The best brands are instantly recognisable by their icons. A little Nike swoosh, McDonald's golden arches, a blue chirping bird: we all know the companies behind the logos.
But something else sets good brands apart sound. Specifically, musical logos.
Sonic branding is all things from McDonald's' “I'm lovin' it” earworm and Intel's over enthusiastic “bing”, to Apple's self-congratulatory announcement on start-up and Sony PlayStation's ethereal waiting-room-of-the-future music on its homepage.
All these audio logos have been meticulously crafted to represent their brands just like their visual counterparts, and they work because they're designed to be remembered and form implicit associations with their companies in our minds.
There's a reason then why we all laughed when Pixar's Wall-E had fully recharged. His waking sound was instantly recognisable as the Apple startup chime (a nod perhaps to Steve Jobs, who was previously chief executive of Pixar before it was bought by Disney).The Apple logo or typeface was not on show anywhere in the film, and there were no visual cues to help us associate that sound with the Apple brand. Apple's audio logo is ingrained in us, and using it was as obvious as giving Wall-E a half-eaten, glowing apple on his chest.
An audio identity can help imprint a character on a brand. It becomes more human and takes on a personality. Slightly tweaking a classic psychological experiment can demonstrate the power of this and it's easy to play along at home. Watch the video above with different types of music (sad, uplifting, etc.) and you'll soon see how simple geometric shapes can take on personality traits. Brand icons are just simple, geometric shapes too.If you were academically-inclined, you could argue that sonic branding is an evolution of the leitmotif, a musical technique pioneered by Richard Wagner in the mid-1800s for his operas, ‘Der Ring des Nibelungen'.
A leitmotif is basically a character's sonic brand a musical theme. Variations on the main theme are used to signify different moods so you'll hear a suspense version, a hopeful version, a sad version but they will all still be recognisable as the character's theme. They're the character's sub brands, if you will. It's so ubiquitous in cinema now that Howard Shore even gave the ring in Lord of the Rings its own theme.
So a piece of music especially crafted to help us recognise a particular brand echoes a common cinematic technique used to help us recognise a particular character. But why go to all that trouble and not just use an existing piece of music?
Gap and Apple may be the most prolific in this regard and have used popular music to great effect in their TV ads for years. But can you recall specific songs they've used? Maybe a Rolling Stones track? An indie band who are quite popular now?If your ad uses a pre-existing song, it's already associated with all kinds of other situations and contexts: other ads, a film trailer, your favourite restaurant, that Spotify ‘pining-after-your-ex' playlist. The link between the song and the brand is far weaker than an original composition because you'll only ever hear that composition in one context.
There's obvious benefits to having an audio logo, too. You engage with the consumer, rather than the consumer having to engage with you first. Your brand can be reinforced from a distance as others engage with it; someone across the train carriage starting up a MacBook, or hearing an ad on TV while you're making a cup of tea.
And who doesn't skip YouTube ads after the obligatory five seconds? For brands advertising in this space, you've only got a second or two to communicate who you are before you're quickly muted or skipped. Having a sonic brand is an obvious solution so think about giving your brand a voice.
The post Sonic branding: Why logos should be heard as well as seen appeared first on Design Week.
The Chase has designed a series of stamps for Royal Mail, marking 350 years since the start of the Great Fire of London.
Dividing the key events spanning the start, spread and aftermath of the fire, the six stamps reimagine it in the form of a series of graphic novel-style illustrations by artist John Higgins.
“The Great Fire of London is actually part of school curriculum this year, so Royal Mail were keen to produce a set that would appeal to a slightly younger audience,” explains creative director at The Chase, Richard Scholey.
“Graphic novels were discussed during the initial chats but then we were given the flexibility to take it from there.”
As an established comic book artist, John Higgins was seen as a good choice when deciding how to translate the intricate detail of a comic strip onto the small surface area of a stamp, according to Scholey.
“John Higgins uses strong black line work which he then fills in. When we looked at different artists, his seemed to retain that detail on a small scale,” he says.
“The way he treats lighting also works really well. The fire does create a very specific dramatic look, and he was very good at capturing that.”
Instead of dividing up the story into physical grids like a traditional graphic novel, the consultancy has opted to use physical landmarks to locate the action, such as Pudding Lane where the fire first broke out and the River Thames.
