I wish I had written this!

Check this out girls! That's exactly everything I felt when I watched the film. Of course, this is just one point of view.
Did anyone else had the chance to see it? I would love your comments.
Hope you are all doing good! X


Review: The Telegraph by Sukhdev Sandhu

Tsunamis may rage, famines lay waste, sorrow plague the earth: how slight seem such atrocities and disasters to a heart stricken by the loss of a lover. A Single Man, the directorial debut of Tom Ford, is based on a 1964 novella by Christopher Isherwood that deals with exactly this kind of heartwreck. It portrays a day – possibly the last day – in the life of George Falconer (Colin Firth), an expatriate Englishman in California since the late 1930s, whose lover of 15 years, Jim (Matthew Goode), died in a recent car accident.
His whole world – a gorgeous, glade-fringed home, an agreeable circle of friends, a tenured post teaching literature to affluent students – turns to tundra. There is no purpose and no value to anything any more. He plans to kill himself.
Whether or not he’ll go through with this resolution is half the drama of the film. The other half of the drama is… well, there isn’t any.
Ford came to fame as a fashion designer and as the creative director for high-end designer labels. Content is king? For Ford, image, advertising and a certain kind of good taste are just as important.
That’s fine if you’re a sartorialist, and if you think style and substance are indistinguishable, but it’s a problem if you’re making a transition to movies. Especially a movie that stands or falls by its ability not only to make you care about its main character, but to cry your eyes out at his desperate situation.
Little about A Single Man rings true. For one thing, it’s impossible to believe that George could possibly afford to live in his maid-serviced, Modernist gem. Is he old money? Is there some secret stash he’s privy to? Perhaps, as is sort of hinted at, he lives there because his partner was an architect. But how could that be? Jim, the axis of George’s life, is portrayed as nothing more than a cute-smiled, good-in-swimming-trunks pretty boy: he has no depth or dimensions; he becomes a mere occasion for Firth to practise – albeit to a very refined and at times moving level – his habitual persona as a repressed Englishman on the brink of emoting.
Let’s assume that that physical attraction is the key dynamic between the two men. Wouldn’t it have been refreshing if, for once, a film about gay people – made by a gay director! – wasn’t so coy about showing intimacy between its lead characters?
An early scene shows George learning from a member of Jim’s family that he can’t attend his lover’s funeral. It’s meant to be an indictment of the corseted, repressive world homosexuals and lesbians had to endure in that pre-Stonewall period. You’re meant to feel pity for him, and anger on his behalf.
Actually, you’re likely to feel more anger at Ford who, in pursuit of – what? tastefulness? broader demographic appeal? – daren’t show George touching the flesh of either Jim, a handsome Spanish hustler (Jon Kortajarena) he meets at a car park, or the student (Nicholas Hoult) with whom he goes skinny-dipping in the ocean late at night.
Heterosexuals get a bum deal, too. In a film of strange transatlantic drifts (Goode and Hoult, both Brits, play Americans), Julianne Moore plays an Englishwoman called Charley with whom George once had an affair. She likes gin, putting on make-up, and is only a flouncy Ab Fab-style cartoon figure.
Few of you will be surprised by how cursorily and inelegantly Ford tries to link George’s trauma to the US invasion of Cuba. Still, it’s pretty rich for a former Gucci-peddler also to link that era’s growing fearfulness to the rise of capitalism.
A Single Man is most potent at a visual level. It aspires to the bespoke finish and atmospheric textures of a Wong Kar Wai film, even employing Shigeru Umebayashi, composer of In the Mood For Love, to write some of the score. It’s most in its element when it’s examining George’s cuffs or his fluffy white towels rather than his heart.
After a while, every scene becomes so tweezered, styled and glossed that the whole thing degenerates into a preening perfume commercial. That’s one complaint: the other is that a film that should have been so moving is so boring.

How E-Books Will Change Reading And Writing by Lynn Neary

December 30, 2009

Ten years ago, few imagined that by decade's end, people would be reading novels on cell phones. A lot has changed in the book world.

"Over the last couple of years, I've really noticed if I sit down with a book, after a few paragraphs, I'll say, 'You know, where's the links? Where's the e-mail? Where's all the stuff going on?' " says writer Nicholas Carr. "And it's kind of sad."

Carr says he's thought of himself as a serious reader all his life, but in an article in The Atlantic, he argued that the Internet is training us to read in a distracted and disjointed way. But does that mean writers will have to change the way they write to capture the attention of an audience accustomed to this new way of reading? Carr thinks the answer is yes, and he looks to the past to make his point.

"When printed books first became popular, thanks to Gutenberg's press, you saw this great expansion of eloquence and experimentation," says Carr. "All of which came out of the fact that here was a technology that encouraged people to read deeply, with great concentration and focus. And as we move to the new technology of the screen ... it has a very different effect, an almost opposite effect, and you will see a retreat from the sophistication and eloquence that characterized the printed page."

As digital platforms proliferate, writers are trying to figure out how to use them. Novelist Rick Moody recently wrote a story on the social networking site Twitter. Moody says he got intrigued by the idea of writing in abbreviated form to fit within the 140-character limitations of each Twitter post.

"I began to see that trying to write within this tiny little frame, 140 characters, was kind of like trying to write haiku. It's very poetical in its compaction, and it kind of got under my skin, and I kept thinking, 'Wouldn't it be fun to try and work with this?' " Moody says.

His flirtation with Twitter was not entirely successful. The delivery of the story went awry, and some industry insiders were bombarded with repetitive tweets. Still, Moody doesn't regret the experiment. But he does have doubts about Twitter's literary potential.

"It forced me to try to imply more narrative than I could actually include in the piece, because I was so stuck in this little box. It's hard to have dialogue between characters in the confines of the Twitter box," Moody says. "That was all fun. Whether I think Twitter is going to be a great vehicle for fiction, I'd say no."

A lot of writers are trying their hand at Twitter books — both on the Web and in print — but Time magazine book reviewer Lev Grossman thinks it's a passing fad. Asked what might have some staying power, Grossman suggests the cell phone novel. Written on cell phones and meant to be read on them, many of these books are best-sellers in Japan. The authors are usually young women, and romance is the main theme.

"They tend to be narratively very propulsive, [and] not very interested in style and beautiful language," Grossman says. "There tends to be a lot of drama and melodrama, sex and violence. They grab your attention, and they don't really let it go."

