Planting an idea

Nice touch from the Bishopsgate Kitchen in London: a twist on the old book of matches thing. The ‘You should grow some’ sits in the ‘here’s a nice idea for you’ camp of conversational communication, rather than the increasingly common ‘here’s something you should do – it’s good for the environment’ nudge nudge camp of smiley hectoring. The green’s rather fetching too. There’s a subtle link back into the restaurant and its use of herbs and spices. And it’s the sort of thing you grab as you leave and then hand out to friends. It has reminded me to go back and eat there again. Idea planted.

 


Tim

Posted in Brand, Business, Design, London, Tone of voice, Writing | Tagged , , , , , , , , | 1 Comment

WORDSTOCK – One Amazing Day

WORDSTOCK began as a twinkle in our collective eyes at a 26 Board meeting: Could it be possible to attract 70 people who are mad about writing and communications to a wordstorming Saturday somewhere in central London? And if so, who so, where so, when so? Approaching likely punters was the easy bit because 26 is a network of 350 writers, designers and creative munchkins involved in many aspects of the media. But creative people are notoriously contrary, and convincing them to commit was always going to be a challenge. Many are working around the world, or booked up months in advance, or committed to their families at weekends. But supposing, just supposing we could create a festival…a festival of words; a mini concrete-jungle Glastonbury where different tribes could spend an exhilarating day listening to great writers talking about writing, enjoying language games that tease out their writing skills, and meeting other members of 26. They would leave reinvigorated and refreshed with a gorgeous Italian lunch inside them, a head-full of new ideas, and an address book bulging with contacts. The turning point was a conversation with The Free Word Centre in Farringdon. This is a cathedral of wordstorming and home to a variety of organisations including English PEN, Index on Censorship, The Arvon Foundation and The Reading Agency. Free Word describes itself as ‘…a meeting place, an office space, a thinking space, a place of debate and risk taking, and a robust voice for the word…’ ? We found many parallels between 26 and Free Word, and they offered the entire building as a venue for the festival.

I discovered that curating a show like WORDSTOCK requires a kind of pragmatic theatricality. Communication is all about conveying information but the way you tell it must be dramatic. People will forget what you said, but they will never forget how you made them feel. 26 is packed with extraordinary people who have broad terms of reference. Once the word was out, offers to facilitate events poured in and the WORDSTOCK programme began to firm up: A writing workshop exploring the crossover between words and music; A discussion around linguistic analysis, metaphor and brands; Two best selling authors on the dynamics of agents, editors and publishing; A group therapy session for timorous Tweeters; The launch of a new 26 project inspired by litter; A case study of 26 Flavours – a Cornish festival of food and language; Advice on how to keep the inspiration bubbling faced with looming deadlines; A smorgasbord of activities investigating music festival nomenclature, song lyrics and memories provoked by golden oldies; A performance around verbal seduction and how to make yourself a more attractive proposition to potential partners – business and pleasure.

Come the big day, the halls were decked with weeping willows, mountain ash, ivy clad pergolas and autumn leaves. I have never experienced such drive from a group of people so determined to make something extraordinary happen. I’m increasingly convinced that authentic change is not achieved by grandiose schemes, but by incremental interventions that gather momentum through sticky enthusiasm: Conjure up a loose framework that bristles with opportunities, stand back and watch the sparks.

So here are my 12 Top Tips for designing and running a fruitful festival.

1. CONSTRUCT & DECONSTRUCT. Create an ambience of heightened awareness around a fixed timetable allowing plenty of room for idiosyncrasy.

2. FOCUS & CONTEXTUALISE. Create themed centres of attention with a few signature landmarks, and set the scene with inveigling temptations.

3. INVITE & ENGAGE. Begin with a chaotic icebreaker that inspires participants make their own marks and establish terr

4. FASCINATE & PROVOKE. Provide concurrent choices of speakers and events offering challenging content and thoughtful interaction.

5. STROKE & EVOKE. Provide counterintuitive encounters that inspire people to turn abstract meanderings into tangible experiences.

7. REFLECT & ABSORB. Give participants the time and space to explore themselves and bring back even richer gifts back to the table

8. OUT & ABOUT. Break the day with a blast of fresh air and an ambulatory workshop to trigger pollination and serendipity.

