Design Museum’s political exhibition gets political

It was supposed to be an exhibition about politics …

Design Museum to exhibit political graphic design from past decade
An exhibition at London’s Design Museum will present the most poignant political graphic iconography from the past decade, created in the wakes of events such as the Charlie Hebdo attacks, Brexit, and Donald Trump’s presidency.

… but the Design Museum’s Hope to Nope exhibition is caught in a political controversy of its own. Here’s a post from one of the groups of artists involved, BP or not BP.

Artists say ‘Nope’ to arms
This morning, we’re part of a large group of artists, designers and activists who have written to the Design Museum asking that our work be removed from the current Hope to Nope exhibition of political art. […] Why are we demanding our stuff back? Because last Tuesday, 17th July, the museum hosted an arms industry event as part of the Farnborough International arms fair.

They’re not the only ones unhappy with where the Design Museum gets its funding from.

30 artists have requested their work be removed from Design Museum exhibition
The letter states that, “We refuse to allow our art to be used in this way. Particularly jarring is the fact that one of the objects on display (the BP logo Shakespeare ruff from BP or not BP?) is explicitly challenging the unethical funding of art and culture. Meanwhile, many of the protest images featured in the exhibition show people resisting the very same repressive regimes who are being armed by companies involved in the Farnborough arms fair. It even features art from protests which were repressed using UK-made weapons.”

The letter and full list of signatories are published in full on Campaign Against Arms Trade website.

Design Museum – Campaign Against Arms Trade
It is deeply hypocritical for the museum to display and celebrate the work of radical anti-corporate artists and activists, while quietly supporting and profiting from one of the most destructive and deadly industries in the world. Hope to Nope is making the museum appear progressive and cutting-edge, while its management and trustees are happy to take blood money from arms dealers.

The Guardian quotes a statement from the Design Museum in response to this.

Design Museum challenged over private ‘arms industry’ event
“The Design Museum is committed to achieving its charitable objective to advance the education of the public in the study of all forms of design and architecture and is thus a place of debate that, by definition, welcomes a plurality of voices and commercial entities. However, we take the response to Tuesday’s event seriously and we are reviewing our due diligence policy related to commercial and fundraising activities.”

They’ve acknowledged (kind of?) the controversy on their exhibition webpage …

Hope to Nope: Graphics and Politics 2008-18
As of 1 August, some artwork has been removed from the exhibition, before the exhibition closing date of 12 August, at the request of the lenders. As a result, and until the end of the run, the exhibition will now be free to visit. […] ‘We are sorry for any disappointment caused for visitors. We believe that it is important to give political graphics a platform at the museum and it is a shame that the exhibition could not continue as it was curated until its original closing date’.

… but have not made their peace yet with the artists and designers involved.

Design Museum attacks its own exhibitors, defends working with arms dealers
We were shocked to see the Design Museum’s latest statement about our request to remove our art from the Hope to Nope exhibition. Rather than engaging with the issues we and other exhibitors have raised, the museum has instead made the bizarre (and offensive) suggestion that over 40 artists and groups featured in its exhibition have all somehow been duped by some mysterious ‘professional activists’.

We all need to be data literate

This article from Harvard Business Review doesn’t mention schools once, but I think it fits perfectly well in that setting.

The democratization of data science
Intelligent people find new uses for data science every day. Still, despite the explosion of interest in the data collected by just about every sector of American business — from financial companies and health care firms to management consultancies and the government — many organizations continue to relegate data-science knowledge to a small number of employees.

That’s a mistake — and in the long run, it’s unsustainable.

It goes on to outline the three steps necessary to create a more data literate organisation; share data tools, spread data skills, and spread data responsibility. Couldn’t agree more. It’s well worth a read.

Years ago and years away

I’m getting impatient for the future, it’s not coming quick enough.

Microsoft has been dreaming of a pocketable dual-screen Surface device for years
The Verge revealed last week that Microsoft wants to create a “new and disruptive” dual-screen device category to influence the overall Surface roadmap and blur the lines between what’s considered PC and mobile. Codenamed Andromeda, Microsoft’s project has been in development for at least two years and is designed to be a pocketable Surface device. Last week, Microsoft’s Surface chief, Panos Panay, appeared to tease just such a machine, built in collaboration with LG Display. We’re on the cusp of seeing the release of a folding, tablet-like device that Microsoft has actually been dreaming of for almost a decade.

That was earlier this month, but here’s something from 2015 — concepts from years ago and still years away.

