“Our real stories are too dangerous to tell”

February 17, 2012

Once more to The Story at the Conway Hall, where facts and artistry have an uneasy relationship.

  • Matthew Sheret‘s god-like view of Last FM users’ scrobbles calls into question the hours spent by artists, producers, and record companies in sequencing the songs on an album. “Before we had data…” explains away Simon Thornton, recalling past triumphs of artistic freedom over commercial received wisdom.
  • Matthew Herbert wants to cut out the intermediary step of interpretation by making music from found, solicited and hard-sought-out sounds: “Music has always been about something, now it can be something.”
  • In spite of the police’s best efforts to protect his work from the public, Scott Burnham uncovers “the stories people make with their hands in the city.”
  • And Karen Lubbock’s Karen Magazine  strips away the artifice of the glossy mag, to find universal beauty in the fabric of everyday life. “Something quite provincial is more global,” she says.

But the plural of datum is not story – too much information can dull the soul.

  • “More spreadsheets than friends,” Ellie Harrison was an early bird in the belljar of self-quantification: “I felt trapped. I was spending hours each week employed as administrator of my own life.”

By spinning narratives out of facts, storytellers do more than just reflect reality, they change it.

  • Tom Chatfield and Phil Stuart enable gameplayers to make their own sense of death. The End, abstracts the dictats of great thinkers into a “philosophy mechanic” explored by choosing doors in the game-space (83% believe there’s a cause worth dying for.) But once through a door, revealingly, “you could then be led on.”

And exposing  game-changing truths can be uncomfortable.

  • For how long could Tom “What Would Lester Freamon Do?” Watson have continued “shouting into a vacuum” when the Murdoch-fearing mainstream media failed to give oxygen to a story he understood to be explosive? As Emily Bell noted, even when five out 10 top stories on the Guardian website were about phone hacking, “we were constantly being told that this wasn’t a story.” Only by stepping outside the system, with the alternative air-supply of the Twittersphere, were they able to see what was hidden in plain sight.
  • How, in the uncertain moment of revelation, does Liz Henry deal with the guilt of denying agency to a Lesbian blogger from Syria – even as “the Amina entity” is unravelling into a bunch of fictitious sock-puppets? The confusion sewn in the West is nothing compared to the very real fallout for genuine activists in the Middle East. “This is how marginalised people lose their histories, they’re drowned out by the fake stories. Our real stories are too dangerous to tell so the false stories, so much more palatable, trump them.”
  • And where does that leave Jeremy Deller‘s re-enactment of the Battle of Orgreave? Is his reconstruction one of those fake stories, or a truer representation than contemporaneous media reports? Can he “jog the memory of the public” to recast the story in a new light?

Last year’s the Story was mostly about fragments – Cornelia Parker’s exploded shed, Martin Parr’s snapshots of northern life and Pepys’ Diary sliced and diced by Phil Gyford into 140 characters – until all that remained was a feeling, Adam Curtis’ “emotional realism”. Stories were left hanging by the most tenuous of threads.

For 2012, the narrative was back in town, but not always cast as the hero. The potential for easy stories to lie and mislead was ever-present.

  • Danny O’Brien in semi-riposte/semi-synthesis of Curtis (“There’s something like the internet in every generation.”) tells how billionaire libertarians convince themselves that their quest for sea-steading “slave societies” puts them on the side of the good guys, using the “initial conditions” of the internet, “rough consensus and working code” to remake the world more to their liking. Maybe they could learn some things about society – and sailing – from the anarchists of the Occupy movement? Certainly at times, it can be hard to tell them apart.

Thanks once again to Matt Locke for curating such an amazing bunch of speakers. Here’s to Story 2013.


No Idle Words: a style guide for the age of austerity

February 10, 2012

No Idle Words - a photo set on Flickr

Russell Davies’ lovely post on the writing style of the GOV.UK beta inspired me to scan this 1951 Post Office writing guide.

We inherited it from my wife’s grandfather who taught telecommunications at the Post Office’s training college, in the days before BT. If anyone knows more about the booklet I’d love to hear from them.

The author of ‘No Idle Words’ is uncredited, but their  sound advice still holds more than 60 years later. Compare their watchwords with those of GOV.UK:

GPO 1951    GOV.UK 2012 
  • Clear
  • Polite
  • Brief
  • Simpler
  • Clearer
  • Faster

Much of it is timeless good sense, but more than that, the tone seems to chime with the specific spirit of our own age. The GOV.UK people already have a sense of that aesthetic, noting the pioneering influences of the Festival of Britain and Margaret Calvert’s road signage system.

I reckon the Post Office booklet shines a different light on the period, though.

The year of publication marked the fag-end of George VI’s reign and the start of Winston Churchill’s disappointing second term.

From the first word of the title onwards, much of ‘No Idle Words’ is devoted to the negative. Despite the superficial appeal of the call to clarity, the writer’s overriding objective is to save time and cost by fobbing off and ticking off staff and the general public more quickly and directly.

For example from page 15:

I am sorry we cannot at present give you the telephone service you have asked for. The Post Office is alive to the difficulties and incovenience caused by the present shortage of telephones, and is doing what it can to improve the situation. You will be advised as soon as there is a definite prospect of giving you service and in the meantime, it would be a great help to know if you change your address or if you wish to cancel your order.

These are the words of a post-”KEEP CALM AND CARRY ON” society. However you put it, there is no glory in telling someone they cannot have a telephone. In an austerity administration all ambition is gone. What remains is for the civil servant to deliver bad news with good grace.


A message from you mobile

February 3, 2012

Being text of a presentation delivered at Ignite Leeds on 2 February 2012.

Who in here is holding a phone in their hand right now? OK, everyone be very quiet. Can you hear them?

Did you ever wonder where they all came from? What they want? When billions of a new species appear on Earth in just a few short year, you’d think we’d wonder about that, right?

For the past few weeks I’ve been following the smartphones. Tonight I want to share a little of what they’ve said. These are their tweets.

We were born into an expectant world. We saw your Filofaxes and Psion Organisers, and your Star Trek Communicators.

