The Null Device

A few random odds and ends which, for one reason or another, didn't make it into blog posts in 2011:

• Artificial intelligence pioneer John McCarthy died this year; though before he did, he wrote up a piece on the sustainability of progress. The gist of it is that he contended that progress is both sustainable and desirable, for at least the next billion years, with resource limitations being largely illusory.
• As China's economy grows, dishonest entrepreneurs are coming up with increasingly novel and bizarre ways of adulterating food:

  In May, a Shanghai woman who had left uncooked pork on her kitchen table woke up in the middle of the night and noticed that the meat was emitting a blue light, like something out of a science fiction movie. Experts pointed to phosphorescent bacteria, blamed for another case of glow-in-the-dark pork last year. Farmers in eastern Jiangsu province complained to state media last month that their watermelons had exploded "like landmines" after they mistakenly applied too much growth hormone in hopes of increasing their size.

  Until recently, directions were circulating on the Internet about how to make fake eggs out of a gelatinous compound comprised mostly of sodium alginate, which is then poured into a shell made out of calcium carbonate. Companies marketing the kits promised that you could make a fake egg for one-quarter the price of a real one.

• The street finds its own uses for things, and places develop local specialisations and industries: the Romanian town of Râmnicu Vâlcea has become a global centre of expertise in online scams, with industries arising to bilk the world's endless supply of marks, and to keep the successful scammers in luxury goods:

  The streets are lined with gleaming storefronts—leather accessories, Italian fashions—serving a demand fueled by illegal income. Near the mall is a nightclub, now closed by police because its backers were shady. New construction grinds ahead on nearly every block. But what really stands out in Râmnicu Vâlcea are the money transfer offices. At least two dozen Western Union locations lie within a four-block area downtown, the company’s black-and-yellow signs proliferating like the Starbucks mermaid circa 2003.

  It’s not so different from the forces that turn a neighborhood into, say, New York’s fashion district or the aerospace hub in southern California. “To the extent that some expertise is required, friends and family members of the original entrepreneurs are more likely to have access to those resources than would-be criminals in an isolated location,” says Michael Macy, a Cornell University sociologist who studies social networks. “There may also be local political resources that provide a degree of protection.”

• Monty Python's Terry Jones says that The Life Of Brian could not be made now, as it would be too risky in today's climate of an increasingly strident religiosity exercising its right to take offense:

  The 69-year-old said: "I took the view it wasn't blasphemous. It was heretical because it criticised the structure of the church and the way it interpreted the Gospels. At the time religion seemed to be on the back burner and it felt like kicking a dead donkey. It has come back with a vengeance and we'd think twice about making it now."

• The Torygraph's Charles Moore: I'm starting to think that the Left might actually be right:

  And when the banks that look after our money take it away, lose it and then, because of government guarantee, are not punished themselves, something much worse happens. It turns out – as the Left always claims – that a system purporting to advance the many has been perverted in order to enrich the few. The global banking system is an adventure playground for the participants, complete with spongy, health-and-safety approved flooring so that they bounce when they fall off. The role of the rest of us is simply to pay.

• The sketchbooks of Susan Kare, the artist who designed the icons, bitmaps and fonts for the original Macintosh, and went on to an illustrious career as a pixel artist (Microsoft hired her to do the Windows 3.x icons, and some years ago, Facebook hired her to design the virtual "gifts" you could buy for friends.) The sketchbooks show her original Macintosh icons, which were drawn by hand on graph paper (because, of course, they didn't have GUI tools for making icons back then).
• How To Steal Like An Artist: advice for those who wish to do creative work.
• The street finds its own uses for things (2): with the rise of the Arduino board (a low-cost, hackable microcontroller usable for basically anything electronic you might want to program), anyone can now make their own self-piloting drone aircraft out of a radio-controlled plane. And it isn't actually illegal in itself (at least in the US; YMMV).
• An answer to the question of why U2 are so popular.

