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Category: simplicity

The Politics of the Message and the File

ikoni

If you strip away all of the surface distractions and zoom in on the computing environment using your microscopic vision, you see bits moving back and forth across a wire. If you zoom back out to the macro level, you can see Hewlett Packard and Google making radical changes in strategy and multi-billion dollar bets on how the preponderance of those bits will travel.

Now step into the time machine and move back a few years. The personal computer has just become the business computer. Most of the bits are written and retrieved from local hard drives in the form of files. Files are moved via sneaker-net. Move forward a few years and files are moved over local networks and individual computers are linked together within a single location. Shared files find their way to file servers and now allow multiple users to access and add work product to these common-use files.

Concurrently, the message finds an electronic home in email. Initially email messages can only be transmitted within specific platforms. You need to be on the same network as the people you want to communicate with. Fast forward a few years and email is sent with a common protocol and the networks become a network of networks. Now you only need to know the name of the endpoint to send a message to anyone.

The growth vector of the file’s environment is the size of the hard disk. Larger hard disks in the computing device and on the local network define capacity. As time passes and more files accumulate, they require even more disk space. As computing power increases, file sizes increase as well. As more and more things are digitized, more kinds of things are stored on hard drives in digital form.

The personal computer connects to a local area network, a wide area network and a global network to create a new entity called the Network. Both message traffic and file creation are initiated through the personal computer and start to be pointed at the Network. As the speed of the Network increases, the length of the wire that file bits can workably traverse becomes global in nature. It’s at this point that the message and the file begin to converge. The functionality of the personal computer as a file processing machine begins to be sucked down the wire and reconstituted into the virtual space of the Network. Both the file and computing processes are remote controlled through a set of messages sent back and forth across the wires.

The technology dynasties that were built up around these different ways of treating bits have large investments in both the technical infrastructure and mental models of either files or messages. The roots of these patterns go deep into the corporate structures of these organizations. With the recent moves by HP and Google, we can see the can see that the message and messaging network infrastructure has finally tipped the balance away from the file. The file has become another kind of message for a signaling device pointed at a cloud messaging network. Google attempts to reach across from the cloud to gain a foothold on the device side. HP recognizes that rather than going from personal computer to signaling device, the move from personal computer to custom central computing platforms is a better fit.

It’s worth noting that the message infrastructure has backed off of its most radical formulation and returned to the competing large network platform environment. In the email messaging environment there was an impetus and energy to connect the disparate systems and endpoints so that any two endpoints could connect. The connections between the new era large messaging platforms are purely one-way, instead of the more common “read-only” capability, this is a “write-only” hook up. One has a sense of retreating from a democratic network back to a feudal system of large kingdoms.

There’s a maxim in investing that you should buy at the moment of maximum pessimism. The file, it seems, is on the ropes. The message, messaging networks and signaling devices seem to be firmly in control of the corporate agenda. That’s why it’s interesting that Apple, with its iCloud initiative, is investing in redefining the user’s relationship with the file. The file becomes non-local, it doesn’t travel across the wire, it’s simply wherever it’s needed. Or, at least, it appears that way. All the mechanics of syncing, versioning, reading and writing have been removed from the workflow. The creation device, the file and the file network may be perfectly ripe for rejuvenation as our obsession with the message reaches its peak.

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Revisiting @cshirky : Overload and Filter Failure

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Clay Shirky may have done us a disservice when, looking at the torrent of information published to the Network, he turned the problem upside down and said it’s not information overload, it’s filter failure. His comment was a response to the notion that the solution to information overload is to use professional editors to filter out items of inferior quality before they are inscribed into the Network. This approach would be consistent with the historical practices of the publishing industry; and theoretically would result in fewer items tumbling into the bin of our cognitive load. Traditional models of publication are a statement about the quality and value of a work. If everything is always published in real time—every gesture, tick and passing fancy— publication is no longer a measure of quality, but merely a recognition of the act of inscription on the surface of the Network.