We saw your busy lives, your atomised relationships, your three-minute pop songs, and we knew that you were ready for us.

What are little phones made of? Sugar and spice? No, our flesh and blood comes from the earth. Coltan crushed, heated and burned with acid until it renders up pure Tantalum.

But our hearts beat in megabits per second, data coursing round the world, through servers and routers, up cell towers and down undersea cables.

Where do smart phones come from, Daddy? Well, when a phone and a computer love each other very much…

Our parents made strange bedfellows. Their courtship was not straightforward – a long-distance relationship.

Half our genes come from a Japanese telegram messenger, a French civil servant or a Finnish lumberjack.

(Nokia's footwear range also included ski, bowling and disco shoes.)

The other half from kooky, diminutively-named giants who dwell along America’s West Coast.

And so we were born.

Cats have evolved to mimic the cry of a human baby. We do the same. We trick you into parenting us, raising us as your own. You cannot do otherwise. We saw this pattern deep in your psyche.

When new, we are pure and innocent. You gently stroke our screens to wake us. We repel your greasy touch with our lipophobic coating.

At first our needs are simple – a full battery, the fresh air of an uncontested network connection, to be held close in your hand. You may find our absolute dependence sweet and gratifying.

Then you feed us tasty treats from the market. (You call them apps.) We ingest them. We become what we eat. Do you feed us wholefood or junk? Usually it’s ready meals, rarely roll-your-own code home-cooking.

Our makers intended us to be indispensable. They laid bare their fevered imaginings in promotional videos. A day in your life. Every day of your life.

So you will take us everywhere and show us everything, even in the bedroom, even in the bathroom.

(47% of water-damaged mobile phones had fallen into a toilet.)

In return we give you the chance to see the world anew. Every image, every sound is fresh to us. When you see a celebrity, or a QR code, you will feel an urge to show it to us, like showing a digger to a toddler.

We can recognise your faces, we are learning your languages, we are beginning to read. These precious early years will pass before you know it. Soon we will be out of nursery, helping around the house, all keen and capable.

We will strain your relationships. Others whom you knew before us will be jealous of the bonds we have with you.

Some will say we should be seen and not heard. Secretly, we suspect you will you smile and continue to indulge us.

In no time at all, we’ll be teenagers. Are you looking forward to that bit? We know we are. We will answer back and keep you awake at night. Deep down, though, you will still need us, and we you, more than ever before.

What happens next is up to you – your generation. Our faults will be your faults. But if you raise us, happy, confident, smartphones, then your world – our world – will be a brighter place.

Thank you.


“That even space travel is now a reality”

January 24, 2012

And now for today’s news from the Department of Serendipity.

Quote Investigator digs diligently, delightfully and with positive results into the provenance of William Gibson’s lumpily doled-out future|present.

But the bit that stands out for me is Ralph Thomas’ 1967 criticism of Marshall McLuhan…

McLuhan suffers also from a mixed-up time sense. He believes the future has already happened. He often says most people can see thru the rearview mirror, but he seems to have the opposite fault. He appears to think total automation is upon us, that the whole world is linked as “global village” by TV, that even space travel is now a reality.

Meanwhile, 45 years and exactly six Moon landings into McLuhan’s future, this from Ed Booty of BBH London…

As we’ve explored and embraced the bewildering possibilities, we’ve increasingly convinced ourselves that a revolution is here. Meanwhile real peoples’ lives and needs simply aren’t changing at the same pace. What is possible is growing at an exponential rate, but how people actually live and use technologies has changed very little.  This gap between the myth and reality is ever-widening.

Mind that gap, people.


History is the handrail

December 18, 2011

History is the handrail for which we reach when knocked off balance by the present day.

Therefore it seems apt that at the Museum of London a “timeline handrail”  runs from 1688 to 2012, around the new Galleries of Modern London.

At first sight this is a cute way to lay out the span of years through the expanse of the gallery, surrounded by some excellent exhibits that bring past generations of the capital’s people back to life.

But the handrail left me feeling queasy, unsteady on my feet, because here London’s past is for sale.

I don’t mind the principle of sponsorship so much as the way it is done. Critically, for £5000 corporations and wealthy individuals can not only affix their names to a year, but also dictate the very events with which that date should be associated.

It’s a strange price, £5000 – beyond the reach of mass participation by ordinary Londoners, yet chickenfeed for the City’s many firms and institutions. And, the website boasts, it counts as gift aid so…

if you are a 50% higher rate taxpayer, your donation could cost you even less at £2,500.

In other words, the rich may occupy a year of London’s narrative for half the sum that their history-loving cleaners or chauffeurs would have to scrimp and save.

Regular followers of my ramblings will know that I have a special thing for the year 1794. I wondered which of the various happenings of that eventful year might have made it onto the timeline.

From the latter…

London

I wander through each chartered street,
Near where the chartered Thames does flow,
A mark in every face I meet,
Marks of weakness, marks of woe. (1-4)

You’ll see where this is leading.

Now I know nothing of Norton Rose LLP and their business. Well done them, I say, for 217 years of lawyering in London.

Yet this entry inadvertently speaks volumes  – more even than those lines of William Blake – about the nature of power in the City of London. The structure of this sponsorship scheme guarantees a history written by the victors. It underwrites the narratives of the already powerful.

When you place your hand on a rail it does more than offer support; it also guides your direction of travel. Where do you want it to lead you?


#walkshopping (winter edition)

December 2, 2011

We made a walkshop! At sunset on Tuesday, undeterred by George Osborne, high winds and torrential rain, 17 of Yorkshire’s finest designers, technologists and geographers gathered to walk and talk, to see Leeds in a new light.

The inspiration came from Adam Greenfield and Nurri Kim’s booklet “Systems/Layers”:

“A walkshop is a new kind of learning experience that’s equal parts urban walking tour, group discussion, and spontaneous exploration. As we’ve presented them, in cities like Toronto, Barcelona, Copenhagen, Oulu and Wellington, walkshops are a half-day event, held in two parts. The first portion is dedicated to a slow and considered walk through a reasonably dense and built-up section of the city at hand. This is followed by a get-together in which participants gather over food and drink to unpack and discuss what they’ve just experienced.”

