Showing posts with label New Media. Show all posts
Showing posts with label New Media. Show all posts

Saturday, October 23, 2010

8-bit Nostalgia and Miss September 63's Influence on Tactile Controls.

I love my wife’s new nano, the slickness of the interface, its ease of use and the fluid movement of pages on such a small screen is pretty darn cool.  I almost wish Apple would release a developer’s kit to add a control interface capability. Aww, com’on you know you agree, this would be the ultimate key fob.


Yet, am I alone in feeling that the new nano and even the iPad is well, soul-less? I am troubled- only somewhat mildly mind you (I DO work in the belly of the beast)- by the frictionless gloss of icons.  In fact, in the spirit of true disclosure I have to admit that I do not get surround sound, having compared it to overblown quad some years back on a pro AV forum on AOL.   I still, mostly, stand by that assessment today. 


Which brings me to my main point; I miss the tactile feel of a physical interface.  Perhaps it is simple nostalgia but I long for the clickty-clack-clunk of an 8-track tape, the solid mechanical ka-chunk of open reel tape decks, and the tactile feel and response of weighted gain knobs. I am not sure just why I love these knobs so much, the sheer pleasure of them in my hand – they just feel right, perfectly balanced in my fingers and against my palm.  I could make an innuendo here, which would be apt and very Miss September 63, but I think you get the gist.  So deep is my love for the classic high-end gain knob that I argued vehemently to include a version on a product, I was asked to do some preliminary concept work on. (I also wanted it to have a more ‘retro’ look with a maple or cherry wood front. Perhaps I do have too many vintage Playboys with their Cutty Shark ads).  The product got its gain knob but the front is basic black and silver.  


Additionally I tend to gravitate toward older looking games. I still watch in awe at the offerings G4 reviews and get that reflexive itch when I am near new game consoles but I am drawn by a greater gravitational pull – the text based Zork.  If you have ever played this game, you know what I am taking about.  It is a simple game really; it is a treasure hunt with fighting trolls, endless caverns, singing demons in hades and an abandoned dam.  All of this, and your action commands, are in text for which you have to draw maps if you are to get through it all.  It is work, hands on paper and brain imagining in 3 dimensions. Do you know the old saying, that things are far more provocative when a little is left to the imagination, yeah – Sophia Loren like.


So, why I am blathering on about all this? What point could I possibly be trying to make?  I really dig this video by HOLLERADO:


 The Video is a one shot, one chance to get it right, human analog of effects.  'There was a time when we made things with our hands'


 










 


 





Sunday, May 24, 2009

Station X (or why Math is equal to guns in war)- Memorial Day

 Turing machined
 
Why did the allies win? For a good deal of WWII the allies were on their heels, fortress Europe appeared to be lost. A good many fine men and women gave the ultimate sacrifice, meeting their end by a bullet. The bravery and ultimate good of these soldiers in defeating the German and Japanese threat is well know and unquestioned. What many people do not realize is just how important the code breakers of Bletchley Park were to the success of the allied effort.


Bletchley Park and its main mathematician-Alan Turning- figured out methods to decode the NaziEnigma machine and later other high level Nazi and Japanese codes. Early on the codes were decoded by the brute force method of hundreds of ‘decoders’ working of every possible variation. While this worked it was hardly ‘real time’ and the information could be irrelevant by the time it was fully decoded. The site received thousands of coded messages a day. Imagine trying to find what was important and what was old news! 


Alan Turning designed a machine to decode the messages in ¼ the time. Bombe was something of a difference engine- only its purpose was the salvation of the world.


President Obama has asked (we Americans anyway) to thank a soldier, I have done so at today’s Hastings on the Hudson memorial day parade, I also plan on a moment of silence  for the code breakers of Bletchley Park- for without them it would be uber alles, uber alles.



Saturday, May 16, 2009

Be in my broadcast when this is over

Paul Sidney died a few weeks ago, in all likelihood you have never heard of him but if you are in anyway involved in community building, you need know about him.  Paul Sidney ran and was the voice of WLNG radio out of Sag Harbor Long Island.  WLNG is local as local radio can get. The station is a throwback to late 50’s style of operation where announcers add echo and heavy bottom EQ to their voices and the News is local, local and local.  Growing up in the Hamptons of Long Island it was it was impossible to not be influenced by the sound and programming of WLNG as it was everywhere and literally at every event.


You can read Paul's obituary here, it tells the tale of his coming over to WLNG, becoming its driving force and cult of personality. What it will not tell you is just how deeply he ingratiated himself and the radio station into the very fabric of the lives of those who listened to ‘LNG and even those who did not.  The comments section of the article will do that well enough.


In addition to music and local news WLNG features live call in shows such as "Swap n' Shop" -where people call in to trade a 1940’s fly wheel for a couch or someone looking to buy or swap for a full set of tools and toolbox.  While at times it can be nap inducing it also is a window into people’s lives, needs and character. Paul would not just help the caller to describe what they wanted to trade or relive themselves of but also would check on their status – he engaged them in conversation about the news of their neighborhood.  It was not radio it was community.


The radio station was among the first to have merchants record their own commercials, clearly not professional actors but direct and personal. The ads could be grating and awkward but then so were all the rest and yes, it was the person who owned the store. The ads always left  you feeling – ‘that’s Jim’s place, I should stop by and see how things are doing.


Having the mission to be local as local radio gets WLNG and Paul would travel to every possible event occurring on the east end of Long Island, eventually using two fully equipped remote trucks .  The remotes were Mr. Sidney’s glory and crowning achievement.  These over-sized airstream RV’s were literally at every store opening, town parade, fund raiser and carnival. The draw an ‘LNG remote could –(and still does I am told)- muster was phenomenal. It was not an event of note if the remote trucks were missing. Paul knew how to work a crowd, how to detail just enough to give listeners a good picture- keep them listening AND to attend the event.


In my mid to late teens I developed an overly impressive angst about my surroundings and began a lifelong quest to find new, interesting and thought provoking music and media. This local radio station was the epitome of all I wanted to get away from. In my rush to find something else, the remarkableness of Paul Sidney and WLNG was ignored. As a young person, grappling with defining a personal identity, you grew to loathe when parents put WLNG on, pronouncing it one of the seven signs of local lameness. Yet hearing the station was always comfortable, like going to the carnival with your younger brother- you would rather go alone, check out the girls and hang with friends. But he’s your brother and its okay. 