¶ apple art china creativity crime design fraud monty python pixel art politics religion romania science society susan kare tech u2 0 Share

Web design webzine Smashing Magazine has an interesting article on Berlin's street-art heritage:

After the few East Germans who crossed the Berlin Wall in the ’80s blinked and pinched themselves, what do you think was the first thing they saw? They saw big bubbly letters, spelling out words in German, English and French. They saw political slogans, either carved indelibly into the concrete or sprayed temporarily onto surfaces, commenting not only on the situation in Germany, but on the whole political world: “God Ble$$,” “Concrete Makes You Happy,” “Death to Tyrants.” As far as they could see, covering every inch of wall, was layer upon layer of zest, life and color.

After the collapse of the Berlin Wall, the graffiti artists marched straight into East Germany. Mitte, Friedrichshain, Prenzlauer Berg — all of the areas that the military had occupied became a new playground for the Western artists and became a new world for the Eastern artists who joined them. Few doubted that the East Germans’ work was weightier. It wasn’t that they were better artists, but that they could express — with authority — the one concept close to the hearts of all people now living in the city: what it meant to be free.

At first, people either ignored the posters or were mildly curious. But as both the pictures and messages increased in intensity, they had no choice but to take notice. On one poster, Linda’s ex told his estranged lover that he would be waiting to speak to her at a certain bar every Saturday and Tuesday night. People were starting to believe that his suffering was real. And if his suffering was real, then they did not doubt that he needed help.

People enjoy XOOOOX’s approach because of his objective treatment of his subjects, presenting each model as neither happy nor sad, neither warm nor cold. He even draws one model urinating on the ground; while some might interpret the piece as a sign of arrogance, XOOOOX’s signature, flowing from her head like a thought bubble, persuades sensitive observers to judge her on a more humane level. She is, he suggests, just like everyone else.

Today, such work has made the street art a tourist attraction. Kunsthaus Tacheles, once an artists’ squat and still a focal point of the scene, holds disco nights downstairs and sells urban art books upstairs — its bar is as expensive as anywhere in the city. Artists such as XOOOOX, Mein Lieber Prost and Alias have started to exhibit and sell in galleries. They still work on the street, but they are no longer impoverished artists — if they ever were. They can afford to travel and work in countries across the world.

While these artists believe that street art needs to appeal to a wider audience, the local, more traditional artists, such as the tagging crews, disagree. They argue that street art derives its power from being on the margins of society; only from the outside can they address problems within it. That difference of opinion is opening a space in the scene that can be filled only by the mainstream. In the next few years, street art has the potential to become a social movement as inclusive as anything from the ’50s and ’60s.

¶ art berlin culture design gentrification street art 0 Share

A few interesting links I've seen recently:

• BBC Four recently aired a fascinating documentary titled The Joy Of Easy Listening, charting the history of easy-listening/light music from the 1950s onward. It's viewable on YouTube here.
• Digital artist Joshua Nimoy worked on some of the visuals for Disney's Tron Legacy film, and describes how they were done, from the physics of fireworks simulations and the algorithms behind various clusters of digital-looking lines to authentic-looking UNIX command-line shots for a hacking scene. (The fact that we've gone from "UPLOAD VIRUS Y/N" screens and random equations/6502 machine code/cyber-Japanese glyphs to nmap(1) being seen as too much of a hacking-scene cliché suggests that computer literacy in the movie-viewing public has increased dramatically over the past few years.)
• IBM's Executive Briefing Center in Rome looks like something out of a scifi film:
• In epic feats of computing: the latest work by prolific technical genius Fabrice Bellard is a JavaScript-based PC emulator that's powerful enough to boot Linux. I repeat: it runs (a slightly cut-down, though fully native) Linux on a Pentium-class PC it simulates in your web browser, in JavaScript. Meanwhile, a high-school student named Jack Eisenman has designed and built his own 8-bit computer, including the CPU, from simple logic chips. The machine runs a machine code of Eisenman's own devising and can display graphics on a TV screen; Eisenman provides some games for it and full schematics, as well as a JavaScript-based emulator for those whose soldering skills aren't up to building their own.
• Quite possibly the most awesomel wedding invitation in the history of wedding invitations would have to be Karen Sandler and Mike Tarantino's, a card which unfolds into a paper record player that plays a song recorded by the happy (and creative) couple. There are more details here.