Apart from Twitter books and cell phone novels, Grossman, who is also a novelist, says the real challenge for writers is electronic-book readers like the Kindle. He says the increasingly popular devices force people to read books in a different way.

"They scroll and scroll and scroll. You don't have this business of handling pages and turning them and savoring them." Grossman says that particular function of the e-book leads to a certain kind of reading and writing: "Very forward moving, very fast narrative ... and likewise you don't tend to linger on the language. When you are seeing a word or a sentence on the screen, you tend to go through it, you extract the data, and you move on."

Grossman thinks that tendency not to linger on the language also affects the way people react to a book when they are deciding whether to buy it: More purchases will be based on brief excerpts.

"It will be incumbent on novelists to hook readers right away," says Grossman. "You won't be allowed to do a kind of tone poem overture, you're going to want to have blood on the wall by the end of the second paragraph. And I think that's something writers will have to adapt to, and the challenge will be to use this powerfully narrative form, this pulpy kind of mode, to say important things."

Grossman, Moody and Carr all believe that traditional books will still be around for a long time, and that some of the changes that may occur in writing will be more evolutionary than revolutionary. But it's hard to know, says Carr, whether traditional books — and the people who read and write them — will have much influence on the culture in the future.

"The real question is," wonders Carr, "is that segment of the population going to just dwindle and be on the periphery of the culture rather than at the center, which is where printed books have stood for centuries now?"

Perhaps we'll have to wait another 10 years to find out.

http://www.npr.org/templates/player/mediaPlayer.html?action=1&t=1&islist=false&id=122026529&m=122042992

Are e-books greener than paper books?

Are e-books greener than paper books?

February 19, 2010 ⋅ Post a comment
Environmentally concerned customers may continue reading paper books. A report by the Centre for Sustainable Communications shows that there are no good reasons to claim that e-books have a better eco performance. Only if you read more than 33 e-books during the lifetime of an electronic reading device it becomes beneficial from a climate point of view.
Clara Borggren and Åsa Moberg from the Centre for Sustainable Communications present a screening life cycle assessment comparing three different ways of distributing and reading books: a paper book purchased in a traditional bookshop, a paper book purchased in an online store and an e-book read on an electronic reading device.
“There is a common assumption that e-books are limiting the burden on the environment. But our results indicate that there is no substantial difference between an e-book read on a reading device and a paper book. The reading device has to be used quite frequently. With the assumptions made in our study you have to read more than 33 e-books containing 360 pages on a newly purchased reading device for it to become superior from a climate perspective” says Åsa Moberg.
A paper book’s environmental impact is mainly caused by the production of paper. An e-book’s environmental impact on the other hand depends primarily on the production of the reading device. The paper book’s environmental impact is substantially decreased by minimized personal transportation when buying the book. The key factor for decreasing environmental impact per book read is simply to let more people read the book.
What should be done to make reading devices more attractive from an environmental perspective?
Reading devices need to become multifunctional and allow for reading of newspapers, books and other documents. In that way the environmental impact of the reading device is spread across several uses. In addition, the e-book really needs to replace paper books and other information carriers. “You remember what happened to the paperless office that never came about,” Åsa Moberg quips. Moreover, producers of reading devices are challenged to minimize the use of toxic and rare substances in production.
The book which forms the basis of the study is a hardback novel with 360 pages. The study measures the environmental impact for each book that is read and applies to Swedish conditions.
Currently, the report comparing paper books and e-books is only available in Swedish (See Pappersbok och elektronisk bok på läsplatta).

Ted Blog interviews Jacek Utko

The TED Blog interviewed Jacek Utko over the phone yesterday to get a deeper look into his approach to newspaper design and his thoughts on the future of news media. Here's a snippet:

"Many people think that newspapers have to survive because they have a mission for society, for democracy. Most of them say that newspapers should stay because, if newspapers die, nothing will replace them. But that's not actually true. It's already slowly being replaced by the Internet. Blogs, for example, are an opinion-making medium. They'll probably become more powerful than the newspapers were."

Here is an excerpt from the interview - 

When will the newspapers finally die?

"The Western world has the most complicated situation. People have stopped buying newspapers. The papers in America will die in five, maybe ten years. Who knows? But there are some parts of the world where newspapers will be successful for the next many years. There, newspapers can easily make money.

Think about Asia -- regions in China or the Middle East -- where Internet coverage is not yet so high. Newspapers there are just becoming an interesting medium for advertisers. But the success we've had in Central Europe, doubling circulation in some countries, would be impossible to repeat in Western countries. Newspapers will die in some regions and blossom in others."

This is a pretty interesting notion. We tend to forget just how vast the world really is and that just because our daily lives revolve (sadly) around iPhones, iMacs, iPods and other various forms of electronic devices, not everyones does. Many people lead much more simple lives and not just in rural or exotic places but also in major cities in other parts of the world where technology is never as sophisticated as it is in the West. Many cities in China for example especially Western China will continue to relate news through the printed medium as opposed to digital. This has as much to do with communist belief systems and careful editing of the press as anything else, but is a reality in much of the world. The reign of the newspaper will not come to an end in these places as abruptly as it will in our western world.

http://blog.ted.com/2009/04/the_fate_of_the.php

Rupert Murdoch plans charge for all news websites by next summer

Times and Sun readers to pay as loss-making Murdoch declares end to free-for-all

Check out this link for an insight into Rupert Murdoch's long term vision for national newspapers. He claims he is willing to take the risk of leading the industry towards a pay-per-view model. He states, "I believe that if we're successful, we'll be followed fast by other media." An interesting one to watch!

The billionaire media mogul Rupert Murdoch suffered the indignity of seeing his global empire make a huge financial loss yesterday and promptly pledged to shake up the newspaper industry by introducing charges for access to all his news websites, including the Times, the Sunand the News of the World, by next summer.

Stung by a collapse in advertising revenue as the recession shredded Fleet Street's traditional business model, Murdoch declared that the era of a free-for-all in online news was over.

"Quality journalism is not cheap," said Murdoch. "The digital revolution has opened many new and inexpensive distribution channels but it has not made content free. We intend to charge for all our news websites."

The Guardian, Thursday 6 August 2009

http://www.guardian.co.uk/media/2009/aug/06/rupert-murdoch-website-charges

Woman as Design by Stephen Bayley

Marina, Paul has mentioned this book that might be relevant to us both. I have just found a very negative (and humorous) review of it on the times online if you follow the link below.

