Pierce the Veil

What, to the American slave, is your 4th of July? I answer; a day that reveals to him, more than all other days in the year, the gross injustice and cruelty to which he is the constant victim. To him, your celebration is a sham; your boasted liberty, an unholy license; your national greatness, swelling vanity; your sounds of rejoicing are empty and heartless; your denunciation of tyrants, brass fronted impudence; your shouts of liberty and equality, hollow mockery; your prayers and hymns, your sermons and thanksgivings, with all your religious parade and solemnity, are, to Him, mere bombast, fraud, deception, impiety, and hypocrisy — a thin veil to cover up crimes which would disgrace a nation of savages. There is not a nation on the earth guilty of practices more shocking and bloody than are the people of the United States, at this very hour.

From The Meaning of Fourth of July to the Negro by Frederick Douglas

As Carthage Falls, So Does Rome

As soon as riches came to be held in honour, and brought glory, imperium, and power, virtue began to grow dull; poverty was seen as disgraceful, innocence as malevolence. Therefore because of wealth, our youths were seized by luxury, greed and pride; they stole and squandered; reckoning their own property of little worth, they coveted other peoples'; contemptuous of modesty and chastity, of everything divine or human, they were without thought or restraint.

From The War With Catiline by Sallust.

Experience, Space, Tactility, Drama, Eternity

... the emergence of a hieroglyphics of communication, which overlays the contemporary experience of cities, buildings, products, and media with a code of repeatable, reduced icons, compacted chunks of information which collapse a verbal message into a visual mark. The expanding domain of this hieroglyphic speech poses subtle problems for designers in the next millennium: How can we create cross-cultural communication without flattening difference beneath the homogenizing force of a single dialect?

Perhaps these dubious achievements are what makes graphic design the black sheep of the design family. Graphic design lacks the spatial drama or presence or architecture and product design. Architectural criticism often contrasts the plenitude of architectural form with the one-dimensionality of “sign,” “communication,” “illustration,” “anecdote,” and “information”—the very modes of expression that graphic design traffics in.

Like an over-eager, pimply-faced younger sibling, graphic design is what architecture never wants to be: namely, packaging, ornament, frame, and sign. Architecture says, “Experience, Space, Tactility, Drama, Eternity”…while graphic design says, “Can I help you? Do I look okay? Buy me, read me, eat me, drink me!”

— Ellen Lupton, Critical Wayfinding (1993)