Launched in November 1995 by Alan Webber and Bill Taylor, two former Harvard Business Review editors, Fast Company magazine was founded on a single premise: A global revolution was changing business, and business was changing the world. Discarding the old rules of business, Fast Company set out to chronicle how changing companies create and compete, to highlight new business practices, and to showcase the teams and individuals who are inventing the future and reinventing business.
Graphic design legends Milton Glaser and Mirko Ilic reissue their seminal book The Design of Dissent. Here, they talk exclusively Fast Company creative director Florian Bachleda to us about visual design in the Trump age.
In 2005, designers Milton Glaser and Mirko Ilic released The Design of Dissent, a book showcasing socially and politically driven graphics from around the world. Since then, events ranging from the Arab Spring to the election of Donald Trump, have destabilized global politics and led to a renaissance of visual dissent. Glaser and Ilic have expanded the book to include design projects from the past decade. Here they talk about the newly reissued book, how social media has changed graphic design, and what designers can do to fight 21st-century authoritarianism.
The campaign to influence American politics extended beyond Facebook and Twitter.
In a growing wave of revelations that Russia used subversive ads and posts to sway the 2016 presidential election, companies like Facebook, Twitter, and Google have all come forward with disclosures of ad buys from Russian-linked sources. But now, CNN reports that Russia even targeted Pokémon Go players–perhaps in an attempt to incite protest on real-world streets.
Peter Funch stood outside Grand Central for nearly a decade photographing the daily rituals of commuters.
We all have our little morning rituals, whether on the train, at the coffeeshop, or while walking into the office. In his new book 42nd and Vanderbilt published by TBW Books, the Danish photographer Peter Funch captured the rituals of strangers on their way to work on the same street corner, every day between 8:30 and 9:30 a.m. over the course of nine years.
This designer wants us to stop being jerks to each other at dinner. But can he change human nature?
Socialight is a lamp that only lights up if you put your phone on top of it. It’s like the new version of the phone stacking game from 2012: People put all their phones on the table at the beginning of dinner; then the first person to use the phone would pay the check.
Parents have spoken: No data-tracking AI in the kid’s bedroom.
Less than a year after the toymaker Mattel launched a AI-powered baby monitor called Aristotle, the company announced that it will table its controversial plans for the product after a petition from privacy and children’s health advocates gained traction.
The new Lego House is a temple to nostalgia, and at its heart sits a once-hidden room stacked with hundreds of old sets.
Somewhere in Billund–a tiny town with a gigantic international airport in the middle of Denmark–there’s a magical place that you can’t visit. A fantastic chamber hidden from the public, buried under a house burned down and rebuilt twice by a man with a crazy idea. That man’s name was Ole Kirk Christiansen. And that crazy idea was one of history’s best–an invention that affected the lives of billions of kids around the world for decades to come.
I took the first mass-produced garment with a textile interface for a spin, and found myself both impressed and frustrated.
One evening last week, I got on my bike as I normally would. But this was no ordinary ride. Instead of pulling out my phone to get directions from Google Maps or figuring out what music was playing by glancing at my screen, I was hearing directions and music in my ear, and controlling it all by simply brushing or tapping on the cuff on my connected jean jacket–the product of a yearlong collaboration between Levi’s and Google’s Jacquard, an experimental project to design smart garments that act as interfaces. I felt like I was living a future that interaction designers–not to mention the movie Her–have prophesied for years. A world where I didn’t need to rely solely on my phone to access information.
Audi’s semi-autonomous 2018 A8 can take over in a traffic jam–and represents a major paradigm shift in the evolution of self-driving cars.
Cars that drive themselves have been inching onto the market for years now. There are already dozens of cars with “adaptive cruise control”–that is, sit behind the wheel on the highway, and the car will stay in its lane and brake and accelerate to maintain a safe following distance. But that’s a far cry from true autonomy. You still have to keep your hands on the wheel; you still have to be ready to take over at all times. This is about to change. Audi recently announced that in 2018, it’ll be releasing an A8 that completely takes over during traffic jams. For the first time, you’ll be able to take your hands off the wheel, your foot off the pedals, and let your mind wander.
It’s all part of SpaceX’s greater plan to build a rocket that can do it all, from ferrying passengers around the globe to hauling cargo to the moon and Mars.
Elon Musk doesn’t want to wait. He doesn’t want to wait in traffic to eat a taco in downtown L.A., so he’s boring tunnels for his car. He doesn’t want to endure a long road trip to drink beers with his pointy-eared buddies at Area 51, so he’s building Hyperloops. And he really doesn’t want to wait to go to Mars, so in an announcement made last night in Australia, he unveiled a new design for his Big Fucking Rocket, or BFR (its official name), and a sound plan to finance his endeavor.