Microsoft obsesses over giant displays and super thin tablets in future vision video
While everyone is busy flicking and swiping content from one device to another to get work done in the future, it’s nice to see there’s still a few keyboards laying around. Microsoft also shows off a concept tablet that’s shaped like a book, complete with a stylus. The tablet features a bendable display that folds out into a bigger device. If such a tablet will exist within the next 10 years then I want to pre-order one right now.

But consider this:

Imagining Windows 95 running on a smartphone
Microsoft released their Windows 95 operating system to the world in 1995. 4096 created an amusing video that imagines a mobile edition of Windows 95 running on a Microsoft-branded smartphone. Move over Cortana, Clippy is making a come back.

It’s all very amusing to think of such old technology in this new setting, but we’ll be laughing at how old-fashioned the iPhone X is soon enough, I’m sure.

Before they were famous

Some uncommon views of very well-known structures.

Famous landmarks, before they were finished
It isn’t always possible to find an unusual perspective on famous landmarks, but photos taken during their construction can often provide one. In black-and-white or grainy color, they’re filled with promise but not yet substance—scaffolding around a skyscraper skeleton, pieces of a sculpture in a workshop, the foot of a tower reaching into nothing.

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before-they-were-famous-3

Blame typewriters?

I love typewriters. I used to own quite a few old ones, including a stupidly heavy Underwood. So I found this Medium article quite difficult to read at first.

Death to typewriters

What are you talking about, they’re amazing machines!

You see, I blame typewriters for double-handedly setting typography back by centuries. Type before typewriters was a beautiful world filled with hard-earned nuance and richness, a universe of tradition and craftsmanship where letters and their arrangement could tell as many stories as the words and passages they portrayed.

The article’s author, the typographer and designer Marcin Wichary, sets out a very compelling case and illustrates very clearly the influence typewriters have had on typography.

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Those habits wouldn’t matter that much, originally; books and newspapers during that time proceeded with more sophisticated machinery and largely excellent typography. But, typewriters transmuted into teletypewriters, then into teletypes, then into “glass teletypes” (teletypes with actual “glass” computer screens), and eventually into computers. … And thus typography of early personal computers was essentially typewriters, realized in pixels.

He outlines in the rest of the article the ways he’s working with Medium to improve on-screen typography and reverse the damage caused by bad typewriter habits. These are set out in detail in Matthew Butterick’s book, Practical Typography.

Typewriter habits
I’ve claimed through­out this book that many bad ty­pog­ra­phy habits have been im­posed upon us by the type­writer. Here, I’ve col­lected them in one list. … 2: Two spaces rather than one space be­tween sen­tences. … 7: Pre­tend­ing that ac­cented char­ac­ters don’t exist. … 13: Ig­nor­ing lig­a­tures. 15: Be­liev­ing that mono­spaced fonts are nice to read.

Whilst I still love typewriters as objects, as word machines, I can absolutely see their point. I’m not sure about a typewriter revolution, but I can definitely see the need for a typography one.

Looking up

There’s a bloody lunar eclipse this evening, although the thunderclouds that are accompanying our unusually warm summer may get in the way. But whilst we’re on the subject:

Figures in the stars: How cultures across the world have seen their myths and legends in the stars
Let’s compare 28 different “sky cultures” to see differences and similarities in the shapes they’ve seen in the night sky. Ranging from the so-called “Modern” or Western constellations, to Chinese, Maori and even a few shapes from historical cultures such as the Aztecs.

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And as we can see here, attempts to map and explain our place in the universe go back a long way.

Cosmography manuscript (12th Century)
This wonderful series of medieval cosmographic diagrams and schemas are sourced from a late 12th-century manuscript created in England. Coming to only nine folios, the manuscript is essentially a scientific textbook for monks, bringing together cosmographical knowledge from a range of early Christian writers such as Bede and Isodere, who themselves based their ideas on such classical sources as Pliny the Elder, though adapting them for their new Christian context.

looking-up-2

What’s in a name? #3

I mentioned earlier, in a post about the first map to include the name America, that people should be more aware of the names of places used by the first people to live there. Well, here’s a map that can help with that.

Indigenous geographies overlap in this colorful online map
For centuries, indigenous peoples and their traditional territories have been purposefully left off maps by colonizers as part of a sustained campaign to delegitimize their existence and land claims. Interactive mapping website Native Land does the opposite, by stripping out country and state borders in order to highlight the complex patchwork of historic and present-day Indigenous territories, treaties, and languages that stretch across the United States, Canada, and beyond.