9. IMAGINE & INTUIT. Draw upon rich veins of subliminal memories and amplify them in Technicolor.

10. HARMONISE & BOND: Create magnetic attractions that dissolve inhibitions.

11. LIBERATE & ANIMATE. Peel away years of socialisation and encourage all that visceral stuff to emerge.

12. ASSERT & EXPRESS. Fuse the new empowerments into triumphant expressions of lusty joy.


Tom

Posted in 26, Art, Authors, Books, Brand, Business, Campaigning, Copy analysis, Design, Food, Free speech, Graffiti, History, Jargon, Letters, London, Magazines, Photography, Poetry, Reading, Storytelling, Tone of voice, Workshops, Writing | 3 Comments

Wordsnaps

Three snaps taken on a recent perambulation around east London. I love the scale of the John Tann signage – what a wonderfully bold way to announce your products to the world. With the business centre, well, the letters speak volumes – they look like they’re trying to make a run for it. And then there’s “rhubarb”. This is an upmarket catering company. The vans are rather eye-catching, but isn’t it a bit odd to use the conceit of the dictionary definition when your brand name is “rhubarb” – a word sometimes used to connote meaningless talk?

Tim

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The Hunting of the Shark

 

The Hunting of the Shark

In August 1986 a 25-foot fibreglass shark was ceremoniously lowered through the roof of a terraced house in Oxford, and triggered a quixotic battle of wills that dragged on for six exhausting years. Commissioned by the writer Bill Heine and made by sculptor John Buckley, the Headington Shark tested British wit and wisdom to its limits all the way to the Cabinet Office and back. ‘The Hunting of the Shark’ written by Bill and just published by Oxford Folio tells the blow-by-blow story of the shark’s journey from eyesore or work of art (depending on your point of view) to national treasure.

Bill intended the Shark to be a beautiful statement of outrage against institutionalised violence and the stupidity of authority, and to challenge those who commit acts of aggression in our name. It also called into question ‘safe’. How safe can safe ever be? The Shark’s installation marked the 40th anniversary of the bombing of Nagasaki, and from his home in New High Street – Headington, Bill could hear the US Air Force F-11 squadrons taking off from Upper Heyford to drop bombs on the roofs of Tripoli. A few weeks after the Shark’s arrival, Chernobyl exploded contaminating 100,000 sq km of the Ukraine and the citizens of Kiev with invisible radioactivity. And only 35 km to the south of Oxford, boffins at the Atomic Weapons Establishment in Aldermaston were busy manufacturing nuclear warheads for the Trident missile system. Throughout this book, Bill thinks out loud about quality of life, the greater context, and how art can help us get our preoccupations into perspective:

‘There was a feeling of unease, frustration, fear and fury that these things could have happened. There was an apprehension that something similar might happen in the comfortable leafy lanes of Oxford. The unthinkable might take place once again…perhaps right before our eyes in our own street…in my house.’

Sharks have long been symbols for our deepest subliminal fears and employed by artists to cut to the quick of the human condition. The skimming fin is often used by political cartoonists to indicate hidden threats, or carnivorous capitalism, or the impending doom of a ministerial career.

It’s no coincidence that the first JAWS movie (1975) was in production during the shocking revelations of the Watergate scandal. Satirical lampoons of the time showed President Nixon being shredded by Bob Woodward and Carl Bernstein – the investigative sharks of the Washington Post. News of cloak & dagger conspiracies, illegal phone tapping, wiped tapes, hush money (and even a Deep Throat would you believe) revealed the White House in a meltdown of corruption.

We mythologize the shark to neutralise it through tales of miraculous escapes, and inebriated debates about precisely where to punch a shark to debilitate it. Shark’s grins used to be painted on the noses of fighter planes to boost pilots’ testosterone and give them that killer instinct, and powdered shark’s teeth are still prized ingredients for aphrodisiac potions.Five years after the Headington Shark’s appearance, Damien Hirst pickled a Great White in an armour-plated case of formaldehyde.

‘The Hunting of the Shark’ is a glorious saga of vociferous neighbours, media hysteria and squabbling councillors versus passionate fans who adored the sheer nerve of the Headington Shark. The phenomenon attracted support from artists, old age pensioners, social commentators, architects, school children, shopkeepers, influential columnists, university professors and even the Chairman of the Arts Council of Great Britain. The writer Philip Pullman who is no stranger to shark infested waters for his criticism of religious propaganda and government encroachment on civil liberties said, ‘It is beautiful, it’s surprising, it’s funny; it cheers me up whenever I go past.’ The Shark captured the imagination of people around the world fed up with the generic mediocrity of the suburban environment. Factions divided roughly into three groups: Those who loathed its rebellious mischievousness and thought that a shark sticking out of a roof and civilised society were not compatible. Those who objected on the grounds that planning permission had never been applied for – or granted. And those who considered it to be an important political and aesthetic statement that was beyond planning permission.

