Changes in Beer Labels and their Meaning A Holistic Approach to the Semiosic Process Changes in Beer Labels and their Meaning A Holistic Approach to the Semiosic Process Acta Semiotica Fennica Editor Eero Tarasti Associate Editors Paul Forsell Richard Littlefi eld Editorial Board (ASF) Merja Bauters Honorary Member: University of Helsinki Thomas A. Sebeok † Faculty of Arts Institute for Art Research, Aesthetics Pertti Ahonen Henry Broms Jacques Fontanille André Helbo Altti Kuusamo Ilkka Niiniluoto Pekka Pesonen Hannu Riikonen Kari Salosaari Sinikka Tuohimaa Vilmos Voigt Editorial Board (AMS) Daniel Charles Márta Grabócz Robert S. Hatten Jean-Marie Jacono Costin Miereanu Acta Semiotica Fennica XXVII Raymond Monelle Charles Rosen International Semiotics Institute at Imatra Gino Stefani Semiotic Society of Finland Ivanka Stoianova Helsinki 2007 Dedicated to Mummi, Armi Sulamit Seppola s. Ojala * 27.3.1913 † 19.4.2007 This book is a publication of The International Semiotics Institute http://www.isisemiotics.fi / Telephone orders +358 40 5532 864 E-mail orders [email protected] copyright 2007 by Merja Bauters cover and layout Taru Koivulehto All rights reserved Printed by evtek, Espoo 2007 isbn 978-952-5431-20-9 (nid.) isbn 978-952-10-4260-7 (pdf) http://ethesis.helsinki.fi / issn 1235-497x Acta Semiotica Fennica Acknowledgements igns and the meaning creation process have puzzled me all through Smy studies. It might be said that signs grew to be an obsession for me. Especially the problem of expressing oneself through writing – so often it is easier to draw models, pictures, graphs. The expressing and with it the meaning-creating process problems amounted to the fact that I ended up achieving a Master’s degree in aesthetics, the subject being advertising seen from a semiotic perspective. From that time onwards I owe deep gratitude to the immense patience that professors Arto Haapala, Pauline von Bonsdorff and Eero Tarasti have had on my journey from Master’s thesis to this dissertation. Especially, I must thank my supervisor Arto Haapala for being able to support my fragmented approaches that were frequently interrupted by work life. Without his support and belief in this project, I doubt the thesis would ever have been completed. I want to express many thanks to Eero Tarasti for taking my ideas seriously and for introducing me into academic life and to many scholars of genius. Special thanks go to Eila Tarasti for arranging the visits to Mikkeli which allowed for such warm and memorable moments. My other supervisor docent Dario Martinelli has given me indispensable advice, shared endless discussions, helped me to built up self-confi dence in academic activities and most of all provided an atmosphere of trust were I could test and openly discuss my ideas. During these 6 years of working, conversing, forming associations and playing soccer I have come to cherish 7 CHANGES IN BEER LABELS AND THEIR MEANING the fact that I have had the privilege to know Dario Martinelli and I hope that Something more than thanks belongs to Juhani Rusanen, Rauno Flytshröm, our productive and sometimes very humorous discussions will continue. Ville Hyttinen, Stefan Wiander and Markku Kaskiala for making the I am thankful to professor Susann Vihma for having the time and will to construction of the summer house possible and ready for me to have a place review this scholarly work and for providing valuable hints and advice on how to write this scholarly work. Without this place, I would not have been able to make it clearer. My gratitude goes also to Kristian Bankov for his insightful to put down a single word, and there would be nothing to present. All of you comments on the work. The discussions with professor Bankov about various have shown me that there is life beyond the academic world, something that topics of everyday life have been a valuable counterpart to academic life. is very valuable and hard to grasp without such friends as you. Within academic circles I am deeply indebted to the scholars with whom Last but not least very special gratitude and thanks go to all those who I have had an opportunity and the honour to discuss all kinds of academic have dragged me away from writing every now and then to remind me that I and non-academic topics; thank you Professors Harri Veivo, and Kalevi Kull also do have a another life and that there are limits to work. Immense thanks as well as scholars Tarja Knuuttila, Mats Bergman and Sami Paavola. Even to Kalle Haatanen, Vesa Määttä, Jarmo Röksä, Antti Sankola, Anneli Bauters, more, all of you found time to give precious guidance, clues and hints on Heikki Toivola, Tapani Sankola and my beloved grandmother Armi Sulamit how to survive through the thesis writing process. Huge thanks to Docent Seppola. There are no words to express what you mean to me, thus: Paul Cobley who pressed me to publish my articles and endured my mixing of words, trying