¶ awesome culture design film javascript lounge music retrocomputing tech 0 Share

Austrian type designer Othmar Motter recently passed away, aged 84. You may not recognise the name, but will probably recognise a few of the typefaces he designed in the Sixeventies: Tektura, (which is currently out of print; there's an amateur recreation here) which was used by Apple and Reebok in the 1980s (and, in a monospaced, bitmapped form, ended up in the Commodore 64 video game Paradroid) and the heady psychedelia of Femina:

(via FontFeed) ¶ design history typography 0 Share

A set of photographs taken in cold-war Berlin, by an American intelligence officer and amateur photographer; there are some interesting scenes here.

Also, Cold War era maps of the Berlin U-Bahn, from the West and the East. It's interesting to note the differences in graphic design and what information they contain. The West German map is neutral and businesslike, though shows both lines in the West and the East (though the Eastern lines are uncoloured). The Eastern map looks superficially more colourful and friendly (much like the jovially behatted Ampelmann compared with the standard capitalist traffic-light man), but shows only East Berlin; the forbidden capitalist enclave behind the "anti-fascist protection barrier" is terra incognita.

(via MeFi) ¶ berlin cold war communism design history 0 Share

There are some rather nice typefaces amongst the winners of designaustria's annual Joseph Binder typeface awards; such as Malabar:

¶ design typography 0 Share

The latest project from Peter Saville, who designed Factory Records' covers and posters and contributed to their coolly enigmatic image: a headstone for the late founder of Factory, Tony Wilson, which is appropriately stylish and minimal and yet with a gravitas outside of the throwaway realm of pop culture:

¶ death design factory records peter saville typography 0 Share

Recently, US youth-oriented clothing chain The Gap replaced its logo with a new one, one consisting of nothing more than the word "Gap", in Helvetica, with a blue rectangle in one corner, to much opprobrium from the design community:

Now, after brand upon brand adopted the plain-black-Helvetica-on-white look, the trend seems to have peaked, and (as Gap has shown us), the emperor has no clothes. Perhaps we'll now see an anti-Helvetica backlash, with some Helvetica users switching to other, arguably better grotesks, such as Akzidenz, Univers and, yes, Aktiv Grotesk and others jumping further afield and rebranding themselves with other typefaces (Futura, as seen in Wes Anderson film titles, could be one to watch, as could Eurostile if one doesn't mind a bit of retro boxiness; Gill Sans, whilst overexposed in Britain, may have legs elsewhere, and perhaps FF Meta is old enough to be not so much trendy as mature), or even an explosion of daring experimentation and a move away from the classics and towards all-new typefaces.

Anyone want to bet on what the iPhone 5's system font will be? I imagine that with this and Windows Phone 7 one-upping the mid-20th-century public-signage aesthetic, the time for a break with Helvetica could be right.

¶ advertising design helvetica typography 0 Share

Design consultancy IDEO have posted a video presenting three concepts for the future of electronic books. The concepts are: "Nelson", a critical reader intended for politically and culturally influential books, which charts the influence of points within books, links to debates and discussions arising from them presents links validating or repudiating supporting facts and presents books mentioning and mentioned by a book; "Coupland", an enterprise-oriented social reader, which allows books to be recommended within an enterprise, and "Alice", an entertainment-oriented reader which relies on ebooks branching out from the stream-of-linear-text model that they inherited from paper books; by participating in various games, you can unlock hidden chapters of a book.

¶ books design ideo social software tech 0 Share

Dark Patterns is a list of deliberately deceptive or user-hostile website/interface design patterns, used by unscrupulous operators to deceive or exploit unwary users. These range from honest-but-hamfisted attempts to corral user behaviour into profitable channels (i.e., making it inconvenient to compare prices; sites which use JavaScript-based navigation to frustrate opening links in other windows do this) to various more underhanded tricks, ranging from sneaking unwanted items into shopping baskets, adding unsolicited recurring charges to spamming your friends under false pretexts to generally making it hard for the user to unsubscribe or do anything that reduces turnover. Featured offenders include the likes of Ryanair, various travel and consumer electronics retail sites, and Facebook (who get their own entry):

“The act of creating deliberately confusing jargon and user-interfaces which trick your users into sharing more info about themselves than they really want to.” (As defined by the EFF). The term “Zuckering” was suggested in an EFF article by Tim Jones on Facebook’s “Evil Interfaces”. It is, of course, named after Facebook CEO Mark Zuckerberg.

