Tag Archives: technology

Personal artistic patronage – the next phase of TV….?

What do these people all have in common?

Spot the millionaire

They appear in some of the greatest works of art in the history of the world – because they had a) money and b) taste.

For centuries, the only way to get your art made was to make it for the Church, or in some cases for the Court. One of the key elements that spurred the great artistic reawakening was the pure economics of the situation – a new wave of more worldly masters, mainly merchants and venture capitalists. Of whom the undoubted rockstars were the Medici.

Out of love of glory bound together with love of art, they empowered artists, writers and poets to broaden their horizons, to explore the secular, and to express themselves on the grand stage.

Closer to the present day, we have this:

Now Richard Branson is no Medici (thus far.) But he is a representative of something we are all familiar with, whether as professionals or as irritated film goers – that as the commercial models of the past video industry crumble, we see increasing roles for businesses in funding (and appearing in) entertainment content.

It’s easy, and perhaps right, to be pretty suspicious of this force, particularly as it migrates to a more subliminal level, and to the screen in your living room rather than the public forum of the cinema.

They really could have leveraged the space on his forehead more effectively to improve brand recall...

But the fact is that the economics of the world of TV are changing. This will definitely mean a more integral role within the world of TV content for brands and companies. I would argue that there is also a potential role for individuals, and that the day of the great patrons will return. Why?

In the past, there were 4 things that gave you power in the world of TV, and that made the TV channels and networks powerful (loosely quoting Andy Lippmann, of the MIT Media Lab.)

1. Access to a mass form of distribution

2. Money for and capability at promoting content

3. Venture capital to invest in creative projects

4. The taste and expertise to act as a curator and editor

What is interesting about this is that we sit at an interesting turning point in the world of TV, where the first two are changing beyond all recognition.

What an Apple TV almost certainly won't look like

Distribution is through the internet or wireless connection – and YOU own and pay for that. And promotion…well, increasingly, you do that too, because the recommendations you and your friends make to each other are much more powerful than any advertising campaign.

So that leaves two aspects: venture capital for creative projects, and the taste and expertise to choose the right content and support the right talent.

Which sounds an awful lot like artistic patronage. Add this to an app-led, tablet-style interface and the chances of watching the Bill Gates or the Madonna channel seem more and more likely. Especially as Twitter, Facebook and Google Plus increasingly condition us to expect a Web of content organised around people, rather than topics or channels.

This wouldn’t be anything brand new – CurrentTV feels near as dammit like the Al Gore Channel.

Current TV. Good, but ahead of its time.

And it won’t necessarily be individuals…it could be collectives (like the Coppolla/Bogdanovich/Friedkin ‘Directors Company of the 1970s)

The Directors Company - good, but ahead of their time (and generally mad and power-crazed)

But in the next phase of TV, artistic patronage could come back in a big way.

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3 unexpected ways crime drives innovation

Innovation means doing things differently to do them better. That means breaking rules and conventions. And not all rules are of the ‘wear a tie to work’ variety.

When breaking rules, always be sure to make the typefaces off-horizontal

In order to make things work better, society as a whole needs people to test and break the ‘big’ rules too. These people are criminals.

99% of criminality is of course not socially productive. But, either by intent, or by the response it provokes, it does form an essential function in helping society to innovate and improve. Here are some unlikely examples:

1. Exposing flaws in outdated systems.

When you think of a criminal, one of the stereotpyes that first leaps to mind is one that was formed in the midwest of the US in the early 1930s. Dillinger, Bonnie & Clyde, Machine Gun Kelly, the Barker Gang – a flurry of iconic figures that all derived from a very specific time and place.

This spectacular outburst of criminality derived from two seminal technological innovations – the creation of cost-accessible machine guns and cars.

But what it exposed very rapidly was the Achilles heel of the American police system – the disunity between states. As huge as the United States is, the addition of the car enabled criminals to travel between 9 different Midwestern states, and thus 9 different legal systems, within a couple of hours. Once you got over the state line, you were fine.

Have car, will travel. 6 states in 2 years. 6 legal systems.

This had some negative consequences of course – primarily the militarisation of the FBI and subsequently the police. But the real innovation that they drove, and which J Edgar Hoover used their notoriety to champion, was a centralisation of shared criminal justice data. Which was the first great data project that began to make the United States a more unified society under law.

So think about criminals as like the ultimate QA testers of a civilised society.

2. Pioneering in the grey areas of the economy.

Sometimes, the rules simply aren’t very clear, because the dynamics of society, information and the economy are changing far quicker than the ability of legal processes to catch up. Particularly in areas relating to media and technology.