Oxford’s building control officers and planning committees conspired to rid the dreaming spires of this unwelcome gatecrasher and writs flew. But parochial law was not designed to cope with anything like it, and the Shark became a hot potato that was passed from department to department hoping someone might find a neat way to dispose of it. The Oxford newspapers loved the controversy and kept the debate on fire through all the death sentences and stays of execution. Bill parried attacks with eloquent responses: an Enforcement Notice demanding the removal of the Shark and reinstatement of the roof was met with Flaubertian ruminations on the meaning of holes.

Oxford City Council eventually decided to prosecute on the grounds that the Shark was a ‘development’ and contravened planning regulations. Bill’s solicitor told the Magistrate’s Court that it was a sculpture over which the local authority had no jurisdiction, and moved that the case be elevated to Oxford Crown Court. Five months later Judge Peter Crawford QC dismissed Bill’s barrister’s defence that the Shark was a work of art and ordered Bill to pay fines and costs, and in 1990 planning permission was denied. The only recourse left to Bill was to request a Public Enquiry. His evidence to the bemused wigs and gowns reiterated the political origins of the Headington Shark, and argued that because of its overwhelming popularity and creative credentials it should be given special consideration.

 

‘This piece of sculpture is a fundamental transformation of the house into a plinth for an object that challenges the very idea of what we mean by home. We wanted to bring art into the public street where people could live with it, feel it and respond to the power of that art. We wanted art to become a part of everyday life, to make people look afresh at their environment and enhance it. The image has a sympathetic edge to it. One could feel respect for a beautiful powerful animal and sorrow at its absurd predicament of being caught in the jaws of this house.  Part of the power of the Shark is that it doesn’t answer questions but rather presents us with new ways of seeing things. People respond to this challenge with a wealth of reactions that often start with a smile.’

Bill borrowed criteria the council use to determine the appropriateness of planning applications to show that the Shark had been sensitively designed to blend in with the surrounding infrastructure. An unexpected ally at the Enquiry (an expert on gargoyles and grotesques) asserted that Oxford has a rich tradition of sensational sculptures and cited the 14th century strangulated Green Man in Merton Chapel, the squatting money urinating into the drain above the entrance to Magdalen College, and the celebrated gurning ugly-mugs adorning the railings of the Sheldonian Theatre. The fate of the Shark was eventually consigned to a decision by the Secretary of State for the Environment Michael Howard, who granted planning permission in 1992. ‘The Hunting of the Shark’ concludes with Bill’s wistful reflections on being a rebel, and the ominous promise of something even bigger to come.

‘The Shark odyssey started out with howls of outrage and abuse. The Headington Shark has been nominated as an icon of England and alongside Stonehenge, Coronation Street and the original Cowley built Mini. When I am walking home and see a robin perched on the dorsal fin, silhouetted against the sky and singing its heart out, I still get shivers down my spine after 25 years. The sculptor John Buckley and I have something else up our sleeves, and if we pull this one off, it will make the Shark look like small fry.’

 

 

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Writer’s block

I’ve been to St Katharine Docks many times but only noticed this strange piece of art at the weekend. It hangs from the end of the rather austere Tower Hotel and seems to hover in its frame. It reminds me of some religious icons I’ve seen in very Roman churches. As I stared at the block, all around me danced the merry chaos of the Thames Revival festival of boats. An old steamer insisted on sounding its horn, emitting with each blare a heady waft of oily smoke and steam. From the main dock came more sounds of aquatic jollification, as people wearing vintage outfits messed about on the water beneath bunting and clinking masts. Despite these distractions, I wanted to know more about the artwork. Seeing a small panel beneath it on the wall, I went to read its story. It said:

The Silver Jubilee Crystal Crown was sculpted on this site by Arthur Fleischmann KCSG, FRBS, MD, who pioneered carving in Perspex. The block measures 10’9″ by 5’9″ by 8″ thick and weighs two tons. It is the largest solid block of Acrylic in the world. It was originally made in 1968 for Stanley Kubrick’s film “2001 – A Space Odyssey”, but was rejected by the director in favour of the now famous black basalt monolith. Her Majesty the Queen unveiled the sculpture on June 5th 1977.

