The Interpretation of Cultures. A classic work of Anthropology theory about interpreting different cultures. What has especially influenced me is Geertz’s argument that culture is a “web of symbols,” via the interpretation of which we can better understand why people behave the way they do.
• [British commercial semiotician] Rachel Lawes’ Using Semiotics in Marketing. A highly practical guide to applying semiotics in commercial contexts. I discovered it once I went freelance, and it has provided valuable insights, helped me reflect on my own practices in a more systematic way, and sparked new inspirations.

SEMIOVOX

When someone asks you to describe what you do, what is your “elevator pitch”? How do you persuade a skeptical client to take a chance on using this tool?

SU LUO

I like to begin by telling stories of how semiotics has contributed to well-known brands’ most innovative products or campaigns. For potential clients, I’ll typically begin by referencing methods they already use, such as qualitative and quantitative research, and then highlight what semiotics can uniquely offer. I’ll explain: “While traditional methods are valuable, semiotics goes a step further by uncovering the deeper cultural and symbolic meanings that influence consumer behaviour and brand perception.”

I also emphasize that today’s consumers are far more discerning then previously — they care less about superficial promotions and more about the authenticity of a brand’s equity and personality. So brands need to understand not just the surface-level meanings they wish to convey, but how those meanings resonate within the cultural contexts of their target audience. That’s where semiotics excels: it helps brands decode and navigate cultural nuances to craft messages that truly connect.

SEMIOVOX

What specific sorts of semiotics-driven projects do you find to be the most enjoyable and rewarding?

SU LUO

Projects with clients who understand and appreciate the value of semiotics! 😊

Beyond that, I find myself drawn to two extremes in project types: Exploring unfamiliar categories/topics, or else unpacking hidden layers of meaning in the most mundane, everyday objects or themes — which leads to fresh perspectives and discoveries, making the process incredibly rewarding.

Recently, I’ve developed an interest in B2B-focused projects. This realm is distinct from B2C, as it targets a different audience with its own unique set of codes, expectations, and contexts. Even though the focus may not be on traditional “consumers,” it is still fundamentally about how people perceive and respond.

SEMIOVOX

What frustrates you about how semiotics is practiced and/or perceived, right now?

SU LUO

Sometimes, practicing semiotics in a commercial setting dominated by numbers and consumer verbatims feels similar to practicing traditional Chinese medicine in a world driven by Western scientific methods. Like TCM, semiotics doesn’t provide an instant prescription or quick fix. Instead, it takes a holistic approach, examining every aspect of a brand — its context, culture, and meaning — much as TCM focuses on the whole body and lifestyle in order to improve overall well-being. For some clients, this approach can seem too abstract, making it challenging for them to fully understand its value. This is why semiotics in the commercial sphere remains niche and underutilized.

SEMIOVOX

What advice would you give to a young person interested in this sort of work?

SU LUO

Keep your passion alive, embrace the process, and enjoy every step of the journey!

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