For example, from the moment of the invention of the internet, the entire principle of music ownership and copyright were effectively a Wild West…which the massed ranks of copyright lawyers, record labels and music publishers had little or no interest in exploring. Then came Napster (invented, of course by Justin Timberlake).

Whatever you think, or thought of Napster (and I am sure a few Metallica fans out there thought it was a bad thing) there is little doubt that they rapidly accelerated a wonderful burst of innovation in the music and content business. And without the Napsters, or Pirate Bays, or other people who by simply not caring about the law define themselves as criminals, it is difficult to make progress.

This need for legal flexibility in the area of content, media and technology continues to flummox us. They need to be answered at some point, but rigid initiatives like SOPA are not the answer. And to even see where the lines should be drawn, you have to allow pioneers to colour in the grey areas.

3. Destroying ‘holy cow’ legacies of the past.

Lest we forget, the legal standards of the present have not always been reflected throughout history – the law is evolutionary, not absolute. Nor is it always ‘progressive’ – it frequently oscillates between extremes and loops back on itself. This can lead to some surprising results, and even very trivial crimes can have significant effects.

For a spectacular example, we can look at one of the most frequently asked historian’s questions: why did the French Revolution occur. Everyone agrees that literature played an important role. Traditionally, people thought the seminal text was this:

It turns out that the flood of cheap political pornography in 1780s Paris, depicting Marie Antoinette, Fersen and Louis XIV in unflattering sexual poses, may have contributed somewhat more to encouraging people to overcome their religious scruples towards the position of the monarchy, and get behind regime change.

Absurdly, given the neo-censorship of the web, this is the closest I can get to finding a political cartoon that was considered only mildly risque at the turn of the 19th century

Fairly trivial crimes, driven by disrespect and entertainment, can have highly constructive outcomes – when they challenge unjustifiable authorities that are holding society back.

This seems like a fertile area. Any other thoughts on the relationship between crime and innovation?

POSTSCRIPT:

Elsewhere in the history of illicit entertainment, see the development of the internet and the explosion of personal photography/video equipment…and if you don’t believe me, check out how they sold the first Polaroids:

and digital cameras:

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6 old ads – they don’t make them like they used to

Advertising may get on your nerves in the here and now, but it can be a fascinating lens on how the world has changed. These ads from the 1930s-1950s show how advertising, and the world, has changed. Sometimes, but not always for the better. Spot the differences.

All images here are courtesy of the superb New York Transit Museum in downtown Brooklyn.

1. People used to assume that advertising was supposed to be useful.

This reminds me that in simpler times, advertising WAS useful.

2. And in fact, advertisers used to see it as their duty to fund stuff that people loved (and used advertising to remind them of the fact they’d done it.)

That is a good reason to change my brand of bread.

3. The design of many ads used to be truly BEAUTIFUL.

I am guessing Sunkist ads don't look this nice now.

4. Advertisers of the past were not afraid of wading into the gender war. (It’s a bit more subtle now, though no less pervasive.)

Is this powerfully political, or outrageously patronising? Hard to tell from these 8 words.

5. Health claims were not rigorously examined.

As a lifelong eczema sufferer, I can assure you that Cadium did not change the face of dermatology

6. But you were at least allowed to acknowledge that salt tastes nice.

I have no idea what this product tasted like. It doesn't sound great...

 

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There is no Them. There is only Us.

People have always defined themselves by what they aren’t as much as what they are. It gets passed on from group to group: the Brits defined (and continue to define) themselves by difference to the French, and in turn Americans by difference to the English.

This person simply will not pay duties to the hated English without due representation.

Otherness is a fundamental source of inspiration and aggression. Men and women, we are told, are from different planets. National pride and xenophobia continue their uneasy see-saw relationship, despite living in an age of global media, global business and global pandemics. As soon as the psychological power of the boundary between Lancashire and Yorkshire begins to lose its power, it is replaced by the power of the psychological boundary between environmentalists and Clarksonites. Everyone needs a Them.

Them has been one of the great subjects of the rise of the popular media. In particular, from the satirical pornography of the French Revolution to the neon Schwarzenneger epics of the 1980s, via rather a lot of good protest and faux-protest music in the 1960s, raw and paranoid rage against the secret machinations of those in power has been one of the driving forces of the development of what we know as popular culture.