I left for NYC and its heady world of aggregating cultures and slick production values leaving the ‘farm report’ station behind me.  Imagine my shock when I attended an NAB (National Association of Broadcasters) tradeshow and one of the first things I see upon stepping on to the exhibit floor is Paul surrounded by a flock of people.  I nearly retained my youthful arrogance and rushed by thinking ‘what’s this goat doing here, intruding on my sanctuary?  Instead I stopped to see just what everyone was doing around Paul Sidney.  The questions were eager often hyperactive, asking just how such a small station could grab such large shares in the face of the conglomerates and city backed stations. Paul Sidney’s answers stuck me and started to chip away at my preconceived notions.


My thoughts wandered back to WLNG and Mr. Sidney as I started to get involved in hosting bulletin boards on BBS, AOL and later a few web communities in the early to mid 90s.  It always struck me that group chat rooms were, in effect, community halls- only broadcast. Many compared and still compare them to the days of CB radio popularity, complete with the snide disregard for the value of conversations it generated. The online community often overtly revels in the fact that they are community, ideas are shared and bonds forged. More often than not individuals or groups talk just to hear themselves but in the end fundamental value is created– community radio.  Social media now is, in part, the largest community radio project only the community is not a location but global and based on common interest. 


Next time you tweet an event, start a rolling discussion on FriendFreed or post ‘real-time’ photos to facebook, remember that you are utilizing a form once dominated by people who used radio to build and keep communities talking. We owe our current mass media social networking to men like Paul Sidney, they may not have fully understood the import and impact , they provided the framework for it to be successful.


  


Paul Sidney’s Über local radio is the model social media should pay attention to, all media is local, regardless of the physical location of the community. Those of us who take forward positions in the creation and application of social media groups need to remember the passion, investment and yes, love of the community Mr. Sidney exhibited.  I for one will miss his voice and although I rarely venture back to the Hamptons he and WLNG will always be the sound of The sound in my head.


 


 Edit: *added August 9, 2013 - Inspired by a Post on the 50th anniversary of WLNG in the Sag Harbor Experess 


 


As a Co-Founder and producer for the Pro Audio Visual community podcasting network AVNation.tv I find that I take Mr. Sidney's leadership and example to heart with every show and every episode we produce.  Love the medium, love the community - revel in every nuance.  


 


 



Tuesday, May 12, 2009

Confessions of a lightfair virgin


Lightfair was 09 was held at the Jacob Javits Center and with Crestron showing I had and opportunity to attend and get a good overview of the lighting industry.



For the uninitiated Lightfair is a trade show where the main manufactures and suppliers of everything from ballasts to building management systems show off their fixtures, tools and systems.  


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While I consider myself a veteran of over 1000 tradeshows as both presenter and (for the majority) as a behind the scenes technician, Lightfair was illuminating to me. (Sorry, I just could not resist). As I have just begun my tenure in the new position of marketing writer, specifically in support of the lighting division, the show was a good place to acquire marketing material and an education on products and technologies similar to ours.  I also reveled in the general easy tenor of the show; it was a simple task to get around, lacking the press of bodies moving you in directions unintended.  Tradeshows like Infocomm, where the attendees are literally banging at the doors to get in each morning, the pathways can be like a roiling stream of class 4 rapids.  This “benefit” was certainly a worry for the Lightfair sponsors who sent out missives to proclaim 20K registered attendees and the exhibitors could be overheard worrying that they overstaffed their booths. Day 2 on the other hand was much more to the hopes of the sponsors.



Both days I attended it was decent enough out to walk from Grand Central to the Javits, as I used to work on 45th and 11th for a number of years the walk was a bit of nostalgia.  Since I started working in New Jersey and therefore becoming a driving commuter I rarely get to the city and when I do it is to bring the kids to a museum.  I evidently no longer have the native Manhattanite walking pace of my days living on the east side –( I skated everywhere anyway back then).  The slower pace was, at first, disconcerting but I found it gave me the opportunity to walk with my head facing forward not down –(in the bull mode).  In addition to noticing the changes my old work neighborhoods had undergone my NYC-sense started to come back and I could start to identify who was Javits bound. It did not hurt that many had on what I call the tradeshow targets on, those access badges that so many people seem to want to wear outside an event.  In many of the sections of the city directly adjacent to the convention center these badges say one thing- ‘target’.  



When the Democratic National Convention came to town in the 90’s I spotted a 20 something woman at the intersection of 42 and 7th looking very confused and harried.  In addition to the large parcel she was struggling to keep hold of and the 4 inch heels she had a large convention badge with her name, home town and the word DELEGATE.  Around the time of the DNC Times Square was in transition with the seedy side still being pushed out and it was very irritated by the Disneyfication  of the area.  Angry wolves were still trolling the late dusk afternoons despite the heavy police presence. Typical New Yorker I rushed past her making it a full half block (cross town) before my brain registered what I saw and how bad it could go.  I doubled back to her let her know that the cabs with three lights lit on the top were off duty and being 3:30 it was shift transfer time-(90% of the cabs were heading back to the garage).  I hailed an available cab and got her inside, offered her my business card, and informed her that the heels and event badge was not a good combo.  Julie – her name- looked at me wide eyed as I leaned into the driver’s window addressing him by the name on the license-(back then they were mounted in the front passenger side) telling him how to take Julie to her destination.  I corresponded with Julie for a few months after and she shared some stories of her associates being bothered during the event but once they removed the badges whilst walking  the harassment was reduced.



I relate this tale to mark



1. Just how much the city has changed, most people walk around in a manner that would have made me cringe, scream and consider taking up a life of crime.



2. The New New York has reduced the potential for petty crimes and thus more people walk around broadcasting their participation and destination.  Because of this it was quite evident that Wednesday had far more people attending Lightfair.  My zigzag path allowed me to see that the mass of humanity was not just random but was migrating toward a common destination.   By 11 am the exhibitors had the mixed expression of happy relief and harried eyes at the preoccupation of talking to multiple people at once.



