Memento Mori Recently, it came very close to being admitted to the pantheon of defunct logos: the emblem of the Centre Pompidou, conceived in 1977 by Jean Widmer, was almost included in a funerary homage imagined by Declan and Garech Stone (the Stone Twins), whose book Logo R.I.P. commemorates 48 visual identities of the twentieth century that have fallen into disuse.1 Like the BP shield, the Pan Am globe, and the Nazi swastika, Widmer’s stripy design—a silhouette of the Centre (built by Renzo Piano and Richard Rogers)—might have been given a detailed obituary and a proper “burial.” In addition to brief historical accounts, the book features photographs of tombstones, on which each logo appears as having been engraved—thanks to photo retouching software that allows such verisimilitude. These logos, condemned by the movement of history, economic exigencies, or marketing strategies, have thus been given immortality. Logo R.I.P. highlights the paradox of signs, which are conceived as lasting symbols of an organization or a brand and generally designed to make a strong impression on public consciousness, but are nonetheless fragile, and liable to fade into total oblivion as quickly as they appear. Moreover, this virtual—and anachronistic—cemetery is more than just a happy artifice by which the apt-named Stone Twins offer an unhoped-for immortalization to each fallen logo. The fiction of these carved tombstones effectively places the signs in question into an historical perspective: it attaches them, most unusually, to the epigraphical tradition, the official inscriptions of which have, over the centuries, found a privileged sphere of expression precisely in funerary art.2 The heritage of the modern logo is at once vast and heterogeneous, a mixture of heraldry and identifying marks or signatures of all sorts used in diverse contexts throughout the centuries. The problem of strictly defining and categorizing them remains unresolved. The French word “logotype” was a typographical coinage that designated a set of letters cast in a single block of moveable type. Taking account of this original meaning, hesitation persists today in using the term in specialized literature when referring to signs that don’t employ typography.3 The abbreviated