to correct them and going back to the original ones. I also greatly appreciate the offbeat and refreshing e-mails Paul Cobley was able to keep up despite his continuous travels and heavy workload. Academic life would not have had that wonderful fl avour of rebelliousness and belief in the future without UMWEB. Therefore huge thanks go to all UMWEBers, namely Kaie Kotov, Natasha Sukhova, Kristian Bankov, Dario Martinelli, Kalevi Kull and Guido Ipsen. UMWEB time, travels, projects and mishaps gave me additional reason to continue my academic endeavours. Special warm thanks and hugs to Kaie Kotov, Natasha Sukhova and Elena Collavin without forgetting Lina Navickaite and Ester Vosu as well as the DCers Sirkka Knuuttila and Lisa Muszynski for discussions on the “embodied nature” of all kinds of things. Extensive thanks to John Gage who was able to correct my language. It defi nitely was not a question of checking but of editing, with a tight schedule and special requirements for the correction process. I must express my thanks to the Mediatech team in EVTEK and KP-Labers for enduring my sabbaticals here and there even at short notice. I wish to express my gratitude to all who I interviewed, for fi nding the time to make the interviews possible – and here special thanks go to Risto Vaissi. Thanks and apologies as well to all who I have forgotten to mention here. 8 9 CHANGES IN BEER LABELS AND THEIR MEANING Note concerning earlier publications Contents ome chapters and sections in this book have been published in earlier Acknowledgements . .7 Sversions or are forthcoming. These publications are found in the book as follows Chapter I: Bauters, M. (2007 forthcoming). “Multiple determination Note concerning earlier publications. .10 and association: Peirce’s model of mediation applied to visual signs”. In E. Tarasti (ed.), Acta Semiotica Fennica, XXIV, Helsinki, Imatra: International Introduction . .15 Semiotics Institute; Chapter II and Chapter V Towards further abstraction in 1. Background . 15 the meaning of the signs: Bauters, M. (2006). “Semiosis of (target) groups: Peirce, 2. Plan and aims . 23 Mead and the subject”. Subject Matters 2(2): 73–102; Chapter III: Bauters M. 3. Methodological issues . 28 (2007 forthcoming). “Mediation seen through the sensory eye: An alternative to the ‘old’ and ‘new’ media paradigm”. International Journal of Applied Semiotics I Peirce’s theory of signs . .31 and Chapter V “‘Global’/general (Western) beer signs: The case of Italy and Finland: 1. Object . 34 Bauters, M. (2006a). “’Global’/general (Western) beer signs: The case of Italy 2. Peirce’s theory of mediation . 36 and Finland”. In Martinelli Dario and Navickaite Lina (eds.), Finland – Italy: II Semiosis and target groups . .40 a few comparisons, (1–17). Helsinki: Umweb. 1. Action, creativity, knowledge . 41 2. “Social individual” . 44 3. Semiosis in groups . 54 Semiosis or sign-action. .56 Interpretants – meaning of signs . .59 Meaning through Firstness, Secondness, and Thirdness . .62 III Damasio’s emotional aspect. .66 1. Sensory channels/ bodymind. 68 10 11 CHANGES IN BEER LABELS AND THEIR MEANING 2. A closer view of emotions . 74 References. .197 IV Tying the aspects together . .78 Internet sources:. .209 1. Common ground, multiple Objects Newspapers, magazines, company papers and archives/museums:. .210 and Zone of Proximal Development . 79 Interviews: . .211 2. Feeling of emotion / cognitive-affective schemata . 83 Advertisements in newspapers and magazines:. .212 3. Semiosis (internalisation/externalisation) . 86 Appendices . .214 Appendix 1. Sketch of standardised bottle from 1938 . .214 V Case study: General background and analysis Appendix 2. Advertising of Karhun Kierros from the 1960s and early 1970s . .215 of beer brands . .93 Appendix 3. Advertising about the talent of brewing from the early 1960s . .216 1. Historical background . 95 Appendix 4. “Tippaakaan ei ole muutettu” campaign from the 1970s . .217 The quest for changing the consumption habits of alcohol . 98 Appendix 5. Guarantee Cap. .218 The Medium-Strength Beer Act. 101 Appendix 6. Different example of outdoor campaigns from 1996-2000 . .219 Advertising of Alcohol . 103 Appendix 7. Labels of Pori Jazz campaign. .221 Further developments. 108 Appendix 8. Karhu beer sold in Sweden . .222 Finland joins the EU . 110 Appendix 9. Labels of Karhu brand from 2005 and 2006 . .223 2. Analysis of a beer brand Karhu – beginning. 112 Appendix 10. The semi-structured questions /themes for interviews . .224 3. The new label and logo for the Karhu brand . 115 Appendix 11. List of Figures . .225 The promotional campaigns from the 1930s until the early 70s . .123 4. Symbols grow… . 128 5. Design after Oy Sinebrychoff Ab bought Pori Brewery . 137 Some technical developments in printing and a new label . .140 New designs in the 1980s. .142 6. Pressure from the Umwelt forces changes in the signs and interpretations.