What we have to say has always been intimately intertwined with how we say it. Design is about communicating those ideas and influencing users’ behavior, so it follows that influence is imparted largely by how we design. For all our intellectual complexity, our brains are still wired to make near-instant judgements about the value and importance of the message we are receiving based on how that message appears.
Thankfully, most of us are still familiar enough with actual books to remember the feel of paper under our fingers, the smell of the ink, the elegant transitions from one idea to the next – all in service of the story. While pixels remain odorless, there’s much more we can do than just deliver a digital message. Practiced typography transforms that message into a compelling experience. Let’s take a journey forward through time and see where typography can take us.
We'll look at examples of ways type has been used to impact user experience throughout history, and how typography has evolved to work with varying screens and content. It's a fundamental change in what it means to practice typography, and critical to understand how it impacts how we design. We'll also explore a few of the technical considerations and capabilities available to help create better typographic systems that will work well into the future.
This pamphlet by Linda Carroli & JM John Armstrong captures scenes from our locality which show some of the nuances and subtleties of suburban environments. While there has been a blossoming of engagement with DIY and tactical urbanism, it tends to overlook the complexity and difficulty of suburban contexts. It also tends to overlook the activity that is already part of the suburban environment. This project endeavours to present personal accounts and narratives as a counter to the sometimes anti-suburban tone of current design, planning and academic discourse. It presents small scale encounters that indicate the suburbs operate at multiple scales and offer a diverse palette of engagements and actions.
This document may be edited, altered and updated from time to time. So please check back to redownload and re-read.
This pamphlet by Linda Carroli & JM John Armstrong captures scenes from our locality which show some of the nuances and subtleties of suburban environments. While there has been a blossoming of engagement with DIY and tactical urbanism, it tends to overlook the complexity and difficulty of suburban contexts. It also tends to overlook the activity that is already part of the suburban environment. This project endeavours to present personal accounts and narratives as a counter to the sometimes anti-suburban tone of current design, planning and academic discourse. It presents small scale encounters that indicate the suburbs operate at multiple scales and offer a diverse palette of engagements and actions.
This document may be edited, altered and updated from time to time. So please check back to redownload and re-read.
Sculpture in the Expanded FieldAuthor(s) Rosalind KraussS.docxkenjordan97598
Sculpture in the Expanded Field
Author(s): Rosalind Krauss
Source: October, Vol. 8 (Spring, 1979), pp. 30-44
Published by: The MIT Press
Stable URL: http://www.jstor.org/stable/778224
Accessed: 14/01/2009 15:16
Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at
http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless
you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you
may use content in the JSTOR archive only for your personal, non-commercial use.
Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at
http://www.jstor.org/action/showPublisher?publisherCode=mitpress.
Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed
page of such transmission.
JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the
scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that
promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]
The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to October.
http://www.jstor.org
http://www.jstor.org/stable/778224?origin=JSTOR-pdf
http://www.jstor.org/page/info/about/policies/terms.jsp
http://www.jstor.org/action/showPublisher?publisherCode=mitpress
Mary Miss. Perimeters/Pavillions/Decoys. 1978.
(Nassau County, Long Island, New York.)
Sculpture in the Expanded Field
ROSALIND KRAUSS
Toward the center of the field there is a slight mound, a swelling in the earth,
which is the only warning given for the presence of the work. Closer to it, the large
square face of the pit can be seen, as can the ends of the ladder that is needed to
descend into the excavation. The work itself is thus entirely below grade: half
atrium, half tunnel, the boundary between outside and in, a delicate structure of
wooden posts and beams. The work, Perimeters/Pavilions/Decoys, 1978, by Mary
Miss, is of course a sculpture or, more precisely, an earthwork.
Over the last ten years rather surprising things have come to be called
sculpture: narrow corridors with TV monitors at the ends; large photographs
documenting country hikes; mirrors placed at strange angles in ordinary rooms;
temporary lines cut into the floor of the desert. Nothing, it would seem, could
possibly give to such a motley of effort the right to lay claim to whatever one
might mean by the category of sculpture. Unless, that is, the category can be made
to become almost infinitely malleable.
The critical operations that have accompanied postwar American art have
largely worked in the service of this manipulation. In .