4246_1164716238882_1257151575_30460325_7150371_s It is also of note just how many of the attendees and exhibitors were on twitter giving updates on attendance, products, release announcements and general observations.  Everyone noted the enormous number of LED products being shown and the declarations that the revolution had arrived.  The Department of Energy, one of the main proponents pushing LED adaptation, had a booth in the back where they held hourly seminars on everything from ‘LED basics for lighting specifiers’ –(a design guide is anticipated for release in September)- to the DoE testing and certification process.  The LED’s were shown as task lights, street lights, general luminaries, in RGB array , as light walls  and with white or yellow phosphor coating.  There was also what appears to be a ‘PR war’ brewing between the manufacture of traditional incandescent bulbs and the LED people, with tit for tat press releases comparing incandescents to garbage or LEDs as off color and immature technologies.


A good number of the discussions about LED’s centered on CRI, dimming and availability.   The CRI, specifically the level of white had many set into two camps, the first stating that the obsession with the white level was much ado about too little and the second group claiming this was task one –(followed closely by the need for dimming).



Phillips made its dominant presence well felt by not having just a booth but something more akin to a city consisting of 9 or 10 interconnected booths. The Phillips people all appeared to be dressed very corporate, the Men in dark grey suits with Phillips stripped blue ties, the women in late 80’s suits with  matching blue striped scarves-(both reminded me of stewardesses, er..flight attendants).  I call this out as it was in stark contrast to the rest (besides Lutron) of the exhibitors and as there was an accessories show on the floor below, I at first took them to be part of the latter show when I saw them in the lobby. 



The show had a sizable section in the back which appeared to be a collective of Chinese manufacturers of everything lighting. The booth was constructed, intentionally – I think, as if part of an open air or Hong Kong alley way market place.  A quick click pipe frame covered by an orange tarp  created a large rectangular booth which was divided up into smaller square ‘booth-ettes’  where exhibitors had product hung from the frame and on white peg boards in the back.  The offerings were your standard low cost products but a few were showing LED lights as well.


                                


4246_1164780640492_1257151575_30460425_880927_s Lutron had one of the more stylish booths, built in a similar look and style to a Frank Lloyd Wright home; I think it may have been modeled after the one which resides in the MET. True to its inspiration the booth also had low ceilings, lowest of the show, and it reminded me of a story told in a PBS documentary on FLW.  Typical of his work Frank Lloyd Wright made the scale of his homes and furniture to his height (about 5’ 8”) which topped the ceilings off at about 6’ 4”.  Mr. Wright had in his employ, so the story goes, an gentleman who was 6’ plus and whenever he would stand up FLW would shout – ‘Sit down Wes, your ruining the scale’.  I did indeed witness several taller attendees start in then back out due to the height limitation.  I give them an A for concept but a C- on providing accessibility to everyone.



4246_1164776040377_1257151575_30460418_6256904_s On the Odd side of things there was the Down and Dirty, the booth was an 8’ high chain link fence with graffiti covered lockers which had lighting fixtures in them. I cannot say I understood what this was for or if it was associated with any particular company, but they did serve free beer and hotdogs on the second day!  The number of booths offering libation did peak my interest as several offered microbrews on tap and others a selection of California wines.  Near the end of day it started to look more like a social mixer than tradeshow, I half expected someone to start rolling out the kegs and hand out red plastic cups at the door.



4246_1164775040352_1257151575_30460414_3873349_s  I also noticed a far greater number of women attendees than at most other technically centric tradeshows I have attended.  Is this because there are a good deal more women in the lighting field?  I could not find any data to support this but it did appear so over the two days I attended.



 


4246_1164715998876_1257151575_30460324_4986514_s All in all the show was a great experience, not nearly as nutty as others but busy just the same. The booths were creative and had great aesthetic about them; it was almost disappointing to walk out into the sun and workaday lighting after being surrounded by all the color and ambient light. Next year I will have a much better attack plan to seek out the booths and players first, and then look for the niche and oddities. 


What’s the next show I am attending? 


INFOCOMM Orlando baby!  If you are planning to attend let me know, we can share ideas and make time to meet up.





 







 



Monday, March 2, 2009

Neo Industrial Technorotic Aesthetic Death Trip.

Design, the facet of presentation which attracts the eye and stirs thelittle grey cells into action. I have long understood that I have an aesthetic which is somewhat off center with most of those around me. Yet, If I were to invite you to my second life abode the chill would soon settle into a yet unrecognized comfort; like sinking into the plush furniture of proper Victorian drawing room.


I bring this subject up from a find whilst I scrolled through my 300 news feeds in my Google reader, (love google reader), and came across a metal skull lamp in an article in Gizmodo. The writer of the article calls it “..the most terrifying table lamp…”.I call it beautiful. I want it, crave it.
If I could have my druthers I would have a ‘den’ which looked much like the ‘Closer’ video by NIN, this is what I would do if means were no object.
 
Growing up in Sag Harbor I was fascinated by the Victorian aesthetic and had ample opportunity to explore show homes which reproduced this, but it was too soft, too tranquil. Where, I asked were the drawing rooms of great explorers, whalers, and botanists?-(think about it, in order for someone to see and study a rare plant he would have to travel in harsh accommodations and face death by nature every moment. No rescue by GPS here. Darwin was a tough mother!). Everything had been sanitized by the local historical revisionists.


I left the semi isolated Sag Harbor to shack up with an artsy hipster in downtown NYC and found a world I only previously dreamed I could be part of. The girl and I soon parted but the stamp of what I was introduced to struck home, THIS is where I was supposed to be, this is what I had been searching for.


Concurrently I had just begun to understand and appreciate the Punk and hardcore movement in music when I met Pam and Marc. The Koch’s were uber NYC downtown rock hipsters via  Buffalo and close friends with one of the great unknown bands of the early 80s, The Splat Cats. Marc collected the ephemera of kitsch gothic ghoulishness. Their Ludlow street apartment was filled to the brim with records, comic books, videos, pop culture models, books of suspicious origins and early 19th century coffins-the ones with viewing windows on the cover. I still have several of the birthday cards given to me which consisted of heavily gilded photos of a specific coffin or groups of coffins. One birthday I was given the book Wisconsin Death Trip, a book I read nearly as often as I do Cyrano de Bergerac or  Foucault's Pendulum. The Koch’s home was not so much an education as a revelation, that central aesthetic which I had been searching now surrounded me each time I entered their home. I was introduced to the art of Joe Coleman, Joel Peter Witkin and innumerable bands of nearly every genre. It was a cross between Maxilla and Mandible and the Rembrant room at the Met.


