W. Brian Arthur Vs Silicon Roundabout, ‘Start-Up Britain’ and other shake-and-bake approaches

I’m currently reading ‘The nature of technology’ by W.Brian Arthur.

It presents quite the juxtaposition to things like ‘East London Tech City‘ and other recent UK government initiatives.

“Real advanced technology—on-the-edge sophisticated technology—issues not from knowledge but from something I will call deep craft. Deep craft is more than knowledge. It is a set of knowings. Knowing what is likely to work and what not to work. Knowing what methods to use, what principles are likely to succeed, what parameter values to use in a given technique. Knowing whom to talk to down the corridor to get things working, how to fix things that go wrong, what to ignore, what theories to look to. This sort of craft-knowing takes science for granted and mere knowledge for granted. And it derives collectively from a shared culture of beliefs, an unspoken culture of common experience.

Such knowings root themselves in local micro-cultures: in particular firms, in particular buildings, along particular corridors. They become highly concentrated in particular localities.

There’s been some hoo and some haa – about where we work – Shoreditch, Hoxton, near Old St., which my former colleague Matt Biddulph dubbed (as a joke) “Silicon Roundabout“.

The press and politicians seem suprised by the ‘sudden’ growth in technology and design companies in the area, but its been the centre of the London internet ‘industry’ since the mid 1990’s – and been home to artists, designers and printers for decades.

It has also, bizarrely, equated what is going on in the area with providing a large industrial park in Startford full of massive multi-million dollar transnational incumbents e.g. McKinsey, Cisco, Facebook and Google.

In reference to the long-now of place and craft, in ‘The nature of technology’, Arthur quotes Alfred Marshall:

“When an industry has thus chosen a locality for itself, it is likely to stay there long: so great are the advantages which people following the same skilled trade get from near neighborhood to one another. The mysteries of the trade become no mysteries; but are as it were in the air, and children learn many of them unconsciously.”

Sounds a lot like Old St!

He adds:

Technology proceeds out of deep understandings of phenomena, and these become embedded as a deep set of shared knowings that resides in people and establishes itself locally—and that grows over time. This is why countries that lead in science lead also in technology. And so if a country wants to lead in advanced technology, it needs to do more than invest in industrial parks or vaguely foster “innovation.” It needs to build its basic science without any stated purpose of commercial use”

So – probably better to not cut education, or funding for science – rather than encouraging people to ‘do a logo’.

This stuff takes a long time, and requires patient support not soundbites or 5-step plans.

As Arthur points out (with my emphasis):

“Building a capacity for advanced technology is not like planning production in a socialist economy, but more like growing a rock garden. Planting, watering, and weeding are more appropriate than five-year plans.

“Since we talked to the dogs”

From an essay by John Berger on Finnish photographer Pentti Sammallahti.

I’ve been thinking at BERG about other senses and empathies engaged by real and robotic dogs as companions, and found this just perfect and lovely.

30 December 2010 - 13.14.55-2

We live our daily lives in a constant exhange with the set of daily appearances surrounding us – often they are very familiar, sometimes they are unexpected and new, but always they confirm us in our lives. They do so even when they are threatening: the sight of a house burning, for example, or a man approaching us with a knife between his teeth, still reminds us (ungently) of our life and its importance. What we habitually see confirms us.

Yet it can happen, suddenly, unexpectedly, and most frequently in the half-light of glimpses, that we catch sight of another visible order which intersects with ours and has nothing to do with it.

The speed of a cinema film is 24 frames per second. God knows how many frames per second flicker past our daily perception. But it is as if at the brief moments I’m talking about, suddenly and disconcertingly we se between two frames. We come upon a part of the visible which wasn’t destined for us. Perhaps it was destined for — night-birds, reindeer, ferrets, eels, whales… Perhaps it was destined not only for animals but for lakes, slow-growing trees, ores, carbon…

Our customary visible order is not the only one: it co-exists with other orders. Stories of fairies, sprites, ogres were a human attempt to come to terms with this co-existence. Hunters are continually aware of it and so can read signs we do not see. Children feel it intuitively, because they have the habit of hiding behind things. There they discover the interstices between different sets of the visible.

Knock! Knock!
Who’s there?
Guess who!

Dogs, with their running legs, sharp noses and developed memory for sounds, are the natural frontier experts of these interstices. Their eyes, whose message often confuses us for it is urgent and mute, are attuned both to the human order and to other visible orders. Perhaps this is why, on so many occasions and for different reasons, we train dogs as guides.

Probably it was a dog who led Sammallahti to the moment and place for taking of each picture. In each one the human order, still in sight, is nevertheless no longer central and is slipping away. The interstices are open.

The result is unsettling for those who are not nomads. There is more solitude, more pain, more dereliction. At the same time, there is an expectancy which we have not experienced since childhood, since we talked to the dogs, listened their secret and kept it to ourselves.

Phil Gyford, on knowing what you’re talking about.

If only more conference speakers felt this way…

I give very few talks about anything. I am terrible at knowing what I know. I assume that most people in the audience of any conference I attend will know more than me about anything I could talk about. For similar reasons, I’m no good at thinking of things I could write about for magazines. You all know what I know.

It turns out that I need to run a website on a very specialised topic for eight years before I’m in a position to feel confident talking about it. This may be a little extreme.

Probably something I should bear in mind.

“More hammering, less yammering” as Bleecker puts it.

