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We, the undersigned, are graphic designers, art directors and visual communicators who have been raised in a world in which the techniques and apparatus of advertising have persistently been presented to us as the most lucrative, effective and desirable use of our talents. Many design teachers and mentors promote this belief; the market rewards it; a tide of books and publications reinforces it. Encouraged in this direction, designers then apply their skill and imagination to sell dog biscuits, designer coffee, diamonds, detergents, hair gel, cigarettes, credit cards, sneakers, butt toners, light beer and heavy-duty recreational vehicles. Commercial work has always paid the bills, but many graphic designers have now let it become, in large measure, what graphic designers do. This, in turn, is how the world perceives design. The profession’s time and energy is used up manufacturing demand for things that are inessential at best. Many of us have grown increasingly uncomfortable with this view of design. Designers who devote their efforts primarily to advertising, marketing and brand development are supporting, and implicitly endorsing, a mental environment so saturated with commercial messages that it is changing the very way citizen-consumers speak, think, feel, respond and interact. To some extent we are all helping draft a reductive and immeasurably harmful code of public discourse. There are pursuits more worthy of our problem-solving skills. Unprecedented environmental, social and cultural crises demand our attention. Many cultural interventions, social marketing campaigns, books, magazines, exhibitions, educational tools, television programmes, films, charitable causes and other information design projects urgently require our expertise and help. We propose a reversal of priorities in favour of more useful, lasting and democratic forms of communication – a mindshift away from product marketing and toward the exploration and production of a new kind of meaning. The scope of debate is shrinking; it must expand. Consumerism is running uncontested; it must be challenged by other perspectives expressed, in part, through the visual languages and resources of design. In 1964, 22 visual communicators signed the original call for our skills to be put to worthwhile use. With the explosive growth of global commercial culture, their message has only grown more urgent. Today, we renew their manifesto in expectation that no more decades will pass before it is taken to heart. Jonathan Barnbrook Nick Bell Andrew Blauvelt Hans Bockting Irma Boom Sheila Levrant de Bretteville Max Bruinsma Siân Cook Linda van Deursen Chris Dixon William Drenttel Gert Dumbar Simon Esterson Vince Frost Ken Garland Milton Glaser Jessica Helfand Steven Heller Andrew Howard Tibor Kalman Jeffery Keedy Zuzana Licko Ellen Lupton Katherine McCoy Armand Mevis J. Abbott Miller Rick Poynor Lucienne Roberts Erik Spiekermann Jan van Toorn Teal Triggs Rudy VanderLans Bob Wilkinson
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Libra Identicon https://libraidenticon.com Graphical elements and the code that constructs 13+ billion unique identicons that represent the multicultural Libra cryptocurrency community. Created 19 Oct 31 by Gie Katon File: libraidenticon-0.0.1.lc.js (58724 bytes) SHA-256 #: 9ec3c5612e1863d7f16b8e103457757a054ddc5eaa61693cd20338de744dd3d4
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“The Afterlife” by Billy Collins While you are preparing for sleep, brushing your teeth, or riffling through a magazine in bed, the dead of the day are setting out on their journey. They’re moving off in all imaginable directions, each according to his own private belief, and this is the secret that silent Lazarus would not reveal: that everyone is right, as it turns out. you go to the place you always thought you would go, The place you kept lit in an alcove in your head. Some are being shot into a funnel of flashing colors into a zone of light, white as a January sun. Others are standing naked before a forbidding judge who sits with a golden ladder on one side, a coal chute on the other. Some have already joined the celestial choir and are singing as if they have been doing this forever, while the less inventive find themselves stuck in a big air conditioned room full of food and chorus girls. Some are approaching the apartment of the female God, a woman in her forties with short wiry hair and glasses hanging from her neck by a string. With one eye she regards the dead through a hole in her door. There are those who are squeezing into the bodies of animals–eagles and leopards–and one trying on the skin of a monkey like a tight suit, ready to begin another life in a more simple key, while others float off into some benign vagueness, little units of energy heading for the ultimate elsewhere. There are even a few classicists being led to an underworld by a mythological creature with a beard and hooves. He will bring them to the mouth of the furious cave guarded over by Edith Hamilton and her three-headed dog. The rest just lie on their backs in their coffins wishing they could return so they could learn Italian or see the pyramids, or play some golf in a light rain. They wish they could wake in the morning like you and stand at a window examining the winter trees, every branch traced with the ghost writing of snow.
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Zorba the Buddha My Manifesto of Zen is that Zorba and Zen are not antagonistic to each other. The Zorba can melt into Zen, and only then will both be complete. The man who has lived outside has lived very superficially, and the man who does not know anything about the inner, knows nothing about the existential, about the eternal. And on the other hand, the man who knows something of the inner starts thinking that the outer is illusory. Nothing is illusory. The outer and the inner are part of one existence. I want Zorbas to be buddhas and vice versa. And unless this becomes possible, there will not be many buddhas, and there will not be many Zorbas either. In the completion of Zorba and Zen, a tremendous quality comes to your life: you relish every moment of the outside world, every flower of the outside world. And you relish simultaneously the inner freedom, the inner joy, the inner drunkenness. There is no question of any division. But humanity has lived in a divided way, and that has been a catastrophe. It is time for Zorba to start meditating, and it is time for the people who are meditators not to allow themselves to escape from the world. They have to come to the world with all their juice, with all their ecstasy... to share. It seems very difficult to understand, because the whole tradition of the world goes against it. But I don't see any difficulty. In myself I have joined Zorba and Zen together; hence I don't see any difficulty. I am in the world, and yet I am not of the world. I rejoice in the birds, the flowers, the trees. I rejoice in myself, in my silence, and I don't see there is any difference. The inner and the outer slowly have become melted into one whole. And unless your inner and outer become one whole, you will remain incomplete -- and incompletion is misery. Only in completion is there bliss. Only in completion have you come home. You have come to existence without any conflict, in tremendous ease, relaxed. The Zorba in the past has been tense and worried that perhaps he is not the right person. And the man of Zen has been with the tension that he has to avoid this, he has to avoid that -- that he has to become a recluse far away in the mountains. But the very fear of the world shows your misunderstanding. The world has not to be feared, it has to be loved. We are the world. There is no question of escaping from anything. Every moment everything has to be enjoyed without any guilt, without any inhibition. But all the religions have been against it. I proclaim with this manifesto a totally new sky for religious consciousness: the sky of completion, the joining of the inner and the outer, of the material and the spiritual, of Zorba and the buddha. Osho