Around the same time I chanced to meet Robin Ludwig, an artisan for whom the word itself is his being.  I met Robin through his daughter when I was in an Aveda show, I had very famous scissor hands cut my, then looong, hair and got a few products and bucks to boot.  Robin played gritty guitar, growled when he sang and created works of art out of metal with skilled delicate hands. Watching him work was nearly as intoxicating as the mead wine he brewed in the loft apartment they occupied smack dab in the heart of Chinatown.


This combination of old world craftsmanship and a full involvement of the modern drew me into a local high end audio store to drool over an early 80's retro tube amp placed in the front window, and to be promptly be escorted out by staff – “come back when you have money to spend kid!”.   The amp itself was evidently very good but the cost was for the art of the product, it called out and pulled you in with how it played with the light, its warmth and visual shimmer.


While I worked in recording studio and learned the in n’ outs of the main gear I was constantly drawn to theFocusrites, Joe Meek gear and theUREI LA-2A’s . The fascination was not just as moth to flame but a concerted study of the device and the names behind it.  The boxes spoke to me, called me in to learn not just about compression or EQ but about the early days of audio and the men who made or inspired these gleaming boxes; I also found out about their inspiration and obsessions.


So, you’ll excuse me as I mount this “…most terrifying…” lamp to a brushed aluminum stand shaped like a gothic fence rail and revel in its lineage of history, artisanal heritage and learning it encapsulates for me. 





Tuesday, February 24, 2009

Same thing we do every night Pinky, Plot to TAKE OVER THE WORLD!



Every couple of years someone comes up with a daring plan to have one system take over and become the ubiquitous backbone of a market or function.   MIDI laid claim to something like this for several years in music and interface automation. Universal Plug and Play (UPnP) has continued to fight for complete dominance of the device configuration arena, despite several Bill Gates Blue Screen failuresat live events.  IEEE recently announced the formation of working committees to formulate content over CAT 5 standard.


HDMI has announced – (admittedly, this was announced in January but it is still relevant and moving forward) plans to present HDMI not just for content delivery of video and audio but to act as the data backbone as well.  It is an interesting attempt to grow the usefulness of HDMI and insure its necessity in any wired home; and, of course, fulfill their plans to take over the world!


 The pursuit of one system that does-it-all over a single cable or methodology can be almost spiritual in function, acting as if in recursion, much like the mythical  Ouroboros, forming a constant state of eternal return.  In such cases the apparent limitation and exclusivity are, in actuality, inspiration to development and open new pathways of innovation.


There is also a danger in allowing a single technology to be the medium for all content. Kevin Kelly recently wrote a fascinating and captivating commentary on the Ted Kaczynski\ Unabomber treatise.  In life as well as technology there always exists the danger of over reaching the purpose and function of a topology or medium, winding up like Bellerophon , wandering alone.


At its barest form the concern stems from the debate of centralized vs. distributed control and memory.  Is it best to store values in the processor – (centralized) or to store them in individual units being controlled?   The arguments on both sides carry a great deal of validity and detriment in application.
 
In the Case of HDMI, One has to question if it has the data rate room for 1080p Deep Color (which requires a data rate of  6.7Gbps) and full Ethernet data?  The better question is just what would have to be given up to accommodate the addition of Ethernet backbone topology?  Would CEC have to go away? This would not be such a bad thing as nearly no one actually uses it those who do appear to have only conceived of this as a single source to display concept.  I am unclear, and the press releases does not attempt to answer, just what would have to give, (if anything), In order for this to be accomplished.


 Given HDMi’s severe limitations on cable distance one would have to presume that some manner of CAT 5 solution or converter will be necessary, especially if it is intended for retrofits.  The proposition leaves many who are building HDMI distribution products without an eye towards this latent but present capability suddenly tagged as legacy. For those who designed with an understanding of just what HDMI is, and will be, capable of  the world just may be their oyster.




Update: 2-25-09


Ah, the things twitter can show you.  This morning I opened up my twitter account ,my http://twitter.com/TuckerTues and not the http://twitter.com/CresrtronHQ , and find an endgadget article on the DiiVa connector which claims   


"Forward channel video speeds of 13.6 Gbps provide plenty of room for 1080p and higher resolutions with Deep Color, plus the two-way connection at up to 2.25Gbps that can simultaneously handle multichannel audio, control or other data"


http://tinyurl.com/akh6ep



Saturday, December 20, 2008

BrundleFly?

One has to wonder if the quest for wireless HD distribution is more closely related to the Philosophers Stone then Grand Unified Theory at this point.   A friend of mine compared this to eating a cake by saying 'you never know if its going to taste good until you eat it, and then its too late.  A lesson in confections from the kitchen of Mrs. Schrodinger indeed.


Wireless HD distribution is something I would install in the blink of an eye, were I confident it would\could work reliably in both speed and location. My home is not new, not nearly new, not was new to my father  in his youth; in fact my home is just barely considered new by the strict definition of antique. While spacious and accommodating my 1901 colonial home still has walls of 1x3's and lathe under plaster. I spent a good portion of my formative childhood tearing down just such walls in the numerous homes we lived in to rebuild and update. I know just how difficult it is to retrofit these homes with modern wiring without planning a complete renovation. It is not a task I look forward to with any pleasure. 


 I also have years of experience working with wireless systems of all sorts and know full well the fragility of the connective infrastructure.  RF transmission of media can be summed up simply  - Wireless transfer of data is the most convenient method yet developed, it is also the most inconsistent and unreliable form ever put into operation. (I think this statement has a very Mark Twain lilt to it and given his relationshipp with Tesla quite possibly attributable to him in an alternate Universe).