Crowdsourcing at the British Library: lessons learnt and future directionsMia
Digital Humanities Congress, University of Sheffield, September 2018.
The British Library has been experimenting with crowdsourcing since it launched the Georeferencer (http://www.bl.uk/georeferencer/) in 2012. It launched an updated platform for crowdsourcing in late 2017. Currently the platform supports two projects, In the Spotlight (http://playbills.libcrowds.com/, transcribing information from the Library's historic collection of theatre playbills) and Convert-a-Card (https://www.libcrowds.com/collection/convertacard, converting printed card catalogues into digital records).
This presentation will provide a case study of the implementation of this crowdsourcing platform, considering how the design of behind-the-scenes processes such as metadata workflow, and visible outputs such as the user experience and conversations with participants, were informed by lessons learnt from past projects. The platform is integrated with new Library infrastructure that publishes images in IIIF (International Image Interoperability Framework, http://iiif.io/about/) and has pioneered the use of web annotations for crowdsourced data.
It will discuss how and why In the Spotlight was designed with a balance between productivity (the number of tasks completed) with enjoyment and opportunities for engagement (whether discussing interesting playbills on the forum or social media, or investigating aspects of theatre history) in mind. It will also look at the integration of crowdsourced data into the Library's catalogues, and how the project has changed in response to requests and feedback from participants.
The presentation will include a progress update on the project, and discuss how we applied best practices like usability testing and Europeana's Impact model (https://pro.europeana.eu/what-we-do/impact). It will finish with a preview of future plans for the platform, including the ability for library staff to build their own projects with digitised collections in compatible formats. Reducing the technical overhead for launching a pilot project could be immensely valuable - but how will we ensure that anyone starting a project understands that crowdsourcing is more about people than it is about technology?
The Nature of Illumination: Cultural Heritage and the Technology of Culture.Martin Kalfatovic
The Nature of Illumination: Cultural Heritage and the Technology of Culture. Martin R. Kalfatovic.Cultural Heritage Information Management Forum. The Catholic University of America. Washington, DC. 5 June 2015
Public Art in Cardiff: Peter D Cox Cardiff Civic Society event Chapter 04042011Peter Cox
Slides only (sadly no script but see http://tinyurl.com/ccstalk2
for article) about public art in the city.
Second in a series of talks/discussions about the aesthetics of city life - more details on cardiffcivicsociety.org.
Peter D Cox can be followed on twitter @peterdcox
The latest version of my talk about better design process and client interaction. The premise is to create more smaller interactions and iteration cycles that increase client engagement and deepen the team's understanding of the challenges at hand.
Sculpture in the Expanded FieldAuthor(s) Rosalind KraussS.docxkenjordan97598
Sculpture in the Expanded Field
Author(s): Rosalind Krauss
Source: October, Vol. 8 (Spring, 1979), pp. 30-44
Published by: The MIT Press
Stable URL: http://www.jstor.org/stable/778224
Accessed: 14/01/2009 15:16
Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at
http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless
you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you
may use content in the JSTOR archive only for your personal, non-commercial use.
Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at
http://www.jstor.org/action/showPublisher?publisherCode=mitpress.
Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed
page of such transmission.
JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the
scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that
promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]
The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to October.
http://www.jstor.org
http://www.jstor.org/stable/778224?origin=JSTOR-pdf
http://www.jstor.org/page/info/about/policies/terms.jsp
http://www.jstor.org/action/showPublisher?publisherCode=mitpress
Mary Miss. Perimeters/Pavillions/Decoys. 1978.
(Nassau County, Long Island, New York.)
Sculpture in the Expanded Field
ROSALIND KRAUSS
Toward the center of the field there is a slight mound, a swelling in the earth,
which is the only warning given for the presence of the work. Closer to it, the large
square face of the pit can be seen, as can the ends of the ladder that is needed to
descend into the excavation. The work itself is thus entirely below grade: half
atrium, half tunnel, the boundary between outside and in, a delicate structure of
wooden posts and beams. The work, Perimeters/Pavilions/Decoys, 1978, by Mary
Miss, is of course a sculpture or, more precisely, an earthwork.