(via Boing Boing) ¶ deception design design patterns evil facebook ryanair web 0 Share

An Italian company has developed a new, ultra-compact airline seat for making economy class even more economical. Called the Skyrider, it takes only 23 inches, and involves the passenger sitting astride a saddle.

One could imagine penny-pinching airlines like Ryanair tearing out all their existing seats and replacing them with these, knowing that their clientele don't mind an hour or two of discomfort in return for getting to Ibiza or wherever for less than the train fare to the airport, though, as pointed out here, an entire jet full of these won't be possible for regulatory reasons. (Even if the total weight of the passengers sardined into it doesn't exceed the maximum carrying weight, the requirement that the aircraft can be evacuated in 90 seconds puts an upper limit on the number of passengers per exit.) The seats, it seems, aren't so much intended for budget carriers as for mixed carriers, allowing them to put in a tier below economy class, moving their lowest fares to this tier and raising the prices of their old cattle-class seats. Consequently, airlines, pressed by fuel prices and fare wars, will become slightly less unprofitable, and the flying experience will become that little bit shittier.

(via MeFi) ¶ air travel business capitalism design economics 0 Share

Design innovation of the day: German industrial designer Cornelius Comanns has designed an ultra-compact and rather funky-looking one-person camping vehicle based on the Piaggio APE cargo scooter (for those unfamiliar with small Italian motor vehicles, that's a very small lorry/ute based on a motorscooter; essentially the Vespa's less frivolous big brother). He calls it the Bufalino:

¶ design industrial design vespa 2 Share

After making the documentaries Helvetica (about the aesthetics and politics of design in the 20th century seen through the ubiquitous sans-serif typeface; previously) and Objectified (about industrial design, and featuring luminaries such as Dieter Rams and Jonathan Ive), design-minded filmmaker Gary Hustwit's next project is a film about urban design and planning, titled Urbanized:

The third documentary in this trilogy is about the design of cities. Urbanized looks at the issues and strategies behind urban design, featuring some of the world's foremost architects, planners, policymakers, builders, and thinkers. Over half the world's population now lives in an urban area, and 75% will call a city home by 2050. But while some cities are experiencing explosive growth, others are shrinking. The challenges of balancing housing, mobility, public space, civic engagement, economic development, and environmental policy are fast becoming universal concerns. Yet much of the dialogue on these issues is disconnected from the public domain.

¶ design film gary hustwit urban planning 0 Share

Swiss typographer Bruno Maag has nothing kind to say about Helvetica; the supposed apotheosis of High Modernism and the Swiss/International Style is, in his opinion, a greatly inferior typeface promoted to dominance by a powerful marketing machine over the far superior Univers, and raved about by the clueless (and not only that, but typically clueless Britons and Americans) who bought the gimmick that it is somehow an authentic example of Swiss Modernist design:

What galled me most in the movie [Gary Hustwit’s Helvetica] was when Massimo Vignelli said that Helvetica was a Modernist typeface – No! No! Helvetica is anything but Modernist, Clearly it has its roots in Akzidenz Grotesk and that was designed in 1899, which is Victorian as far as I am concerned. Akzidenz is a fantastic font but it’s not Modernist, it’s got a really antique feel about it, which again shows that Max Miedinger [Helvetica’s designer] didn't have a clue about type design. He was the salesman at [foundry] Haas’sche Schriftgießerei for Christ’s sake.

Bruno Maag so detests Helvetica that he created a Modernist typeface, Aktiv Grotesk, to replace it. It looks about halfway between Helvetica and Univers:

(via Daring Fireball) ¶ aktiv grotesk contrarianism design helvetica modernism typography 1 Share

Architect Gary Chang, like most Hong Kong residents, lives in a tiny (32m²) apartment. Unlike most residents, though, Chang has developed a way of transforming his apartment into any of 24 combinations of living space, using a system of sliding elements on rails. Each room is combined into the walls of two adjacent elements, and designed to be or fold flat. The bed folds against the wall, and the next element that slides out exposes the kitchen; a wall-sized CD shelf moves to expose a linen closet, which in turn conceals a bath and a guest bed. There's a 4-minute video here and a New York Times article here (warning: requires registration). Chang also has a book about the history of his apartment and its various transformations, though it's not clear whether it covers the current arrangement.

