“Technology has changed the game this decade. The world got flatter. Certainly large companies continue to rule but in many ways, technology has changed that game. The leaders of the music industry who were the deciding factor on many careers don’t really rule anymore. Musicians now have the ability to create their own audiences through the world wide web. Same for authors who want to publish their books. They don’t necessarily need the big guys, they can find their own niche audience on the web. When a young 13 year blogger named Tavi is invited to sit next to the top fashion critics in the world at the premier fashion shows, you need to step back and take pause. Who is running the fashion world, is it Vogue or is it the Sartorialist?”—Gotham Gal: good-bye to 2009 (via fred-wilson)
“The Social Web. When Sean Parker and team pitched Mike Moritz at Sequoia, seeking venture funding for Plaxo in in the dark days of 2002, it was not just to solve the real and vexing problem of stale address books. The billion dollar opportunity they pitched was that Internet, for all its great impact, would not reach its full potential unless and until someone brought to it the missing “people layer”. If real identity and real relationships could be combined with network effect and Internet-style interoperability, they said, something really big would happen. Of course, like so many big, bold visions, getting there has taken multiple attempts, and now involves a really dynamic collaboration between big Internet companies, grass-roots teams, and lots of startups, but we exit the 2000s seeing proof-points all around of the emergence of an open and interoperable Social Web. It’s becoming increasingly common to visit a new website and be able to use an online identity you’ve established at Facebook, Twitter, Google, or a growing list of other identity providers, and get a new account without having to repeat the dreadful process of choosing a new password, filling out a bunch of forms, importing your address book, and re-friending the same long list of familiars you’ve friended so many times before. Look to the coming decade to bring us an amazing array of new startups native to this new Social Web.”—Silicon Valley: Top 10 of the 2000s « The Real McCrea (via gross) (via tylerhwillis)
99.89% finished with this nameless decade, I am convinced that its namelessness had negative psychological effects on society.
I was vividly aware that we were “in the 1990s” while they were happening, but the first ten years of the 2000s were more like a smear of individual years than a solid bundle of ten. There was no name for them, no verbal container to mentally focus your mind, like a lens, on the parcel of time we lived in. Nobody really talked about “the aughts” or “the zeros”. We had no sense of place… in time.
“The 2000-2009 decade”, to me, was a transitional phase. When it started, grandparents weren’t emailing, parents weren’t texting, and office workers didn’t spend 6 hours a day on Facebook/blogs. Now, were are soaking, if not drowning, in technology. The humans entering Friday’s decade are walking through a new door into an unpredictable and unprecedented state of existence. Of course, we’ll take it one day at a time, but still: the future won’t be like The Jetsons, were the pace is slow but everything is spiffy and flies. The real future, the future that filmmakers cannot conjure, is all fields and industries changing so fast, one brain cannot remotely keep up with it all, and moreso every day, at an accelerating pace.
I do not claim any special knowledge of the future. Perhaps I’m suffering from that fallacy where you think the future will be like what you hope it will be like. Maybe things won’t get going until the 2020s. Regardless, my feeling on this brand new decade is that It Can’t Come Quickly Enough. I am so ready for something new. Yes, a new decade is “only symbolic” — but we are the symbolic species and I guarantee that being able to say, “we’re living in the teens” will make a difference.
This song is by Scissor Sisters, who formed in the year 2000.
Love the song. But I’m more interested in commenting on the theory that because these past ten years didn’t have a name, we weren’t able focus on the decade as a whole.
In another ten years we might have a name for these times, after the dust settles and we are less connected to it. Until then I agree that without a name to act as a verbal adhesive, this decade just seems like a blurry mess of individual years. Which, in my opinion, is an appropriate representation. So much has been sped up and so much has changed. Some years were much better than others and it’s hard to bundle them all together.
The future is going to continue to be faster and more complex. As our technology improves and becomes even more integrated into our lives, the existence we have today will seem quaint and simple in comparison. But perhaps you’re right. Maybe with a name we will have a symbol/focus/lens to wrap our heads around and enable us to view the “teens” in a more positive light. I’m hoping this is the case.
No Logo, Naomi Klein’s treatise on anti-globalization, sets the tone for the decade’s debates about consumerism and branding.
Tech stocks plummet, signaling the official burst of the dot-com bubble. Thousands of newly-minted web designers are laid off. San Francisco’s cafes swell with unemployed creatives paying inflated rents.
Dwell publishes its first issue, transforming the way that people understand—and purchase—modern design.
The Cooper Hewitt, National Design Museum launches the annual National Design Awards, giving nods to Frank Gehry and Apple.
American Apparel moves into its current factory in downtown Los Angeles. Under the leadership of Dov Charney, it becomes an incongruous champion of locally-produced fair-labor clothing, racy quasi-pornographic advertising, and Helvetica.
After a tight presidential election introduces the world to the Floridian hanging chad, AIGA’s Design for Democracy begins a massive effort to redesign and standardize voting across the nation.