The EE Times has published, as part of a year end 'Hot Technologies to Watch for in 2009, an eye opening article on the the relative stasis HD home distribution over RF has exhibited. In the article 'Not getting the big pictures(s) yet', the EE Times editors describe 802.11n as 'troubled', UWB as a 'failure' and the 60GHz as '...too immature...'.  


So, why pursue an RF HD distribution model?  HDMI has some notorious short falls when it comes to whole house distribution which include but are not limited to cable length and physical connectors. It is a market that has huge potential to make redundant  an entire category of cable and distribution.  Trouble is what we have currently and for the near term results in an end video more BrundleFly then Seth Brundle. 


I suppose I should take a deep breath, thank my mother for having the forethought to prepare me for this moment and  with wrecking bar in hand begin the process of renovating to run wire.



Saturday, December 13, 2008

Then where would I keep my pencil?

While I only rarely write about the newest or hot item, I came across the Truphone product. The Truphone allows a user to turn a iTouch into a wifi ready phone.  It struck me that this would be a steampunk application from the perspective of my three year old (or at least when he is old enough to understand such things).


So, an iPhone that is not an iPhone can now be an iPhone(ish). VerySteampunk, in a post post modern way -(maybe neomoderist?).


If you are unfamiliar with the culture of steampunk think of a world where Victorian England driven by the revolutionary difference engine creates a world which has many of the same modern convienecines  of the 21st  century just not based on the transistor.  A good start is " The Difference Engine"  byBruce Sterling and William Gibson. Much in the same fashion as the Maker Movement  hardcore fans of steampunk retro fit modern equipment to reflect their pre-modernist aesthetic.  On first look it can be a bit daunting and too much of a contrast for some viewers; it bears to reason  that it should not work this re-purposing of 19th century technology and  modern computers. Once the initial shock wears off, one finds a warmth to these hardware mash-ups which are far more enticing than the gleaming cold Borg boxes such as the Mac Air.


In a world where no one knows what tomorrow will bring economically or technologically and despite the was to rich for my blood now cheap as sand in Dubai cost of oil we do have to consider a life after the End of Oil. Is the SP movement a harbinger of a new technological age, where products contain a minimal to no petrol base products - Bakelite enclosures anyone


Another major influence on the SP movement is the original Tech punk himself Nikola Tesla. If you only know the name Tesla from an 80's hair band then you should really listen to the Studio 360 Broadcast concerning him (Thanks to John Huntington's link on his Control Geek blog). Much of this modern world started in the brain of dear ole' Tes, Yahoo Serious's Young Einstein notwithstanding .  Two of  His last ideas to be tested were the 'death ray' and wireless power, one inspired the Regan era 'Star Wars' development and one has actually been shown to work!


So, are you ready to be a 'Clacker'?


[Gordon produces a notebook and pencil on wrist springs]
Capt. James West: You know, you could put a gun on that.
Artemus Gordon: Then where would I keep my pencil?
quote is from -[Wild Wild West]



Monday, June 30, 2008

Goneril, Regan and Cordelia

EE times posted video and a short article on a symposium consisting of manufactures of three main technologies vying to be the wireless digital video delivery system.  While the event appeared cordial with pronouncements of coexistence and equitable market distribution, it is quite clear all are looking for blood in the water.  It is still possible at this juncture that all three technologies will find a place and coexist with the others but it will not, cannot be in the same market.


The full article and video clips are at http://www.eetimes.com/rss/showArticle.jhtml?articleID=208801236&cid=RSSfeed_eetimes_newsRSS


I suppose one's outlook all depends on whether you prefer the original play or the apologist performances of the 18th and 19th century.



Thursday, June 26, 2008

I mean, once work's out there it's meant to be used. - Kathy Acker

I am a minimalist by nurture with regards to my physical space-(I like my art cluttered, my space sparse), as my family moved eight times before I was fifteen and each new place was totally rebuilt as we lived in it.  I shared a room with my sister more than I did not as walls were stripped down and rebuilt around us.  I remember the spackle dust most, not quite unlike animal hair; it tends to get onto and in everything no matter the preventative measures taken. Not having a lot of room for things you learned to keep tidy or lose all hope of finding something which would wind up buried in growing piles of clutter.  When my then girlfriend had first spent a few nights at my Spartan apartment and viewed my tightly folded and distinctly organized clothes she was convinced for months that I had either spent time in the military -(no, I did not) or might be a bit psychotic-(jury is still out) .  My Wife met me at a time during which I only wore black, every item of my wardrobe was black leave for one dark red 50’s shark skin sport jacket.  Wearing black had several advantages. It was hipster de rigueur for lower Manhattan, anything I wore would be back stage appropriate and everything could go in the same load of wash. When my then girlfriend –soon to be wife-and I decided to move in and ‘take the next step’ she needed a moving truck while I moved all I possessed in the back of a small van in one trip. Now I live with two kids under 5, my wife, 2 cats and a thousand toys – (I am convinced that the latter multiply overnight in some sick toy mating ritual\orgy) – and a secret part of me yearn’d for minimalist order of prior.


As I have been thinking about this I came across an article on Gizmodo about a set of ‘one line’ furniture by Aykut Erol.  Perhaps as I have been tinkering with concepts of space and environmental influence (see ‘My God it’s full of Stars’ and ‘I Sing the Building Electric’) and my growing comfort with overstuffed plush-ness of Victorian drawing rooms, I had an immediate, and unexpected, repulsion to the images.  The first two images suit me just fine and echo the Pompideu or the Blue Man Group Tubulum.  The third picture just does me in as I instantly associate it with Edward Kienholz’s ‘ The State Hospital’ and get a real uneasy feeling at how similar the color and lighting are. Both are most certainly places I’d rather not be.


I also like my Radio (Terrestrial, Satellite or Streaming) to be bare bones and simple. Gob it up with excess chatter, nonsense bumpers or too many ads and I will not listen – or at least I will find ways to note the non music cycles and avoid the station at those times. I have no issue with stations generating revenue but make it something I have the option of pulling up. Make it flashy, intriguing, and compelling but do not interrupt my access to content. Now the RIAA is equating General radio broadcasts as “a form of piracy”. Essentially the RIAA is attempting to push legislation to enforce radio stations to pay royalties on every song played. The RIAA already wants streaming stations to pay fees based on a per song \ per user structure. In the end this just means stations will pay for the added fees by playing less music and inserting more ads.  Will any of these collected fees ever go to any of the artists RIAA claims to be ‘protecting?’ 