The stamps are available from royalmail.com and 8,000 Post Office branches.
The post New Royal Mail stamps designed to commemorate Great Fire of London appeared first on Design Week.
Ikea has introduced its Order and Collection Point store to Westfield Stratford City in London, opening a 900m2 retail space in the shopping centre.
The convenience store concept was first trialled by Ikea last autumn, when it opened one in Norwich in order to save customers from having to journey to large out-of-town stores.
Since then, it has opened a further three Order and Collection Points, but the Westfield Stratford City site is its first one in a UK shopping centre, and in London.
Designed as a “planning studio”, the concept is intended to support customers' shopping experience by “giving them a convenient opportunity to engage with Ikea co-workers and ask questions, touch and feel the products and get ideas and inspiration,” according to Ikea.
In addition to popular room sets on display, the store also offers a selection of “market hall” items to buy.
Customers can then order from the store's online range for home delivery or collection from the store itself.
Ikea Westfield Stratford Order and Collection Point manager, Mirco Righetto, says: “Customers in the region shop with us online but they have to travel to other London stores to see the range or get advice from our co-workers.”
“Ikea Westfield Stratford City Order and Collection Point will be easy to access by public transport, something that we know is important to many customers who live in London.”
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“The reasons for this fall include the loss of D&T's statutory status in 2004, and the introduction of the EBacc which does not include art, design or subjects such as music and drama. The 90% EBacc goal set by the Government seems likely to further reduce take-up rates for creative subjects. Perceptions of the value of studying creative subjects have been severely damaged.
So, what can be done?
1) Lobby Government to rethink the Creative Industries Federation is on to this with their educational policy work.
2) Produce effective careers advice in schools which demonstrates to parents and teachers that young people can have successful careers in design.
3) Encourage all schools to use Creative Journey UK to help teachers, parents and pupils find out more about careers in the creative industries.
4) Help teachers with their professional development, particularly in keeping up to speed on the latest developments in the creative sector.
5) Help us develop the National Art&Design Saturday Club, which gives 13-16-year-old schoolchildren the opportunity to study art and design on Saturdays at their local university or college for free. The aim is to encourage them to go on to further and higher education, and careers in design and the creative industries.”
“We need to be in schools and academy chains highlighting the variety of jobs in our sector and others which require a high level of technical and creative (especially design) skills. There is also a need for better careers advice as part of a broader explanation to parents, teachers and students of the economic and social case for these subjects and how they can lead to very fulfilling careers.
The drop in the take-up of creative subjects demonstrates how damaging Government policy has been. It is unacceptable that it is now possible for academies to be Ofsted ‘outstanding' without arts in the curriculum.”
“Unfortunately there are two problems: fewer students are choosing to take D&T, and fewer schools are offering it in the first place. I think as a sector we can tackle the first problem by changing perceptions. We know industry is desperate for designers: it's a career where you can make a difference and get paid well (the average designer earns £635 per week, according to the Design Council's Design Economy research, well over the national average of £385).
GCSE and A-level content has recently been rewritten to make it more robust, and I think we'll see that have an impact. But we urgently need government to address the second problem. D&T is an expensive subject to run, and the EBacc will make it even less attractive to cash-strapped schools. The industrial strategy won't succeed without designers, and championing D&T has to be on the new government's agenda. Our forthcoming skills research will look at this in more detail.”
“I think the most important thing is to communicate an appreciation of the breadth of design, technology and engineering. What we do is the most fundamentally creative thing that anyone could do above all, we create. To do this well, we need imagination and understanding, perseverance and rigour. To be doing the right thing, we must be motivated by the real needs of real people physical, social, emotional, spiritual. Therefore, our professions allow a full and fulfilling expression of ourselves as individuals, through social, cultural, emotional and rigorously technical collaboration with colleagues and with the people we are working for.”
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The closest star system to the Earth is the famous Alpha Centauri group. Located in the constellation of Centaurus (The Centaur), at a distance of 4.3 light-years, this system is made up of the binary formed by the stars Alpha Centauri A and Alpha Centauri B, plus the faint red dwarf Alpha Centauri C, also known as Proxima Centauri.
