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Category: zettel

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Speed Kills

Keef

The natural reaction to the acceleration of our daily lives is to yearn for simpler days, simpler times. This is a train of thought inspired by reading John Thackara’s In The Bubble, Designing in a Complex World mixed with listening to Steve Gillmor’s NewsGang Live. In the 1960s there were a number of movements organized to try and get back to the land. Even as the guitar solos became faster and more electric, there was a countervailing movement toward ecology, natural foods and dropping out of the rat race.

As the conversation jumps from the Network’s current supersonic speed to a discussion of real time, there’s an understandable backlash against the idea of always on, always connected and being flooded with information in real time. The naysayers moan that increasing the speed of information to real time will only make things worse. As it is, no one has enough time to sort through the things crying for our attention.

When we talk about the speed of daily life, we’re talking about the number of tasks that need to be completed in a day. By doing these tasks faster, and by finding shorter tasks, we can cram more and more into each day. As more things become available to consume and sort through, we’ll need to get even faster just to keep up.

We’ve become hunter/gatherers filtering the incoming streams looking for nutritious information. But the idea that there’s an infinite number of valuable things waiting for your consumption has always been true. Decisions and priorities have always been the key. It just seems like it’s easier to turn on the fire hose of information these days. A well-stocked library probably has the same potential– each book is a stream of words printed into a folio.

There’s another way to look at the idea of real time. We’ve been thinking of it as a faster sort of clock time; clocks are the basis of speed. But real time also connects to event time, the flow of things that happen during a day. Real time is the time in which a conversation unfolds. We tend to think of the emergency uses of real time — a cry for help and a response of aid. Emergencies are one kind of event, but there are many ways of conversing. Real time can be quite slow… the thoughtful pause before an answer; the interlude of laughter for a well-timed joke; a silence that washes over us as our conversation sinks in and resonates.

Perhaps we don’t notice that the speedy machines of the Network don’t move at the speed of life. They don’t have a sense of the fluidity of time. And the speed we want, is not an acceleration of the heartbeats we have remaining, but rather a speed that results in efficiency and spending less time at our chores. When you imagine the real time web, take a moment and think: what’s the music playing in your head?

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Good Money To Sing Into A Can

Orpheus plays to the Muses

Often we like to look to the logic of an innovation to determine whether or not it will succeed. Perhaps instead, we should look to the music of an innovation. In the story below, ideas are transformed into tones to shelter them from the rough transit into the flow of time. Nietzsche’s Innovator seeks first to reach the ear and the heart, not the brain. The determining factor of survival is not truth or error, open or closed, logical or nonsensical— but whether a seedling can be planted and survive the rigors of natural selection. The Innovator speaking of his creation says: “…a seedling can only be destroyed– not refuted.”

I have called this principle, by which each slight variation, if useful, is preserved, by the term Natural Selection.
– Charles Darwin, The Origin of Species

By welcoming “storms, doubts, worms, and nastiness,” the Innovator embraces change and the possibility of failure. It’s not enough for an innovation to be spun into the friction-less space of the mind, it must be planted in the soil and given the chance to grow.

Music and innovation are mixed together in the practice of design thinking. Imagine Apple’s products without the music of their design. Although music should not be confused with beauty. As the economy tightens, standing next to the next generation of innovative products, we’ll be on the look out for the Music Man, the Pied Piper and the next singer-songwriter.

The Gay Science
Book Two, Paragraph 106
Friedrich Nietzsche

Music as an advocate

“I am thirsting for a composer,” said an innovator to his disciple, “who would learn my ideas from me and transpose them into his language; that way, I should reach men’s ears and hearts far better. With music one can seduce men to every error and every truth: who could refute a tone?” “Then you would like to be considered irrefutable?” said his disciple.

The innovator replied: “I wish for the seedling to become a tree. For doctrine to become a tree, it has to be believed for a good while; for it to be believed, it has to be considered irrefutable. The tree needs storms, doubts, worms, and nastiness to reveal the nature and strength of the seedling; let it break if it is not strong enough. But a seedling can only be destroyed– not refuted.

When he had said that, his disciple cried impetuously: “But I believe in your cause and consider it so strong that I shall say everything, everything that I still have in my mind against it.”

The innovator laughed in his heart and wagged a finger at him. “This kind of discipleship,” he said then, ” is the best; but it is also the most dangerous, and not every kind of doctrine can endure it.”