To be clear here I have never been a supporter of the Napsters of the Inter-tubes. My strong opinion is that if the artist wants to sell the music based on per item fee structure, then obtaining it any other way is stealing, period. You can disagree with the concept but it is how this artist has decided to do business. If you have strong feelings about this do not buy their ‘product’ and do not go to their shows, the market will dictate.  If you like the music enough then you must respect the wishes of the artist, otherwise have nothing to do with them. More artists are breaking –(or attempting to ) from their labels, how can major labels survive when mainstream artists like Josh Stone proclaim piracy to be ‘great'.
 
NPR has been running a great series on the arts and Internet in China. The second article in the series of three is a real eye opener for me. The article entitled ‘Internet helps liberate, Create Music in China’ discusses the duality of the internet’s ability to expose millions –(or be exposed yourself) to music in a society where piracy is rampant to the point of cultural. China may be the test model for where the west will be in 5 years. Chinese artists are struggling to make a living from their music where selling content is already considered worthless. An early answer is to provide file sharing as a collective by offering the tools and content, pooling resources and drawing users to each artist’s live events. The article also has a link to the independent collective site and tools mentioned in the article. The Site is in Chinese but is fairly intuitive to negotiate – (although many of the links pop up new browser session which can be a bit of a clutter).



I just have to ask, who says pirates are a bad thing? Think of the environment people!



Tuesday, June 10, 2008

I Sing the Building Electric

David  Byrne has performed several exhibition pieces around the world by playing (and letting attendees play) buildings. The instrument consists of hooking up an organ keyboard to servos and motors attached  to the structures of buildings (columns, beams, radiators, etc) .  


 


David Byrne has more videos of the set up and performances on his website


 The sound is somewhat ambient, moves like dada, and has at its heart the early punk ethos –‘a musician could not play it any better a person off the street…’


 


 



Monday, June 9, 2008

Internet Radio is dead, long live internet radio.

 


I used to be what one could describe as a radio geek.  Living on the east end of Long Island your standard Realistic radio receiver would pick up signals from Connecticut, Rhode Island, NYC, New Jersey and sometimes ‘skips’ from as far away as Halifax  or  Harrisburg.  It helped that I lived on hill above town-one of the highest points in Sag Harbor.   I heard countless college and free form radio from all the listed above exposing me to the music and nomenclature of innumerable genres.  I built UHF amplifiers straight out of popular electronics or Radio Shack kits so I could tune in shows that I would not find locally.   I also nearly destroyed our families first VCR attempting to tap into its tuning section in an attempt to get better reception of WFMU.  You’ll recall that the early VCR’s used a series of tuning wheels to modulate the video out onto the TV channel – I learned so much by tinkering with it. Thankfully my mother never found out just how much I tinkered into that box, she would have been appalled at my opening such an expensive device.  In a very analog way I had my internet radio, just without the genre shaping Genome and Audioscrobble Pandora and Lastfm provide.  I pined for a shortwave receiver as I read articles about the stations in far flung parts of the world –or just the BBC- playing all sorts of music; alas I could never afford a decent one in high school.


I moved to NYC the summer high school ended and was both disappointed and intrigued.  Living on the top floor of a six floor walk up getting decent reception of WFMU, WSOU and a new find WNYU worked out fine with an ‘illegal’ antenna hook up on the roof. So I could hear the lone free form radio station much better and a new station came into my life which indeed opened my ears to the urban alternative rock movement. But that was it, aside from the few college stations or WBAI’s morning music-(I did love that Delphine Blue) broadcasting only at parts of the day- NYC radio was\is a wasteland.


This is why I fell so hard for early internet radio, it was brash, eclectic often shocking, sometimes dull and fidelity was a feature for a later date. It was just like to old days. Radio IO was my first and still my favorite.


Currently the number of internet ‘stations’ can be counted in the thousands but its mass cannot stop the rag tag collection from being washed out. Twice has published a report which shows internet radio is growing despite several forces which could in a perfect storm combine to wreck havoc like a tornado in a trailer park.  The article, based on findings from Soundexchange claims that the number of new stations registering with the Copyright Royalty Board (CRB) increased by 400, although this is 100 less than the numbers from last year.  My question is just who is applying and why. 


Some evidence can be gleaned from Warner Bros recent decisionto pull out of its involvement with Lastfm, most likely to put its eggs in the MySpace streaming project.  The issue? royalties of course.  Warner Bros has been quite vocal about its desire to siphon off a share of the Ad revenues, not just from the main page but from the ancillary pages a user may go to whilst searching the artist. This is not a bad thing as it shows a traditional brick n’ mortar music company actively looking to compensate for the woeful sales of physical discs.  I am sure if WB could effectively set up its own streaming ‘radio’ and abandon the distribution model it would.  A number of labels \ artists are utilizing a single point of sale model already as evidenced by the fact that  AC\DC is just the latest in a line of artist to sell their CDs’   exclusively through Wall Mart.


  Why would an artist\label apparently limit distribution and technically expose the product to less folks?  - Control of margins and less expenditure on real world distribution.   How long before Label (X) only provides a song via Pandora or only on its own site?  Madness you say? Just another example of last gasp attempts by a limping to extinction record companies?   Answer me this, why are most record labels (such as Warner Bros \ Time Warner) are against the legislating for Net Neutrality?   Bandwidth equals access.   If the ISP’s get their wish media companies could purchase the lion’s share of bandwidth and elbow out the smaller niche players by having the playing field all to themselves.     Some have argued that the hoopla is much ado about very little, that the shakeout will leave a number of marginal players absorbed or destroyed but that in the end the independent music will find a way to get out there.  I counter, imagine you own a building in which your business resides, then one day someone tells you that a bigger competitor needs 85% of your space for stock storage.   Oh yeah, and you will have to move your sign and front door to the back and the street will be reduced to a one way dead end.  You may still get some of your dedicated existing clients but most new visitors will not even notice you.  Bandwidth.