"...if woman is a design, then what exactly was the brief?
"The result is a rambling and quixotic ­pervathon that rests wholly on his patronising and flawed central thesis of woman as product. Dominated by glossy images of babes in various states of undress and yet more weirdo questions — “Is there any more potent a symbol than the breast?” and “What do curves mean?” — it is meant, clearly, to be a high-minded ­analysis of the form and function of the female in art, ­architecture, archeology and advertising from 25,000BC to the present day."

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/books/non-fiction/article6818840.ece

Designing for Beautility: Where Beauty Meets Utility

Marina I came across this article via the design council website. Might be useful!!

http://www.fastcompany.com/blog/tucker-viemeister/whats-cookin/beautility-where-beauty-meets-utility

Design Council

You all should check out the design council website.
There's loads of facts and figures, reports and articles on all sorts of areas in the UK design industry. Might be something useful for your essays!

http://www.designcouncil.org.uk

Catch up next week??

Hello ladies,

Does anyone fancy catching up some time next week?
My elective only runs mon, tues, wed so I'll be free Thursday and Friday if you fancy meeting up to chat over stuff? Anything, not just Design Discourse!

x

Hunger vs A Single Man

There's got to be a point of equilibrium between aesthetic value and substance in the film industry and all visual communication...

Here there's a successful example of Steve McQueen's Hunger released in 2008.

http://www.youtube.com/watch?v=ZipYYoUteCw

Ahhhhhh Panic

Hi Guys

Did any of you by chance record the 24 mins that Paul was talking about my area? For some reason my recording of it has corrupted!! Ahhhh panic! Thank god I took notes as well but would be amazing if you have it so I can listen back!

Thanks

Does TV advertising effect children?

Key words:
Design ethics, social responsibility,
children's customers, TV advertising, media, 'pester power'
communication, branding, consumerism... ...

The field I've been interested in is about Ethics in Children's Television advertising. I went through with those questions below: Why and how do children watch TV? How well do children understanding TV? Does TV teach children about social roles? Does TV advertising effect children?

"Young children are simply more easily persuadable than older children or adults. They are more trusting of advertising claims and appeal and more susceptible to commercial persuasion."

"As children grow older they gain the capability to distinguish between commercials and programs, to remember them for a long period times, and gradually come to recognize their persuasive intent."

"The 'effects' of television are not measurable only by counting heads in audience. What children get out of television is often quite different from what adults assume they get out of it."

"Children's desire to possess products they have seen on television is said to lead to "pester power", which means that children pester their parents or other adults to buy things for them."

Evian rollerbabies: cute or creepy?

Is there a future for printed newspapers? And if so, how can they sucessfully evolve in the technology race?

"Newspapers have a bright future as print-digital hybrids after all - but they'd better hurry."

Quote from Columbia Journalism Review - 

It seems that daily newspapers are in a downward spiral. The new year brought reports of more "newsroom layoffs, dwindling print circulation, flat or declining ad sales, increasing defections of readers and advertisers to the Internet, not to mention sullen investors. As succeeding generations grow up with the Web and lose the habit of reading print, it seems improbable that newspapers can survive with a cost structure at least 50 percent higher than their nimbler and cheaper Internet competitors".

This is a pretty bleak picture but is there a silver lining amongst all this doom and gloom? Does newspaper design have a future? This was the big question that was generated 10 years ago or so which was "Is Print Dead?" 

This is a link to a relevant article that explains a little about this argument

http://technology.timesonline.co.uk/tol/news/tech_and_web/the_web/article3145719.ece

This was possibly a slightly hysterical reaction to technology traveling at the speed of light. We can see as we progress through the 2000's that instead of dying and disappearing into oblivion, the newspaper instead needs to readdress its way of thinking, it's methods of production and promotion and evolve along with the changing technology and the ever important needs and wants of the consumer. 

As we enter 2010 a far more hopeful picture is emerging. "In this scenario the mainstream press, though late to the party, figures out how to make serious money from the Internet, uses the Web to enrich traditional journalistic forms, and retains its professionalism—along with a readership that is part print, part Web. Newspapers stay alive as hybrids. The culture and civic mission of daily print journalism endure." One can see some newspapers already tapping into some very lucrative money making ventures. For example, the Guardian have created on their site a very well received travel blog called "been there" and also run the very successful social site "soulmates". All of which can exist as past of the Guardian news but only on-line.

Perhaps the perfect solution is a combination of the two worlds; the pleasing, tactile printed newspaper, in production on a smaller scale and the fast, convenient news available on-line, whether viewed on your laptop, iPhone or the new Notebook, for everyday viewing. A point of acceptance must be reached, acceptance of a swiftly changing world and new technology. Only then can the newspaper begin the next phase of it's life cycle.

A great example of a newspaper that had taken the bull by the horns so to speak and compleatly readdressed the way in which it is designed, produced and distributed is Portugal's newest daily newspaper, i. It was launched in early May and has attracted a significant amount of attention due to its rising circulation figures and innovative approach. 

What is it they are doing differently?

"I is not structured like a traditional paper. The paper's team worked with media consultancy Innovation to come up with a new way to organise the product. "Our feeling was," said Figueiredo, who came on board at an early stage, moving from Diário Económico,"that people wee not concerned about traditional sections any more. Traditionally, journalists have to fill a politics section even if there is nothing relevant going on in politics. We wanted to come up with something different." So the team came up with five key needs that they wanted the paper to address, with five key words".

What are they?

• Opinion - is the first section of the paper, based on the key word think, a first for a Portuguese paper
  
• Radar - aims to offer a quick overview of everything that has happened in the last 24 hours
  
• Zoom - subjects dealth with in a lot of depth with a lot of care
  
• More - deals with peoples private, cultural and social lives
  
• Sports - 80% focused on football which is very important in Portugal

"A huge amount of work goes into designing the paper every day. At first, Mrozowski explained, the idea was that the paper would have a template that would leave some pages fixed each time, meaning that some pages would require no design work on a daily basis and that editors would simply put their content into the pre-designed format. "But from day one that strategy fell apart,"he said. "We realised that the sort of paper we were making had to have a lot of very specialised content and each page would have to be custom-made to the needs of a reporter or editor."

file:///Users/emmabyrne/Desktop/Reportagem_Ouro_13MAIO09_2-thumb-200x132-4276.jpg

What's next?

