Whatup, world. Hasn't it been looking like our shit's pretty doomed?
It's not, says Matt Ridley: "Food availability, income, and life span are up; disease, child mortality, and violence are down all across the globe. Africa is following Asia out of poverty; the internet, the mobile phone, and container shitpping are enriching people's lives as never before."
Tough time for a book like this, but Matt makes a solid case for those wishing to go to sleep a little happier tonight…
"The bottom-up world is going to be the great theme of this century. Doctors are having to get used to well-informed patients who have researched their own illnesses. Journalists are adjusting to readers and viewers who assemble their news on demand. Broadcasters are learning to let their audiences choose the talent that will entertain them. Engineers are sharing problems to find solutions. Manufacturers are responding to customers who order their products a la carte. Genetic engineering is going to become open-source, where people, not corporations, decide what combinations of genes they want. Politicians are increasingly corks tossed on the wave of public opinion. Dictators are learning that their citizens can organize riots by text message."
Millennials are lapping the rest of us, and they're transforming our cars as they pass. From design to performance, infotainment to fractional ownership, the largest generational cohort in American history is engineering the changes it can't wait for anymore.
Via PSFK, here's a project that challenged college students to reimagine the backseat entertainment experience of GM cars. Remember, these are the very kids who grew up in the back seat, bored and waiting for us to make it more fun.
"There are many, many Shrigleys out there; some of them are mutants – others are not wholly viable, still more may be necessary in their own strange way, but there is only one essential Shrigley."
The David Shrigley is about to not be our little secret anymore. As if he ever was. February 1, 2012 marks his first major retrospective, and it's at Hayward Gallery in London, featuring an exhaustive array of drawings, photographs, sculpture, animation, paintings and "surprising interventions." His most indelible canvas? Us:
Shrigley's work is so popular (and so all over us) because it just, like, makes sense. It makes sense of the shit flying all around us. Sense of the dead animal in the road. Sense of the the creep staring at you from his window.
And, as he tries to make sense of WTF we're doing here, he makes us laugh. At ourselves, at our art, and at our need to make more sense than the next guy.