The purpose of the filter is to rummage through the “everything” that has been published—and is continuously published in real time—and come up with an appropriately-sized load. That is, something less than an overload, and certainly not an under-load, but rather a load that feels just right. Shirky inaugurated the era of “filter failure” in September of 2008; in the subsequent years the volume of items published to the Network has accelerated exponentially. However, we don’t seem to have made much headway with the “filter” problem.

We have a sense of what a “filter” looks like when it works as a gatekeeper standing between all that is written and what is eventually published. The editor and publisher make judgements based on commercial prospects, artistic merit, a writer’s track record, et cetera; and then select which pieces of writing will pass through the publication process. A “filter failure” in this context is a publication event that doesn’t find an audience willing to support or engage with it.

What does a “filter” look like when everything has already been published? Isn’t the horse already out of the barn? Early in Twitter’s existence, they placed a configurable filter on the publishing nozzle of the service. A user could select a set of keywords, the filter checked through all the tweets in real-time, and then it would spray a filtered set of tweets into the regular set of subscriptions. As the volume, velocity and user-base increased, it was technically unsustainable on a real-time basis. Twitter search now consists of keyword filtering of a smaller set after the fact. A number of services have rented Twitter’s firehose of messages in an effort to affix real-time filters over the publication nozzle. None have emerged with a solution to put an end to the era of “filter failure.”

From the perspective of editorial process, affixing a filter to the real-time publication nozzle is consistent with previous editing processes. The editor/user selects keywords that narrow the field of output prior to the publication of a real-time stream. The filter that Shirky proposed operates after the fact, everything has always already been published and this filter sifts through it all and scoops up only the good stuff. Wheat is separated from chaff. In this case the timing of the filter is less important than the quality and scope of its mesh. The filter should construct a value equivalent to, or greater than, that of a pre-filtered output, by assembling interesting bits and pieces it finds laying around. Because it’s less concerned with the now of real-time, Shirky’s filter can include elements from different periods of time based on their relevance, importance and overall quality.

In some recent attempts to crack the “filter” code, the word ‘curator’ is substituted for ‘editor’ and the blend of the publication is expanded to include both domestic and foreign products. Most traditional publications are reconstituting themselves along these lines. Another approach is to draw a circle around a set of curators and writers to create a tele-publication. To maintain and grow its value, the portfolio must be actively managed, occasionally rebalanced and look for opportunities in the event stream. (Global tactical asset allocation mutual funds are often managed in this fashion.)

A filter could be constructed correctly, be technically sustainable at scale, and still be a failure. If the mesh of the filter is configured incorrectly, its output may be the correct “load” size, but its contents of inferior quality. The mechanics of filtering are only half of the equation. What should the filter filter, and who decides what that is? Some say we don’t want an editor to serve as a gatekeeper, we prefer an emergent (another word for average) publication of crowd-sourced filtering. The odd thing about a spontaneously generated crowd-constructed publication is that it usually feels like you’ve already read it. The thing about what everybody knows is that everybody already knows it.

Assuming we could produce a technically-sound filter, we would need to configure its mesh. It’s possible one could go shopping for a mesh. A filter’s mesh could be an external product selected to produce a particular kind of output. Our choices range from the hand-crafted to the automated mesh. Techmeme is a hybrid of algorithmic and hand-crafted output. Google News has recently added a hand-crafted element to their largely algorithmic output. In a sense, this isn’t very different from the way an ink-on-paper magazine works.

One of the dangers of going shopping for a mesh is that one can easily end up in an echo chamber. By selecting only agreeable elements, one’s own bias seems to be confirmed by external sources. When you mix in hard-core ideology, a strange reversal takes place. As William Burroughs once said, “you don’t sell heroin to people; you sell people to heroin.” What at first appears to be looking in a mirror and becoming more and more beautiful, is really a process of the mirror surrounding and consuming you, until you become a part of its reflection. The external ideology has hollowed you out and takes up residence in the void.

If the era of filter failure were to end, would we have filters that were an uncanny match to our thoughts and desires? Would the filter take into account our conscious and unconscious selves? Would it know what to us is a set of unknown knowns? Would we be embarrassed when the filter mixed in objects of desire of which we dare not speak? Is it merely a matter of getting in tune with our true desires and affinities? Or should the mesh of the filter bring me more than I contain? How far do we need to take this?

