The new-old London Routemaster buses are beautifully complemented by he-who-introduced-them. Image: Getty
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Soon our personalities will be purely ornamental

Everything around us nowadays seems to hearken to the past. Soon, all human psyches will retain as decorative features the individualism and the individual memories that were once functional attributes.

What a lot of skeuomorphs there are around nowadays – once you begin noticing them, they crop up everywhere. A skeuomorph, for those of you not design-savvy, is any derivative object that treats as ornamental elements that were functional in the original. One of my favourite examples is Anaglypta wallpaper, which I didn’t know – until I was told by the director of the National Gallery, no less – owes its raised ridging and epidermal feel to its origin in the tooled hides that adorned the walls of the wealthy in the 16th century. More modern skeuomorphs would include electric-light fitments designed to resemble candles (complete with artificial blobs of wax), and the half-timbered aspect of the Morris Traveller, that Anglo-Saxon hovel of mid- 20th-century automobiles.

It is with the advent of computerised technology that the contemporary obsession with the skeuomorph really gets going, though. I remember the first edition of Adobe Page- Maker, which I used in the late 1980s on my Mac Classic computer (remember them? So little and chunky, with the integrated CPU and VDU unit just like an early . . . television); when you booted it up you were treated to a graphic showing a medieval monk illuminating a manuscript. Other stand-out computer skeuomorphs include the envelope pictogram employed in numerous email programs, the stylised buff cardboard folders used on desktops (and those “desktops” themselves) – and even aural skeuomorphs, such as the shutter click my iPhone’s camera makes as it captures yet another blindingly evanescent image, or the odd whooshing noise it emits when it sends an email.

The best way of understanding the skeuomorph is to locate its generation in the transfer from the handmade artefact to the massproduced product. The term was coined in the 1890s and it was at this discontinuous breakpoint that the new industrial designers attempted to confer on their wallpaper and their ceramics surfaces that were redolent of earlier, more craftsman-like eras. In Britain we had an entire aesthetic movement – Arts and Crafts – that carried the skeuomorph into areas as diverse as architecture, typography, urban planning and hairstyles. But the breakpoint between manufacturing and information technologies strikes me as still more profound: it has opened the skeuomorphic Pandora’s box.

With the transfer of most human manipulations to the realm of the virtual, the skeuomorph has acted in the first instance as an important visual cue for people who can only incoherently conceive of what is, perforce, inchoate. Steve Jobs was the master of this, and the Apple brand – which once seemed the acme of modernity – is now in danger of slip-sliding into mere recency, for, as the online generation grows up, the requirement for computer functionality to be anchored to what was once physically manipulated will surely disappear. As for the madness in all this, it’s an individual derangement that I, dear reader, bequeath to you. While we’re perfectly aware that we live in a society replete with forms of discontinuous technology, and that progress is in nowise written on the body politic, nonetheless we cannot forbear from surveying the contemporary scene as a gestalt of nowness: we look upon roads, cars, people, houses and they cannot – we assume quite unconsciously – be other than the sum of the processes that have evolved into them. However, once we begin to pick out skeuomorphs, the smooth fabric of the present rips and tears. This isn’t simply a matter of anachronism, or the old and the new coexisting, but of time turning back on itself in ways that are altogether non-Euclidean.

The new-old London Routemaster buses that have reintroduced the half-spiralling rear stairway and the back platform, only to seal them behind Perspex because of 21st century safety anxieties, are beautifully complemented by he-who-reintroduced-them: the Mayor of London, with his Dundeefruitcake chuckles and his Edwardian clubland japes and his rumpy-pumpy antics, is a sort of human skeuomorph, a fact that explains, at least in part, his success. I believe his may well be the avant-garde of personalities and that in the future – courtesy of the web and social media – all human psyches will retain as decorative features the individualism and the individual memories that were once functional attributes. Pip-pip!

Will Self is an author and journalist. His books include Umbrella, Shark, The Book of Dave and The Butt. He writes the Madness of Crowds and Real Meals columns for the New Statesman.

This article first appeared in the 07 October 2013 issue of the New Statesman, The last days of Nelson Mandela

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PMQs review: Theresa May shows how her confidence has grown

After her Brexit speech, the PM declared of Jeremy Corbyn: "I've got a plan - he doesn't have a clue". 

The woman derided as “Theresa Maybe” believes she has neutralised that charge. Following her Brexit speech, Theresa May cut a far more confident figure at today's PMQs. Jeremy Corbyn inevitably devoted all six of his questions to Europe but failed to land a definitive blow.

He began by denouncing May for “sidelining parliament” at the very moment the UK was supposedly reclaiming sovereignty (though he yesterday praised her for guaranteeing MPs would get a vote). “It’s not so much the Iron Lady as the irony lady,” he quipped. But May, who has sometimes faltered against Corbyn, had a ready retort. The Labour leader, she noted, had denounced the government for planning to leave the single market while simultaneously seeking “access” to it. Yet “access”, she went on, was precisely what Corbyn had demanded (seemingly having confused it with full membership). "I've got a plan - he doesn't have a clue,” she declared.

When Corbyn recalled May’s economic warnings during the referendum (“Does she now disagree with herself?”), the PM was able to reply: “I said if we voted to leave the EU the sky would not fall in and look at what has happened to our economic situation since we voted to leave the EU”.

Corbyn’s subsequent question on whether May would pay for single market access was less wounding than it might have been because she has consistently refused to rule out budget contributions (though yesterday emphasised that the days of “vast” payments were over).

When the Labour leader ended by rightly hailing the contribution immigrants made to public services (“The real pressure on public services comes from a government that slashed billions”), May took full opportunity of the chance to have the last word, launching a full-frontal attack on his leadership and a defence of hers. “There is indeed a difference - when I look at the issue of Brexit or any other issues like the NHS or social care, I consider the issue, I set out my plan and I stick to it. It's called leadership, he should try it some time.”

For May, life will soon get harder. Once Article 50 is triggered, it is the EU 27, not the UK, that will take back control (the withdrawal agreement must be approved by at least 72 per cent of member states). With MPs now guaranteed a vote on the final outcome, parliament will also reassert itself. But for now, May can reflect with satisfaction on her strengthened position.

George Eaton is political editor of the New Statesman.