This paper stems from a broader research project concerning “Sense Keepers”, people who carry on the story of traditional crafts. Such a project is ment to elaborate a semiotic model of the ways in which certain traditional cultural practices and experiences are recovered, learned and transmitted socially, from the perspective of the theory of cultural tradition and cognitive transmission (Culianu). One of the problems of global society is that it "produces a lot of entropy," the immediate effect being "anonymizing the individual" (Lévi-Strauss). In such a society, prefigured even since from the beginning of the Judeo-Christian paradigm, where the events of the myth have been replaced by the linear perspective of history, "the modern man lives in disorientation" (Culianu). The rhythm of social change is staggering. Caught in such a dynamic of society, the modern man loses the coherence of the signs systems of the previous civilization. This causes a certain kind of inadequacy at the new modes of sign production. Mihai Naidin calls this phenomenon “The Civilization of Illiteracy”. What are the ways in which modern man can produce "order" in such a society? To what extent the recognition and recovery of certain archaic traces – values, practices and customs – in cultural traditions can be a solution? How can these old modes of sign production be recognized, learned and preserved? In this paper we are discussing a type of false antinomy: between of tradition and cultural innovation. For many, the idea of traditional crafts is in contradiction with the idea of innovation. However, in the archaic practices of sign production, the two ways of cultural creativity are complementary. Any traditional crafts combines tradition and innovation in an exemplary way. We know very well that “semiosis never rises ex novo and ex nihilo” (Eco). The effort to recover the cultural and social “genealogy” of signs (myths, images and connotations activated) that are preserved in cultural traditions can lead to new coding possibility and new ways of interpreting reality. Practically, keeping and learning these old ways of sign production means recovering the foundations of a culture. Who are the keepers of these essences, tastes and moods? We will meet them as “Sense Keepers” or keepers and seekers of “ROST”, (sense) the non-translatable Romanian expression. They are keepers of traditions, which we hear more and more often like the last of these: “the last blacksmith”, “the last horseshoer”, “the last rhapsodists” or “the last creator of traditional peasant shoes”. Through the ROST Trilogy, a six-year project that includes three photo albums and several short films – „SENSE – Romanian Essences, Tastes and Moods” (2013), „Longing for SENSE” (2015) and "ROST. 12Hotare" (2017) –, the author intended to capture the idea of ROST that the Romanian traditions keepers represent it. In the worlds of sunset, in the small villages from Romania where most crafts disappear, the initiator of the project captures examples of " Sense Keepers". There are young people who carry on the story of the learned crafts. They offer an alternative of models, authentic heroes, human, full of stories that bring new ways to create ROST (sense) in our society. Therefore, the paper highlights the social relevance of such archaic significant practices and contributes to the development of the semiotic culture.