Over the last ten years rather surprising things have come to be called
sculpture: narrow corridors with TV monitors at the ends; large photographs
documenting country hikes; mirrors placed at strange angles in ordinary rooms;
temporary lines cut into the floor of the desert. Nothing, it would seem, could
possibly give to such a motley of effort the right to lay claim to whatever one
might mean by the category of sculpture. Unless, that is, the category can be made
to become almost infinitely malleable.
The critical operations that have accompanied postwar American art have
largely worked in the service of this manipulation. In .
Crowdsourcing at the British Library: lessons learnt and future directionsMia
Digital Humanities Congress, University of Sheffield, September 2018.
The British Library has been experimenting with crowdsourcing since it launched the Georeferencer (http://www.bl.uk/georeferencer/) in 2012. It launched an updated platform for crowdsourcing in late 2017. Currently the platform supports two projects, In the Spotlight (http://playbills.libcrowds.com/, transcribing information from the Library's historic collection of theatre playbills) and Convert-a-Card (https://www.libcrowds.com/collection/convertacard, converting printed card catalogues into digital records).
This presentation will provide a case study of the implementation of this crowdsourcing platform, considering how the design of behind-the-scenes processes such as metadata workflow, and visible outputs such as the user experience and conversations with participants, were informed by lessons learnt from past projects. The platform is integrated with new Library infrastructure that publishes images in IIIF (International Image Interoperability Framework, http://iiif.io/about/) and has pioneered the use of web annotations for crowdsourced data.
It will discuss how and why In the Spotlight was designed with a balance between productivity (the number of tasks completed) with enjoyment and opportunities for engagement (whether discussing interesting playbills on the forum or social media, or investigating aspects of theatre history) in mind. It will also look at the integration of crowdsourced data into the Library's catalogues, and how the project has changed in response to requests and feedback from participants.
The presentation will include a progress update on the project, and discuss how we applied best practices like usability testing and Europeana's Impact model (https://pro.europeana.eu/what-we-do/impact). It will finish with a preview of future plans for the platform, including the ability for library staff to build their own projects with digitised collections in compatible formats. Reducing the technical overhead for launching a pilot project could be immensely valuable - but how will we ensure that anyone starting a project understands that crowdsourcing is more about people than it is about technology?
The Nature of Illumination: Cultural Heritage and the Technology of Culture.Martin Kalfatovic
The Nature of Illumination: Cultural Heritage and the Technology of Culture. Martin R. Kalfatovic.Cultural Heritage Information Management Forum. The Catholic University of America. Washington, DC. 5 June 2015
Public Art in Cardiff: Peter D Cox Cardiff Civic Society event Chapter 04042011Peter Cox
Slides only (sadly no script but see http://tinyurl.com/ccstalk2
for article) about public art in the city.
Second in a series of talks/discussions about the aesthetics of city life - more details on cardiffcivicsociety.org.
Peter D Cox can be followed on twitter @peterdcox
The latest version of my talk about better design process and client interaction. The premise is to create more smaller interactions and iteration cycles that increase client engagement and deepen the team's understanding of the challenges at hand.
Designing the Experience Continuum: Typography in the Age of the Connected Ev...Jason Pamental
With the explosion of small-form-factor, low-cost connected devices like fitness trackers, medical devices and ‘smart dashboards’, the spectrum across which we communicate has gotten broader than ever. When thinking about using a wearable fitness tracker with a small screen, how it connects from a design perspective to the ‘connected app’, to the desktop health tracker portal and even to TV/print advertising for that product—there are very few elements that translate across all those screens and devices to tie the experience together.
The type we use plays an increasingly important role in conveying critical information in a consistent and ‘glance-able’ way, and in getting across brand voice and creating emotional connection between user and device and organization. This talk will explore how new developments in technology and cognitive science extend the reach of our design landscape from the smallest to the biggest of screens.
A look at the history of the smallest element of text content: the paragraph. Where did it come from, how has typography been used to represent it and further our understanding of the content itself, and how can we translate that to the web. (This is a slightly evolved version of the talk being presented at FITC Toronto & CreateUpstate)
A look at the history of the smallest element of text content: the paragraph. Where did it come from, how has typography been used to represent it and further our understanding of the content itself, and how can we translate that to the web.
