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Open Manifesto


Among others, Michael Bierut, influential designer and partner at Pentagram, reflects on his early design career including his time at the legendary Vignelli Associates, how he approaches the design process, and shares the context around his identity for the 2016 Hilary Clinton presidential campaign. Jessica Walsh, renowned designer and partner at Sagmeister&Walsh, challenges the notion that design can change the world, talks about how she has coped with her sudden celebrity status, what drives her passion for design, and what the future holds for her creative practice. Daan Roosegaarde, Dutch innovator and Young Global Leader at the World Economic Forum, talks about his passion for prototyping the future of cities and what it means to be a leader in society and design. Real life cyborg Neil Harbisson shares how his art helped him become a cyborg and an unintentional spokesperson for the international cyborg community. Garech Stone suggests "something is rotten in the state of design" and offers some thoughts on how the industry needs to change. Influtential type aficionados Rudy VanderLans and Kris Sowersby face off in a debate around promotional tactics and the next generation of type designers, while digital entrepreneur, Ben Johnston, talks about the beauty, challenge and opportunity of exploring the future.




Among others, Edward de Bono, the pioneer of creative thinking tools, discusses the value and importance of design, while Wharton School (of Business) professor and author Adam Grant reveals his insights into the practice of Give and Take. Ji Lee, one of the top 50 most influential American designers, talks about the transformative power of personal projects, while professor Dan Everett shares his personal story working with the Pirahã people, a remote Brazilian Amazonian tribe, and how they are challenging everything we know about human language. Helen Palmer offers a compelling insight into the power and mechanics of cultural tourism and talks about the (often superficial) nature of place branding. Anne Miltenburg presents her wonderfully insightful experiences around working as a designer in cross cultural situations. Damian Borchok invites us into a detailed discussion around the business of design and, in the process, reveals four specific business models that design companies often pursue. Stephanie Akkaoui Hughes critiques the practice of architecture and offers an alternative and truly collaborative new approach. Andrew Barnum questions how we might view the designers role today, while Jason Tselentis invites us to take a fun test to see just how self-interested or enlightened we truly are.


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Among others, investigative journalist and author Tom Zoellner explores the role of the myth in society, focussing on how DeBeers’ advertising and marketing infiltrated Japanese culture and seduced the world with diamonds. The legendary George Lois talks about his politics, discusses his unique relationship with Esquire editor Harold Hayes, reveals how Paul Rand influenced Bill Bernbach and debunks the Mad Men TV series. Dean Poole shares his experiences transitioning from artist to internationally acclaimed designer, discusses the business of design and the influence design has on culture. Warren Berger presents an in-depth exploration of the power of Design Thinking, while Helen Walters questions the potency of the Design Thinking trend. Allan Savory dissects the myths around fossil fuels and climate change, arguing that agriculture has just as much impact on the environment—if not more, ridicules the notion of sustainable projects, shares his views on vertical farming and offers a solution that could possibly save the planet.


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Among others, Steve Averill discusses how he came up with the name U2 and how his close relationship and design partnership with the Irish rock legends has continued to develop for over 30 years. Wally Olins shares his views on the principles behind branding, its impact on society and how we all seek to belong. Paula Scher critiques the branding of New York and New York City, while Simon Hong talks about his experiences branding Abu Dhabi. Neil Dowling and Nils Clauss meet with North Korean refugees to discuss the severe challenges they face after escaping to South Korea. Bennett Arron talks humorously about identity theft: the theft of his personal identity and his fight to regain it. Real-life Superhero Master Legend discusses managing his secret identity, while Larry J. Kolb shares his experiences as a CIA operative working in the covert world of spies.


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Among others, Peter Saville discusses his views on the evolution of the graphic design industry and also questions the role of truth in branding. Errol Morris examines how images can be taken out of context on a regular basis and used for propagandistic ends. Noam Chomsky looks at the relationship between entertainment and propaganda and offers some advice on how to read between the lines of daily information. Milton Glaser talks about the importance of dissent, while Nurit Peled-Elhanan takes a look at the Israeli education system of anti-Palestinian indoctrination. Jacqueline Hill takes us on a journey through the ancient history of branding and how it has been continually used in propagandistic ways right up to the present day, and Katherine Hepworth looks at the motivations behind Brand Australia. Paul Davis presents us with thirteen despots while Alain de Botton goes against the grain by offering a convincing case for the possibility of good propaganda.


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Among others, George Hardie discusses illustration, teaching, technology and the nuances of cultural exchange. Rami Elhanan talks about the Israeli/Palestinian issue and the importance of integrity, forgiveness and clear communication. Professor David Throsby looks at national identity, multiculturalism and the economic significance design has on society. Bob Gill proves there is always more than one solution to a problem, while Zoë Barber addresses the Ego in design. Andrew Ashton takes a close look at graphic design in Australia and Robert Cook sits with Mark Braddock and asks what graphic design is really all about.


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Among others, Edward de Bono discusses the power of visual language and the immediacy it provides over verbal language, how the brain organises visual patterns and why he chooses to draw as he speaks when delivering a presentation. Ros Moriariy explains how enduring knowledge about preserving the (Australian) continent, for maybe 10,000 years, was enshrined in the symbols of Aboriginal visual language, handed down through both ceremony and daily life. Stefan Sagmeister debunks his previous Style=Fart motto, shares his views on globalisation, talks about his earlier aspirations to be a musician or film director, discusses his first year without clients and offers his comments on Australian design. Ingvar Kenne talks about the universality of the image as a means of communication, discusses his difficulty in getting clients to use Aboriginal models in fashion shoots and offers his views on the rise of digital photography, while Andrew Barnum asks Professor Ross Gibson whether there an Australian graphic tradition, discusses how design feeds into national identity and talks about the opportunism involved in the appropriation of Indigenous culture without proper context.


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In the wake of September 11, Hina Qureshi discusses the difficulties of being Muslim today, while exploring her Arabic design heritage and her desire to build a bridge between Western and Middle Eastern communities through design. Vince Frost talks about his passion for design and his interest in demystifying the design process for the general public, the state of design education and the pros and cons of the First Things First 2000 Manifesto. Craig Bremner addresses young designers with an open letter stressing the importance of design history and theory, the rise of the celebrity designer (and the issues therein) and reminds students that they cannot erase themselves from the work they produce—that something of their character, beliefs, values, etc, will be visible. Mary Gallagher critiques the tabloidization of mass media, including the cultural function of media scandals, arguing that these trends can empower the lower classes as social agents. And Nicole Foreshew, a young Aboriginal designer, shares her personal journey in using art and design to highlight the connections between spirituality and the land, while also seeking deeper and more informed ways to present Indigenous culture to a wider audience.


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