The staff seemed excited about the paper's future. Mrozowski plans to further improve the work of his design team, to take it "to the next level." The team has mastered the basics, he feels, and is now "going to start focusing on certain areas of the paper one at a time and try to make them better so that we are at the highest level."

So the question is, if i does succeed, will others follow it down the path of innovation?

CNN and the House of Brands Strategy

This article raises some interesting points. It's really interesting to see how the branding of a news network is so vastly complex and intricate in its workings. It's intriguing to see how the brand must evolve constantly in a never-ending effort to increase the number of "viewer eyeballs". The news is not simply the news anymore. 

This idea of sub-segments and morning and evening slots being used as more entertainment friendly is proving to be very popular with the viewing public. It's not just about politics, economics, and warzones anymore, the news now tells us what the latest best seller is, the top five holiday destinations and the new IT- bag. Is this simply a Western trend or do we see this with News Channels in other parts of the world?

Take a look at some of the key shows on CNN and one cannot but notice the network’s recent adoption of an explicit “House of Brands” strategy in an effort to better wage the battle for “viewer eyeballs”. The collage below shows some of CNN’s major shows and their distinct “brands” (e.g. AC360, Fareed Zakaria GPS, John King’s State of the Union, etc.).

By expanding away from the core umbrella “CNN” brand to a portfolio of brands for individual “products”, CNN is trying to form deeper association and identification with its viewers through a sub-segmentation approach. By forming show-specific brands (represented by a distinct anchor along with a catchy tagline reflecting the show’s underlying theme), CNN has increased flexibility to target and reach sub segments of the viewer pool by enabling a more tailored messaging and content theme. In effect, each show (or brand) has the ability to fight its own battle against other networks’ shows targeting the same viewer sub-segments. For example:

- Wolf Blitzer (Tagline: Situation Room – Target viewers who want to get the latest critical and heated news of the day)
- Campbell Brown (Tagline: No Bias, No Bull – Target viewers with the differentiated message that the show is all about keeping the government and businesses straight by calling out mis-information and broken promises)
- Fareed Zakaria (Tagline: GPS or Global Public Square – Target wonky viewers interested in foreign policy and globalization issues)

Although an effective strategy, the “House of Brands” focus could also backfire in the long run: in particular it can potentially weaken the mothership “CNN” brand in the minds of viewers. In addition, the adopted strategy will continue to strenghen the “cult of personality” in U.S media and shift market power away from the network to the individual anchors.

The Growth of the 'Motherbrand'

The world of technology is changing quickly and as a result we are all clamouring to keep up with it. The world of news broadcasting is no different and in an age where more and more outlets for news become available, we see news networks struggle to retain viewers. They are now, not only in competition with each other but also many different modern sources of news, including discussion and information blogs such as TedBlog and video sites like YouTube, to name but a few. A strong brand identity is more important than ever, to ensure healthy ratings and loyal viewers and we now see more aggressive efforts than ever to generate as much revenue as possible and the propelling of the brand further into the public eye. 

The broadcasting of news is supposed to be an informative and educational experience. It not only relates information but also widens the understanding and intellectual capacity of the audience, when it is frequently watched. News broadcasting should be engaging and enjoyable to watch but at what point do you cross the line into farce. The notion of product placement on a news slot is a relatively new trend. When showcasing the product of a global brand it no doubt is quite lucrative for the news station but does it not distract from the serious content of news stories? 

An example of this is a Fox News station in US has signed a product placement deal with McDonald's ensuring that cups of the fast food's chain coffee are displayed prominently on the desk of news anchors. The Fox affiliate anchors at KVVU in Las Vegas sit with cups of McDonald's iced coffee on thier desks during news and lifestyle segments of the morning show as part of a six month promotion.

http://www.brandrepublic.com/News/833470/Fox-News-station-puts-McDonalds-centre-stage/

This raises some very important points, what happens should a negative story about McDonald's need to be reported? Brent Williams, account supervisior at Omnicom agency Karsh/Hagan (which brokered the deal) ensures that should that situation arise the McDonalds cups would be taken away. It they are prepared to do this, then what other measures could they undertake? The use of more attractive anchors, an increase the the number of light weight lifestyle segments, a never ending array of 'placed' products? 

Is this all part of a larger effort to nurture the ever expanding 'motherbrand'? If so, is it really the most appropiate course of expansion? 

Hey guys,

I've been interested in to think about the trend as 'Paperless' which could influence to the designers like us. So I tried to find some articles for this subject to get some ideas.
And I also want to consider that the possibility of handmade graphics.



All the write stuff/ Guardian. 2003

Keyboards may be faster but pens just won't go away.
Mary Branscombe looks at the latest versions of the oldest writing tool