Apparently, the presence of this hot material in Paris in the 1790s is what made revolutionaries feel it was OK to remove this woman's head

This format has been endlessly rehearsed, and forms the plot of roughly 25% of serious TV drama and 50% of Hollywood’s entire output. For me, it reached its nadir in the execrable Adjustment Bureau, on which I expended 2 hours of a recent flight that I could have better spent waiting in the endless, awkward queue for the world’s smallest bathrooms. The Adjustment Bureau was full of a ‘They’ that were all powerful and yet at the same time totally bloody hopeless.

If you haven’t seen the Adjustment Bureau, it is a longer and less good version of this trailer:

Now I realise that power continues to be distribute unevenly and unjustly, and that governments like to get away with doing things they shouldn’t be doing (or at least haven’t asked permission for, like removing the tyrannical leaders of countries.) But as I watched the Adjustment Bureau, I couldn’t help but think of the material I had read from Wikileaks, and for the most part how unbelievably banal and even mostly well-intentioned it was.

The ability of the internet to scale discoveries at lightening speed and the ubiquity of the rolling news camera have largely laid bare the secrets of government. Those that remain buried are, unfortunately, deeper buried than ever. But, for the most part, we have see all the rough edges and hidden errors of our leaders. And frankly, they mainly seem like people we would generally sooner pity than fear. FDR was able to act as President of the USA for 12 years and only two pictures were known to have been taken that showed him in a wheelchair. Whereas with Dubya, we got a pretty constant serving of this:

Now was I thrilled that this guy had his finger on the nuclear button? No. But I knew he wasn’t really a monster, because I do stuff like that all the time.

But that merely moves us from the theatre of fear to the theatre of pantomime. It takes a real work of art to remind us that we aren’t in a theatre at all, and that if we are it certainly isn’t a paranoid retro-futurist conspiracy thriller. This is I think why the Wire is such great drama – not just because of its entertainment value, but because it achieves the almost unique attribute of making every single character rounded and worthy of empathy if not always sympathy. Everyone is trying, everyone is flawed, and everyone is connected.

He allows homicidal drug dealers to die worrying about their hair:

And he allows cynical politicians to express their intentions…which are, at their root, generally positive, no matter how the system may pervert them:

This is a recognition of the reality of the world that we live in – that it is not the puppet show of shadowy cabals or machiavellian geniuses, but a totally interconnected system in which everyone, actively or passively plays their part and affects every other part of the system.

And as the world we live in begins to run on a track of behavioural data and social connection networks, the reality it that more and more the world is becoming a great big human system, in which every one of us is a working part. And the structure of that system is as fragile as it has ever been. It is harder than ever to keep any part of the system secret or separate. And the system itself is much more fragile than it looks.

It has never been so easy to round up a posse

This is a positive thing and a negative thing. It is a danger and a responsibility. It enables some people to break long-standing taboos in the name of humanitarian action, and it enables others to create a pattern of chaos and looting without a cause. But ultimately it is all a reminder that the human system is there, and that everyone is connected.

In this context, it feels like we have taken ourselves down a blind alley and created a worldview that is far too centred on the idea of ‘Them’. You can’t get rid of a sense of otherness, nor should we try. But sometimes it feels like because of Watergate, and Hackgate, and Expensegate, and because of a moviegoer-level understanding of Orwell and Dick, and because of Grand Theft Auto and gang violence and all these things that seem not to translate across generations, we are really prone to devolving to a facile games of Us and Them – which is a dismissal of both hope and responsibility.

We don’t live in the Matrix. Rupert Murdoch isn’t a Bond villain. The TV screen is not the Newsscreen of 1984. We live in the most empowered and interconnected period in history. We all have to ability to reach out to other parts of society at any moment, or at least give their point of view. We have unlimited outlets for self-expression, and a legal system that fights bitterly for our right to use them.

It took mankind a lot to get us to this point, where we have so many tools at our disposal to feed our empathy and impact on our governance. And to watch the modern world slip by us like a bad sci-fi movie or a cartoon Lord of the Flies is a terrible waste of all that effort.

 

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The real NOTW headline – the age of broadcast political bullies is nearly over

This week saw the closure of an outdated and unprofitable Sunday tabloid newspaper. It also saw a feeding frenzy on the unholy relationship between broadcast media players and politicians. One of these stories is very important.

It is so easy to use pantomime villains like Murdoch and Brooks, or even Cameron and Blair, as the focal point of our righteous indignation. To do this is to ignore something much more fundamental at work. What we are seeing is an assassination attempt on the now long-standing axis of News International and the British Government.

There are some angry people out there.

