Graphic design emerges from social, technological, economic, and political contexts. It’s important for those who study its history to connect design and designers to these contexts first and foremost. (Aggie Toppins, published on May 29th, 2020, https://eyeondesign.aiga.org/can-we-teach-graphic-design-history-without-the-cult-of-hero-worship/)

 What this history has left us is with a “Canon” which is narrow, not inclusive, not diverse, not open, not global, not fully engaging with a wholly multidimensional, diverse set of ideas. (Ramon Tejada, Published on July 26th, 2018, https://walkerart.org/magazine/soundboard-queering-design-education-ramon-tejada)

 When Western conventions are centred in design, this means that anything else is seen as ‘different.’” (Simba Ncube, Anoushka Khandwala (‘What Dose It Mean to Decolonize Design?’), Published onJune 5th, 2019, https://eyeondesign.aiga.org/what-does-it-mean-to-decolonize-design/)

The criminals are weighed down with chains made out of gold. The gold is part of the community wealth of the country, and fettering criminals with it or using it for shameful things like chamber pots gives the citizens a healthy dislike of it. It also makes it difficult to steal, as it is in plain view. (Thomas More, https://en.wikipedia.org/wiki/Utopia_(book))