Rorschach Diagram

[Daisy Hughlett]

Ina statement, Solo Stove's interim chief financial officer Andrea Tarbox said the brand's "unique marketing campaigns" did not "lead to the sales lift [Solo] had planned". Note the use of the word campaigns, plural. The Snoop deal was not necessarily the biggest outlay. Solo Stove also bought a float at the Macy's Thanksgiving Day Parade and signed sponsorship deals with the Dallas Cowboys, Texas Rangers and Dallas Mavericks. It's almost like the healthy Venn diagram of Snoop fans and marketing prophets has powered this element of the story.

For some people, the fallout shows that company boards don't understand marketing or it reinforces the need for businesses to have empowered chief marketing officers. For others, it's a sign that PR stunts are a waste of time and money. Or is it a warning about managing expectations of campaign results? There is also a detailed debate about what this "single activation" says about the role of brand and performance marketing.

Full disclosure: I'm weary of stunts. And I groan when people say something is designed to build brand awareness, not business results. It belies reality and disrespects the power of commercial creativity. I think the advertising industry gets too excited about one-off executions that deliver a gazillion earned impressions but have no discernible link to a long-term plan to drive revenue. I'm not even going to get into the awards debate here.

But the Solo Stove campaign delivered on several worthwhile metrics. Some estimates put the earned media value of the campaign at $100m, some 100 times the cost of Snoop's endorsement, while organic searches for Solo Stove (sans Snoop) rose six-fold and Google Shopping searches climbed by more than two-and-a-half times. The share price also rose almost 50% before slumping last week after the statement.

The Snoop partnership was designed as the rocket launcher for wider activity. Tarbox also said: "These new campaigns will expand our reach and benefit our brands over the long term," and a statement to The Wall Street Journal referred to the need for a "nuturing process". Presumably, The Martin Agency has blueprints for mid-funnel work and performance activations to power the engine throughout the six- to nine-month purchase cycle for appliances like Solo's, which cost hundreds of dollars. I hope these still happen.

Research from the Weber Shandwick Collective and the IPA, using the latter's databank, found that campaigns that earned coverage and conversation for a minimum of nine months drove the greatest return on investment. Nine months. The length of human gestation. Campaigns of that duration were 53% more likely to drive large business effects on average and 2.6 times more likely to drive large profit growth.

Signs are numerous in radiology and typically relate to a specific appearance or feature that is reminiscent of an object. A named sign aims to help recognise or understand a specific imaging appearance (e.g. racing car sign of corpus callosal dysgenesis). The most important signs are those that help radiologists recognise important and otherwise non-obvious diagnoses (e.g. sail sign of radial neck fractures or Mt Fuji sign of tension pneumocephalus).

Not all signs are created equal and if every sign that has been used by individual radiologists were to be included then Radiopaedia would be inundated with these to the overall detriment of the site. Therefore, for a sign to be suitable to be added to Radiopaedia it must be published and widely recognised in the radiology or medical literature, be appropriate and have some pedagogical utility.

Many signs are named using unusual terms that give no clue as to what they relate to. To make this more contextual, the context of the sign should be included in parentheses. This may be a part of the body, or a condition, or a system. Which you choose will depend on the sign, but should be as precise as possible (i.e. if a sign relates to only one condition, then the context should be the condition, whereas if the sign is more general, the context may be a region or even a system).

The structure of a signs article should be similar to any other short article, and usually, does not require subheadings. Often, they can be illustrated with a photo or diagram depicting the object which the sign is named after, to help with visual recall. These images should either be taken by the contributor or sourced from appropriate sites with compatible licenses (see online resources for more info).

This course will explore the relationship between humankind and animals through words, images, and the combination of the two. Since the dawn of time, images, and eventually words and images describing and depicting animals have been used to explore, investigate, and mediate the complex dynamic of animals as both agents of nature and symbols of culture. The human/animal bond continues to have relevance, even as we destroy habitat and endanger more and more species. The concept of the Medieval Bestiary will serve as an area of research and a schema for the creation of a novel compendium of words and images reinforcing and complementing each other to tell new stories.

Can the Freudian slip be a design principle? Can an architectural diagram double as a Rorschach test? Can a scribble tell a secret? In Corpse Will Drink, we will explore instinct, intuition, fear and desire as we search for ways to conjure the creative possibility of the unconscious mind.

Textiles are an incredible medium. They bridge cultures, cross disciplines, and embody the future. This class will examine the use and application of textiles while exploring their depth and versatility. From research and historical context to craft and innovation, we will examine the use and application of textiles while making, writing, crafting and imagining.

Embodied Surfaces, Textures, and Membranes is a course that explores the phenomenological, experiential, and sensorial potentials of interactive environments from New Media Art to Responsive Architecture. Students will use electronic and digital media to create custom coded environments at full body scale that are novel and inventive, with the capability to sense, emote, and augment human experience.

Another Earth will explore the design of imaginary worlds. We will study examples of worlds built in literature, graphic novels, and visual art and our studio work will combine these mediums. Each student will create written and visual art to flesh out a setting of their own design. Our goal will be to develop an imaginary place that feels substantive and reflects our real world in ways that help us both understand and escape from it.

Fictional cities emerge in response to restraints of a given place or movement and are often depicted in films and games as sites of radical representational transformation. Students will use the platform of gaming to speculate on fictional designs within NYC. The course begins through mapping (ex. food, economies) and results in a board game and 360 narrative to play out a number of potential outcomes of a city within a set of new rules.

You probably get a lot of feedback inside the studio. But how do you get your work out of the studio and into the world? In this course students will make artworks and creative projects that leverage the power of social media and online networks (informed by media theory and post-internet discourse) to reach new audiences and make connections outside of Pratt. This will culminate in an online and IRL exhibition open to the public.

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