Apple’s first retail store opens. Steve Jobs announces the first-generation iPod, which can hold 512 MB of music. It is available only in white.
The Mini Cooper is launched in the United States, followed by the Toyota Prius, the first mass-produced hybrid vehicle. The SUV backlash begins.
September 11, 2001: The terrorist attacks on the World Trade Center utterly transform the skyline of New York City and destroy two of the world’s greatest architectural and engineering feats: Minoru Yamasaki’s 1973 twin towers.
Peter Jackson’s Lord of The Rings: The Fellowship of The Ring reforms live-action purists by showing the artistry possible with digital filmmaking. Nerds rejoice.
The Prada Epicenter Store in New York’s SoHo makes retail into a spectacle, thanks to a collaboration with Rem Koolhaas’ OMA, 2x4, and IDEO. Flocks of tourists try on Prada clothing just to play with the legendary dressing room doors, which become frosted for privacy with an electric current.
Design Within Reach opens its first retail store, reintroducing midcentury designers like George Nelson and Charles and Ray Eames back into the vernacular.
The stop-motion Lego animation of the White Stripes’ video Fell in Love with a Girl by Michel Gondry heralds a new generation of video and commercial auteurs who bring their specific aesthetic to feature films (and Criteron Collection DVD sets).
Minority Report’s Precrime interface, designed by Imaginary Forces and Schematic, spurs interactive firms worldwide to create similar real-life multi-touch and gesture-recognition systems.
William McDonough publishes the sustainability manual Cradle to Cradle: Remaking the Way We Make Things. An industry-wide call to make “cradle-to-cradle” products supersedes the more ambiguous movement of “going green.”
Jeffrey Zeldman’s book Designing with Web Standards transforms the way that web developers interact with code, calling for universal accessibility across browsers.
“Design thinking” is referenced in a BusinessWeek article.
DIY doyenne Martha Stewart is indicted for insider trading. She goes to jail, where she teaches craft classes to fellow inmates.
The Droog Design Foundation opens its first retail store in Amsterdam, becoming the magnetic center for an era of witty, issue-oriented industrial design. A signature piece is a chair made from piles of bound-together rags.
The first batch of city funding is allocated for what will become the High Line, a community effort to transform an abandoned railway into a New York City park, and the most talked-about public space project in years.
The Beautiful Losers exhibition opens at the Contemporary Arts Center in Cincinnati, legitimizing the work of street artists and skateboarders who have been influencing culture for decades.
H&M launches its first collaboration with a high-end designer, Karl Lagerfeld.
Massive Change by Bruce Mau is released, asking designers to think about their work within a greater global context.
Zaha Hadid, architect of swoopy, sculptural, computer-generated forms, is the first woman awarded the Pritzker Prize.
The Dove Campaign for Real Beauty is launched by Ogilvy & Mather, featuring self-esteem messaging for young girls, an attack on glossy magazines, and imagery of real women shot by Rankin.
The One Laptop Per Child project announced by Nicholas Negroponte. The lime-green laptop is later designed by Yves Béhar.
Target debuts the Clear Rx pharmacy bottle, a redesigned system for safely labeling medication. The idea originated as a School of Visual Arts design thesis project by Deborah Adler.
Emigre, the seminal graphic design journal published by Rudy VanderLans and Zuzana Licko, publishes its final issue.
Etsy.com launches as a new way for a swelling community of designers, makers, and crafters to sell their goods online.
Industrial designer Hella Jongerius mass-produces the Jonsberg vases for Swedish retailer IKEA.
Philip Johnson, a modernist architect famous for black angular boxes and black rounded glasses, dies.
The housing bubble peaks. Prices skyrocket and the building frenzy reaches critical mass. Cranes crowd the skyline in every major metropolitan area.
Architecture for Humanity’s TED Prize winnings are put towards the launch of the Open Architecture Network, allowing architects to easily share best practices for building affordable, sustainable structures in communities around the world.
The Council for Fashion Designers of America introduces legislation to copyright their designs, lead by new president Diane von Furstenberg.
We Feel Fine, created by Jonathan Harris and Sep Kamvar, heralds a new era for data visualization and internet-based art.
Widely considered to be the first green skyscraper, the Hearst Tower opens as a Gold LEED-certified building that tops a 1928 structure with a glittering, pixelated bouffant by Norman Foster.
An Inconvenient Truth changes the way we think about global warming, Power Point-style presentations, and Al Gore.
The Wii gaming console is launched by Nintendo, forever transforming the way we interact with games. We never need to go outside again.
The type-focused documentary Helvetica, directed by Gary Hustwit, premieres at South by Southwest, the same time and place as another type-focused product debuts: Twitter.
Design for the Other 90% opens at the Cooper-Hewitt, showcasing hundreds of products and initiatives that designers are creating for the rest of the world’s population.