Just to be crystal clear, it was the block itself that was commissioned for the film – Fleischmann only worked on it after Kubrick had rejected it. In the novel/film it is suggested that the monoliths are indestructible, and that they might be considered to be an advanced form of networked robot. But in 3001: The Final Odyssey the three monoliths known to mankind are destroyed – by infecting them with a computer virus. At this point I would normally attempt a comic finale that links destruction by computer virus to Fleischmann’s artwork and our dearly beloved Queen, but that seems to be beyond me. Perhaps it was all that maritime merriment.

Tim

A seemingly indestructible monolith that's been around for aeons... Add your own punch line here.

 

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One amazing day

Saturday October 8th. 10.30 to 5.30. Free Word Centre. Farringdon Road. London EC1R 3GA. This event was only available to members of 26. The last few places are now open to anyone. To apply for a place please email Rachel at: rachel.marshall@26.org.uk

Spend an exhilarating day with members of 26 developing your writing skills, listening to great writers talking about writing, and enjoy language games designed to expand your horizons. You will leave refreshed and reinvigorated with new communication skills, and an address book crammed with people involved in creative media.

26 is providing the space, speakers, facilitators, workshops, entertainments and events for free but charging £ 26 to cover the costs of a delicious Italian buffet lunch with wine, afternoon tea and refreshments.

The deadline for booking is Friday 16th September. Just a few places left.

WORDSTOCK – FULL PROGRAMME

Gillian Slovo is the President of English PEN, a best selling novelist and crime writer and her plays have been performed all over the world. Her courtroom drama Red Dust explores the meanings and effects of the South African Truth and Reconciliation Commission and was made into a movie starring Hilary Swank and Chiwetel Ejiofor.

Nicola Morgan, an award-winning author of many books, will help you get published by condensing your synopses into eye-catching pitches that attract publishers and agents. You will also pick up useful tips on writing hooks, straplines and blurbs to help your work with brands and marketing.

The Royal Society for the Pursuit of Lovebirds… Fresh from sell out gigs in Glastonbury and Latitude this flock of amazing performance artists will help you become more attractive to potential partners (business and pleasure) through love letters and a bird calling workshop on the language of seduction.

WORDSTOCK festival site. A wonderful game to get to know everyone and create the festival site in the spaces of the FREE WORD CENTRE involving tents, paints and words. We’ll be conjuring up the festival atmosphere with VVVIP wrist bands, AAA passes and mini pavilions.

Martin Lee from Acacia Avenue is a specialist in retail strategy and will explain the secrets of linguistic analysis, and how to use metaphor and imagery to build deeper relationships with brands.

Fiona Thompson writer and harpist will lead a creative writing workshop that explores the crossover between words and music. She’ll play music that conjures up flow, contrast and rhythm to accompany a series of short writing exercises.

Andy Hayes from Quietroom communications agency is going to amaze you with his obsession of discovering writing inspiration in litter and will organise a word game in the streets of Clerkenwell. You can also sign up for the next big 26 project ‘Throw Away Lines’ creating short stories from scraps of paper: abandoned, found and rescued.

Sarah McCartney has designed a workshop sharing her techniques for topping up the inspiration tanks when you’re stuck in the office, a deadline is stomping towards you, a JCB is digging up the road outside, and someone has asked you to write about dog food. Again…

Maddie York will be running a Tweeting workshop with tips and advice on how to get started, how it works, with help on restricting yourself to 140 characters and making the most of a wonderfully useful tool for new business and marketing.

Alastair Creamer and his pranksters have created series of activities inviting you to improve the lyrics to some of the greatest songs and bring memories triggered by your ultimate playlist. You can explore the art of festival chugging and slogans, enjoy stories around an indoor campfire, and contribute to Reasons To Be Cheerful Part 26.

Rob Self-Pierson will talk about the experience of setting up and running the 26 Flavours project in the West Country. He will guide you through the exhibition and give advice on how to set up your own 26 project.

Places will be given on a first-come-first-served basis and we’d love you to join us. Email Rachel to book your place: rachel.marshall@26.org.