¶ architecture awesome design efficiency hong kong nifty 0 Share

The latest design innovation to improve safety: equipment that emits an unpleasant smell when damaged, strongly encouraging the user to replace it. The first test case of the technology is in bicycle helmets, though the researchers have plans for using it in other devices such as pressure hoses:

Researchers at Germany's Fraunhofer Institute have developed a manufacturing process that injects microcapsules containing malodorous oils into the helmet itself, causing it to stink when damaged -- alerting you that it's time to replace it (and making it difficult to try and make do with a less than safe one, at that).

¶ cycling design tech 0 Share

A few quick links to things recently seen:

• A visual study guide to cognitive biases
• Sydney is considering closing George St. to traffic, building a light rail (pronounced "tram") line. Interestingly enough, this plan, like Melbourne's original laneway-driven regeneration and "Copenhagen lanes", was suggested by a Danish urban-planning consultant.
• Google have developed facial recognition technology, capable of identifying individuals in photographs. Given the privacy implications (that plus Google Goggles would be the ultimate stalker tool), they're wisely being very careful about what, if anything, they do with it.
• Spoonflower is a web-based company that will print your designs onto fabric and send it to you. Now if only we could get them talking to Blank Label (a web-based service that lets you design custom shirts, though currently only from a somewhat conservative range of fabrics), then that would be awesome.
• Some music videos: The Pains Of Being Pure At Heart, Higher Than The Stars (warning: features furries), Rainbow Arabia, Holiday In Congo (warning: not actually filmed in Congo but Brazil; features massed Michael Jackson impersonators)
• Nifty trompe l'oeil paste-up on the sides of a fence in Berlin:
  

¶ design gin google music nifty pimms privacy psychology rainbow arabia street art sydney tech the pains of being pure at heart urban planning video 0 Share

Typography/design blogger Stephen Coles offers a typographically-oriented critique of Apple's iPad interface, and it doesn't come off well. Apple, it seems, are guilty of privileging style over substance, aiming to make the iPad look stylish rather than be legible. As an e-book reader, it fails, with the iBooks application falling for that most vulgar of desktop-publishing tricks and forcibly full-justifying all text, despite research showing that ragged-right margins are actually more legible. iBooks also falls down on typeface choice; the user has a choice of reading books in one of five typefaces, which range from middling to poor for reading large quantities of text. Support for custom fonts on the iPad is poor all round; there is no option to embed fonts in e-books, and the version of Mobile Safari supplied doesn't have up-to-date @font-face embedding support.

And then there's the famously Helvetica-fetishising UI, whose typographical choice is seemingly more designed to exude mid-20^th-century modernist chic and pander to the owner's self-image as a stylishly cool individual, rather than aiming for anything as gauchely utilitarian as legibility. While Helvetica is good for print and signage, or, indeed, larger sizes on the screen, there are more legible typefaces for use on computer screens (the Lucida family, shipped with Apple's own OSX, is a case in point). The Helveticolatry, though, pales into insignificance next to the Notes application's cutesy felt-marker typeface, which, whilst less cringeworthy than Comic Sans, is still somewhat ridiculous; all of a sudden, High Modernist chic gives way to kitsch.

Bonus link: Stephen Coles with a list of alternatives to Helvetica. (Note the complete absence of Arial in this list; it's a list of actual typefaces of typographical merit.)

¶ apple design ipad typography 0 Share

In user interface design, sometimes worse is better, as in the case of the Bloomberg Terminal, a proprietary computer terminal used by financial traders. The Bloomberg Terminal's interface, which hasn't been updated for a decade or so, is generally seen as cluttered and ugly. Proposals for more elegant redesigns have been knocked back, because the existing users like the macho ugliness of the interface and the aura of hardcore expertise it bestows on them:

Simplifying the interface of the terminal would not be accepted by most users because, as ethnographic studies show, they take pride on manipulating Bloomberg's current "complex" interface. The pain inflicted by blatant UI flaws such as black background color and yellow and orange text is strangely transformed into the rewarding experience of feeling and looking like a hard-core professional.