This NASA/ESA Hubble Space Telescope has given us this stunning view of the bright Alpha Centauri A (on the left) and Alpha Centauri B (on the right), shining like huge cosmic headlamps in the dark. The image was captured by the Wide-Field and Planetary Camera 2 (WFPC2). WFPC2 was Hubble's most used instrument for the first 13 years of the space telescope's life, being replaced in 2009 by Wide-Field Camera 3 (WFC3) during Servicing Mission 4. This portrait of Alpha Centauri was produced by observations carried out at optical and near-infrared wavelengths.
Compared to the sun, Alpha Centauri A is of the same stellar type, G2, and slightly bigger, while Alpha Centauri B, a K1-type star, is slightly smaller. They orbit a common center of gravity once every 80 years, with a minimum distance of about 11 times the distance between Earth and the sun. Because these two stars are, together with their sibling Proxima Centauri, the closest to Earth, they are among the best studied by astronomers. And they are also among the prime targets in the hunt for habitable exoplanets.
Using the European Space Organization's HARPS instrument, astronomers already discovered a planet orbiting Alpha Centauri B. Then on Aug. 24, 2016, astronomers announced the intriguing discovery of a nearly Earth-sized planet in the habitable zone orbiting the star Proxima Centauri
Image credit: ESA/NASA
Ahuna Mons is a volcano that rises 13,000 feet high and spreads 11 miles wide at its base. This would be impressive for a volcano on Earth. But Ahuna Mons stands on Ceres, a dwarf planet less than 600 miles wide that orbits the sun between Mars and Jupiter. Even stranger, Ahuna Mons isn't built from lava the way terrestrial volcanoes are — it's built from ice.
"Ahuna is the one true 'mountain' on Ceres," said David A. Williams, associate research professor in Arizona State University's School of Earth and Space Exploration. "After studying it closely, we interpret it as a dome raised by cryovolcanism." Volcanic dome Ahuna Mons rises above a foreground impact crater, as seen by NASA's Dawn spacecraft with no vertical exaggeration. Eruptions of salty, muddy water built the mountain by repeated eruptions, flows and freezing. Streaks from falls of rocks and debris run down its flanks, while overhead views show fracturing across its summit.
This is a form of low-temperature volcanic activity, where molten ice — water, usually mixed with salts or ammonia — replaces the molten silicate rock erupted by terrestrial volcanoes. Giant mountain Ahuna is a volcanic dome built from repeated eruptions of freezing salty water.
Williams is part of a team of scientists working with NASA's Dawn mission who have published papers in the journal Science this week. His specialty is volcanism, and that drew him to the puzzle of Ahuna Mons.
"Ahuna is truly unique, being the only mountain of its kind on Ceres," he said. "It shows nothing to indicate a tectonic formation, so that led us to consider cryovolcanism as a method for its origin."
Dawn scientist Ottaviano Ruesch, of NASA's Goddard Space Flight Center in Greenbelt, Maryland, is the lead author on the Science paper about Ceres volcanism. He says, "This is the only known example of a cryovolcano that potentially formed from a salty mud mix, and which formed in the geologically recent past."
Williams explained that "Ahuna has only a few craters on its surface, which points to an age of just couple hundred million years at most."
According to the Dawn team, the implications of Ahuna Mons being volcanic in origin are enormous. It confirms that although Ceres' surface temperature averages almost 40° (Celsius or Fahrenheit; the scales converge at this temperature), its interior has kept warm enough for liquid water or brines to exist for a relatively long period. And this has allowed volcanic activity at the surface in recent geological time.
Ahuna Mons is not the only place where icy volcanism happens on Ceres. Dawn's instruments have spotted features that point to cryovolcanic activity that resurfaces areas rather than building tall structures. Numerous craters, for example, show floors that appear flatter than impacts by meteorites would leave them, so perhaps they have been flooded from below. In addition, such flat-floored craters often show cracks suggesting that icy "magma" has pushed them upward, then subsided.
A few places on Ceres exhibit a geo-museum of features. "Occator Crater has several bright spots on its floor," said Williams. "The central spot contains what looks like a cryovolcanic dome, rich in sodium carbonates." Other bright spots, he says, occur over fractures that suggest venting of water vapor mixed with bright salts.