For years, the paperless office has seemed about as likely as the paperless toilet. We print documents to jot down notes on rather than reading them on screen. We take notes on paper rather than on a Tablet PC and not everyone wants to spend the money or carry the extra weight to make that switch.
When you take someone's details, you probably jot them down on scrap paper rather than juggling the phone to type them straight into your address book. And even if you have all of that, there are still forms to deal with. However, if the software is good enough, new digital pens might actually make the difference.
Pen computing isn't a new idea and many computer users already use a pen to control their system. It's not easy to do computer graphics without a graphics tablet and pen. They are not particularly expensive: Wacom's £40 Volito pen and tablet is ideal if you just want to try out writing or if you want to equip the entire office. The size of the tablet is what puts up the price: the A6 version of the more sensitive Graphire pen and tablet is £70, while the A5 Graphire Studio XL is £180. If you're signing your name, sketching a diagram or scribbling down a name and phone number, you don't need a large area on which to write.
Using a pen with a desktop PC isn't the same as using a Tablet PC. For a start, you don't write on to the screen; you're writing on the desk while you look at the screen. If you find that difficult to get used to, the solution is rather pricey: the 18in Wacom Cintiq is a tablet you use as a monitor or tilt down to write directly on to, but it will set you back more than £2,000.
And although most Tablet PCs use the same Wacom hardware as graphics tablets, the digitiser in the Tablet PC screen checks the position of the pen 130 times every second, giving you the smooth curves you need for accurate handwriting recognition and the feeling that the ink is flowing out of the pen and on to the screen, which means the pen on a Tablet feels natural to use.
USB graphics tablets are far smoother than using a mouse to draw but they aren't that fast. Plus, you can't actually buy a copy of the Tablet PC version of Windows XP, so to use a pen for more than just navigating like a mouse, you need handwriting recognition software such as Pen&Internet's ritePen. This lets you write anywhere on screen - on the desktop or inside a window - but your writing automatically ends up in the active application window where you want it. Like the Tablet PC, you don't have to train the software, and if it doesn't get your words quite right, you can pick from the alternatives.
Of course, it's when you're away from your PC that you're most likely to scribble down something important on a piece of paper and lose it. If you don't want to carry a tablet PC or a personal digital assistant, there are two new digital pens from Nokia and Logitech you can use to sign a cheque like a normal pen, or send an email with.
They both work by using paper with a tiny pattern of dots so the pen is able to accurately record the movements you make and store them in its memory. Tick the box to say it's an email, fill in the address and your message gets sent automatically when you get back to your PC and put the pen into its cradle.
With the Nokia Digital Pen, you can send an MMS (multimedia message) from your Nokia mobile phone just by writing on the right piece of paper; the pen sends the message via Bluetooth as an image of your writing. You also get special paper with both pens for Post-It Notes, paper organiser pages, creating appointments in your diary or adding a contact to your address book. And to save on costs, Nokia cleverly includes laminated cards for MMS, calendar and contacts that you can wipe off and use again.
These digital pens work pretty much like a normal pen but they're much more bulky. However, they're both lighter and smaller than a PDA - think shapely highlighter rather than ballpoint pen - and unlike a graphics tablet, they need batteries. And with a price tag of £130 for the Nokia Digital Pen or £150 for the io, you won't want to leave one on a restaurant table. Seiko's InkLink is slightly cheaper at £100, it uses any paper and the pen is much more like a normal pen, because the digitising is done by the large clip you put on one end of the sheet of paper. You can plug it into a PDA or a USB port when you're at your desk, but it is fiddlier than the others.
These pens are fine for jotting down personal information and reminders or drawing sketches, but writing comes across as graphics rather than text, and the handwriting recognition software included with the Logitech io isn't particularly sophisticated. If you want to put digital pens to work on forms rather than personal notes, HP is coming out with its Digital Pen 200 and the Forms Automation System, which lets you print out your own paper on a LaserJet. This works with Pen&Internet's riteForm software so you can print your office forms as usual, fill them in on paper and get the information straight into your database.
Software such as riteForm makes a digital pen more than a gimmick. Not only can you use it to do what lots of people do in the office every day, only without someone else having to do it all over again when they type in the information from the forms, but what you get out of it isn't a proprietary kind of digital ink, just information that goes straight into your existing systems. Like the best Tablet PC applications, pen-enabled software needs to be true digital paper rather than a paper interface that's been digitised - combining the simplicity of picking up a pen and writing with the automation that makes computers worth using.
Whether you're taking notes or filling in a form, using a digital pen rather than a keyboard means you don't have to lose the flexibility of paper. Leonid Kitainik, general manager for Pen&Internet comments that: "Creative thinking is not simply thinking in typed text: it includes images, charts, layouts. If we broaden the definition of a document to include drawings and look for a mass market device to enrich the documents, what can replace the pen?"

Hi girls, I had a call from Jiayi today. She said she didn't get our messages or blog invite (something possibly wrong with her blackboard e-mail?) and didn't realise we were meeting up for blog discussions. I've arranged to meet up with her tomorrow in the library to sort out the blog issue and go through her essay idea with her. She can then get the low down on what we've been doing before we meet Paul on Thursday for discussion. I'll see you girls on Thursday, happy reading.

Personal views

Hi Guys

Here's the link to that website Elma showed me.
Some of the FTF 2000 signees are on it and our very own Ian Nobel & Tony Credland too!

http://www.esad.pt/personalviews/

The Branding of News Channels

One area of branding that I find really interesting is the branding of various news channels. What intrigues me, is how many different channels, collecting, editing and distributing largely the same information can find within that, a memorable, individual identity. How do they do this? What is their starting point and how do they create and hone their individual voice in the world of news broadcasting? 

What also interests me is how different news channels of differing size vary their identity accordingly. Is there a different approach in news channels of different countries or cultures? For example, when you compare American CNN to Middle Eastern Al Jazeera what differences can you see?

The ideas of Virginia Postrel and Pierre Bourdieu

“We are by nature – by deep, biological nature – visual, tactile creatures,” says David Brown, the former president of the Art Center College of Design in Pasadena, California. Our sensory side is as valid part of our nature as the capacity to speak or reason. Artifacts do not need some other justification for pleasing our visual, tactile, emotional natures. Design, says Brown, is moving from the abstract and ideological – “this is good design” – to the personal and emotional “I like that”.

“Aesthetics is more pervasive than it used to be – not restricted to a social, economic, or artistic elite, limited to only a few settings or industries, or designed to communicate only power, influence or wealth.” This contradicts Bourdieu’s ideas.

What Bourdieu calls habitus (including manners, aesthetic values, taste, etc) “is not just a random series of dispositions but operates according to a relatively coherent logic, what Bourdieu calls the logic of practice. This logic is shaped primarly in early childhood  within the family by the internalization of a given set of determinate objective conditions both directly material and material as mediated through the habitus and thus the practices of surrounding adults especially the parents. While later experience will alter the structure of the habitus’s logic of practice, these alterations from school or work will be appropriated according to the structural logic of the existing habitus.”

“Moreover the habitus is a unified phenomenon. It produces an ethos that relates all the practices produced by a habitus to a unifying set of principles. The habitus is also by definition not an individual phenomenon. That is to say it is internalized and operationalized by individuals but not to regulate solitary acts but precisely interaction. Thus the habitus is a family, group and especially class phenomenon, a logic derived from a common set of material conditions of existence to regulate the practice of a set of individuals in common response to those conditions. Indeed Bourdieu’s definition of class is based on the habitus.”

“So when Bourdieu turns to the specific field of cultural consumption, or rather appropriation, the regularities his survey data reveals in taste patterns across a wide range of fields from food, clothing, interior décor and make-up to sport and popular and high art markers or indices of the habitus of classes and class fractions and what Bourdieu is concerned to reveal is not a particular pattern of consumption or appropriation, since in a different state of the field other markers could be used for the same relational positions, but the logic which explains this particular relationship between a range of cultural goods and practices and a range of class habitus. Bourdieu’s analysis of the concrete specificities of contemporary French cultural practice are thus part of a wider theory of symbolic power, its empirical validation and refinement and the same time a political intervention in a symbolic class struggle.”