(via Daring Fireball) ¶ aesthetics antipatterns design hci machismo psychology status 8 Share

Clever design of the day: a 7" record sleeve which transforms into an acoustic record player:

This one was created by an advertising agency named GGRP, as a demonstration. I believe that cardboard record players have existed for a while, but haven't heard of one which doubled as the record sleeve before.

¶ design records vinyl 0 Share

Two artists in Berlin have created a digital camera which automatically edits smiles onto the subjects:

The camera „Artificial Smile“ is an apparat, whose pictures show in principle only smiling people, irrespective of their former emotional state. The camera uses a pool of pictures with smiling faces, which was created beforehand, to replace the mouthes of the pictured people with smiling ones. To generate to maximum level of exaggeration it was knowingly renounced to show the laughter/smile realistically. Unlike the cameras commercially available on the market and their autoretouch function “Artificial Smile” distorts the context of the picture, reinforced formally by the golden reflecting body of the camera.

¶ art design mori's uncanny valley photography smile tech 0 Share

Acclaimed Melbourne street artists/underground illustrators Miso and Ghostpatrol have released a downloadable, printable map of inner Melbourne (or, as some would argue, the parts of Melbourne White People like). The map consists of two sheets, covering the CBD and Fitzroy, and showing the locations of cafés, bars, art spaces and art supply shops; it may be downloaded from here.

The choice of the CBD and Fitzroy suggests that gentrification doesn't seem to have affected the north/south divide. North of the Yarra is hip and culturally rich, whereas south of the Yarra is merely trendy, a shallow, consumeristic imposter for actual cool; St. Kilda (once the crucible of punk—blah blah blah Nick Cave blah blah Seaview Ballroom— but now, as The Lucksmiths so appositely worded it, home of bright-eyed boys in business suits, tourists where once were prostitutes) and Prahran (which committed the cardinal sin of getting house music and T-shirt boutiques a decade before Fitzroy) don't rate a mention in the psychogeography of cool in Melbourne. And while Fitzroy real estate prices approach South Yarra levels, there is still enough of a cultural legacy (not to mention tram routes from more affordable areas) to maintain the area's claim to cultural vitality.

¶ art design ghostpatrol hipsters maps melbourne miso psychogeography white people 1 Share

An American designer has created Helvetica cookie cutters:

(via Boing Boing) ¶ craft design helvetica typography 0 Share

Priori Acute, a new display typeface by Johathan Barnbrook (best known for Exocet and Ma(n)son Serif), and published by Emigre, has a nicely Escheresque look to it.

¶ design emigre fonts m.c. escher typography 0 Share

The New York Times has published its annual roundup of the past year in ideas (unfortunately, in a pretty but annoyingly unlinkable JavaScript-based format).

This list has the usual variety of design/technological ideas (artificial engine noise for electric cars, artificial guilt for battlefield robots, a kitchen sink that puts out fires by filling the air with a fine mist, the glow-in-the-dark dog), environmental interventions/observations (artificial carbon-absorbing trees, a way of more efficiently disposing of corpses, bans on suburban culs-de-sac, pessimistic variants on the Gaia hypothesis), psychology and the social sciences (lithium in the water supply reduces suicide rates, randomly promoting employees works best, being given "counterfeit" goods to wear can increase one's likelihood of cheating), geopolitics (promoting communication in itself to undermine dictatorships) and business (subscription models for funding art). Where last year's had a recurring theme of trying to fix a dysfunctional capitalism, this year's theme seems to be zombies (both in the context of Jane Austen mashups and finding scientific models of how to survive a zombie epidemic; the answer, for what it's worth, is strike back hard and annihilate them before it's too late).

¶ 2009 design environment ideas politics tech zombies 0 Share

Recently, the Swiss National Bank held a competition to redesign the Swiss Franc banknotes, and got some very handsome submissions:

(via MeFi) ¶ currency design switzerland 0 Share

A number of social software systems give their users reputation/trust scores, which can be voted on by other users. This, however, is not without problems: when carelessly designed, the ability of users to vote down other users' reputations can lead to extortion rackets:

It didn't take long for a group calling itself the Sims Mafia to figure out how to use this mechanic to shake down new users when they arrived in the game. The dialog would go something like this:

"Hi! I see from your hub that you're new to the area. Give me all your Simoleans or my friends and I will make it impossible to rent a house.”

