On Interpretation

I see an old lady!--No, wait, a young girl!--No, I mean, two faces eating a candlestick!I thought I’d talked about this before on the blog, but apparently I’ve managed to go this long without really tackling the issue of interpretation. Consequently, you might notice some of the themes and points in this post getting repeated in my next big article, since writing that was what alerted me to my omission.

I don’t generally like absolute statements, since they so rarely are, but I think this one works: there is no reading without interpretation. In fact, I could go a step further and say there’s no communication without interpretation, but reading is the most obvious and pertinent example.

Each person is different, the product of a unique set of circumstances, experiences, knowledge, and so forth. Consequently, each person approaches each and every text with different baggage, and a different framework. When they read the text, it gets filtered through and informed by those experiences, that knowledge, and that framework. This process influences the way the reader understands the text.

Gah, that’s way too general. Let’s try this again: I saw the first couple of Harry Potter movies before I started reading the books; consequently, I came to the books with the knowledge of the movie cast, and I interpreted the books through that framework–not intentionally, mind you, it’s just that the images the text produced in my mind included Daniel Radcliffe as Harry and Alan Rickman as Professor Snape. However, I plowed through the series faster than the moviemakers have. The descriptions in the books (and the illustrations) informed my mental images of other characters, so when I saw “Order of the Phoenix,” I found the casting decision for Dolores Umbridge quite at odds with my interpretation of the character, who was less frou-frou and more frog-frog.

We’ve all faced this kind of thing: our prior experiences inform our future interpretations. I imagine most people picking up an Ian Fleming novel have a particular Bond playing the role in their mental movies. There was quite a bit of tizzy over the character designs in “The Hitchhiker’s Guide to the Galaxy” movie, from Marvin’s stature and shape to the odd placement of Zaphod’s second head, to Ford Prefect’s skin color. I hear Kevin Conroy‘s voice when I read Batman dialogue.

This process is a subset of the larger linguistic process of accumulating connotation. As King of Ferrets fairly recently noted, words are more than just their definitions; they gather additional meaning through the accumulation of connotations–auxiliary meaning attached to the world through the forces of history and experience. Often, these connotations are widespread. For example, check out how the word “Socialist” got thrown around during the election. There’s nothing in the definition of the word that makes it the damning insult it’s supposed to be, but thanks to the Cold War and the USSR, people interpret the word to mean more than just “someone who believes in collective ownership of the means of production.” Nothing about “natural” means “good and healthy,” yet that’s how it’s perceived; nothing about “atheist” means “immoral and selfish,” nor does it mean “rational and scientific,” but depending on who you say it around, it may carry either of those auxiliary meanings. Words are, when it comes right down to it, symbols of whatever objects or concepts they represent, and like any symbols (crosses, six-pointed stars, bright red ‘A’s, Confederate flags, swastikas, etc.), they take on meanings in the minds of the people beyond what they were intended to represent.

This process isn’t just a social one; it happens on a personal level, too. We all attach some connotations and additional meanings to words and other symbols based on our own personal experiences. I’m sure we all have this on some level; we’ve all had a private little chuckle when some otherwise innocuous word or phrase reminds us of some inside joke–and we’ve also all had that sinking feeling as we’ve tried to explain the joke to someone who isn’t familiar with our private connotations. I know one group of people who would likely snicker if I said “gravy pipe,” while others would just scratch their heads; I know another group of people who would find the phrase “I’ve got a boat” hilarious, but everyone else is going to be lost. I could explain, but even if you understood, you wouldn’t find it funny, and you almost certainly wouldn’t be reminded of my story next time you heard the word “gravy.” Words like “doppelganger” and “ubiquitous” are funny to me because of the significance I’ve attached to them through the personal process of connotation-building.