26

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Fighting for life

Just back from Copenhagen with this interview of Leena Alam by the Danish journalist Lise Thorsen. Leena is an Afghan phenomenon; actor, director and human rights campaigner in a country where the Taliban terrorise anyone involved in dance, music, theatre and film. Lise was visiting Afghanistan on behalf of the Danish Centre for Culture and Development, which is financing an aid programme with the Danish Embassy in Kabul supporting Afghan freedom of speech. Leena could enjoy an easy life anywhere she chooses. But instead, she risks death threats by refusing to wear the veil, and encouraging Afghan women to rebel against misogynistic oppression. Leena runs acting workshops with Afghan girls for the Danish Forum Theater – DACAPO. She directs documentaries and performs with experimental drama groups that tour around the country.

Lise’s assignment took her back to Afghanistan for first time since the 1970s – before the Russians invaded. In those days to most westerners Afghanistan was a destination on the hippy trail. Afghan coats were bohemian chic in the Kings Road Chelsea, and Afghan Gold was the caviar of cannabis resin. Despite Britain’s commitment to establish democracy in Afghanistan through Operation Enduring Freedom (10th anniversary this year, over 400 service personnel killed, £18 billion spent), most of us know precious little about one of the most fought over countries in the world. Human communities were being formed here 50,000 years ago and sophisticated urban cultures were well established by 3000 BC. This unforgiving territory has been subjugated by the Grec-Bactrians, Kushans, Indo-Sassanids, Kabul Shahi, Saffaruds, Samanids, Ghaznavidfs, Ghurids, Kartis, Timurids, Muhagls, Hotakis and Durranis who used it as a strategic springboard. In the Victorian era, Afghanistan became a buffer zone for the British Empire to prevent Russia invading India (the jewel in the crown), and by the late 1800s much of it was carved up and ceded to the United Kingdom. Land locked by socially entrenched neighbours (Pakistan, Iran, Turkmenistan, Uzbekistan, Tajikistan, China) and impeded by reactionary warlords who supply 92% of the world’s opiates, Afghanistan has been trapped in a schism of chaos ever since. The 10-year occupation of the Soviet Union left 600,000 dead and 6 million refugees fled abroad. To counteract Soviet incursions, the USA spent $40 billion recruiting, financing and arming Mujahideen fighters to form Islamic resistance groups and thus begat Al-Qaeda.

When the heart and soul of a country is so brutalised over so many generations is it any wonder that dysfunction and violence become endemic. How do its displaced and disorientated citizens sustain any sense of national identity? History is littered with the wreckage of predatory interventions where alien ideologies were forced on reluctant populations. However, intervention is not just about rolling tanks and ethnic cleansing. We are all complicit interveners in many foreign lands. By exploiting cheap labour, consuming finite resources, funding charities and NGOs, investing in commodities, cherry-picking essential workers and exporting divisive culture we exert sinuous influence. I write this shortly after the savage four-hour assault on the British Council in Kabul whose remit is to help Afghans learn English, acquire governance skills and build relationships with the outside world. 12 Afghan police officers, security guards, street cleaners and a special forces soldier from New Zealand were killed. On the face of it, the Taliban were fighting against British cultural imperialism but the motivation is far more convoluted according to the Guardian journalist Nushin Arbabzadah. In her article ‘Twisting tales behind Afghanistan’s British Council attack’ she reports that atrocities are frequently justified by byzantine claims and counter-claims that defy comprehension in this bewildering theatre of war. No one has any idea what is cause and what is effect. In a culture where corruption, nepotism, tribal loyalty and religious fanaticism influences every twitch of the body politic, where 15 year old suicide bombers are duped into sacrificing themselves for acts carried out by 12th century Crusaders, and where every birth, death, thought and deed is predestined by Allah, common sense doesn’t stand a chance. But such is the glory of human nature, that even when mired in pathological depravity brave people do small things to keep hope alive. Here’s Lise’s article.