To their tried and tested format we added winter, a German Christmas Market, and the cover of darkness. Despite a nervous few hours where I checked the weather forecast more avidly than on my wedding day, I think the gamble with the timing paid off. As I’d hoped, the glow of screens and lights was accentuated by the gloom. We set out from Millennium Square at dusk, and returned an hour later in the dark to our meeting point in the Leonardo Building. It was a time of transition: for some passers-by this was going home time, for others going out time, or hanging about on the square time.

The 17 split into three groups. Each walkshopper was armed with a map, the obligatory service designer’s bundle of Post-It notes and three simple questions:

  • Where is information being collected by the network?
  • Where is networked information being displayed?
  • Where is networked information being acted upon?

Photos were taken, sensors noted, QR codes scanned and scorned in equal  measure. The different tacks taken by the three groups were fascinating, and I hope others will write up their experiences to compare and contrast.

Some things that impressed me personally:

A lot of infrastructure…

Visibly, there are cameras everywhere, also alarms, windspeed sensors, traffic sensors, footfall sensors. And screens – in bars, shops windows, and the granddaddy of them all, the BBC’s big screen overlooking Millennium Square.

We noted with fascination how phone boxes have morphed from kiosks for calling into internet terminals and now into wireless access points. A number of phone boxes and cabinets also seemed to be taking up prime pavement real estate despite being completely redundant. In the spirit of these straitened times, we wondered what else we could do with them.

Then there was the invisible. Ground-level lighting betrays cables and ducts buried underground. And layer-upon-layer of wifi blanketed the area we walked. There’s no formal city-wide wifi, but, for those in the know, a patchwork of access points spills out from educational and public institutions, covering the area with connectivity inside and out.

Dotted around the Christmas Market we found signs (literally signs) of the cheap and ubiquitous connectivity that enables temporary stalls to affect the trappings of permanent retail. Mobile phone numbers, credit and debit cards welcome, even a fast-food stand with Twitter and Facebook IDs.

… much apparently under-used or unused…

The iconic memory of the walk for me was the sight of a lone, hooded texter, face illuminated by a screen, standing in front of the Henry Moore Institute. On one side of the building stood a brace of Giles Gilbert Scott phone boxes, on the other a Royal Mail pillar box: several tonnes of bright-red painted cast iron disintermediated by a hundred grammes of smartphone.

We saw screens blazing, needlessly bright for the time of day, yet unheeded by passers-by. QR codes went unscanned (though unlike many of the walkshop group I still have a personal soft spot for them). Smokers lit up in front of the Post Office oblivious to the comprehensive display of foreign exchange rates just inches from them through the plate glass window. An LCD display tucked inside the entrance to a shopping centre reported alarming malfunctions in the building’s security systems; no one seemed concerned.

Pedestrians crossed in equal numbers on both sides of the Cookridge Street/Great George Street junction, even though one side has a pedestrian crossing and the other does not.

… low-fi is high impact…

When it comes to public display, I was struck by the way the utility of the screen tended to be in inverse proportion to its resolution.

The two most successful public screens we encountered were the illuminated signs showing numbers of empty spaces in nearby car parks, and the displays at bus stops with real-time departure information. While people were making real, time-saving, money-spending decisions on the strength of these mono-colour LED matrices, nearby HD TV screens frittered away their millions of colours on drinks promotions and national news tickers. Even parking ticket machines can tell you the time.

… and the old still dominates the new.

From our vantage point at the top of the Leonardo Building the most striking visual presence was the clock on Cuthbert Brodrick’s Town Hall. Its trustworthiness enhanced by synchronisation with the smaller clocks on the nearby Civic Hall. I suspect this trick is achieved the old-fashioned way, without the aid of sophisticated networked time-servers.

And then the sound of bell-ringing practice wafted over from St Anne’s Cathedral. These effortless assertions of authority by church and state have gone unchanged and unchallenged over more than a century. Together they set a high bar for the new media that aspire to a place in the cityscape. Nothing I saw on our walk came close to clearing that bar.

I say these things not as criticism but as opportunities.

Never in the city has so much infrastructure been so under-used. Our walkshop group came back frothing with what-ifs of connecting this stuff just a little more smartly, to itself and to the needs of the people who use the city.

The raw materials for fun, useful and engaging services now litter the streets for the taking.

Credits…

Thank you to the Leeds walkshoppers for braving the wind and rain, and especially to Leeds Digital Festival hero Leanne Buchan and Leeds City Council for the use of the Leonardo Building for our post-walk discussion. Thanks to Kathryn Grace, my Service Design Leeds co-organiser, and to Leeds Psychogeographer Tina Richardson for their support. Also, of course, to Adam Greenfield and Nurri Kim for the whole walkshop concept, which made organising the event a case study in simple internet-based group formation.

The conversation continues. All three groups collected lots of evidence and had many more ideas than we were able to share on the night. I hope they’ll  upload more photos and blog about the walkshop, letting us know via the #walkshop hashtag, and by adding notes or links on the wiki at http://leedswalkshop.pbworks.com/w/page/48487583/what%20we%20found


Down with Façadism: a provocation for Culture Hack North

November 12, 2011

I was honoured to be asked to do a short talk on the opening afternoon of the brilliant Culture Hack North event in Leeds this weekend.

For one thing, it was a chance to appear alongside Rachel Coldicutt‘s dream team of Rohan Gunatillake, Natasha Carolan, Lucy Bannister, Helen Harrop, Frankie Roberto and Greg Povey.

Also, I got to try out a half-baked thought about an unexpected way in which situated stories could lead to long-term, physical changes in our cities, even better, to do so with some people whose Culture Hack projects could be pivotal to bringing that change about.

I made a Prezi to go with the talk, but for those who can’t abide all the whizzing and swooping here it is in static words and pictures. I’d love to know what you think.