And this is where it’s kind of key to be aware of your audience. If you’re going to communicate effectively with your audience, you need to have some understanding of this process. In order to communicate effectively, I need to recognize that not everyone will burst into laughter if I say “mass media” or “ice dragon,” because not everyone shares the significance that I’ve privately attached to those phrases. Communication is only effective where the speaker and listener share a common language; this simple fact requires the speaker to know what connotations he and his audience are likely to share.

Fortunately or unfortunately, we’re not telepathic. What this means is that we cannot know with certainty how any given audience will interpret what we say. We might guess to a high degree of accuracy, depending on how well we know our audience, but there’s always going to be some uncertainty involved. That ambiguity of meaning is present in nearly every word, no matter how simple, no matter how apparently direct, because of the way we naturally attach and interpret meaning.

Here’s the example I generally like to use: take the word “DOG.” It’s a very simple word with a fairly straightforward definition, yet it’s going to be interpreted slightly differently by everyone who reads or hears it. I imagine that everyone, reading the word, has formed a particular picture in their heads of some particular dog from their own experience. Some people are associating the word with smells, sounds, feelings, other words, sensations, and events in their lives. Some small number of people might be thinking of a certain TV bounty hunter. The point is that the word, while defined specifically, includes a large amount of ambiguity.

Let’s constrain the ambiguity, then. Take the phrase “BLACK DOG.” Now, I’ve closed off some possibilities: people’s mental pictures are no longer of golden retrievers and dalmatians. I’ve closed off some possibilities that the term “DOG” leaves open, moving to the included subset of black dogs. There’s still ambiguity, though: is it a little basket-dwelling dog like Toto, or a big German Shepherd? Long hair or short hair? What kind of collar?

But there’s an added wrinkle here. When I put the word “BLACK” in there, I brought in the ambiguity associated with that word as well. Is the dog all black, or mostly black with some other colors, like a doberman? What shade of black are we talking about? Is it matte or glossy?

Then there’s further ambiguity arising from the specific word combination. When I say “BLACK DOG,” I may mean a dark-colored canine, or I may mean that “I gotta roll, can’t stand still, got a flamin’ heart, can’t get my fill.”

And that’s just connotational ambiguity; there’s definitional ambiguity as well. The word “period” is a great example of this. Definitionally, it means something very different to a geologist, an astronomer, a physicist, a historian, a geneticist, a chemist, a musician, an editor, a hockey player, and Margaret Simon. Connotationally, it’s going to mean something very different to ten-year-old Margaret Simon lagging behind her classmates and 25-year-old Margaret Simon on the first day of her Hawaiian honeymoon.

People, I think, are aware of these ambiguities on some level; the vast majority of verbal humor relies on them to some degree. Our language has built-in mechanisms to alleviate it. In speaking, we augment the words with gestures, inflections, and expressions. If I say “BLACK DOG” while pointing at a black dog, or at the radio playing a distinctive guitar riff, my meaning is more clear. The tone of my voice as I say “BLACK DOG” will likely give some indication as to my general (or specific) feelings about black dogs, or that black dog in particular. Writing lacks these abilities, but punctuation, capitalization, and font modification (such as bold and italics) are able to accomplish some of the same goals, and other ones besides. Whether I’m talking about the canine or the song would be immediately apparent in print, as the difference between “black dog” and “‘Black Dog.'” In both venues, one of the most common ways to combat linguistic ambiguity is to add more words. Whether it’s writing “black dog, a Labrador Retriever, with floppy ears and a cold nose and the nicest temperament…” or saying “black dog, that black dog, the one over there by the flagpole…” we use words (generally in conjunction with the other tools of the communication medium) to clarify other words. None of these methods, however, can completely eliminate the ambiguity in communication, and they all have the potential to add further ambiguity to the communication by adding information as well.