"As the vapor has boiled away," he explained, "it leaves the bright 1salts and carbonate minerals behind. "
Dawn's Framing Camera looks down on the fractured summit of Ahuna Mons, tallest mountain on dwarf planet Ceres. The cracks on top suggest Ahuna grew by inflation: Icy freezing water pushed up inside the mountain, making a dome.
Researchers draped a digital terrain model over a shaded image of Ahuna, placing contour lines at 100-meter (330-foot) elevation intervals. Key spot elevations are shown in meters.
The geological map of the major units at Ahuna Mons will be filled in with more details as scientists continue to study this small world shaped by icy volcanism.
Photo courtesy of Dawn Science Team and NASA/JPL-Caltech/GSFC
Although volcanic-related features appear across the surface of Ceres, for scientists perhaps the most interesting aspect is what these features say about the interior of the dwarf world. Dawn observations suggest that Ceres has an outer shell that's not purely ice or rock, but rather a mixture of both.
Recently, Williams was involved in research that discovered that large impact craters are missing, presumably erased by internal heat, but smaller craters are preserved.
"This shows that Ceres' crust has a variable composition — it's weak at large scales but strong at smaller scales," he said. "It has also evolved geologically."
In the big picture, said Williams, "Ceres appears differentiated internally, with a core and a complex crust made of 30 to 40 percent water ice mixed with silicate rock and salts." And perhaps pockets of brine still exist in its interior.
"We need to continue studying the data to better understand the interior structure of Ceres," said Williams.
Ceres is the second port of call for the Dawn mission, which was launched in 2007 and visited another asteroid, Vesta, from 2011 to 2012. The spacecraft arrived at Ceres in March 2015. It carries a suite of cameras, spectrometers and gamma-ray and neutron detectors. These were built to image, map and measure the shape and surface materials of Ceres, and they collect information to help scientists understand the history of these small worlds and what they can tell us of the solar system's birth.
NASA plans for Dawn to continue orbiting Ceres and collecting data for another year or so. The dwarf planet is slowly moving toward its closest approach to the sun, called perihelion, which will come in April 2018. Scientists expect that the growing solar warmth will produce some detectable changes in Ceres' surface or maybe even trigger volcanic activity.
"We hope that by observing Ceres as it approaches perihelion, we might observe some active venting. This would be an ideal way to end the mission," said Williams.
The Daily Galaxy via Arizona State University
Image credits: Courtesy of Dawn Science Team and NASA/JPL-Caltech/GSFC
Scientists are exploring are proposing transplanting life to planets outside our solar system that are not permanently inhabitable. a Genesis mission could be achieved within a few decades with the aid of interstellar unmanned micro-spacecraft that could be accelerated and slowed down passively. On arrival, an automated gene laboratory on board the probe would synthesize a selection of single-cell organisms with the aim of establishing an ecosphere of unicellular organisms on the target planet. This could subsequently develop autonomously into complex life forms.
In recent years, the search for exoplanets has identified very different types. "It is therefore certain that we will discover a large number of exoplanets that are inhabitable intermittently but not permanently. Life would, indeed, be possible on these planets, but it would not have the time to grow and develop independently," says Claudius Gros from the Institute of Theoretical Physics at Goethe University Frankfurt.
"In this way, we could jump the approximately four billion years that had been necessary on Earth to reach the Precambrian stage of development out of which the animal world developed about 500 million years ago," explains Gros. In order not to endanger any life that might already be present, Genesis probes would only head for uninhabited exoplanets.
The mission's actual duration played no role in the Genesis project, since the time scales for the subsequent geo-evolutionary development of the target planet lies in the range between a few tens of millions and a hundred million years.
The Genesis project therefore has no direct benefit for people on Earth. "It would, however, enable us to give life something back," says Gros. In this context, he is also discussing whether biological incompatibilities would have to be expected in the case of colonization of a second Earth fully developed in terms of evolution. "That seems at present to be highly unlikely," says the physicist, dampening any excessive expectations.