The white blood cells of the Guardian, celebrities and the massed ranks of the Twitterati are in full onslaught against every chink in the Murdoch armour. They are determined to use this moment, in which News International should have been celebrating their impending ascendancy as masters of the convergent media battlefield, to bring their ambitions crashing to earth.

This is no mean feat. After all, this is one of the most potent power relationships in the UK. To an extent many certainly do not realise.

This is also in the context of an entire past century in which political power and media broadcasting have been inseparable. In fact the political history of the 20th Century can be seen just as clearly through the lens of media change as through the lens of political wings. After all, it was the era of mass newspaper distribution, of radio fireside chats, of movie newsreels, and live televised debates.

When you think of the icons of the political nineteenth century, you might think of them through their portraits. Or perhaps through their speeches, or their nicknames. When you think of the icons of 20th Century Media, you almost immediately think of them through their media appearances. To be a political superstar in the 20th Century, you had to be a master of the media.

Perhaps the greatest of all was Churchill – just one of a list (FDR being another great example) of true gurus of the radio broadcast.

JFK is of course one of the most iconic American politicians of all time – despite a decidedly patchy administrative and moral record. But he was great on TV. Nixon (at this point a hugely respected figure of great integrity) was not.

And to take things to their most logical and ridiculous extreme, let’s not forget that this man is now pretty much the most respected President of the 20th Century.

And played out to its worst extremes, of course the 20th Century brought us the tide of fascism, of Communist based dictatorship – usually established on a bedrock of broadcast-driven cultural brainwashing.

Even in the succeeding and supposedly more cynical age, the power of the broadcast media continued. In particular, still the press, with which politicians remain absolutely entranced, it being the only medium that is truly interested in them, and which enables them to keep score. Particularly the tabloids, which they perceive as being able to connect with ‘ordinary people’ in a way that they have forgotten. And of course to many of them, it is still the Sun wot won it (or lost it).

Some say Kinnock could have lost it without them

Blair and his ‘spin doctors’ were described as a new generation of super-cynical, media-obsessed politicians. In reality, they were the end of the old era – the last generation of effective media managers. They could still, just about, manage public opinion through 3 or 4 really big media relationships, with Murdoch as the centrepiece. But the mere fact that the world of spin is one of the first things we think of in relation to a government that brought peace to Northern Ireland and war to Iraq is testament to the unravelling failure of that form of message management.

And now, we see Cameron, the apparent heir to Blair, the PR man in Number 10, playing out the next stage of this decaying power structure. Suddenly his power base looks fragile, and his big bet on Murdoch and Coulsen looks rash and destructive. Not only because of ethical questions – but because when it really comes to the crunch, even Murdoch’s legions represent a pretty small part of the spectrum of opinion, and a tiny fragment of the playing field of active participation in political discourse.

The relationship with the media isn’t going away as a crucial success factor for politicians. It can only become more extreme as media itself becomes a bigger part of life. But the axis of politicians with ‘The Media’ – ie a small circle of powerful but venal owners and editors – is no longer a sustainable power model. It is more transparent than ever, and there is more of the political discourse outside of their control. It is a more fragile base than ever on which to build control.

Nor are the traditional skills of message management going to retain the same power as before. The idea of owning the ‘news cycle’ practiced so successfully by Blair and Campbell in their honeymoon period, simply do not work if your ‘workings’ can be scaled to the population at any moment, without the need for a broadcaster to drive the distribution. Which is why this kind of approach from Ed Miliband simply will not work any more.

A new generation of politicians will find a new way to bend the media to their ends no doubt, but retaining the kind of control they are used to won’t be possible in the future. We see politicians dabbling in listening exercises and ‘Twitter Town Halls’ as they dip their feet in the future. But it is fair to see we haven’t got it work out yet (I will consider this in a future post.)

One thing that is clear is that as with entertainment and marketing, a distribution model on its own will not be enough. Ultimately content – transparent and compelling actions – will be more powerful than ever.

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Lost in Meta-News

A very inspiring English Literature teacher once told me that all poems were about poetry, and all plays were about plays. Increasingly my newsreaders seems to be telling me that all news is about news.

Now I happen to think that poetry and plays should be about other things too, but what my teacher said stuck in my mind, because for literature by and large it is true.

The artistic process is inherently a meta-process, because any medium we engage, from blank page to blank canvas to blinking cursor, acts a mirror to ourselves. Ultimately when we engage with the world of imagination we only have ourselves as material to work with.