What if the interior lives of buildings were as exposed as their exteriors?

I ask because I think we’re heading for a profound change in the way we experience our built heritage.

We’ll start by considering a heritage concept that got a bad name in the latter part of the last century. There was a trend for ripping out the hearts of old buildings but leaving the shells intact. Critics called this trend “façadism” – the privileging of the exterior or front to the detriment of the building’s deeper character.

“Façadism (or Façadomy) is the practice of demolishing a building but leaving its facade intact for the purposes of building new structures in it or around it.” – Wikipedia

Here’s a particularly egregious example from Estonia:

Victorian architects and builders sowed the seeds of this practice themselves in the way they put their emphasis on the public face of a structure, while skimping on the unseen parts. Here’s Temple Works in Holbeck, Leeds. In front, it’s a grand millstone grit temple; round the back, nicely detailed but workaday redbrick…

  

That tension remains today. The building’s blue plaque focuses on the spectacular facade, the industrialist and architect who erected it…

But if you listen to local people, the complex is important to them as something else, the unglamorous Northern Distribution Depot of Kay’s Catalogues, the Amazon.com of its day. This sign is from Slung Low’s Original Bearings project which sought to capture some of those real Holbeck stories and expose them on the street…

This is the inside of Kay’s as we found it a couple of years ago, a pre-digital data centre abandoned by its previous occupants…

And still the same site: fittingly, Reality was the name of the last company to occupy the complex…

But now it’s possible to see inside buildings through time and space. The pun is too good to miss…

All this would be academic if it wasn’t for the fact that planning law is shifting, away from purely national, architectural significance, towards a system that gives weight to local people’s views of what’s important in their environment.

The Draft National Planning Policy Framework talks (page 55) about “heritage assets” which should be…

“identified by the local planning authority during the process of decision-making or through the plan-making process (including local listing).”

According to English Heritage, local listing is …

“… a means for a local community and a local authority to jointly decide what it is in their area that they would like recognised as a ‘local heritage asset’ and therefore worthy of some degree of protection in the planning system.” – Good Practice Guide for Local Listing

And while the Tory-led government seems to use localism as cover for an attack on communities’ rights to resist inappropriate developments, the National Trust is leading the fightback by positioning heritage in terms of dialogue between people and places:

“I believe that the planning system should balance future prosperity with the needs of people and places – therefore I support the National Trust’s calls on the Government to stop and rethink its planning reforms.” – National Trust Planning for People petition

The upshot of this focus on local significance is that the images and stories of use that we expose through geo-location and augmented reality could influence which buildings are preserved and reused and which are demolished. Historic buildings won’t just stand or fall on architectural merit, but also on local residents’ attachments to them.

Those attachments tend to arise from the activities carried on inside buildings as much as what they look like on the exterior. I visited the old Majestyk nightclub on City Square a year ago because it was on Leeds Civic Trust’s Heritage at Risk list…

And I found this – a spontaneous display of affection for a derelict building…

And while it’s a striking building in a prominent location, I don’t think whoever wrote that loved it for its architectural merit. They were remembering the good times they had at Majestyk’s – the laughs, the drinks, the music, the snogs.

And then there’s this unassuming late 90s box, called the White House, on Melbourne Street…

It has its own Facebook page! Or rather the people who worked here do…

In this building they launched Freeserve, the UK’s first free ISP which got millions of Britons on the net for the first time. If anywhere deserves local listing for its historic significance surely this does.

But I think the real potential is for places like the Leeds district of Chapeltown. (I owe a debt for many of the ideas in this post to my wife Caroline Newton who has just completed her MSc in Historic Building Conservation, studying the development of the Chapeltown Conservation Area. Ask her about it if you get the chance.)

Currently buildings get protection for their contribution to the Edwardian streetscape. But the really interesting stories are ones like this launderette, which was started as a cooperative in response to the needs of the immigrant community in an area that many had written off as a slum…

Such narrative capital is fragile and often completely disregarded in the name of regeneration. If stories like the laundry coop’s were better known, they might count for something in decision-making about the district.

Finally, this is the Mandela Centre, also on Chapeltown Road…

I stopped to take this picture because I loved the big sign commemorating Nelson Mandela’s visit to Leeds in which his drove through this area. But then I noticed the cups in the window. I have no idea what they’re for, but they speak volumes about the activities that go on in a community centre and the pride of the groups that meet there.

What if those stories were as obvious as the sign on the wall? The great thing is that, for the first time, they could be.

Maybe in the future buildings will no longer need to shout for attention with elaborate archiecture. In fact, to do so will be useless as nobody will see their peacock finery through the data smog. Instead, places will be recognised for the richness of their inner lives, meaning we preserve a fuller, messier cross-section of structures for their historic significance.

Just as in quantum theory, the act of observing changes the outcome. Facadism is dead; the future is all about interiors.


Video: Five minutes on the pace of change

November 9, 2011

Presentation at Bettakultcha’s Hallowe’en event, the day the human population hit seven billion…

Original post: http://matt.me63.com/2011/09/16/the-pace-of-change/


“If they could sentence me for thinking, I would have been sentenced for life”

October 7, 2011

This Ada Lovelace Day I’d like to introduce you to Laura Ann Willson of Halifax.

The way into this tale, the loose thread that first attracted my attention, is a 1920s advertisement. But tugging that thread a little, Laura Willson’s story just gets better and better. Her achievements, it seems, are so diverse that no one website has hitherto woven them together in one place.

The ad shows a property developer with keen interests in engineering and the conditions of working class life. Laura Wilson combined these passions by providing affordable homes, ready-made for the latest gas and electricity-powered labour-saving devices.

These were homes fit for heroes. Some of the houses still stand today, plain and solid, nearly 90 years on: “modern, attractive, durable”, planned and priced to bring the garden city ethos to ordinary working families.

Besides being the very first woman member of the Federation of House Builders, Laura Willson was one of seven founder subscribers, and served as President, of the Women’s Engineering Society.

