Madrid’s transport authorities are taking a stand against seated male selfishness with a campaign to tackle the social scourge that is manspreading.
Fed up with men whose thighs fail to respect the boundaries of bus seats, the Spanish capital’s Municipal Transport Company (EMT) is to put up signs discouraging the practice.
BLACKPOOL, England — The woman on the other end of the phone spoke lightheartedly of spring and of her 81st birthday the previous week. “Who did you celebrate with, Beryl?” asked Alison, whose job was to offer a kind ear. “No one, I…” And with that, Beryl’s cheer turned to despair. Her voice began to quaver as she acknowledged that she had been alone at home not just on her birthday, but for days and days. The telephone conversation was the first time she had spoken in more than a week. About 10,000 similar calls come in weekly to an unassuming office building in this seaside town at the northwest reaches of England, which houses The Silver Line Helpline, a 24-hour call center for older adults seeking to fill a basic need: contact with other people.
When Emojipedia founder Jeremy Burge sent his fiancee to the wrong side of London for dinner, he sent an apologetic text message. He received an emoji-less reply: “It’s fine.” “We all know that’s not what it means at all. That means ‘it’s not fine’,” he said, pointing out that emoji have infiltrated language so deeply that their absence from that message carries a meaning that we all understand. Once considered a nerd topic, emoji have now become a mainstream medium, Burge says – and San Francisco’s first Emojicon conference seems to agree.
“Design is the process of going from an existing condition to a preferred one,” said the 2010 National Medal of Arts recipient. “Observe that there’s no relationship to art. This confusion is not just a matter of semantics. In businesses, schools, offices, even newspapers, design is often associated with the art department. That’s a fundamental misunderstanding of the aim of design. When art and design are confused, the designers’ domain becomes limited to style and appearance”.
As with any obsession that encourages rummaging into minutiae, fashion’s current font preoccupation has schisms probably being debated heatedly on page 23 of a thread on The Fashion Spot. Broadly speaking, to put it in font language, it’s all about serif and sans-serif. For everyone else, it’s the fonts with the curly edges on the ends of letters vs the ones without.
Both the PSVR and the new lower-minimum Oculus do offer that magic – the moment when the view on-screen and your actions in the real world merge so perfectly that you feel transported into the virtual reality presented to you. That said, they still have their flaws. The dreaded VR nausea is there too often, for too many people, and there’s still somewhat of a content drought, reflecting the chicken-and-egg situation the technology faces. These will be improved in time, but it’s time the platform doesn’t have, lest it be relegated to the same “yesterday’s tomorrow” position of similar techs like 3D TVs and motion-controlled video games. The line between short-lived novelty and transformational new technology is thinner than many give it credit, and VR needs to leap over it soon.
McCartney’s fashion week raison d’être has always been about more than aesthetics. Her pioneering anti-fur and anti-leather stance, widely considered the hippy eccentricity of a Beatles daughter when she launched her label 15 years ago, has since been adopted by Ralph Lauren, Tommy Hilfiger and Giorgio Armani. Last week, her brand released its first annual environmental profit and loss accounts, examining the environmental impact of the business from raw material to retail. This focus on sustainability reflects a nascent change across the industry, as fashion responds to a new generation of millennial consumers who expect their clothes to reflect their values.
Anti-begging posters put up by Nottingham City Council have been banned after complaints they implied that all homeless people were engaged in criminal and antisocial behaviour.
This autumn, though, they’re offering something new: a range of hardbacks offering “unique content” – a collection of an author’s works that hasn’t been presented this way before, or a new translation of a classic. Their design is flamboyantly simple: no dust jacket but a cloth binding, a cream background on which title and author are printed vertically with a single tiny image on the top. Gothic Tales by Arthur Conan Doyle features a descending crow, Homer’s Odyssey shows an image of Odysseus dwarfed by the cyclops Polyphemus, Poems of the First World War offers a soldier’s helmet. They look fantastic – but who are they for? “We’re working a lot with the production team to make them look very collectible and tactile, to appeal to the gift market,” says Gough.
A short video showing the work of user researchers at the Department of Work and Pensions (DWP) – featuring Anna Rzepczynski who I taught* when she studied Textile Design at the University of Dundee!
*she might beg to differ 😉