To think about sensory identity, we first need to understand the concept of identity. Without delving into deeper philosophical questions, which would require another space for reflection and publication, and without neglecting important points, we begin to deepen our understanding of what identity is in the context we are referring to. One possible way to understand identity is to conceive it as a set of unique and distinctive characteristics with which a particular phenomenon can be identified, in this case, communicational. Thus, identity is what singularizes, makes unique, and recognizable a phenomenon. Even though in the contemporary world identities are plural and changing, the plurality and mobility themselves are also part of identity. The identity of a brand, for example, consists of its expressive manifestations, from aspects related to the name, symbol, logo, etc., to (when we are referring to corporate brands) the set of mission, vision, values, stances on broader issues such as the political-legal environment, culture, the environment, disasters, demands from employees and civil society, etc., the attitudes of executives, investment options, etc. Everything communicates; it is not a jargon devoid of foundation. Everything is a sign, as Charles Peirce said more than 100 years ago.
We note that in recent years we have been moving towards expanding the possibilities for expressing the identity of communicational phenomena. The explanation lies both in the growth of technical capabilities for manifestation, where the improvement of the quality of both media and creative supports (software, applications, increasingly sophisticated materials...) stands out, accessible to everyone, but mainly because, as consumers, we want to build a more affective relationship with the material world. In general terms, we can have everything we want (let's temporarily suspend financial and/or ideological restrictions); thus, the difference (and therefore, the uniqueness) needs to be “restored,” and the most consequential path becomes the sensory dimension.
For centuries, we have been trapped in visuality and text (especially after Johannes Gutenberg, 1398-1468), which, to some extent, has imprisoned us in the margin and linearity (in the context of communication, as the liberating and imaginative power of writing is undeniable). Now we have the means to free ourselves towards sensoriality, both because we have more resources (notably the digital universe) and because we want to! Exploring sensitive dimensions such as touch, smell, taste, and hearing, beyond sight, is fundamental. Sensitive exploration is powerful because it penetrates our senses without the need for our “consent” and rationalization. It finds us open and without barriers. It has the capacity to take us back to past and imaginary worlds... And even more! The power lies in the overlay of senses and in their synesthetic explorations, hybridizations, and mixtures.
In this sense, sensory identity refers to a specific set of sensory signs that can identify and differentiate contents, ideas, products, brands, services, etc., either autonomously or collectively. For example, the Itaú brand, beyond its visual expression (name, logo, and symbol), has been building new identity meanings. From the exploration of the color orange (an iconic quality-sign par excellence), the creation of the “Itaú gesture” (connecting to the digital), to the construction of the characteristic sound sign of its advertising across different media. Due to the strength of the advertising recurrence (quantity and diversity) of these sensory identity signs, the Itaú brand can already be recognized in the set of its expressions and even independently. Another example is the “famous” plin-plin from Globo. A sound exploration built over decades that, autonomously, takes us to the universe of meaning of TV Globo, practically without ambiguities.
Sensory identity is the most consequential path for building meaningful connections with people, both because we are eager for sensitive explorations beyond the visual and because it invites us to experience affections.
Clotilde Perez. Semiotician, professor, and researcher. Associate professor in Communication Sciences at ECA – USP. Post-doctorate in Communication from the University of Murcia. PhD in Communication and Semiotics and Master's in Marketing from PUC SP. Professor at ECA USP and PUC SP. Editor of the journal Signos do Consumo. Leader of GESC3 – Group of Semiotic Studies in Communication, Culture, and Consumption. Coordinator of the Ipsos Trends Observatory. Currently conducting post-doctoral research at Stanford University (USA) in the area of creativity and design thinking.
Contact: cloperez@terra.com.br
Glossary:
Sensory Identity: refers to a specific set of sensory elements that can identify and differentiate contents, ideas, products, brands, services, etc., either autonomously or collectively.
Sign: according to Charles Sanders Peirce's definition, a sign is that which, in some aspect or way, represents something for someone.