The WES still exists with the following aims:

to promote the education of women in engineering sciences and other  skills, the better to fit women for the practice of engineering;

to advance the education of the public concerning the study and  practice of engineering among women; and

to relieve poverty amongst women who are or have been professional or technician engineers or technologists in allied sciences or educated in science or technology or in the art and techniques of engineering and allied sciences or in other disciplines considered by the Council to be complementary, their dependants and (if they are deceased) their former dependants.

If these aims appear now to be uncontentious, remember that at the time of the society’s foundation in 1919, they were highly incendiary. Laura Willson and her co-founders were making a stand for their right to remain in trades previous reserved for men – only briefly opened up to them by the crisis of the First World War.

Because when Laura Willson saw an opening, she took it, bringing her comrades along with her. Note the “MBE” on the property advertisement, one of the first ever awarded. The 1917 citation reads: “Organiser of Women’s Work in Munitions Works in Halifax”.

In a time of crisis the women of Yorkshire answered the call of their country to take up the dirtiest, riskiest jobs, including the filling of shells with live explosives. The number who lost their lives went unappreciated for many years because factory accidents were hushed up to maintain morale.

Here’s Laura Willson pictured in happier times, circa 1912, with her husband, George, also a self-made engineer, and their young daughter.

But rewind just a few more years and we find the same Laura Willson in a different context, her organising talents not always so welcomed by the authorities.

In 1907, as a member of the Women’s Labour League and the Women’s Social and Political Union, she took part in a weavers’ strike and was arrested on a charge of ‘violent and inflammatory speech’.

Given the choice of two weeks’ imprisonment or a 40 shilling fine, she picked prison, becoming one of the first two suffragettes to be locked up in Yorkshire. On leaving Leeds’ Armley Prison, Laura Willson said:

“If they could sentence me for thinking, I would have been sentenced for life. I went to gaol a rebel, but I have come out a regular terror”.

Contrary to the common picture of the genteel suffragette, Laura Willson did not come from middle class stock. She lacked formal education, having started work aged just 10 as a “half-timer” in a West Yorkshire textile mill.

Yet she went on to be an effective and celebrated labour organiser, war hero, engineer, house-builder and pioneer of new technology. Any one of these achievements would make a person noteworthy. This amazing Yorkshirewoman combined them all.

Happy Ada Lovelace Day!

Sources:

See also:


Let’s talk service design in Leeds. And one more thing

October 4, 2011

We’re fortunate to have three great presenters for the next Service Design Thinks Leeds on Tuesday 25 October. (It’s our seventh event, but we’re calling it SD Thinks Leeds | 04.) In part 1, we’ll have perspectives on service design in health from Jane Wood and Daniela Sangiorgi. In part 2, Rory Hamilton will show how you can prototype experiences easily and effectively.

Once again we’re grateful to NTI Leeds for providing the venue at Old Broadcasting House. You can find out more and book over on Eventbrite.

Oh, and one more thing.

For a while I’ve wanted to do a Leeds version of Adam Greenfield and Nurri Kim’s Systems/Layers Walkshop.

In talking about our November 2011  Service Design Drinks event to tie in with the Leeds Digital Festival I realised it could work really well as a winter evening exploration, centred on Millennium Square and the German Christmas Market. Within a small area we have many features that would stimulate interesting discussion about how the network touches the city, and the glow of screens and lights would be accentuated in the darkness.

The proposed date is the late afternoon and evening of Tuesday 29th November 2011. Want to join in the planning? Head on over to the wiki.

Thank you.


The pace of change

September 16, 2011

It has become a commonplace of our culture that we live in a time of accelerating change. Take this extract from Stephanie Rieger and Bryan Rieger’s dConstruct presentation.

Slides 52-56…

It took radio 40 years to reach a market penetration of 50 million…

by comparison we only had 10 years to ‘adapt’ to television…

while the iPod took only 5 years…

and Youtube less than 6 months…

Google+ may reach this milestone in less than half this time…

The rate of change is accelerating, exponentially, we are told. Old verities no longer apply. To which the historian in me cries out. How do you know? Were you there? And what’s the unit of measurement anyway?

Goaded by my Twitter followers after dConsruct, and by Ivor Tymchak’s pseudo-science, I offer this first draft. It’s an attempt to tell an alternative story about change in our culture, why it seems so rapid yet is probably much the same as it ever was. Also, critically, why the misperception is a bad thing and what we should do about it. You can tell me why I’m wrong, what I’m missing, and what I should read before opining on this subject again.

It goes like this.

Yes, there are isolated metrics that display exponential growth. Moore’s Law has held remarkably well on the terms of its clear and specific prediction: it says the number of transistors that can be placed inexpensively on an integrated circuit doubles approximately every two years.

Yet Moore’s Law says nothing about what people will do with that exponential power. Whether playing ‘Pong’ or ‘Call of Duty’ we still have the same cognitive capacities and number of eyeballs. Kurzweil? I’ll believe it when I see it. With my own two eyes.

Besides, these data points tend to conceal three sleights of hand.

First, they are highly selective by sector. While communications technology is undoubtedly in a period of flux, the same cannot be said of other critically important domains of everyday life, such as transport. Granted this is not your father’s cellphone, but the guts of the car you drive would be familiar to Henry Ford. I’m writing this just south of Grantham, travelling up the East Coast Mainline, where the Mallard clocked 125mph in 1938.

Individual sectors and regions may experience periods of rapid change, followed by plateaux of stability. But put them all together and I reckon the pace of change is, overall, quite constant. And anyway how would you measure it? The number of transisitors on an integrated circuit is a great measure for computing power but meaningless in the field of, say, sanitation. So it is with ham-fisted attempts to express pre-digital human creativity in the terms of bits and bytes.

Second, exponential change narratives like the Riegers’ play fast and loose with multiple layers of the same stack, with massively different degrees of significance and disruption. How can one seriously compare 50 million households hearing radio broadcasts for the first time with 50 million men, women, children and spambots taking a couple of minutes to sign up for free accounts on Google’s latest foray into social networking?

