pedestrians who stepped out on them. After a in London in September 1934, the beacons were extended nationwide the following July. Both 30mph limit and new crossings seem to have given enough back to pedestrians to achieve the goal of acceptance amongst a larger public. Norton points out that for a paradigm to become stable it has to enjoy both institutional and popular support. The latter might have been far more difficult to achieve in the given the behavioural changes it expected. Yet, soon the Traffic Signs became part of popular culture. In particular the Beacon’ became a popular icon ‘Belisha appearing as handles on everything from pencils to toasting forks. Through the second half of the 1930s traffic signs in general were used for the inspiration of puzzles and games and incorporated into jewellery and novelties such as teaspoons and cocktail swizzles. In effect such novelties acted as an adult education programme without any public expenditure. Equally, if not more important in establishing unquestioning public acceptance of road signs, and the hierarchies they stood for, was child education. Children were introduced to road signs through play, embedding their values even though none could drive. Road signs were incorporated into many children’s games. Series of miniatures, far more comprehensive than the given in official publications, were issued by toy ‘examples’ makers such as Meccano Toys’. Moreover, road sign iconography was used in ‘Dinky children’s publications aimed at safety in the home. It is reasonable to propose that it was
pedestrians who stepped out on them. After a in London in September 1934, the beacons were extended nationwide the following July. Both 30mph limit and new crossings seem to have given enough back to pedestrians to achieve the goal of acceptance amongst a larger public. Norton points out that for a paradigm to become stable it has to enjoy both institutional and popular support. The latter might have been far more difficult to achieve in the given the behavioural changes it expected. Yet, soon the Traffic Signs became part of popular culture. In particular the ‘Belisha Beacon’ became a popular icon appearing as handles on everything from pencils to toasting forks. Through the second half of the 1930s traffic signs in general were used for the inspiration of puzzles and games and incorporated into jewellery and novelties such as teaspoons and cocktail swizzles. In effect such novelties acted as an adult education programme without any public expenditure. Equally, if not more important in establishing unquestioning public acceptance of road signs, and the hierarchies they stood for, was child education. Children were introduced to road signs through play, embedding their values even though none could drive. Road signs were incorporated into many children’s games. Series of miniatures, far more comprehensive than the ‘examples’ given in official publications, were issued by toy makers such as Meccano ‘Dinky Toys’. Moreover, road sign iconography was used in children’s publications aimed at safety in the home. It is reasonable to propose that it was
This%20Hill%20TC%20Final%20RADAR%2015.docx