Great artistic works, like Proust, or Hamlet, or, are often acutely meta-textual, to an extent that they feel almost like organisms becoming aware of themselves. And in fact we almost define the trajectory of artistic progression as a medium’s path to supreme self-consciousness.

This is not a pipe. But it is a fantastic student poster.

But the news is different. Because the news, by and large, is one of the most essential tools we have in creating social cohesion and empathy, and to help people to understand real events in the world around them.

But it seems that finding out the news is just getting harder and harder. Because all anyone wants to tell me now is the Meta-News.

What do I mean by this exactly? Well, after reading this watch pretty much any TV news apart from the BBC World Service, or read pretty much any newspaper apart from the Financial Times, and you are likely to very quickly notice that about 50% of the airtime is devoted to coverage of the reaction to the news, or the process through which the news was obtained, or the difficulties in filming the news – with astonishingly little detail on what has ACTUALLY HAPPENED.

The modern news studio - a monument to Meta

Nowhere is this worse than in the world of 24 hour live news, in which the irregular flow of real news poses as significant threat to the much more regular flow of actual minutes and seconds. One thing that remains constant however is the speed at which people speak, film and report the news. That makes it a godsend to the rolling news editor.

This whole phenomenon went way beyond satire some time ago, though it has fed some of the very best, from Brass Eye to Charlie Brooker.

But that doesn’t make it any less disturbing to try to discover the details and impact of the Osama Bin Laden, and have to try to weed out a couple of actual facts from amongst the debris of people’s emails, footage of strange macabre people dancing in Times Square and a randomised selection of tweets.

This last area is particularly painful. News knows that email is important, and that there is every chance Twitter might be even more important. What is the response of TV news? Use it as filler. The ultimate, infinite time-filler of opinion. What’s more, a bottomless pool of opinion – which means you can easily find opinion to back the agenda of the broadcaster. Perfect.

The result – a relentless flow of jabber, which makes the angry angrier, the old-fashioned ever more befuddled, and which to the vaguely tech literate looks like an old-fashioned headmaster putting on sunglasses and trying to do some tricks on a skateboard.

All of which is silly, and infuriating, but worst of all, represents a collective shrug by the news broadcasting industry at the creative potential inherent in the most connected age of mankind, to get people to understand and empathize with news in ways never achieved before, in favour of the news equivalent of the music you hear in lifts.

It’s not all bad. Anderson Cooper on CNN is immense, and his fluency in the multi-screen world is awe inspiring – including the seamless interaction of international coverage and inside accounts on Twitter and YouTube into his reports. This is what the new golden age of newscasting could be all about.

In the meantime, the great majority of news coverage is still rather self-excited, and lost in a tedious and iniquitous spiral of-Meta News. Let’s hope it emerges soon.

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The clash between the narcissism of technology and real love

A soul-enriching Memorial Day weekend, with minimal use of technology for anything but checking the weather, has reminded me that the Internet and Life are not the same thing.

And then I listened to this – a phenomenal diatribe on the incongruity of love and ‘being liked’, on the disjoint between technological narcissism and real experience, from the brilliant Jonathan Franzen speaking at a Kenyon College Commencement.

'Liking' is not loving.

Here is an excerpt – but listen to the full thing when you have some time for contemplation.

‘A related phenomenon is the transformation, courtesy of Facebook, of the verb ‘to like’ from a state of mind to an action that you perform with your computer mouse, from a feeling to an assertion of consumer choice. And liking, in general, is commercial culture’s substitute for loving. The striking thing about all consumer products — and none more so than electronic devices and applications — is that they’re designed to be immensely likable. This is, in fact, the definition of a consumer product, in contrast to the product that is simply itself and whose makers aren’t fixated on your liking it. (I’m thinking here of jet engines, laboratory equipment, serious art and literature.)

But if you consider this in human terms, and you imagine a person defined by a desperation to be liked, what do you see? You see a person without integrity, without a center. In more pathological cases, you see a narcissist — a person who can’t tolerate the tarnishing of his or her self-image that not being liked represents, and who therefore either withdraws from human contact or goes to extreme, integrity-sacrificing lengths to be likable.”

http://www.kenyon.edu/x57433.xml

Not only are ‘liking’ and loving not the same thing – is there a danger that technology can turn us into a machine for ‘liking’ and being ‘liked’ – and forgetting to experience the real thing…or worse, becoming too afraid of rejection to even give it a try?

ADDITION: The related New York Times op-ed is also great if you don’t have time to listen to the full thing.

http://www.nytimes.com/2011/05/29/opinion/29franzen.html

 

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