 

Afghanistan’s gentle fury

By Lise Thorsen

Movie star, director and model. Former Miss San Francisco. Leena Alam, 32 years old could have a carefree existence in the USA. Instead she has returned to her native Afghanistan to help her fellow sisters live a better life. She dominates the room the moment she enters and occupies the scene with sweetness and charisma. She is beautiful and she knows it. But she is also down to earth, dressed in a plain traditional Afghan dress without a scarf. Leena is a superstar in Afghanistan. She rebels on behalf of women and never wears a burka. This is an exceptional sight in Afghanistan, where women are obliged cover their heads and faces away from home. “I receive threats and yes, sometimes I am afraid. On one occasion I even had a phone call from a Member of Parliament complaining that I – being a role model – didn’t wear a scarf. But of course that’s precisely why I don’t do it. I have the opportunity of being a role model for young girls, and I want to show them that we need to make our own decisions. The girls here are commodities. They may be given away in marriage as early as nine years old. At first they are the property of their family, and then they become the property of their in-laws.” A recent inquiry by CARE, concluded that Afghanistan is the most problematic country to be a woman. According to a law passed two years ago, a man has the right to rape his wife, and a woman must obtain permission from her husband or father to work or receive education. Nine out of ten women have been exposed to violence in their own home. And it is still common practice that if a man kills another man, the family of the deceased can demand to have the sister of the killer handed over as revenge. Beating, abuse and death are the grim reality for most Afghan women and many are driven to suicide. “How do we move on? It is so hard to cut through. It’s so frustratingly difficult to get someone to listen. Only a small percentage of Afghan women know that birth control exists. So the majority have a lot of children and many mouths to feed in a poor country. That’s if they don’t die in childbirth.” Leena had a somewhat different youth to all this. Her family fled to the USA in 1989 and she grew up as an American teenager. After high school she began a career as a model and was elected Miss San Francisco. Then she developed her acting and directing, but in 2007 she returned to Afghanistan and decided to stay. “Older people are tired after many years of war. They just want food to eat and clothes to wear. They are exhausted. But the young are eager. They want to watch movies, the more colourful and grander the better, and they aspire to the Hollywood-films on Afghanistan’s countless TV channels.” Leena says that the girls in the theatre groups were not used to performing, to exposing themselves and stating opinions, so they had to be nursed. “We showed a great deal of consideration for the girls who participated. But it became a real success for them. They built self-confidence and learned how to express their feelings. I had a lot of hugs along the way. It will take generations before we get equal rights. If it ever happens. I am telling everyone that we must act NOW! Now that we have the whole world’s attention and goodwill. But not many people listen. And even less dare to do something about it.” Leena also experiences the pressures of tradition. She hasn’t married because she hasn’t met the right man. But even her own family – who are otherwise very liberal – have started asking when. “Maybe one day I will marry. But I will never give up my professional life. Never. And I keep telling the girls here, that there is no hurry to find a husband.” We say goodbye and agree to meet again on Facebook. With her long hair flowing in Kabul’s hot and dusty wind, she disappears behind the high wall and barbed-wire protecting her house.

 

Posted in Art, Campaigning, Free speech, History, Politics, Writing | 1 Comment

A brief sunshine

This week I’m contributing five short visual stories to Grafik magazine’s Daily Type series. You can read them here. I thought I’d include a couple more stories right here, for good measure.

So, the installation you can see in the image above is by Joseph Kosuth, and you’ll find it in Southwark. The words are from the closing chapter of Charles Dickens’ The Pickwick Papers. It lights up at night, but I rather like the darkness of the daytime version. The letters have been there for some years now and are nicely weathered. A ‘the’ has gone off for a walk too, perhaps down to the marshes of Kent. The full piece reads:

There are dark shadows on the earth but its lights are stronger in the contrast. Some men, like bats or owls, have better eyes for the darkness than for the light. We who have no such optical powers are better pleased to take our last parting look at the visionary companions of many solitary hours, when the brief sunshine of the world is blazing full upon them. CD.

Here are some more words from Dickens to be found living on the streets of London. In this case it’s an excerpt from a piece he wrote for a magazine he co-owned, Household Words. You’ll find these in Spitalfields Market, adorning what used to be an electric power substation. During the day the text is intriguingly subdued – white on white. At night the writing box lights up, and its warm, glowing colours lure in passers-by as they move through the otherwise empty market space. Seb & Fiona created this piece of public art with design agency Imagist and architects Jestico + Whiles. It’s certainly a great way to turn a functional bit of a building into a delight, and I like that the words they have chosen are relevant to the context and full of the personality of the writers. Here’s a view of the construction from another side, this time with some writing by Spitalfields author Jeanette Winterson. I’ll try to photograph the remaining sides, which carry words by Samuel Pepys and Peter Ackroyd.