To kind of summarize all that in a slightly more entertaining way, look at the phrase “JANE LOVES DICK.” It might be a sincere assessment of Jane’s affection for Richard, or it might be a crude explanation of Jane’s affinity for male genitals. Or, depending on how you define terms, it might be both. Textually, we can change it to “Jane loves Dick” or “Jane loves dick,” and that largely clarifies the point. Verbally, we’d probably use wildly different gestures and inflections to talk about Jane’s office crush and her organ preference. And in either case, we can say something like “Jane–Jane Sniegowski, from Accounting–loves Dick Travers, the executive assistant. Mostly, she loves his dick.”

The net result of all this is that in any communication, there is some loss of information, of specificity, between the speaker and the listener (or the writer and the reader). I have some specific interpretation of the ideas I want to communicate, I approximate that with words (and often the approximation is very close), and my audience interprets those words through their own individual framework. Hopefully, the resulting idea in my audience’s mind bears a close resemblance to the idea in mine; the closer they are, the more effective the communication. But perfect communication–loss-free transmission of ideas from one mind to another–is impossible given how language and our brains work.

I don’t really think any of this is controversial; in fact, I think it’s generally pretty obvious. Any good writer or speaker knows to anticipate their audience’s reactions and interpretations, specifically because what the audience hears might be wildly different from what the communicator says (or is trying to say). Part of why I’ve been perhaps overly explanatory and meticulous in this post is that I know talking about language can get very quickly confusing, and I’m hoping to make my points particularly clear.

There’s one other wrinkle here, which is a function of the timeless nature of things like written communication. What I’m writing here in the Midwestern United States in the early 21st Century might look as foreign to the readers of the 25th as the works of Shakespeare look to us. I can feel fairly confident that my current audience–especially the people who I know well who read this blog–will understand what I’ve said here, but I have no way of accurately anticipating the interpretive frameworks of future audiences. I can imagine the word “dick” losing its bawdy definition sometime in the next fifty years, so it’ll end up with a little definition footnote when this gets printed in the Norton Anthology of Blogging Literature. Meanwhile, “ambiguity” will take on an ancillary definition referring to the sex organs of virtual prostitutes, so those same students will be snickering throughout this passage.

I can’t know what words will lose their current definitions and take on other meanings or fall out of language entirely, so I can’t knowledgeably write for that audience. If those future audiences are to understand what I’m trying to communicate, then they’re going to have to read my writing in the context of my current definitions, connotations, idioms, and culture. Of course, even footnotes can only take you so far–in many cases, it’s going to be like reading an in-joke that’s been explained to you; you’ll kind of get the idea, but not the impact. The greater the difference between the culture of the communicator and the culture of the audience, the more difficulty the audience will have in accurately and completely interpreting the communicator’s ideas.

Great problems can arise when we forget about all these factors that go into communication and interpretation. We might mistakenly assume that everyone is familiar with the idioms we use, and thus open ourselves up to criticism (e.g., “lipstick on a pig” in the 2008 election); we might mistakenly assume that no one else is familiar with the terms we use, and again open ourselves up to criticism (e.g., “macaca” in the 2006 election). We might misjudge our audience’s knowledge and either baffle or condescend to them. We might forget the individuality of interpretation and presume that all audience members interpret things the same way, or that our interpretation is precisely what the speaker meant and all others have missed the point. We would all do well to remember that communication is a complicated thing, and that those complexities do have real-world consequences.


10 Responses to On Interpretation

  1. Dunc says:

    YES. The only excuse for “literalism” is poor literacy.

  2. Bronze Dog says:

    Classic joke that’s relevant:A man walks into a bar. He says, “Ouch!”

  3. Akusai says:

    My favorite version:Two guys walk into a bar. The third one ducks.

  4. Doubting Tom says:

    I’ve always been partial to this one: So a dyslexic walks into a bra…

  5. Damn. Yours is better.

  6. Akusai says:

    Gravy pipe. *snicker*

  7. Doubting Tom says:

    “Bend over Abigail Mae!”

  8. Akusai says:

    “With forty-nine of our potato bacon bombs!”

  9. Russell says:

    Sureally.. A man walks into the bar and swims out as the only survivor of the 500 that made a good start.

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