"What are you talking about?"

"I'm a member of the Sims Mafia, and we will all mark you as untrustworthy, turning your hub solid red (with no more room for green), and no one will play with you. You have five minutes to comply. If you think I'm kidding, look at your hub-three of us have already marked you red. Don't worry, we'll turn it green when you pay…"

(via Boing Boing) ¶ antipatterns design gibson's law social software unintended consequences whuffie 1 Share

In Germany, they go in for human-powered transport in a big way. In Hamburg, for example, they have an experimental bus powered by onboard stationary bicycles:

The bus takes a maximum of 20 people, and needs at least six to power the bus. One model had a row of seats at the back for pure passengers. The driver doesn't pedal, but steers and operates the brake. It can get up to about 25mph. (Here's another design, on YouTube.)

(via Owen) ¶ berlin bicycles bicyclism design environment germany hamburg 0 Share

There is now an electronic version of Rail Alphabet, the high-Modernist typeface designed in 1965 by Jock Kinneir and Margaret Calvert for British Rail and used extensively on signage of British public institutions of the period (the NHS and various airports also used it). And just in time to ride the wave of nostalgia for pre-Thatcherite public institutions.

(Note that if you decide to be even more thrifty and use Arial, people will laugh at you.)

And here is a detailed article on the evolution of the London Underground typeface, from Edward Johnston's 1920s original (which influenced the design of Gill Sans), to its subtle redesign by Japanese typographer Elichi Kono in the 1970s (Kono's account appears here), and other adaptations made recently as it was adopted across the entire London transport system.

(via MeFi) ¶ british rail design helvetica london modernism typography 2 Share

An article in Radical Philosophy (a journal of "socialist and feminist philosophy") looks at the phenomenon of those Keep Calm And Carry On posters, and what the reprinting and near-ubiquitous popularity of a WW2-era propaganda poster that was never originally released says about contemporary British society, alienation from the consumer-capitalist values of Thatcherism-Blairism, and a displaced longing for an imagined utopia of benign paternalistic bureaucracy and modernistic optimism that happened (as all golden ages happen) decades before those contemplating it were born.

Initially sold in London by the Victoria & Albert Museum, the poster only gradually became the middlebrow staple it is now when the recession, euphemistically the ‘credit crunch’, hit. Through this poster, the way to display one’s commitment to the new austerity was to buy more consumer goods, albeit with a less garish aesthetic than was customary during the boom. It is in a sense not so different to the ‘keep calm and carry on shopping’ commanded by George W. Bush both after September 11 and when the sub-prime crisis hit America – though the ‘wartime’ use of this rhetoric has escalated during the economic turmoil, especially in the UK. Essentially, the power of ‘Keep Calm and Carry On’ comes from a yearning for an actual or imaginary English patrician attitude of stoicism and muddling through, something which survives only in the popular imaginary, in a country devoted to services and consumption, and given to sudden outpourings of sentiment and grief, as over the deaths of celebrities like Diana Spencer or Jade Goody. The poster isn’t just a case of the return of the repressed, it is rather the return of repression itself, a nostalgia for the state of being repressed – solid, stoic, public-spirited, as opposed to the depoliticized, hysterical and privatized reality of Britain over the last thirty years. At the same time as it evokes a sense of loss over the decline of this idea of Britain and the British, it is both reassuring and flattering, implying a virtuous (if highly self-aware) stoicism in the displayer of the poster or wearer of the T-shirt.

It's not all benign nostalgia for a kinder, gentler age, though: the article mentions a more sinister edge, from the police force's Keep Calm-esque "We'd Like To Give You A Good Talking To" posters (ironically juxtaposing an attention-grabbing tone of authoritarian brutality with a "caring"official message, which happened, as the author points out, near the harshly suppressed G20 protests) to Ken Livingstone's ironically Orwellian "Secure Beneath Their Watchful Eyes" posters, promoting the comprehensive surveillance society as a beneficial thing. (One is reminded of the "High Security Holiday Resort" posters in Terry Gilliam's Brazil.)

(via MeFi) ¶ authoritarianism culture design history irony nostalgia society thatcherism-blairism uk 2 Share