The Semiotics of Radio

When analysing media languages in specific texts, you are usually adopting a semiotic approach, identifying and de-coding a number of signs and symbols. As such, you are looking to connect the signifier (the thing you hear) and the signified (what it means): Ferdinand de Saussure. Or, put another way, you are trying to understand signs as they operate as denotations, connotations and myths: Roland Barthes.

As a more interesting exercise try linking auditory signs to the three cateogries provided by C. S. Pierce: icon, index and symbol.

In that, an ICONIC SOUND will actually sound like its’ object – a person, a mode of transport, elements of nature etc etc.

An INDEXICAL SOUND, will create an association to it’s object – the sound of somebody moving, thinking, or the sound of a particular location or geography. Think for example, the use of acoustics in creating a sense of space (indoor/outdoor, big room/small room etc) which can be achieved by microphone placement, or sound processing such as, reverb.

Finally, a SYMBOLIC SOUND is one that is more arbitrary, random and vague. A sign that is understood usually by agreement, often through a specific culture, time or place – think for example, of the ‘crackle’ sound of old radio productions. Or any number of sound effects – echo, reverb, distortion, phase etc.

Remember that a sign could be operating in more than one category at the same time.

A discussion around War of the Worlds: interesting insight into how meaning is created through a radio broadcast.