A short video shows Ramiro Hinojas, 55, at a busy crossroad of Manila, Philippines (fig. 1).[1] He is a traffic control enforcer. He has attracted viral attention as “the dancing cop”. He directs the hectic traffic of Manila with the typical moves of Michael Jackson’s dancing. This video is perfect to introduce the semiotics of innovation. What happens here from the semiotic point of view? Hinojas conflates two systems of signs. On the one hand, the system of signs through which cops direct traffic, in the Philippines as well as in the rest of the world. Hjelmlsev’s glossematics would say that this system is composed of two planes, an expressive plane and a content plane. Both planes, in turn, are composed of three strata: matter, form, and substance. The expressive matter of a standard cop traffic control sign system is the human body, mainly through its postures, gestures, and movements. Sometimes visual or acoustic prostheses are added to it, like a signaling disc or a whistle. The expressive form of this system is hybrid. Part of it is strictly codified through gestural codes taught and learned in police schools; part of it, instead, is spontaneous and essentially adheres to the gestural culture where the cop was raised and works. The function of this expressive form is to articulate the expressive matter, the body, in order to signify the content plane. This is also decomposable into a semantic matter, the multitude of pragmatic injunctions that a cop could communicate to a car driver or a pedestrian, and a semantic form, which selects some of these injunctions, for instance “move on”, “stop”, “slow down”, “speed up”, and associates them with the postures, gestures, and movements selected by the expressive form.