My Area of Interest : Rhetoric Discussion

Heavy Branding of Art Galleries and Museums

The first text in the collection is called “The Steamroller of Branding’ by Nick Bell written in 2004. It states that graphic design has truly embraced branding in the last ten years and as a result of this we can now see branding on a global scale all around us, in every area of business.

There was once a great divide between corporate design and cultural design but we now see this divide narrowing and blurring as corporate identity/branding has been ‘welcomed into the cultural field by arts institutions that now share similar commercial ambitions to their corporate sponsors’. There are many examples of this, including the Tate, the Barbican Art Gallery, the Camden Arts Center etc. 

This was not always so. There has been a slow but notable shift in the attitudes and actions of gallery directors since the late 1980’s ‘as they have chosen to employ the same methods of persuasion that businesses use because they now see themselves as businesses’.  Why would they do this, one may ask? The simple answer is, increased public recognition brings more visitors to the exhibitions, thus generating greater profits. They are in a sense trying to lure greater numbers to the exhibition halls, and have found that they can even reach non-gallery goers with very strong and powerful branding. You are not at a Theo Van Doesburg exhibit, you are at the Tate!

Upon visiting the Tate Modern for example you’d be forgiven for at times forgetting you are even in a gallery and not a shopping mall. The entire experience has rendered the gallery space as far more ’visitor friendly’ , with cafes, shops, a restaurant etc. I have often spent the entire day there and a large part of this is often spent in the shop browsing.

Does this undermine the integrity of the art works held inside? It is right that art galleries should be more welcoming and natural that galleries will strive to create as much public awareness as possible but where should the line be drawn?

Bell debates, it is perhaps ok to heavily brand the outside of a museum or gallery but is it really necessary to see a logo repeated continuously on every wall and surface once you are inside the exhibition itself? You are reminded every second of where you are and this visual disturbance interrupts the message and the power of the particular subject matter you are there to view. Every gallery needs an identity but when did it become acceptable and normal for an identity to shout louder than the artwork itself.

Notes from meeting 12.03.10

Being a female graphic designer with a family

If you decided to have a family, should you're career come second? Does this mean it is impossible to be a successful designer and a good mother? Surely the most important thing is feeding your children and having enough money to keep them secure and happy, therefor you might have to accept jobs you aren't so interested in to earn sufficient money to do this. Life is about survival primarily! Perhaps the answer if you are very lucky is to have a wife/husband team that live and work together and can share all responsibilities and support each other.

Also the fact that practically all my female friends that have kids and are designers were made redundant after going back to work from their maternity leave. Perhaps this is because of the recession primarily and obviously they couldn't give as much time or freedom to a job as someone without kids. But it is evident none the less.

Do woman have more self-doubt and lesser egos than men? Is the recipe for success a shed loads of testosterone? Guess we can't generalise and more and more woman are getting ahead in business these days. This is another essay all to together!

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2 types of design

Making things (books, mags, exhibitions) &
Selling things (branding, corp id, packaging, marketing, advertising)

In the former the message should/is not obscured by branding. In the latter it is obvious that the message hierarchy begins with the branding first. If the brand guidelines have been properly established then the look and feel and tone of voice will already carry the brand message anyway. Nick Bells opposition to this is when it comes to art gallery branding:

"Problems emerge when the visual language and agenda of marketing, branding and promotion is employed at a curatorial, editorial level. I have no problem with, say, Tate making powerful use of its new branding in aggressive promotional campaigns, but I take issue with the heavy use of branding inside the exhibitions themselves. When I am already there, I don’t need to be reminded of the fact all the time. The new Barbican Art Gallery house style, for example, does not allow the particular visual qualities of the subject to be communicated with sufficient resonance. North’s newly minted identity for the Barbican is typographically bold and strong, but perhaps more appropriate for a commercial product of the type where rival manufacturers produce virtually identical products: washing powders such as Persil or Daz, for instance. These products signal as much difference on the surface as possible, because when you look closer at them, or read their ingredients, you realise that they are identical. So all the effort to distinguish them from one another goes into the packaging and how that visual identity is transferred to its advertising. With an art gallery, the experience of the exhibited subject, on closer inspection, unlike washing powder reveals profuse variety in both content and its interpretation. The difference here is striking and very easy to spot. Time will tell whether North’s new gallery identity will need to be more flexible than its inaugural incarnations suggest. Of course it is necessary to give an art gallery an identity, but what distinguishes the Barbican Art Gallery from other art galleries is its programming, so it is important that the distinctiveness of its programming is communicated. At the Barbican this is made more difficult to achieve when the imagery, the subject that is the programming, is relegated to the status of backdrop for North’s typographic virtuosity. "

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Self initiated projects

Adrian Shaunghnessy says:
"Self-initiated projects are often necessary for the individual's – or studio's psychic health..but the blunt truth is that clients are simply not as impressed with self-initiated projects as they are with a great piece of work done in response to a live brief..."
His advice is;
"Instead try and find a client who you can do a deal with. Try and find a client who will let you do some boundary-defying work in exchange for a substantially reduced fee."

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Having a strong visual style

We discussed agencies like Designers Republic that had a very strong visual style and were very successful for a period of time, but are no more! Is it because the style went out of fashion and they couldn't reinvent themselves, they had been too successful with their initial branding!

If you shout loud, you'll get noticed, but this cannot last for ever, you will have to fall! Is it then better to work quietly and consistently for ever? Not worrying about notoriety, can you then still be considered a success or is it the good press and adoration from peers that make you a success? Surely if you are keeping you head high above water and doing work you enjoy and love then you are succeeding!

I mentioned how I loved the work of Harry Pearce (see example) and you guys hadn't heard of him. His work is great but he isn't out there plastering it all over our faces. Perhaps I could seek out other designers doing lovely work and keeping it a little bit more to themselves!


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Why does everybody (love to) hate David Carson?

Is it true he had no formal training? Do we see him a charlatan striding into our precious arena and shaking it all up! Are we just being precious and narrow minded?? We love the 'infant terrible' in the fashion and fine art world but not in our world?
I hate Carson's work, I find it ugly and didn't understand it. But you can't deny the guy is driven, has passion and worked bloody hard to get where he was. Surely this must be respected? And he made us all think! We're still harping on about it now!! Is it because we are all modernist snobs?
(Maybe I need Pauls opinion?)