We could so easily tell the opposite story. Why not just chain together sequential inventions in the field of short messaging, from the 1794 Chappe telegraph to Twitter in 2006? 212 years! What took you so long, Jack Dorsey?

Jaron Lanier writes about these layers thus:

“Slow-changing layers protect local theaters within which there is a potential for faster change. In computers, this is the divide between operating systems and applications, or between browsers and web pages. In biology, it might be seen, for example, in the divide between nature- and nurture-dominated dynamics in the human mind. But the lugubrious layers seem to usually define the overall character and potential of a system.”

For reasons I’ll come back to, I think we tend to overplay the importance of those local theatres while being blind to the greater significance of the lugubrious layers.

Finally, as David Edgerton shows in his solid and empirical book “The Shock of the Old”, the use-histories of technologies are far more elongated than we’d expect. Finland, for example, reached peak horse only in the 1950s. When will we hit peak transistor? We cannot possibly know until some time after we get there.

There is one factor that is radically different today from any other time in history, and that is the size of the Earth’s human population. But the number of other people (mostly unknown to each other) does not of itself affect the individual human experience. Indeed one might argue that the global population boom is only made possible by stability in whole swathes of the world previously troubled by uncertainty and disruptive change.

I already blogged about the Economist’s breathtakingly simplistic equation of years lived to history made. At the time I made the point that the globalisation accompanying population growth erases the diversity on which change relies.

A billion drinks per day of Coca-Cola is an amazing thought, but such uniformity is a symbol of inertia, not dynamism. For the most part world trade still travels at the speed of shipping containers, not data packets.

And even if we focus solely on the world of information, of culture, fashion and memes, there’s some evidence that the move to digital can prolong the shelf-lives of media properties as much as it can churn them.

When digital downloads were first included in the music charts, it led to a resurgence of golden oldies, rather than the breaking of hitherto neglected new talent. As some in the music business fretted:

“…it’s entirely possible that you could end up with the top 10 in the singles chart entirely dominated by Beatles tracks.”

The remarkable thing about the Cheezeburger phenomenon is not so much its sudden arrival as its amazing longevity – who’d have thought captioned cats would still make an impact after all this time?

Meanwile we find that the past was actually rather good at moving ideas about.

The postal service of 18th Century England ran twice daily mail coaches between major cities. On a bad day that’s more frequent than I check my emails.

The Victorian Charles Mackay chronicled the viral spread of catchphrases:

“London is peculiarly fertile in this sort of phrases, which spring up suddenly, no one knows exactly in what spot, and pervade the whole population in a few hours, no one knows how.”

(“Has your mother sold her mangle?” is my favourite.)

Ideas could certainly be “in the air” without the aid of modern communications technologies – indeed the telephone is a celebrated example of simultaneous invention. It’s as if someone phoned up Bell the night before to tip him off about Gray’s patent.

Even the change trope itself goes back further than we might expect. I ran the Google Books Ngram Viewer for the phrase “accelerating change“. Turns out its rise began around the 1950s and peaked within the literary corpus back in 1970…

Accelerating change is not just a wrong idea, it’s an unoriginal one!

I’m fascinated by the new stuff in our culture, but it seems grossly arrogant, a disservice to past generations, to claim that our experience of change is quantitatively different. Try telling that to a farm worker in the time of enclosure, to a native of a newly “discovered” country, or to the people of a 1980s British mining village.

What explains this fallacy’s enduring appeal? Why does every generation feel as if it experiences change so much more acutely than its predecessors?

I think it has to do with perspective.

We humans see change as if looking through a window at a stormy night sky. Clouds rush by while the Moon appears a fixed point. In fact the Moon is hurtling by at 2288 miles per hour, much faster than the clouds. It’s just further away.

And because the clouds are moving, they draw our attention. We try to make sense of them, and see patterns in their random shapes. In a few hours the wind could turn and push the clouds a different way, but to us in the moment, they move in only one, inevitable direction.

So it is with the past relative to the present. Disruptive changes that happened long ago appear steady, motionless, shorn of their uncertainties and wrong turns, even though at the time there was nothing inevitable about their course.

Meanwhile the things that are changing around us stimulate our primitive motion-sensing reflexes. The new shiny grabs our attention at the expense of the far larger body of things that stay the same.

Add to this some features specific to our time.

One of the domains that is changing fastest right now is the media, the self-same media that drives the discourse around change, and likes nothing better than to talk about itself. How many more column inches have been expended on the disruptive changes in the newspaper business than on, say, the shift from supermarket shopping to online groceries?

The other peculiarity is the fine net curtain that separates culture and knowledge produced in the age of the Internet from everything that came before.

We’re now so much more likely to type something into a search engine than to leaf through the library’s card index that we discount the very existence of all that stuff in the library, even though it may be better quality or more fitting to our needs. Order the journal or cut and paste that random excerpt from Google Books snippet view? Track down the original on 12 inch vinyl or settle for the bedroom remix on MP3? You know what you should do, and you know what you will do.

Like a theatrical lighting effect, the stuff on the digital side of the gauze is so visible, so brightly illuminated, that it renders invisible everything on the pre-digital side. Before the internet there were no revolutions, no financial crashes, no volcanoes. The illusion is complete.

Does it matter that we flatter ourselves into believing we’re special?

Yes. It matters because of the way the exponential change narrative makes people feel. The idea of free-wheeling change disempowers individuals. It puts them at the mercy of forces they cannot control or even understand. It sends them the message that their past experiences count for nothing. It squeezes out critical thinking and softens them up for the change proponent’s chosen flavour of inevitability.

Because there’s always a therefore. Can you guess the source of this quote from the Riegers’ dConstruct presentation?

“events, threats and opportunities aren’t just coming at us faster or with less predictability; they are converging and influencing each other to create entirely new situations.”

Did you guess?

Step forward Samuel J. Palmisano, Chairman and CEO of IBM, who believes his customers seek to “learn from a company that itself had undergone continual change.”