Slides from my presentation as part of the Typecast webinar 'Designing for maximum reach.' The full video of our webinar will be available here: http://typecast.com/seminars/rwd
Responsive Design is a Victory, but the Campaign Must Go Farther Than Ourselves
My keynote address at the New England HighEdWeb conference on 25th April, 2014.
Designing with Web Fonts: Type, Responsively (PVD)Jason Pamental
Slides from my updated talk at ARTIFACT Providence on designing with web fonts. (You can also download sample code from here: http://bit.ly/jpartifactpvd)
Death, Taxes & Viewport Chrome: Designing for UncertaintyJason Pamental
Some things are certain: death, taxes, and–if you’re a web professional–the inability to know the capabilities, access speed, and dimensions of the viewport through which your design is viewed. As a designer, you must know how your content and design will be consumed before you can prepare its presentation. Web CMS’s can deliver on the technology and content management, but you must know how to design and create buildable, sustainable designs that move and scale from the smallest screens to the largest. Remember: you’re designing a responsive system of visual hierarchy, not simply a page.
Some things in life are certain: death, taxes, and – if you’re a web professional – the inability to know the capabilities, access speed and dimensions of the viewport through which your design is viewed. Welcome to your future. As a designer, it’s essential to know how your content and design will be consumed (or perceived) before you can prepare its presentation. These days, that means the involvement of a Content Management System, or CMS. Getting to know one – such as WordPress, Drupal, Joomla or Expression Engine – can exponentially increase your capabilities as a designer without feeling trapped by the technology. To the contrary – becoming CMS-familiar can lead to greater creative freedom than you could ever have imagined. The tools are better than ever and their capabilities are just amazing. All just waiting for you.
Step up and take charge. The future IS the CMS.
Expert Accessory Dwelling Unit (ADU) Drafting ServicesResDraft
Whether you’re looking to create a guest house, a rental unit, or a private retreat, our experienced team will design a space that complements your existing home and maximizes your investment. We provide personalized, comprehensive expert accessory dwelling unit (ADU)drafting solutions tailored to your needs, ensuring a seamless process from concept to completion.
White wonder, Work developed by Eva TschoppMansi Shah
White Wonder by Eva Tschopp
A tale about our culture around the use of fertilizers and pesticides visiting small farms around Ahmedabad in Matar and Shilaj.
Can AI do good? at 'offtheCanvas' India HCI preludeAlan Dix
Invited talk at 'offtheCanvas' IndiaHCI prelude, 29th June 2024.
https://www.alandix.com/academic/talks/offtheCanvas-IndiaHCI2024/
The world is being changed fundamentally by AI and we are constantly faced with newspaper headlines about its harmful effects. However, there is also the potential to both ameliorate theses harms and use the new abilities of AI to transform society for the good. Can you make the difference?
Between Filth and Fortune- Urban Cattle Foraging Realities by Devi S Nair, An...Mansi Shah
This study examines cattle rearing in urban and rural settings, focusing on milk production and consumption. By exploring a case in Ahmedabad, it highlights the challenges and processes in dairy farming across different environments, emphasising the need for sustainable practices and the essential role of milk in daily consumption.
Unleash Your Inner Demon with the "Let's Summon Demons" T-Shirt. Calling all fans of dark humor and edgy fashion! The "Let's Summon Demons" t-shirt is a unique way to express yourself and turn heads.
https://dribbble.com/shots/24253051-Let-s-Summon-Demons-Shirt
Dive into the innovative world of smart garages with our insightful presentation, "Exploring the Future of Smart Garages." This comprehensive guide covers the latest advancements in garage technology, including automated systems, smart security features, energy efficiency solutions, and seamless integration with smart home ecosystems. Learn how these technologies are transforming traditional garages into high-tech, efficient spaces that enhance convenience, safety, and sustainability.
Ideal for homeowners, tech enthusiasts, and industry professionals, this presentation provides valuable insights into the trends, benefits, and future developments in smart garage technology. Stay ahead of the curve with our expert analysis and practical tips on implementing smart garage solutions.