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La Conclusion?

This is a very personal area for me. My reasoning for doing this course is to understand and know my mind. I want to be confident in my own opinions and skills so I am better equipped to deal with and stand up to people who oppose me in industry. Instead of letting myself be bullied into doing jobs I don't want to do in a way I think is wrong. I want to find my niche, an area I understand and I am confident I know about! My old managing director used to come back at me saying do what we want, what we feel is right, we know the client better than you and if you have time then do what you want as an extra option. I guess he is right and this is the way to play the game diplomatically, a company doesn't want to waist loads of money while you play about having fun, not being efficient with their budget! But this just isn't enough for me, boshing out their crap always killed my excitement of a job. I am stubborn, I can't handle being a puppet, I want to do beautiful work I am proud of that I can put in my portfolio, I guess I am selfish and want to do all this for my own benefit rather than to earn a company shed loads of cash! I guess if I ever work for anyone full time again I have to share the same ideals and aesthetics or it will never work! So finding out what those ideals are and sticking to my guns is what this year is all about!

Speaking to a designer friend of mine at the weekend about this he said: he just loves design, it is his life. If he is given a shit brief he'll make it good, he believes he can make anything good if he puts in the effort. You just have to have the right attitude, you have to make every job you do something you are proud of!

Wim Crowel apparently worked on a branding project for a nuclear power station, a job he really enjoyed but something he wasn't politically sure about. I'm just not sure if I could do this anymore!

For me I have to feel something bigger, a connection with the project. I have to agree with what we are selling or saying or I have to be able to identify with the target audience. Perhaps I can be criticized as being unprofessional, getting too emotionally attached to my work. But as my friend says you have to love it, it is your life, it isn't just a job!

One thing I have learnt over the last 10 years is that you do have to love it and if you don't it will destroy you! The design industry is so demanding. You will be asked to cancel you life at the last minute to work to meet a deadline, this is the norm and friends, family and partners who don't work in the industry don't understand this. And obviously you will be in a tricky position if you have to leave at 5pm every night to pick your children up and work is not ready for a presentation or pitch the following morning!

So what is the answer?
Work for yourself.
Leave London, where rates are cheaper.
Teach for an element of security and a feel good factor.
Write for extra cash.
Split yourself in two (Oded Ezer)
Take a year out (a la Sagmeister)
Don't have a family/life!!
Give it all up!!!

Study room 1 booked

Hi Guys,

I just rang up and booked the study room for tomorrow (Tuesday 16th) From 2-4pm.

Do you think it might be beneficial to come with some essay question ideas that we can all discuss so when we meet Paul individually on Thurs we have a deeper and more structured understanding of where we wanna go with this?

Also though it might be good to meet up again during the easter holls when we have started to write these so we can give feedback or raise questions? And also share our ideas for designing them, get some input as I'm not sure how far it needs pushing visually? Can it be presented as an editorial piece or must it be a book? Or does this depend on what direction we want to go in? Perhaps we can do a fold out poster thingy??

Nick Bell 'Everyone starts somewhere'

Nick Bell talks about how he got into graphic design and how he started up his company.
(he looks loads like Alexander McQueen huh!)

http://vimeo.com/3070185

I'm going to go through everyone who signed the FTF 2000 Manifesto and see what I can find out about them. If you come across anything can you post it, thanks.

I separated the woman from the men as am quite interested in the balance and seeing if it is harder to be a sucessful graphic designer if you are female. As Paula Scher said: 'Is the design industry still a mans world?'

Irma Boom
Sheila Levrant de Bretteville
Siân Cook
Linda van Deursen
Jessica Helfand
Zuzana Licko
Ellen Lupton
Katherine McCoy
Teal Triggs
Lucienne Roberts


Jonathan Barnbrook
Nick Bell
Andrew Blauvelt
Hans Bockting
Max Bruinsma
Chris Dixon
William Drenttel
Gert Dumbar
Simon Esterson
Vince Frost
Ken Garland
Milton Glaser
Steven Heller
Andrew Howard
Tibor Kalman
Jeffery Keedy
Armand Mevis
J. Abbott Miller
Rick Poynor
Erik Spiekermann
Jan van Toorn
Rudy VanderLans
Bob Wilkinson

Peter Saville on Banksy, Damian Hurst & the contemporary art world

Saville is asked what he thinks of Banksy and shares some strong opinions about the contemporary art world. He compares Damian Hurst's show to Selfridges, highlighting the commercial nature of it all and talks about how people really just have too much money to burn. And it's interesting how he refers to him as "Damian" – cult like status, only a name; like Kylie or Madonna!

http://vimeo.com/3621379

Jan van Toorn II

It's really interesting to listen to this guy speak. Got me thinking how for years I have always designed things in a way that I know works or that we understand to be the norm, for example "putting a picture in a rectangular box" but perhaps to give work real meaning we should consider every single job we do singly and specifically, get deep into the meaning of it and try to express that further with the way we design it. I guess this is really obvious but something I hadn't really sat down and thought about. It's almost like a light has switched on in my head and I suddenly 'get it'!! Blimey!!!

http://vimeo.com/3774839

Jan van Toorn

Here is a brief clip of Jan van Toorn discussing how he got into design. He raises an interesting point that could maybe be explored further, that the Modernists believed that design could and should be used to create a better world but this all got lost in the 50s. I guess this period was when advertising really got big. So was design only used to make things prior to this period ? Did any modernist designers get involved in selling? Or are they all the signees of the FTF Manifesto?

http://vimeo.com/3775122

Women in design

Following on from what we discussed yesterday here is a video of Paula Scher discussing her experience of women in the graphic design industry.

http://vimeo.com/7591560

Irma Boom on 'The Most Beautiful Book in the World'

Check out this D & AD President's lecture from Irma Boom on her book for Shiela Hicks, judged the most beautiful book in the world at the Leipzig Book Fair. She talks about how she went against the grain, doing everything she was told not to do and even got fired but carried on working on it regardless.

(sorry can't post the video you'll have to follow the link)

http://vimeo.com/703587

My area of interest: Taste discussion

The main text in this body of texts themed around 'Taste' is called 'The Aesthetic Imperative' by Virginia Postrel. It tells us that today design is not just about functionality, but also emotion. We are much more aware of the design of things. Becky mentioned an Ikea example; In England after the shop opened its doors everyone was getting designerly things for a quite cheap price, everything got more tasteful and modernist.