Tim


Posted in Art, Design, History, London, Photography, Storytelling, Writing | Tagged , , , , , , | 1 Comment

On argument, instruction and authenticity

This Seeds of Change bar is the most delicious chocolate I’ve tasted, and I’ve eaten a lot of chocolate. The dark chocolate, fig and orange are beautifully balanced, like something you might get from a master chocolatier. But before I start sounding a bit Gregg Wallace, I should bring this piece back to words. Once I’d eaten the chocolate I decided to find out more, so I started to read and look at the packaging. I really liked the silhouette visuals, especially little touches such as the leaping toad you find on the back. ‘Grown for pleasure’ is an OK slogan, assuming that they’re not intending some sort of strained pun on ‘grown/groan’. And the ‘Fragrant figs…’ description gets your mental taste buds tingling and tells you what you need to know when shopping. But, for me, a few issues emerge in the detail on the outer back of the pack, in this section:

Frankly, I don’t give a fig for the ‘sustainable organic’ message, but that’s not my issue here. What irks is a manufacturer telling me how to use their product. We all know how to enjoy a piece of expensive chocolate, for goodness sake. We don’t need a copywriter to script our consumption. OK, they almost win me back with the ‘Sexist? Fruitist?’ line, especially as their answer is ‘Unashamedly yes’. But the instructive tone is yet another example of the peculiar tendency for brands to talk to people as if they are eager children. Here’s the point, food companies: if we have the intellectual ability to buy your product we probably know how to eat it.

Inside the wrapper you get the ‘about us’ story, which is a righteous tale of organic seed growing. I like that they present an argument – ‘swept away by ‘progress’ in industrial agriculture’ – even though I’d challenge their sweeping dismissal of large-scale agricultural methods. It’s refreshing to see a business have and express a point of view. It’s a shame that it’s usually only self-consciously environmentalist brands that have the gumption to say something contentious or opinionated about methods of production. Why don’t bigger brands argue that largescale farming can bring bigger benefits? Perhaps they do, but I’ve not seen it.

Another observation on the ‘about us’ story: it flows, it offers a touch of personality (‘well, someone’s got to do it’) and it conveys the quality of the product by taking you to some interesting corners of the world. But, to me, it feels too well written; or put another way – too, well, written. This is how a good professional business writer might tell the story, with all its subtle differentiators and smooth rhythm. It has the ‘just right’ qualities of a decent long copy ad. I just wonder whether it might seem more authentic if it was a tad rougher – like something one of the founders might say. Then again, I see the original company that started up in Santa Fe is now owned by Mars UK, so it’s not entirely clear to me whose authenticity is being expressed.

Tim

 

Posted in Brand, Business, Copy analysis, Design, Storytelling, Tone of voice, Writing | Tagged , , , , , , , | 10 Comments

Passing thoughts

The Brand /

Destinations, like any other products, thrive on brand loyalty. The creation and roll-out of a distinct and identifiable brand for Bloomsbury, Holborn and St Giles is vital to its success as an area to work in, shop in and explore.

inmidtown will play a key role in the development of an identity for the area which can be used to drive brand loyalty. At the same time, we will work to increase the brand awareness for the district, promoting its prime location and unique selling points.

By communicating the positive aspects, inmidtown will help to change existing negative perceptions. Leveraging the brand will help to stimulate business activity, encouraging business to locate here and visitors to explore and experience the full extent of what the district has to offer.

• Why have they made one of the most historically rich parts of London sound like an area in Manhattan?

• Naming the area Mid Town would be bad enough, but adding in and compressing it into one word transforms it into a horrible specimen of marketing-speak.

• Try saying to your friends “Let’s meet for a drink inmidtown”.

• In my view, inmidtown looks horrible in prose (especially when it starts a paragraph) and is hard to read when shown on posters.

• Bloomsbury, Holborn and St Giles are not products.

• An area does not require a distinct and identifiable brand for it to be successful as an area in which to work, shop and explore. It may help sometimes, but it is not always vital.

• Do they really expect people to feel ‘brand loyalty’ to an area? Really? Don’t people choose to go somewhere for specific reasons, rather than ‘loyalty’?

• ‘Leveraging the brand will help to stimulate business activity’: is this really how people communicate with one another these days? What do they mean by ‘leverage’, how will their leveraging ‘stimulate’ business activity, and what type of business activity will be stimulated?

• Why orange and black – do they have a particular association with Bloomsbury, Holborn and St Giles? Is there a historical link with Holland?

• They appear to have accidentally left a slash in the headline, after the words The Brand. Or is that something people do inmidtown?

Tim

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