After all, how perfect does a filter need to be before we can consider it a success? Perhaps all that has to happen is for the feeling of being overwhelmed to go away. Maybe that just happens with time and exposure. Instead of waiting for a future paradise where filters don’t fail and our minds are constantly blown by how perfectly tuned and relevant every single thing we encounter is; perhaps we should acknowledge that the future will be a lot like the present. Sturgeon’s law will still hold and 90% of everything will still be crap, spammers will still manage to show us advertisements we don’t want to see, and sometimes we’ll still feel overwhelmed by life.

The more we search for a fine-grained solution to filter failure, the stranger the “I” for whom the filter must not fail becomes.

At first the big flood of information seems to be fascinating. It has all the formal qualities of something that should demand our attention. It’s only after we’ve sat patiently and listened to it for a while that we realize how boring it can be. Boredom with the torrent of information may be the first step toward forgiving filters their failures.

“To approach the Other in conversation is to welcome his expression, in which at each instant he overflows the idea a thought would carry away from it. It is therefore to receive from the Other beyond the capacity of the I, which means exactly: to have the idea of infinity. But this also means: to be taught. The relation with the Other, or Conversation, is a non-allergic relation, an ethical relation; but inasmuch as it is welcomed this conversation is a teaching. Teaching is not reducible to maieutics; it comes from the exterior and brings me more than I contain. In its non-violent transitivity the very epiphany of the face is produced.”

— Emmanuel Levinas (Totality and Infinity: An Essay on Exteriority)

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I Can’t Give You Anything But Love, Baby

Last night without any intention on my part, the 1938 Howard Hawks film Bringing Up Baby settled into the television set. It was meant to be a brief stop on the way from this signal to that one, but somehow it stuck. The rapid-fire non-stop dialogue never left a pause, not a single moment, for me to consider moving on. And then there was the song: I Can’t Give You Anything But Love, Baby. Katherine Hepburn and Cary Grant wandering through the woods singing this song at the top of their voices, looking for a fox terrier, a leopard and a dinosaur bone. When the speed of change hits a certain velocity, nothing makes as much sense as a screwball comedy.

“There’s a pitch in baseball called a screwball, which was perfected by a pitcher named Carl Hubbell back in the 1930s. It’s a pitch with a particular spin that sort of flutters and drops, goes in different directions, and behaves in very unexpected ways… Screwball comedy was unconventional, went in different directions, and behaved in unexpected ways…”

Andrew Bergman
We’re in the Money: Depression America and Its Films

The song was written in 1927 by Jimmy McHugh and Dorothy Fields, and finally broke through in 1928. It’s been an enduring classic of American popular song. Looking back at the list of songs Fields provided lyrics for, you can hardly believe your eyes: The Way You Look Tonight, I’m In The Mood For Love, On The Sunny Side of the Street, A Fine Romance, Big Spender and more.

The stock market crash of 1929 occurred in October of that year, which means that I Can’t Give You Anything But Love, Baby was written in the middle of a market bubble. In the midst of a surging material world, the song stakes a claim for love and romance. Fields tells the story of overhearing the conversation of a poor black couple gazing at the stylish and expensive jewelry on offer in Tiffany’s display window. Apparently the man said “Gee honey, I can’t give you anything but love.” What might have turned into Breakfast at Tiffany’s, instead became a standard in the American songbook. Love seems to need a medium to pass from one person to another. While it might pass through diamond jewelry, wall street millions, real estate or a family crest—McHugh and Fields make the case for the impossible thing that we’ve all got plenty of, baby.

Through the cultural history DVR provided by YouTube, we can get a sense of how this song has resonated with artists and audiences over the years.


Louis Armstrong



Cab Calloway’s Band



Ukulele Ike (Cliff Edwards)



Marlene Dietrich



Billie Holiday



Doris Day



Sarah Vaughan



Peggy Lee, Dean Martin, Jack Jones

I Can’t Give You Anything But Love, Baby
Jimmy McHugh and Dorothy Fields

Verse

Gee, but it’s tough to be broke, kid.
It’s not a joke, kid–it’s a curse.
My luck is changing–it’s gotten
from simply rotten to something worse.
Who knows someday I will win too
I’ll begin to reach my prime.
Now that I see what our end is
All can spend is just my time.