The way we relate to shops and design shops has also changed. We visit them and despite not needing anything, we feel driven to get a piece of that lifestyle. To spend an extra few pounds for something beautiful; A designed pair of scissors or garbage can, to replace the perfectly functional utilitarian pair of scissors or bin we already have. The author also says that the 'thing, the product' must work but the main reason that brings us to the cashier is the aesthetic value and the way the object of desire looks.

Nowadays the way we make decisions on buying a computer, a cell phone or a magazine has as much to do with its aesthetic value and the shop we buy it at, as the function it performs.

The text isn't just about retail but also style. We want everything to be special, our houses, our clothes, the market we shop at...everything means something and says something about ourselves, our lifestyle and our taste. Delighting the senses is enough: "I like that" rather than "This is good design".
The text also mentions that our age is characterized by more variety and not less. We are seeking more and more to differentiate ourselves from one another, to be cool but also to be unique. Today, buzz cuts and ponytails coexist, without a social consensus and mostly without conflict - in my opinion that is a good thing about diversity. On the other hand what once was an ethnic based subcultural style, is now just a style with no depth or political position. As a result, ethnic styles do not stay in their literal or metaphorical ghettos, nor do they remain pristine and traditional.

Why does this happen?
The text says that some of these aesthetic adapters are influential designers or trendsetting celebrities.
And globalisation must have helped the wide spread of these subcultural styles. Exchanging huge amounts of information over the internet has also changed things. The way fashion editors and shop owners agree on next season's "must-have", based on advertising sales. More magazines, directed to different readers. iMacs and iPhones for everyone, but millions of different applications, colours and different carrying cases. "Mass production offered millions to everybody". "Mass customisation offers millions of different models to one guy."


Luxury for everyone
Everyone wants something by a famous designer. To attend to the custumers wishes and make profit out of them, the most famous fashion-houses have lines of products for everyone. The £4000 coat as well as the little £30 coin-wallet. Perfumes are the same, what in the past was a extremely burguoise product is today in most people's bathrooms, in many different aromas and labels. It is the thing that we buy, the brand and what it represents that makes us feel one way or another. The "It's not who you are but what you've got" way of thinking has spread into modern society, specially in big cities such as New York, Los Angeles, Paris, London and Tokyo.

Rubbish Theory: Antique x Second Hand
People are prepared to spend more money on something considered to the antique or vintage than second hand.

Contemporary Art
The same way of thinking is apparent in contemporary art. When Marcel Duchamp started to question what he thought was wrong with art he was reinventing the way we criticised and saw it. His thinking was new, creative and stated a new definition of the artist and his relationship to the world and society. Duchamp's ideas have been used as an excuse for poor contemporary art. The art world has become a marketing circus inhabited by a few very well-known artists. Tracey Emin once being questioned about her work in the London's 'Sensations' exhibition, said that her piece (a messy bed, covered in cigarettes, condoms, food and garbage all round it) was art, because she said it was. I wonder if Duchamp would have agreed.

An interview with Neville Brody

Neville Brody didn't sign the 2000 First things first manifesto but an interview with him in Adrian Shaughnessy's 'How to be a graphic designer without loosing your soul' reveals some interesting opinions:

"The main thing is to have integrity. It's what differentiates the good from the bad... If you have integrity you say no to things. You must say no to things that are morally wrong. I wouldn't work for a tobacco company, for example."

He also states:
"Young designers say they want their work to be seen. That's their message, that's their reason for doing something–to gain recognition... Today design has become about celebrity for celebrity's sake. But being a famous designer doesn't make you rich. You get fired by clients. And you sometimes have to fire clients."

When asked "How did the LCP equip you for working life?" He replies:
"The only advice they gave me was to wear a tie to interviews. I left and went into four years of real poverty. People urged me to get a job in advertising –but I stuck to what I believed in. And if you believe in something you must do the same. Not getting a job doesn't mean that you are no good. Things will come around."

So Brody believes that it is worth sitting around being poor and waiting for the right job to come around, rather than compromising in order to earn a decent living in an area vaguely related to the area you love. I'm not sure I agree with this. Although it depends how much poverty you are willing to endure until you crack and prostitute yourself! If having some money and a better quality of life is more important to you than your design ideals then I guess you would totally disagree. How do you know that your ideals are worth the hardship of poverty if you have no industry experience? Perhaps you have to be an idealist to make a independent and successful designer.

It is evident that Brody is slightly egotistical. When asked "What inspired you to set up on your own and pursue your own ideas?" He replies " When I started out I had a feeling I could change things." This self belief and confidence is quite remarkable!

Obscuring the meaning of content

"Debates within design about ‘service’ are often polarised between ‘the agents of neutrality’’ in one corner and ‘the aesthetes of style’ in the other. There is, however, a third faction whose voice tends not to be heard amid the clamour of modem communication business: namely ‘the champions of diversity’. In other words, those graphic designers who are prepared to defend the rough terrain of content from the steamroller of branding and corporate identity. The designers in this third faction tend to be more involved in editorial, curatorial and information design. This includes the making of things (magazines, books and exhibitions, etc) rather than the selling of things (through marketing collateral design, packaging design, corporate identity and branding, etc). "

This quote is interesting, Nick Bell believes that there are designers out there that are into keeping messages pure and clear and not hidden or obscured by the branding or corporate id. But they tend to work in the field of making rather than selling. Is this because when it comes to selling the brand message is so important, people are buying into a brand (a way of life)

"But the aim of a designer is to develop a repeatable way of working that is recognisable and lasting, whilst being versatile and of-its-time for as long as possible. The balance between repeatable method and specific response, between style and content, is hard to maintain. The desire for notoriety tips us in favour of repeatable methods as we tend to spend more time honing the formal attributes of our style than we do learning about what our work says and means. The pressure for economic efficiency leads us to devising ingenious systems that organise and simplify our work because it takes less time to fit content into preordained arrangements than it does to redefine a system under new conditions. The danger in going the other way, of making all our responses specific, is that no one will recognise that we did it and that it will take us so long that no client will foot the bill."

It seems there are so many factors that could obscure a specific message's meaning or add another level of meaning. Be it the ego of the designer adding their personality (so the piece is 'recognisable' – is this not surreptitious self-promotion, therefor branding the piece with themself?) or the brand message being more important than the product message.

All quotes by Nick Bell
The Steam Roller of Branding
Eye Magazine 53 Autumn 2004