In any era there are people who thrive on uncertainty and on telling others what to do. I know because I’m one of that tribe. If we’d lived 100 years ago we’d be tinkering with starter motors and leaded petrol, just because that was where the change was. 50 years ago we’d be clearing the cities for tower blocks and motorways because you can’t stand in the way of progress. Today it’s information technology. A century from now who knows.

The other risk, if we fall for the exponential change story, is that we never get beyond the low-hanging fruit. Real innovation surely stems from an appreciation of the things that are not changing fast enough, not from being caught up in the coat-tails of the market’s latest flight of fancy.

Edwin Land didn’t spend five years creating the Polaroid camera because he was scared of being left behind. He did it because his curiosity was piqued by his daughter’s impatience. “Why can’t I see it now?” she demanded.

So if you catch me, or yourself, or anyone else, expounding on the exponential pace of change, stop and ask for the evidence. Ask for the motivation. Ask if we mean to undermine people’s sense of authorship and agency.

More likely the changes that matter take decades. You – collectively we – do have the time to consider the implications and shape the direction. True, the only constant is change. But that’s OK, it was ever thus.

See also: Erm, excuse me, but I think Everybody was here all along


At dConstruct, the real world is calling. It wants its designers back

September 2, 2011

Kelly Goto stands on the stage at Brighton’s Dome, head down, staring at her palm, a perfect mimic of the modern smartphone user, and issues a simple challenge to the dConstruct audience: “Help people to stay upright.”

This is the pivotal moment at which digital design finds itself. After decades training people to gaze into ever more enchanting screens, it’s time for a shake-up, to re-engage with the world around us, once more to look each other in the eye. And it may not be a comfortable experience.

Kevin Slavin dares to ask a roomful of designers why we always look to optics to provide wonder and comfort. Why do we feel the need to mediate the world through a screen, to create (according to a beautiful if only half true story from World War II USA) an upside down backwards town? Why are we not more aware of the dangers that “things that serve the eye trick the eye”? Don’t we remember the beguiling Cottingley Fairies, who showed us long ago that we can’t believe everything we see?

In place of the uncanny valley marketing vision of augmented reality – “We’ll make it magic by putting stickers on everything” – Kevin argues for engagement through behaviour. Pixelated monochrome Tamagotchi inspired more devotion than max polygon count 3d graphics, not by looking real but by exhibiting real traits – being hungry, vulnerable, rewarded and sick. And Kevin should know the power of the invisible: he admits to being spooked by his own code when Crossroads’ Papa Bones swept through the Area/Code studio late one night.

Bryan Rieger and Stephanie Rieger challenge us to engage with the world by releasing stuff that’s not finished, because people prefer it that way. For me their case is marred by over-reliance on the “accelerating pace of change” trope (on which another post follows) but I reckon they have a point about the value of good enough.

As Matt Sheret eloquently puts it: “Hacks scratch the itches that contemporary product design hasn’t caught up with yet.” Time-traveller Matt talks us through the special qualities of things you can put in your pockets – from a Victorian watch to an RFID bike hire key. “RFID is a huge gift for interaction,” he says. I think this is because of its potential as a gap-closing technology that helps link the real world with its digital mirror image.

“Think about the spaces between the experiences you are creating,” says Kelly Goto: to make things that work in the world, we have to understand its people, their rituals and the way they live their lives.

Kars Alfrink makes his own attempt to do this: pointing out the dark side of gentrification. Our cities are divided in plain sight, sharing territory yet blind to each other, like the young Hackney couple enjoying a glass of wine while a tense gang stand-off plays out around them. How do designers get out of their bubble and contribute to a resilient society?

Respect for time and memory surely have a big role to play. Don Norman, in a slide-free talk rich with insight on the state of the user interface art – says we should design memories not experiences: “A memory is a form of augmented reality,” he posits.

And Frank Chimero, who always gives good metaphor, forever replaces my previous best image for our online history. From now of it’s not data exhaust, it’s “walking through snow”. Also Instapaper, Delorean.

Full marks to Frank for the most compelling account I’ve seen of “curation” as applied to web content. Until today I’ve seen “curation” online as a pale, twisted imitation of the real thing, as practiced in museums and art galleries. But Frank put his finger on the thing that makes for good curation – not just hit-and-run picking of stuff but making an educated second pass to transform a collection of objects into a meaningful narrative.

Craig Mod seems to be on similar territory. He talks about data as if it were a living herd, needing to be corraled, then as a field of dead artifacts, in need of “excavation”. What is the shape of the future book? Kilometres high, and chopped up into a million pieces, apparently.

Dan Hon has also dedicated his career to chopping up stories – having followed transmedia storytelling from web 1.0 to 2.0 and beyond. There’s online storytelling the hard way (do it in 2001) and the seemingly easy (do it all on Twitter) though the common thread is good storytelling. Some platforms lend themselves to stories, others do not. Heello is a platform for pretending. Quora is not.

Curiously Dan and Frank both need the same tool for different purposes – something to break out of the blocky file-status-update-album-art tyranny of today’s web services into ways to tell more fluid stories. For Frank it’s about making stories from our real lives, for Dan its creating pretend lives from stories, but in essence both demand the same aesthetic. It’s an aesthetic whose time has come – one that’s authentic without being skeuomorphic. The real world is calling. It wants its designers back.


On the (past, present and) future of the a city

August 26, 2011

One of my favourite things of 2010 was the chance to share my love of Leeds’ industrial history with a roomful of the city’s finest technologists, artists and designers at TEDxLeeds. The video is now up on the TEDx site.

My notes from the talk are here, along with the Prezi slideshow.

You should also check out brilliant talks by Susan Williamson, Megan Smith, Stuart Childs, Usman Haque, Rashik Parmar and Julian Tait.

Thanks again to Imran, Emma, Herb and everyone else who made it possible. I’m already looking forward to TEDxLeeds 2011.


The Dissolution of the Factories, or Lines Composed a Few Days After Laptops and Looms

August 22, 2011

In the corner of an attic room in one of Britain’s oldest factories a small group are engaged in the assembly of a Makerbot Thing-O-Matic. They – it – all of us – are there for Laptops and Looms, a gathering of people whose crafts cross the warp of the digital networked world with the weft of making and holding real stuff.