The Ray Davies Preservation Society

Just finished watching Julian Temple’s film about Ray Davies and The Kinks: “Imaginary Man”.

It’s incredibly tender toward it’s subject – which is at once Ray, his music, the band – and London.

Ray Davies: Imaginary Man

The Turner-esque, painterly imagery alternates with more graphic compositions of Davies’ peregrinations around North London.

Ray Davies: Imaginary Man

It’s a series of psychographic sketches, punctuated by Kinks songs – in archive footage, in cover versions and most affectingly perhaps, hummed, sung and stumbled through by Davies as he strolls.

Ray Davies: Imaginary Man

He’s cast by the film as a flawed-heir to Blake – wandering London, inventing his own sung-systems rather than be enslaved by another man’s.

Ray Davies: Imaginary Man

This blog goes into far more detail and appreciation.

If you can hunt it down online do.

Ray Davies: Imaginary Man

If only to revel in London as Temple and Davies do.

Ray Davies: Imaginary Man

My thanks to both of them.

Ray Davies: Imaginary Man

System Persona

Ben Bashford’s writing about ‘Emoticomp‘ – the practicalities of working as a designer of objects and systems that have behaviour and perhaps ‘ intelligence’ built-into them.

It touches on stuff I’ve talked/written about here and over on the BERG blog – but moves out of speculation and theory to the foothills of the future: being a jobbing designer working on this stuff, and how one might attack such problems.

Excellent.

I really think we should be working on developing new tools for doing this. One idea I’ve had is system/object personas. Interaction designers are used to using personas (research based user archetypes) to describe the types of people that will use the thing they’re designing – their background, their needs and the like but I’m not sure if we’ve ever really explored the use of personas or character documentation to describe the product themselves. What does the object want? How does it feel about it? If it can sense its location and conditions how could that affect its behaviour? This kind of thing could be incredibly powerful and would allow us to develop principles for creating the finer details of the object’s behaviour.

I’ve used a system persona before while designing a website for young photographers. The way we developed it was through focus groups with potential users to establish the personality traits of people they felt closest to, trusted and would turn to for guidance. This research helped is establish the facets of a personality statement that influenced the tone of the copy at certain points along the user journeys and helped the messaging form a coherent whole. It was useful at the time but I genuinely believe this approach can be adapted and extended further.

I think you could develop a persona for every touchpoint of the connected object’s service. Maybe it could be the same persona if the thing is to feel strong and omnipresent but maybe you could use different personas for each touchpoint if you’re trying to bring out the connectedness of everything at a slightly more human level. This all sounds a bit like strategy or planning doesn’t it? A bit like brand principles. We probably need to talk to those guys a bit more too.

Women Of The World – Take Over: 2010’s music

As has become habit for me, I grabbed my end of year charts from last.fm

Last.fm charts 2010: My Top 10 Artists

Eno at the top, Bowie close behind – unassailable by now.

While Eno, and The Black Keys have put new records out in 2010, Four Tet is the only act that can really claim to have dented my 2010 with music from 2010.

Last.fm charts 2010: My Top 10 Albums

“There is love in you” dominated my 2010.

Walking music, working music – dancing-round-the-kitchen-cooking music. It’s a cracker. Best Coast’s debut album “Crazy for you” gets in there too. More of them later.

Last.fm charts 2010: My Top 10 Tracks

“Sing” from that album got heaviest-rotation, and coincidentally right below it is the snappily-titled “OAR003-B” by Oni Ahyhun (otherwise known as Olof from The Knife) which I think I first heard on a mix by Keiran Hebden (Fourtet) in close aural proximity to his track.

But for various boring reasons (mainly how much I listen to music on my phone), the last.fm stats don’t really tell the story of the albums of 2010 that made the greatest impression on me this year.

And, they’re overwhelmingly by female-led acts.

She and Him: Vol 2

A lovely record, associated with driving through Wales to some of my favourite places – Aberdovey, Cardigan, Laugharne – and climbing Snowdon on our wedding anniversary.

Best Coast: Crazy for You

Sing-along slabs of fried sunshine. Seems to be on constant loop in our local, The Book Club.

Sleigh Bells
But I think the crown has to go to Sleigh Bells.

Not only incredible pop, but incredible pop that couldn’t have come from anywhen but 2010. I loved all of “Treats”, especially “Infinity Guitars” and “Riot Rhythm” – but the opening track, and debut single “Tell ‘Em” grabs you with it’s incredible intro: all-together now – “SPUGGA-DUGGA! BEW!!! BEW!!!”

Also worth trawling youtube for the seemingly-ever-multiplying Sleigh Bells Vs … remixes…

Let’s give some too-early-to-tell-honourable-mentions to Warpaint

Twin Sister


.
..and Guards

But, I’ll finish up with two beauties.

Firstly, “Further” by The Chemical Brothers… especially “Swoon”

I’m liking the hyperdrive MBV-ness of your late-period Chems.

Not shoegaze, but… Screengaze?

Ahem.

Anyway…

Finally, probably my absolute favourite album of the year is the beautiful, hauntological post-ambirock soundtrack “Man of Aran” by British Sea Power.

Huge grey oceans, dark arcologies of cloud, massive shear cliff faces and dazzling bursts of sunlight – all in your ears.

“Come Wander With Me” is the one I find myself humming nearly everyday.

I’m cheating – “Man of Aran” came out in 2009, but hey – It’s 2011 already and it’s staying…