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What you can't move is paid-for apps, so keep this in mind if you're considering a change of platform. Read more about the Pixel 3 here. That's a lot of phone for your money, considering that it's flagship spec, it's running the latest version of Android Oreo and it has a really good camera. And yet, these world-historical transformations aren’t looking so good anymore: Growing plastic gyres float on the earth’s oceans choking marine life, and a landscape marred by pollution, deforestation and climate change leaves us with scarcely enough arable land to feed the population at the rate it’s growing.
Our current system for innovating, Edwards says, “is falling short of addressing today’s challenges.” He offers a new model for creating things that can be hopeful, helpful — and commercially viable. In “Fewer, Better Things” Glenn Adamson, a former director of the Museum of Arts and Design in New York and author of several books on craft, views the suffering of the natural world through the prism of our increasingly tortured relationship to it. When we look up from our screens, we find we have lost our connection with the physical realm, which according to Adamson is the embodiment of our shared humanity.
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Objects, particularly well-made ones, contain intelligence in the form of “thousands of years of accumulated experiment and know-how.” By forfeiting an understanding and appreciation of objects — their materials, how they are made and why they are as they are — we forfeit the power they have to enhance our lives and to connect us with one another. If we were to love stuff more and better, Adamson holds, we’d want and waste less of it. Historically, innovation, according to Edwards, has followed two distinct models — commercial or cultural. The former, driven by profit margin and return on investment, changed the world and eased our lives but it is by its nature shortsighted and unable to act on long-term humanitarian goals. Capitalism can’t monetize what doesn’t yet exist — i.e. the future. Cultural creation, on the other hand, like art or theater, may more ambitiously attempt to change how we think or act, but its effects, when they can be discerned at all, are seen only after a duration of many years.
We value the sort of innovation that has a more immediate and tangible effect — the sliced bread — while devaluing, and therefore failing to invest in, innovation whose contribution might not be obvious at first. Edwards sees this as a problem, and his solution is to return science and art — disciplines segregated from each other post-Newton — to their rightful place as a single endeavor he calls “aesthetic creating.” He came to this realization after having invented inhalable insulin, which despite being an improvement over injected insulin, wasn’t adopted, in part because it wasn’t offered in an aesthetically appealing way. As our basic needs have already been met, he says, we will only adopt new things, even ones that might solve world health issues, if we find them beautiful or attractive.
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Edwards proposes culture labs, spaces where creativity is encouraged, supported by a group and guided by mentors. Science should become more open-ended and personally expressive, and its explorations exhibited to the public, whose feedback could help guide development and evolution. Edwards’s own such space is the Artscience: Culture Lab and Café in Cambridge, where people can interact with and consume works-in-progress of his own and his students and collaborators. His work with inhalable technology led Edwards to invent aerated flavors, able to enhance one’s experience of drink or food, and then to create a mechanism that renders these invisible vapors into clouds of smoke, presumably increasing one’s delight in the cocktails on offer at the lab’s bar. As Edwards looks for solutions in clouds, Adamson would have us look to the ground.
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