The image at the top of the page is artist's conception depicting an Earth-like planet orbiting an evolved star that has formed a stunning planetary nebula. Earlier in its life, this planet may have been like one of the eight newly discovered worlds orbiting in the habitable zones of their stars. David A. Aguilar (CfA)
More information: Claudius Gros; Developing Ecospheres on Transiently Habitable Planets: The Genesis Project; Astrophysics and Space Science (in press); DOI: arxiv.org/abs/1608.06087
The Daily Galaxy via Goethe University Frankfurt am Main
Two years ago, the XMM-Newton X-ray satellite radioed data back to Earth which fired up great hopes with astrophysicists. It had picked up weak radiation from several galaxy clusters at an energy of around 3.5 kiloelectronvolts (keV) which the researchers were not immediately able to explain with the aid of the known X-ray spectra.
Speculation quickly arose that they could be signals of decaying particles of dark matter this would have been the first concrete trace of the long-sought form of matter. Hope was soon dampened, however: The regions in which XMM-Newton observed the X-ray radiation did not match the spatial distribution which astrophysical analyses predicted for dark matter.
In addition, there are still a large number of physical processes for which astronomers do not know the corresponding fingerprints in X-ray spectra, and so cannot yet be excluded as the possible cause of the mysterious signal. Fact is, the spectral data in the collection of tables which researchers use to evaluate astronomical spectra are still incomplete. They are sometimes based on theoretical assumptions and are correspondingly unreliable.
In order to help answering this question, physicists at the Max Planck Institute for Nuclear Physics in Heidelberg checked an alternative explanation. Accordingly, the search for this form of matter, which is difficult to detect, must go on, as the mysterious X-ray signal seems to originate from highly charged sulfur ions that capture electrons from hydrogen atoms.
Highly charged ions can frequently be found between the galaxies. Physicists working with José Crespo, leader of a research group at the Max Planck Institute for Nuclear Physics, have now closed one gap in the X-ray data with their experiments. According to computations done by researchers from SRON, Netherlands Institute for Space Research, the mysterious line could be caused by bare sulfur nuclei (S16+), i.e. sulfur atoms that have lost all their electrons, each of which picks up one electron from a hydrogen atom.
Highly charged ions can often be found in the hot medium between the galaxies of a cluster, and sufficient completely ionized sulfur is present as well. “Explained in illustrative terms, the charge exchange operates like this,” says José Crespo in explanation of the process: “The high charge of the S16+ ion sort of sucks in the electron of the H atom. It then releases energy in the form of X-rays.”
The physicists used an electron beam ion trap for the measurements. First, they injected an extremely thin beam of a volatile sulfur compound into the vacuum of the apparatus. The electrons with which they then bombarded the molecules fragmented the molecules and knocked the electrons out of the atoms how many depends on the energy of the electron beam. They can thus specifically produce the highly charged sulfur ions desired.
The researchers then switched off the electron beam for a few seconds in order to be able to observe how bare sulfur ions suck electrons from molecules which have not yet been destroyed. The electrons initially have a large amount of energy when they are captured by the S16+ ions, but release this energy in the form of X-rays. The most energetic of these emissions was at around 3.47 kiloelectronvolts i.e. quite near the mysterious line which XMM-Newton had recorded.
“In order to support our interpretation, our colleagues from the Netherlands have carried out model computations on the charge exchange, and they can explain our data very well,” says Chintan Shah, who made crucial contributions to the experiments.
The fact that the bare sulfur ions removed the electrons from intact molecules of the volatile sulfur compound and not from hydrogen atoms in the experiments carried out in Heidelberg, is not important for the X-ray spectrum, as X-rays are only generated when the electrons in the sulfur lose energy.
“If the inaccuracies of the astrophysical measurements and the experimental uncertainties are taken into account, it becomes clear that the charge exchange between bare sulfur and hydrogen atoms can outstandingly explain the mysterious signal at around 3.5 keV,” explains José Crespo, in summary of the result. The search for dark matter must therefore go on.
The image at the top of the page shows 1/1000 of a Bolshoi cosmological simulation, zooming in on a region centered on the dark matter halo of a very large cluster of galaxies. (NASA Ames Research Center)
The Daily Galaxy via Max Planck Institute
Minute brown scavenger beetle (Corticaria rubripes) collected in Jasper National Park, Alberta, Canada, and photographed at the Centre for Biodiversity Genomics (sample ID: BIOUG09172-F04; specimen record: http://www.boldsystems.org/index.php/Public_RecordView?processid=SSJAF4368-13; BIN: http://www.boldsystems.org/index.php/Public_BarcodeCluster?clusteruri=BOLD:ACK6024)
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