People are strange

The Cut, a style and culture website that’s part of the New York magazine, have a very odd set of articles tagged What it’s like, with titles such as What it’s like to be married to a very attractive man, What it’s like to crave amputation, What it’s like to be allergic to wi-fi, and What it’s like to date a horse.

It’s quite a collection, but don’t read too many at once, you’ll go mad.

Now that’s what I used to call music

I was 11 in 1983. I’m now 46. A milestone has been reached.

Now That’s What I Call Music! just turned 100
Phil Collins’ cover of the The Supremes’ “You Can’t Hurry Love” is the first song on the very first Now That’s What I Call Music!—or “Now,” as it’s popularly known—released in the UK in 1983. Yesterday (July 20), the 100th UK volume of the series was released; its first song is Calvin Harris and Dua Lipa’s electronic dance hit “One Kiss.” Listen to both tracks and you’ll see that we’ve come a very long way, baby.

As ever, the It’s Nice That team has a great take on it.

Now That’s What I Call an oddly important document of British visual culture: Now releases its 100th CD
As objects, and as ideas, the Nows that litter charity shops and the glove compartments of seen-better-days people carriers up and down the country are primarily functional. End-of and mid-year money savers, they are cheap and cheerful. And they look it, too.

The series is an interesting record of the shifting musical tastes of our young people (including me, once upon a time), but it’s visually important too.

You’ll notice that after rather anodyne first and second editions, the team decided to inject a bit of personality into proceedings. Which, for Now’s three, four, and five they did with a pig. In sunglasses. This, for reasons that are probably best left kept in the matte black confines of a mid-80s record label HQ, was the big idea. This was how they were going to sell yet another chart compilation to the nation. With a pig in sunglasses.

now-music-2

I’d forgotten all about that pig! Needless to say, it didn’t stick around, and before long the cover we all know and love appeared. And stayed.

Like the Little Chef logo or the Nike swoosh, the solid sameness of Now provides a moment of calm in an epoch marked by hysterical atomisation. You’ll probably never buy another Now compilation again — because why would you —but that isn’t the point. Like cockroaches at Armageddon, Now will always sit there on supermarket shelves.

I, for one, am glad of that. Buying and listening to music these days is getting far too complicated.

How spammers, superstars, and tech giants gamed music
On a website with more than 100 million active daily users, there are plenty of ways to game the system, be it for attention, or, if the streams pile up enough, profit. And the frauds cashing in on the latest hot single are hardly alone. A bevy of unknown artists have found ways to juice their streaming totals, whether it’s covering songs from artists who don’t allow their songs on Spotify, or uploading an album of silent tracks, each precisely long enough to generate a fraction of a cent for the artist.

We’re doomed! Don’t panic!

The Brexit deadline’s getting nearer, and the situation looks as intractable as ever. Should we be getting worried yet? I mean, what’s the worst that can happen?

Flights stop, supermarket shelves empty, and NHS supplies dwindle: Britain after a no deal Brexit
I really do wish all of this could just be dismissed as Project Fear, but, honestly, when the government has no strategy in place for leaving the European Union, and when I ask repeatedly what happens on 30 March 2019 if it’s a “no deal” which means “no transition” the silence is terrifyingly deafening.

No-deal Brexit risks ‘civil unrest’, warns Amazon’s UK boss
Doug Gurr, the retail giant’s UK manager, reportedly made the comment during a meeting between Raab and a group of senior business executives on Friday. Amazon declined to confirm whether Gurr had made the remarks, reported in the Times, but admitted it was planning for a wide range of outcomes.

Take fright on Brexit: even the civil service head is telling us to panic
Everyone will take fright at the government’s own warnings to businesses and households. John Manzoni, the head of the civil service, told MPs last week that a no-deal break would be “almost unimaginable”, and have “horrendous consequences”. Already the government warns that the M26 in Kent will be a “holding area” for 1,400 trucks to ease gridlock as 10,000 lorries a day are potentially delayed by new EU customs checks.

It’ll all be worth it in the end, though, right?

The Brexit con
Brexiters told us that leaving the EU would be quick and easy and would save us £350m a week. With a chaotic no-deal looking a real possibility, however, Jacob Rees Mogg now tells us it could take 50 years to reap the benefits. What he’s doing here is something con-men have always had to do – stopping their victim going to the police when the goods they have charged him for fail to arrive.

Oh well, at least the postal service will still be working.

Are these Dad’s Army stamps inspired by Brexit?
The Royal Mail insists not, but it is quite a coincidence.