Transforming Brand Perception and Boosting Profitabilityaaryangarg12
In today's digital era, the dynamics of brand perception, consumer behavior, and profitability have been profoundly reshaped by the synergy of branding, social media, and website design. This research paper investigates the transformative power of these elements in influencing how individuals perceive brands and products and how this transformation can be harnessed to drive sales and profitability for businesses.
Through an exploration of brand psychology and consumer behavior, this study sheds light on the intricate ways in which effective branding strategies, strategic social media engagement, and user-centric website design contribute to altering consumers' perceptions. We delve into the principles that underlie successful brand transformations, examining how visual identity, messaging, and storytelling can captivate and resonate with target audiences.
Methodologically, this research employs a comprehensive approach, combining qualitative and quantitative analyses. Real-world case studies illustrate the impact of branding, social media campaigns, and website redesigns on consumer perception, sales figures, and profitability. We assess the various metrics, including brand awareness, customer engagement, conversion rates, and revenue growth, to measure the effectiveness of these strategies.
The results underscore the pivotal role of cohesive branding, social media influence, and website usability in shaping positive brand perceptions, influencing consumer decisions, and ultimately bolstering sales and profitability. This paper provides actionable insights and strategic recommendations for businesses seeking to leverage branding, social media, and website design as potent tools to enhance their market position and financial success.
Transforming Brand Perception and Boosting Profitability
Once Upon a Drop Cap
1. nce Upon a Drop Cap
when words were the experience &
letters were your voice
Web Afternoon, Design Edition • 26 February, 2016 Jason Pamental / @jpamental
46. January 2014 TfL Unclassified
NOTE: You must refer to www.tfl.gov.uk/toolkit for the latest version of this document
32
3.10 BREADCRUMBS, HEADERS
AND ICONS
DESKTOP
TABLET
MOBILE
The three elements that make up the header
area have clearly defined dimensions in order
to ensure that they work in unison as they
scale between device view. As page layouts
adjust, element behaviour changes so that they
do not creep out of their defined area.
55. The point at which ghostsigns assume value is subjectiveand, currently, a matter of debate. By contrast, most wouldagree with the preservation of the 2,000-year-old remainsof painted advertising in Pompeii and Herculaneum.Likewise, the painted caves of the Ardèche in France, andthe rock art of Australia. While not explicitly advertising,they also served some communicative purpose and holdobvious value as cultural relics. Ghostsigns are one
among many examples of humankind’s desire to leave amark, whether for commercial, community or individualends. The age at which they assume the same value asthese older inscriptions is arbitrary and disputed.
Given their ambiguous value, ghostsigns currently falloutside of approaches taken to preserving cultural heritageartefacts. They are not architectural features of note and are,ultimately, just advertising ephemera. In addition, unlikeother forms of advertising and printed matter, they cannotbe collected and displayed in archives and museums, at leastnot in their original form. Photographic archiving projects,such as the UK-based History of Advertising Trust GhostsignsArchive, do catalogue and document material, but saynothing about how ghostsigns ‘in the wild’ should be treated.Attempts to develop systematic approaches to protection andrestoration all face the problem of defining which signs havemerit: one person’s artwork is another’s eyesore. Further,ghostsigns often exhibit multiple layers of text, knownas ‘palimpsests’, with some seeing a beautiful historical‘onion’ , while others perceive nothing more than a mess.
The signs often fall victim to today’s graffiti and streetartists, getting whitewashed in efforts to ‘clean up’ this morecontemporary work. In some instances this coverage is onlypartial. In Stamford Hill, London, advertising for a cigarette
“Ghostsigns
are one among
many examples
of humankind’s
desire to leave a
mark, whether
for commercial,
community or
individual ends.”
Thissignwas‘saved’in2010withtherejectionofaplanningapplicationthatwouldhaveresultedinthedemolitionofthe‘host’building.Oxford.Photograph:Isisbridge.ImagecourtesyofHistoryofAdvertisingTrust,hatads.org.uk
Recorder 01 / Summer 2014
RestorationPeriod
—63
In Butte, Montana, a debate currently rages over what to
do with the city’s many ‘ghostsigns’: the fading remains of
advertising painted on walls. Jim Jarvis and the Historic
Preservation Office have proposed having these repainted
by the contemporary collective of mural artists and
sign painters known as ‘The Walldogs’. However, local
opposition has surfaced, objecting to what is perceived as the
‘Disneyfication’ of the town and a lack of public consultation.
