I think it’s traditional to mock corporate rebrands and be appalled at the sums of money involved swapping one little logo for another little logo, but the timing of this one could have been better.
University of Portsmouth under fire over £800,000 rebrand costs as departments face cuts
Dr James Hicks, city university branch secretary of the University and College union, said: ‘I don’t understand why they would spend so much money on a logo and shortly after that say we’re having difficulties and might need to make savings. ‘You would assume they would have thought this through and it would be a little more joined up.
I wouldn’t like to comment on the levels of marketing and recruitment expertise the UCU rep has – obviously it’s not £800,000 on just a logo – but after yesterday’s post about strike action, and the attention currently on VC pay, this could have been managed better.
“Our weapon is public opinion” – Posters of the women’s suffrage movement at the University Library
“These posters are fantastic examples of the suffrage publicity machine of the early twentieth century,” says Chris Burgess, exhibitions officer at the Library. “They were created to be plastered on walls, torn down by weather or political opponents, so it is highly unusual for this material to be safely stored for over a hundred years.”
Trump asked to borrow a Van Gogh, and the Guggenheim offered him a gold toilet
“We are pleased that they are interested in demonstrating their support for the arts… I am sorry, however, to inform you that we are unable to participate in this loan,” it begins. “Fortuitously, a marvellous work by the celebrated contemporary Italian artist, Maurizio Cattelan, is coming off view today after a year’s installation at the Guggenheim, and he would like to offer it to the White House for a long-term loan…. The work beautifully channels the history of 20th-century avant-garde art by referencing Marcel Duchamp’s famous urinal of 1917.”
Indeed. And speaking of Duchamp’s Fountain, here’s a great story from Brian Eno.
When Brian Eno and other artists peed in Marcel Duchamp’s famous urinal
I thought, how ridiculous that this particular … pisspot gets carried around the world at—it costs about thirty or forty thousand dollars to insure it every time it travels. I thought, How absolutely stupid, the whole message of this work is, “You can take any object and put it in a gallery.” It doesn’t have to be that one, that’s losing the point completely. And this seemed to me an example of the art world once again covering itself by drawing a fence around that thing, saying, “This isn’t just any ordinary piss pot, this is THE one, the special one, the one that is worth all this money.” So I thought, somebody should piss in that thing, to sort of bring it back to where it belonged. So I decided it had to be me.
And for more Trump-inspired art, check out Edel Rodriguez’s magazine cover artworks for Der Spiegel and Time.
How many times has that been said these days?
The 6 worst ideas of CES 2018
Year after year, the Consumer Electronics Show (CES) brings us countless new products. A few are splendid. A majority of them simply don’t matter. And a few–a truly horrible few–are terrible wastes of basic human potential that both our ancestors and descendants would be hugely embarrassed by.
Much obliged to Christopher Hallas, over on Linked In, who pointed me in the direction of this pdf from the British Dyslexia Association, full of great advice for clear, accessible documents production.
Dyslexia Style Guide (pdf)
The aim is to ensure that written material takes into account the visual stress experienced by some dyslexic people, and to facilitate ease of reading. Adopting best practice for dyslexic readers has the advantage of making documents easier on the eye for everyone.
Couldn’t agree more. And here’s another take on recreating the exasperation of reading with dyslexia.
This font shows you what it feels like to be dyslexic
“What this typeface does is break down the reading time of a non-dyslexic down to the speed of a dyslexic. I wanted to make non-dyslexic people understand what it is like to read with the condition and to recreate the frustration and embarrassment of reading everyday text and then in turn to create a better understanding of the condition”.