The 2012 London Olympic logo by Wolff Olins is revealed, sparking a international scandal as more than 50,000 British citizens sign a petition against its design. An animated version is said to cause seizures.
Mad Men debuts on AMC to a small audience, but Matthew Weiner’s tireless meticulousness in recreating 1960’s ad campaigns, three-martini lunches, and pregnant smokers quickly makes it a cultural touchpoint for all creatives.
The I-35 bridge collapses in Minneapolis, killing 179 and forcing inspections of the United States’ deteriorating infrastructure.
Amazon’s e-book reader, the Kindle, debuts. Book designers call it a print-killer. Industrial designers call it ugly.
“One more thing…” At Apple’s keynote event, Jobs introduces the iPhone.
Industrial designer Philippe Starck declares “design is dead,” retires, signs on to star in BBC reality show Design for Life.
Shepard Fairey creates the “Hope” poster to support Barack Obama’s presidential run. It becomes the single most representative image of any political campaign, ever. Fairey spends the next year in a heated fair-use battle with the Associated Press. No one wins. Oh, except Obama.
The Designers Accord, dubbed the “Kyoto Treaty of design,” sees 120,000 firms and individuals sign on as adopters.
Brad Pitt hires a bevy of starchitects including Thom Mayne, David Adjaye, and Shigeru Ban to design flood-proof houses for Hurricane Katrina victims and raises millions of dollars through his foundation, Make it Right.
Design and the Elastic Mind, curated by the Museum of Modern Art’s senior curator and design cheerleader Paola Antonelli, illustrates the many applications of design beyond creating physical objects.
Dubai’s Burj Dubai, designed by Adrian Smith, tops out at 2,684 ft, the tallest man-made structure ever built. It’s scheduled to open in January 2010 as reports of Dubai’s downfall begin to trickle into architectural publications.
Ninety-eight-year-old architectural photographer Julius Shulman dies. A documentary of his life, Visual Acoustics: The Modernism of Julius Shulman directed by Eric Bricker and narrated by Dustin Hoffman, enters wide release.
The Aspen Design Summit, previously the 58-year-old International Design Conference at Aspen, relaunches under the guidance of the Winterhouse Institute, AIGA, and Change Observer, a new social change-focused division of the blog Design Observer.
William Kamkwamba, a Malawi inventor who built a wind farm for his village from scrap metal when he was 14, publishes his book The Boy Who Harnessed the Wind.
CityCenter, the United States’ largest privately-funded development in history and one of the largest starchitect collaborations in the world, opens in Las Vegas with aspirations of “green superdevelopment” cred.
A meeting with Washington officials and a multi-disciplinary group of designers forming the United States Design Policy advocacy group solidifies a plan for designers and policymakers to begin working more closely together in 2010.
Thank you for your reblog! I’m sorry you’re sad! It is rough celebrating a holiday without someone you love. So many people are focused on this day, it’s hard not to think about the people who should be there. But I hope you’re feeling better and I’m sure tomorrow will be much brighter!
(on a side note I told my dog you think he’s adorable. he’s very flattered.)
“Here’s to the crazy ones. The misfits. The rebels. The troublemakers. The round pegs in the square holes. The ones who see things differently. They’re not fond of rules. And they have no respect for the status quo. You can praise them, disagree with the, quote them, disbelieve them, glorify or vilify them. About the only thing you can’t do is ignore them. Because they change things.”—Apple (via night0wl)
“I have always thought of Christmas time, when it has come round, as a good time; a kind, forgiving, charitable time; the only time I know of, in the long calendar of the year, when men and women seem by one consent to open their shut-up hearts freely, and to think of people below them as if they really were fellow passengers to the grave, and not another race of creatures bound on other journeys.”—
“I think this is how magicians should be: first they should do their magic to enchant us, then they should teach us their tricks. This is also how artists should be – we should be creators and also teach the public how to be creators, how to make art, so that we may all use that art together.”—Augusto Boal (via yvynyl)
since people seem interested then lets sort something out!
the idea of an art swap is this, basically you make some art (any medium you like! paint, draw, photograph, even sculpt if you want) and then send it to someone and in return they’ll send something back to you in their preferred medium! call it networking, we’re all artists and we’re here to make the world a brighter place so lets share our talents around the globe in a more personal way than through a computer screen.
so reply to this with your email address (and if you have anything specific you’d like from me, i’ll be working photographically obviously, but inspiration is always good!) and reblog so others can swap art with yourself and we’ll get this show on the road!
This is the stuff I believe Tumblr is perfect for. Finding like-minded imaginative people and sharing our creative talents with each other. The idea of an art swap is brilliant.
We can inspire each other with our own personal works and develop a closer community that extends beyond the internet, and then post the pieces of art we receive on Tumblr to motivate others to participate. "We’re here to make the world a brighter place." Couldn’t agree more.
This requires a lot more work than a reblog or like button, but it’s definitely worth it. If this happens count me in.