Over the next few years the big question for installers or custom systems is just how and what are you going to install in your clients homes.  Most certainly there will always be the high client who will want-(or told) the Media System with ADA output cards but where will the content come from and can you tag a recurring income from it?  Is the newest dealership to be an offical provider of Warner Bros licensed receivers?  Will high end CE manufacturers  provide multi license players much in the way you can sell ‘radio’ receivers with built in Wifi  for  internet content  streaming? 


Can pirate radio exist in a world where radio is only online? Will we never see the likes of Mark Hunter (Hard Harry)   again?


 



Thursday, June 5, 2008

My God it’s Full of Stars.


Just how does your space influence you?   NPR’s ‘On the Media ‘had an interesting show entitled ‘Space Odyssey’.


My industry is one of creating or enhancing the personal space of a corporation or home.  It’s simplistic and direct so this issue of OTM caught my attention immediately.   


Some regard personal space as a minimum of 3ft at any time (beware close talkers).   If you disagree, try living in NYC right after a major snow storm and navigating the barely cleared sidewalks.  Then talk to me about personal space.


Two sections of the ‘On the Media show’ felt particularly relevant. 


Clearing the Air


Discusses how San Paulo has banned all outdoor advertising, social issues it exposes and the apparent positive cultural effect this has had.


The article spurred some thoughts in me:


Love Piccadilly square but it can get a bit Enki Bilal or Blade runner.


I worked on an install at the Maiden Lane offices of TBWA\Chiat Day, creator of many Apple mac and the early wonder Bra ads. The company (the Chiat day portion)   had three floors of no offices- just wide open mobile work spaces, dramatic paint schemes, fire polls between floors- who needs’ stairs?  As well as a fantastic view of lower Manhattan and the meeting of the rivers.  I wanted to work for them right there.  The environment was perfectly suited to creativity, so much so that I wrote journal entries and poetry for each night I was there and weeks after.


It is interesting to note that the partner company TBWA was a strict black tie| white shirt culture, when they showed at Maiden Lane it became, well odd.


Sound Reasoning


Discusses the early 20’s research on how excess noise reduced productivity and the reactionary response of installing sound-proofing acoustic tiles- (they originally used the wonder product asbestos by the way).


 If you grew up or worked in studios during the early 80s you would still encounter some dead rooms. Dead rooms were popular from the late 50’ to the early 70’s where it was thought that a room devoid of any reflections or resonance was best for recording music.  My experience in these few remaining rooms was not quite unlike entering an anechoic chamber; for a young man who had the beginnings of tinnitus from too many roadhouse sessions behind the boards it was always a bit disturbing to have the ringing come from the background to front and center.



How many of us really understand the function ‘the space’ effects our interpretation of an event.  Acoustic, video and audio ‘sculptures’ clearly understand this and use subtle environmental queues to influence our reactions.   For the media this means branding via ads and viral campaigns  to associate image to feeling to sense of belonging .  For the Audio Visual industry it is about combining the elements of a physical environment toward a emotional result – usually excitement or relaxation or a mix of both.  


How often do you examine why you feel a certain way in a place, do you know who’s zooming who?


 








 


 


 


 


 


 


 


 


 


 












 



Friday, May 30, 2008

I mean, we'd be as rich as the Stones if only we'd sold as many records as them.


Does digital media need a centralized distribution model?


For generations the large record companies not only offered access to the means of recording but more importantly to the vast distribution chain that put records into stores and on the radio. Napster added gasoline to an already smoldering fire. Just like the time your uncle Ron poured half a can of lighter fluid onto the charcoal grill, the resulting flare up took off more than a few eyebrows but should not have surprised anyone watching.


I recall seeing the circa 1999 and 2000 interviews with Chuck D of Public Enemy declaring the age of the major labels to be nigh. The promise, according to CD was of a limitless variety of music all directly from the artist at half the cost – if not free.  He got it right, the revolution is being downloaded. But just where do I find all these artists? How do I find what I want and get involved with other artists who may share similar genre? In many ways it has been a piecemeal process to find new music outside the standard web portal stores. (It is interesting to note the number of artists who recanted support once it was their music being ‘shared’ for free).


Sure, there is\was MySpace which started out a place for musicians to stake out a place on the web to directly connect with fans and build followings out of local shows. This network of fans could connect in this early version of a social network site to share their thoughts on the newest songs, the show last night and find others going to a local show. Prior to this fans of marginal or indie bands often communicated and ‘gathered’ via pen pal groups or through the pages of fanzines like Maximum Rock n’ Roll. MySapce provides some means of selling hard copies or downloads but unless the band page linked to other bands your ability to find new music was limited to what the labels put out or fans called out in the chat boards. In essence you had know where to go,  to go.


Today we have ‘intelligent’ streaming players who learn what your likes are and can build playlist(s) of ‘related bands’ based on your input – Pandora has the Genome, Last.fm has Audioscrobbler-(all provide links to purchase single MP3s or albums)..  Facebook provides the ability to give visitor’s music links and streaming video of the bands you like-(and purchase links). Bloggers can embed tools like StreamPad to share your favorite music. While the number of collective sites is growing, all are still struggling to stand out amongst the haze of information. Each has its set of fans who evangelize promises of providing the most comprehensive access through links and social networking. Even Amazon has long attempted provide outreach based on the ‘others who purchased ‘x’ also purchased….(Y & Z). In Truth none of these stand out clearly above all others.


iTunes has similar micro models like this but it is just a distribution point and not a label or content producer… yet. The record companies have only begrudgingly joined forces with Apple because it was the first model to provide some legal and protected means of establishing a foothold where the pirates reigned.  And for the most part it is still a lonely outpost of mainstream music sales. The labels have long bemoaned the margins provided by Apple and have fought – unsuccessfully – to pry more out of iTunes and to get a rise in prices.   


Ian Rogers at FISTFULAYEN has proposed an interesting restructuring which he hinges nothing less than the survival of labels.  IR’s proposal in a nut shell is to utilize the mature power tools of record companies, mainly –distribution, marketing as well as A&R. One large label would be broken down in to smaller outfits that focus on specific markets \ genres. The micro labels could develop larger market bands on which dozens or hundreds of like genre – (or cross gene)- bands could be hung or cross referenced upon.  Add in a centralized payment utility and any label could begin to compete with the market share iTunes has.