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You Can Never Hold Back Spring

Jeri Southern

The first music for the first day of the new year presents an interesting choice. Does it set the tone for the next 365? Traditionally we might select an optimistic piece that speaks to us of new beginnings. But especially this year, as we enter the new year, we can’t leave the old one behind. There’s a feeling of melancholy filled with possibility, the old year hangs in the air like an unresolved chord.

I turned to Yo-Yo Ma first. He’s an artist who’s been coming up in conversation recently. Born in Paris, raised in New York, he performed at the White House for John Kennedy at the age of seven. A superlative and joyful musician, it’s his work with the Silk Road Project that seems so important at this moment in time.

The Silk Road was an extensive interconnected network of trade routes, not only a conduit for silk, but for many other products and was also a very important path for cultural and technological transmission by linking traders, merchants, pilgrims, monks, missionaries, soldiers, nomads and urban dwellers from China to the Mediterranean Sea for thousands of years.

Yo-Yo Ma’s idea of a modern Silk Road where many cultures meet and cross-fertilize is a positive vision for a new networked world. I chose a piece from his Dvorak Album called Silent Woods.

I then turned to Jeri Southern, because the very thought of her makes me smile. There’s something of the indestructible American spirit in her voice. The photo at the top of the post is Jeri in her backyard with her daughter and dog.

And finally Tom Waits brings it home with his song You Can Never Hold Back Spring. A reminder that seasons change, and there’s a point at which the shortest day of the year is over and the light begins to return.

At the dawn of a new year, that unresolved chord can be seen in a new light. At one time we would have waited patiently in the audience for the musicians to finish the song. But now we look up and see they’ve left the stage, the chord still ringing. Yo-Yo Ma points the way with his new collaborative piece Dona Nobis Pacem. It’s up to us to take up the song and bring it to its proper conclusion.

You Can Never Hold Back Spring
Tom Waits

You can never hold back spring
You can be sure that I will never
Stop believing
The blushing rose will climb
Spring ahead or fall behind
Winter dreams the same dream
Every time

You can never hold back spring
Even though you’ve lost your way
The world keeps dreaming of spring

So close your eyes
Open your heart
To one who’s dreaming of you
You can never hold back spring

Remember everything that spring
Can bring
Baby you can never hold back spring

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Out of Band Messages: Signaling Xmas

Music plays a large role in the Winter holidays, Christmas especially. As popular music turned to rock and roll, it was still part of the family. It played the role of the rebellious teenager— but it still resided well within the boundaries of the nuclear family. In 1963, the Beatles joined the family for Christmas with an out-of-band message delivered through the special channel of the fan club.

As ‘Rock and Roll’ lost its ‘Roll,’ left home and 1960s exploded, Christmas was left behind. The family holidays were left to the ‘family-oriented‘ music acts. As Rock music matured and started families, Christmas returned as a theme. But the new songs didn’t attempt to regain innocence; the real world and the politics of the times couldn’t be kept out of the sound. As we look back across the span of popular music, it’s interesting to observe which artists and styles of music intersect with the Christmas holidays.

Bing Crosby, White Christmas

The Beatles Christmas message made use of a very simple and direct technology. There seemed to be little more than a microphone, a tape recorder, the band and a loose script outline. This kind of casual production method was a far cry from the intense rehearsals and refined production methods of George Martin. The off-the-cuff nature of the message makes the communication all the more genuine; we don’t feel as though it’s constructed for our entertainment, but rather an actual message.

The sophistication of video and sound production has grown tremendously over the years. Its costs have skyrocketed, and then plummeted to an almost commodity level. By chaining together a Flip video camera, the Network and YouTube Christmas theatricals can be produced and distributed easily. The cost of the idea and the time to produce them far outweigh the cost of the technology.

Aimee Mann has left the recording industry cartel to become an independent microcaster. She records albums, tours with her band, and is one of the artists who has intersected with Christmas. Each year, for the last few, she’s put on a special Christmas show. Without the heavy machinery of the record labels, Mann has found ways of connecting with her audience using low-cost and no-cost technical tools. The production costs are low, but the communication/connection value is very high. This combination of high and low modes of production is a new model for all forms of mass media. Even newspapers have become broadcast networks, a printed paper is just one output of the content.

It’s a much more straightforward proposition for a performer to construct a persona for the highly produced recording. Like the transition from silent film to talkies, it’ll be interesting to see which performers still shine off-the-cuff and on-the-run. But mastery of low tech production modes is only one element of the equation. Video isn’t a one-way medium any longer. Messages can travel in both directions, and the best performers know how to listen.

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