This debate is not unique to Butte, which is just one example
of attempts around the world to resolve the question of what,
if anything, should be done about ghostsigns. The repainting
of a sign for Bile Beans in York, England, provoked reactions
both extreme (‘an act of public vandalism’) and acerbic
(‘like an old friend having bad plastic surgery’), in addition
to widespread praise for the job done. In the absence of any
comprehensive and authoritative guidance in this relatively
new area of historical interest, the decisions taken are
typically at a local level. Community groups and property
owners adopt approaches that they believe are right, often
gaining support and inciting opposition in equal measure.
As the evidence from Butte and York shows, these signs
exist at an intersection of public and private interests.
They are typically ‘hosted’ on the walls of private
properties, and subject to the whim of building owners.
However, the reactions to proposed or actual changes to
their appearance demonstrate a parallel sense of public
ownership. The signs serve as way markers – often perceived
as ‘public art’ – and are records of local advertising and
craft history. Conflict between these different groups,
with their respective claims to ownership, is brought
about when decisions are taken that affect the signs.
These contentious interventions vary in degrees of extremity,
from doing nothing, through to plans to repaint the signs
en masse as in Butte. Some actions lead to the loss of
ghostsigns; the demolition of buildings, whitewashing and
sandblasting of walls are all more final than the gradual
weathering that usually takes them away. A whitewashing
in Clapham led to a question being asked of London’s
Mayor about what he was doing to protect these pieces of
cultural and commercial history. His response delegated
ocal council level and, in this case, Michael
ded that:
“The character
of things like
this is essentially
ephemeral, and
it is the fact that
such things survive
only rarely and
accidentally
that gives them
their charm and
fascination.”
Distinctive‘scallopcorners’onthissignadvertising,andpainted
by,E.Reeve.Croydon,Surrey.Photograph:AnthonyAvon.Image
courtesyofHistoryofAdvertisingTrust,hatads.org.uk
RestorationPeriod
—
“The character of things like this is essentially ephemeral,
and it is the fact that such things survive only rarely and
accidentally that gives them their charm and fascination.
Although their loss may be regretted, perhaps it is
necessary to allow such changes to happen, untouched by
a regulatory framework, so that in another hundred years’
time, people may be able to look at different but equally
curious survivals – of early 21st century ephemera.”
There is much to commend in this response, although the
longevity of today’s billboards and digital displays is clearly
inferior to that of the ghostsigns that have survived. Further,
it is interesting that the value placed upon the signwriting
craft is in some way less than crafts which create more
permanent artefacts such as furniture, jewellery and books.
Many of these signs are antiques, yet the skills involved
in producing them aren’t celebrated in the same way as
those of jewellers, cabinet makers and book binders.
Their commercial intent is the main point of difference
between ghostsigns and these other crafts, making the
motivations of those passionate about them even more
intriguing. There isn’t a comparable lobby arguing
for the protection and restoration of contemporary
billboards, yet ghostsigns once served exactly the same
advertising purpose. In 1960 Howard Gossage observed
that billboards exist ‘for the sole and express purpose
of trespassing on your field of vision’, representing
widespread resentment of overbearing outdoor advertising.
Further back, in 1855, the ‘One Who Thinks Aloud’
lamented the form, although on very different grounds,
‘Amid all the changes which this changing age has
produced, that of the walls superceding the town’s
bell-man is perhaps the most melancholy.’
The age of ghostsigns (most are from the early 20th
century) triggers a similar nostalgia which, in turn,
leads people to cherish them. However, in their day,
they provoked opposition similar to that of Gossage
and the One Who Thinks Aloud. Although they are
often resented now, it is entirely conceivable that the
revealing of a printed billboard in 50 years could provoke
a similarly nostalgic response, and calls for protection,
in a future world dominated by digital advertising.
Photograph:BrianStubley
“In 1960 Howard
Gossage observed that
billboards exist ‘for
the sole and express
purpose of trespassing
on your field of vision’,
representing widespread
resentment of overbearing
outdoor advertising.”
RestorationPeriod
Recorder 01 / Summer 2014
—62