Refrain

I can’t give you anything but love, baby.
That’s the only thing I’ve plenty of, baby.
Dream a while, scheme a while,
You’re sure to find
Happiness and, I guess,
All those things you’ve always pined for.
Gee, it’s great to see you looking swell, baby.
Diamond bracelets Woolworth doesn’t sell, baby.
Till that lucky day you know darn well, baby,
I can’t give you anything but love.

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Law of the Instrument: It’s Hammer Time

Abraham Maslow is perhaps better known for the Hierarchy of Needs. When we think about human motivation—what a person might want or do in any given situation—we run the scenario through the Hierarchy of Needs to gauge its relative importance. But Maslow developed another analytical tool that’s also in widespread use. It’s called Maslow’s Law of the Instrument and has to do with over-reliance on a familiar tool.

In conversations about business or technical strategy, it will often emerge in the following formulation:

When all you have is a hammer, every problem looks like a nail.

Once this incantation is uttered, all around the table nod in agreement. The tool has defined the solution instead of going to the extra effort of finding for the right tool for the job. The job is calling out for the right tool, and you’ve only brought a hammer to the table.

As a worthwhile tangent to this topic, it’s worth exploring the close cousins of the Law of the Instrument: regulatory capture and confirmation bias.

One might imagine that jobs and tools had been split in half by Zeus, and each wandered the earth looking for its perfect other half. Tools, it seems, operate under a well-understood set of modes and rules. If those rules-of-use don’t match up with the job, then the tool is imposing an alien structure on to a job. Now, I don’t know about you, but I’ve occasionally used a wrench as a hammer to good effect.

When we employ the tactic of the Law of the Instrument, we silence the instrument in favor of the job. The job dictates the dialogue and determines the rules of engagement. Yet when used thoughtlessly, the tactic itself becomes an instrument subject to the Law of the Instrument. Tools, and hammers in particular, often have more to say than our rules of thumb would suggest. For instance there’s a common joke among carpenters:

When all you have is a hammer, every problem looks like a thumb.

When Nietzsche talks about philosophizing with a hammer, he isn’t thinking about nails. He uses the hammer to test idols by tapping them lightly with a hammer, he sounds them out. The hammer is used to determine whether the idols are hollow or intact.

In the Law of the Instrument, it’s not the hammer that creates the limitations. It’s the familiarity, the habit of using a hammer in a particular way. If we approach the hammer with a beginner’s mind and allow its strangeness to surface, we may find our toolbox populated with a whole new set of instruments:

When all you have is a hammer, every problem looks like a mole popping out of one of an immense field of holes.

When all you have is a hammer, every problem looks like a rock to be broken on a chain gang.

When all you have is a hammer, every problem looks like a carnival game where you have to prove your strength by making a bell ring.

When all you have is a hammer, every problem looks like something to be heated to a red hot temperature and fashioned on an anvil.

When all you have is a hammer, every problem looks like a sculpture waiting to be released from a hunk of marble.

When all you have is a hammer, every problem inspires you to hammer out justice, hammer out freedom, hammer out love between your brothers and your sisters all over this land.

When all you have is a hammer, every problem looks like a coconut that has yet to give up its meat and milk.

When all you have is a hammer, every problem looks like rice on its way to becoming mochi.

When all you have is a hammer, every problem looks as though it could be solved by the god of thunder.

When all you have is a hammer, every problem can be solved by tossing the hammer farther than the other guy.

When all you have is a hammer, every problem looks like a low-budget, British horror movie.

When all you have is a hammer, every problem looks like one of eighty eight strings on a piano.

When all you have is a hammer, every problem looks like it needs its reflexes tested.

When all you have is a hammer, every problem sounds as though it’s related to the parts of the ear.

When all you have is a hammer, every problem looks like you can’t touch it.

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