It could also shift a measure of control back to the suits. When we finally enter into a post net neutrality world, this power shift could mean influence on traffic and bandwidth toward their favor.  


But is it really necessary?  Can the decentralized direct artist to fan model provide an adequate income to survive if not flourish. In other words, is there a way provide income where a day job is not necessary?


Kevin Kelly seems to think so.  Mr. Kelly discusses the concept of ‘1000 True Fans’  on, one of his several blogs, the Technium http://www.kk.org/thetechnium/archives/2008/03/1000_true_fans.php.  The basic concept is one where  an artist can make a comfortable living by tending to a 1000 fans who are dedicated to buying the music, subscribing to the blogs \fan club, buying the T-shirts and going to the shows. To earn a base income of $100,000 it would only take each True Fan spending $100 a year, which is a very manageable number. The gross number does not take into account overhead of servers, ISP and equipment but it is still a workable model.  Mr. Kelly also addresses this in his entry ‘The Case against 1000 True Fans’.   The main argument being that many are not looking to just survive but to sell platinum numbers of units. I have begun to believe that such aspirations immense rock n’ roll wealth are to be relegated to the stories of yore. As Gene Simmons so emphatically stated during his conversation on the Henry Rollins Show (IFC) ‘…its over, the industry has been killed by you (points at screen) downloading illegal copies of music… There are no more rock stars…”.


Having subscribed to Indie fanzines such as The Big TakeOver for years I tend to concur with the tongue, It is the niche market indie bands who will find solid ground of continued production and income, just not millions of dollars a year. Regardless it is now possible for artist to ‘live off the grid’ of major labels –or any label at all.




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Thursday, May 29, 2008

Now, the making of a good compilation tape is a very subtle art. Many do's and don'ts. First of all you're using someone else's poetry to express how you feel. This is a delicate thing

 If you are old school like me and still long for the days of mix tapes the site MuxTape is for you.


I have a certain amount of nostalgia for the creating a seamless tape of songs which were more then a jumbled together collection but had intent and purpose, ('a tape for Laura - her songs', 'the madness of living on 12th street').  The act of creating an analog mix tape is an art lost in the playlist era.  It is not that the thought process for creating the order of songs is any less, but the ease of building a list with drag and drop lacks the 'hands on effort' once required to operate multiple decks.


Mux Tape is nifty in that it attempts to give off the aura of old mix tape experience. It has a clunky interface, where you choose a list names which are set up as if you were digging through a cassette organizer looking at the cover labels.. Just like an old analog tape you can get the 'tape' but only know whats on the tape \ playlist by opening it. As an added fun the tape names are never in the same place when you get back to the main page - just like when your roommates took tapes and put them back wrong!


 Up until a few days ago a Muxtape user developed a search engine at muxfind.com which allowed searches of artist or song title. I loved the tool as I could find playlists with a band I desired then get to hear someone else’s take on what other songs work around it.  Unfortunately it appears the fear of the RIAA has gripped muxfind and they have pulled back the Song \ Artist search feature and offer only the URL or Playlist name search. 


While is a free steaming music site, Muxtape.com does not conflict with my previous entry the effects of freevirus as muxtape offers link for each song for purchase. via an Amazon link through. While the RIAA might get all hot n' bothered - me not so much.



Wednesday, May 28, 2008

When the bomb goes off there'll be a thousand mutations! Andromeda will spread everywhere! They'll never be rid of it!

Jesse James -( the custom motorcycle maker, not the 1800's outlaw)- has a tattoo on the palm of his hand which reads 'Pay up Sucker' around a $100 bill. Why? because even in his small specialized client base there are people who want his services for free. When viewed from the perspective of individual businesses against an industry the effect appears insignificant, take a macro view and free can be a killer.  Philippe Bradley  (who writes in sheer genius form) made me aware of the 'freevirus' concept in a post on Fred Wilsons blog  in a post entitled "Triangulating For Insight"


Using Darwinian evolution as a metaphor for Venture Capitalists’ role in developing startup companies, Mr Bradley introduces the concept Freevirus coming about when startups who have a building subscriber base get attacked and usually destroyed by 'competing' services who offer free what the startup charged for. Once the virus is let loose it usually takes down all around it and in fairly short order begins to run out of hosts.  If a freevirus upstart manages to destroy or weaken the original hosts it must find something to sustain it - usually ads. The end result is less choice as the startups who had financial backing and an economic model for sustainability and innovation are killed off and the FV upstarts are thinned due to lack of sustainability.  (I cannot do the original post justice you must go read it).


And yet, it is the freevirus's action which brings in the mass market acceptance, draws in those beyond first adapters. As a service transitions from niche tool of the uber chic to general ubiquity the freevirus version suffers through the invigoration and stresses of meeting the demands and criticisms of users.  New tools are developed and added as suggestions and demands are stated. So, freevirus can often act in a symbiotic manner - for a short time. As my wife is fond of stating, "Oh Honey, nothing really comes for free...". 


Can freevirus be harnessed into a benign catalyst? Prior and current examples are inconclusive,



Microsoft floated the idea for a way to prop up the struggling Zune platform, with the expected backlash.


No Ads on my Zune please:


http://news.cnet.com/8301-13526_3-9948849-27.html



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One model is to provide services or content which the freevirus cannot match or have available.


Frustrating the Pirates:


http://www.nytimes.com/2008/05/17/technology/17online.html?partner=rssnyt&emc=rss



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What does it mean when even the uber techies -(many of them VC's who struggle with this question)- balk at paying for the much heralded Twitter?



Will the Tweets pay for their Tweets? Nope.


http://news.cnet.com/8301-13505_3-9950085-16.html





Even large infrastructures cannot find the funding to keep subsidized toplogies up and running.


Say goodbye to Muni-Fi


http://www.infoworld.com/news/feeds/08/05/16/Say-goodbye-to-Muni-Fi.html



Why are we so averse to advertising which can subsidize content, keeping the cost low or free?   The legitimate Question of whether advertisers could have any direct control of content is a serious one. (No more clear channels please!).


 Why do so many insist that all content should be their right not a privilege to obtain?   


Why are you a freevirus carrier ?