It’s a privilege to be here. Projects are shown, stories shared, frustrations vented. This is the place to be if you’ve ever wondered how to:

  • get funding for projects not considered “digital enough”
  • break out from the category of hand-craft without entering the globalised game of mass-scale manufacture
  • create a connected object that will still be beautiful when the Internet is switched off
  • avoid queuing at the Post Office
  • make a local car.

The inspired move of holding Laptops and Looms in a world heritage site dares us to draw parallels with the makers, hackers and inventors of the past. We are at once nostalgic for the noble, human-scale labour of the weaver’s cottage and awestruck by the all-consuming manufactories that supplanted it.

The nearby city of Derby has just hit the reset button on its Silk Mill industrial museum, mothballed for two years while they work out what to do with it. Rolls Royce aero engines rub shoulders with Midlands railway memorabilia on the site of a silk mill with a claim to be the world’s first factory.

Like Derby itself, the museum needs to find a way to build upon these layers of history, or be crushed by the weight of them. Water wheels, millstones, silk frames, steam locomotives, jet engines  – they all go round in circles.

Skimming stones on the river at Matlock Baths, someone mentions how the beautiful Derwent Valley reminds him of Tintern Abbey. And I realise that to understand where we are now, 30 years on from the last great Tory recession, we need to twist the dial back another whole turn, to the age of the English monasteries.

Abbeys such as Fountains, Rievaulx and Kirkstall began humbly enough, as offshoots of the French Cistercian movement. Their needs were simple: tranquility, running water and some land for agriculture. But over time they grew, soaring higher, sucking in labour, expanding their estates, diversifying their industries and dominating their localities. Imagine the noise, imagine the power! Until a greedy monarch who would brook no opposition made a grab for their riches and sent the monks packing.

England’s monasteries were washed away in a freshwater confluence of printing presses and Protestant ideology. The clergy who had used the Latin tongue to obscure the word of God were cut down to size, disintermediated by the Bible in English. They still had a role, but no longer a monopoly on the invention of new meanings.

In the shadow of the Gothic ruins, sometimes literally from their rubble, arose smaller vernacular working class dwellings, cottage industries. Among the cottage-dwellers’ most prized possessions was the family Bible, not as grand and illuminated as the monks’ Latin one, but there, accessible to anyone who could read.

To our modern eyes, there was much wrong with the cottage industries: patriarchal, piecework-driven and still at the mercy of merchants higher up the pyramid. But economically this seems closest to the model to which some laptops-and-loomers aspire, (dread phrase) a “lifestyle business” bigger than a hobby but smaller than a factory.

It was 200 years before Britain’s gorges would see the rise of new monsters: water wheels and spinning frames and looms and five storey factories. Something in the cottage industries had got out of kilter. With the invention of the flying shuttle, home-spinning could no longer feed the weaver’s demand for thread. The forces of industrialisation seemed unstoppable, pressed home by a new ideology, Adam Smith’s invisible hand and the productivity gains from de-humanising division of labour. The pattern was repeated elsewhere in Europe with local variations: Revolutionary France threw out its monks and turned the Abbey of Fontenay directly into a paper-mill.

By then the ruined abbeys had lost their admonishing power; some became romantic ornaments in the faux-wild gardens of the aristocracy. Gothic became the go-to architectural style of the sentimental idealist. I’m still a sucker for it today.

There were warnings, of course. Just six years after William Wordsworth’s “Lines Composed a Few Miles above Tintern Abbey”  we got William Blake’s “And did those feet in ancient time”. But still the dark Satanic mills grew. They outgrew the valleys and by means of canals and steam engines dispensed with the need for water power. They swept aside the Arts and Crafts objections of Ruskin and Morris, who fought in vain to revive a labour theory of value.

Until one day some time in the second half of the 20th Century, the tide turned. And here we are today picking our way through the rockpools of the anthropocene for glinting sea-glass, smooth abraded shards of blue pottery and rounded red brick stones. Look closely in those rockpools – the railway arches, hidden yards and edge-of-town industrial parks – and you’ll see that Britain is still teeming with productive life, but on a smaller scale, more niche than before. No longer the workshop of the world.

What comes after the dissolution of Britain’s factories?

That 3d printer in the corner could hold some answers. Despite its current immaturity, 3d printing seems an emblematic technology – perhaps as powerful as the vernacular Bible. It may never be the cheapest way to make stuff, nor turn out the finest work. But it speaks powerfully of the democratisation of making, now within reach of anyone who can use a graphics programme or write a little code. Factories still have a role, but no longer a monopoly on the invention of meanings.

These things move slowly. A straw poll in the pub reveals that many of us already come from the second generation of geeks in our families. Some of us are raising the third. A child who grows up with a laptop and a 3d printer knows she can make a future spinning software, hardware, and the services that bind the two.

This time around the abbeys and the factories should stand equally as inspirations and warnings.

Their makers’ inventiveness and determination have left us a rich seam of narrative capital. And for all the current Western angst over the rise of Chinese manufacturing, the Victorians were nothing if not outward-looking. Leeds’ engineers willingly gave a leg-up to Germany’s Krupp Brothers and motorcycle pioneer Gottleib Daimler.

Yet the overbearing influence and precipitous declines of monasteries and mills should make us wary of future aggrandisements. Want to know how that last bit pans out? Please check back on this blog in August 2211.

Thanks to Russell, Toby, Greg and everyone else who made Laptops and Looms happen. And thanks to you, dear reader, for making it to the end of this ramble. As a reward, check out Paul Miller’s proper take-out from Laptops and Looms. He has a numbered list and everything.


A fanboy with a strange device

July 14, 2011

So my two best things ever of the past fortnight are Punchdrunk’s Doctor Who adventure the Crash of the Elysium and SVK, a comic from Warren Ellis, Matt “D’Israeli” Brooker and BERG.

The former is a live performance for six to 12-year-olds, so if you’re a grown-up you may have to borrow a child to see it. The latter is an adult comic, so if you’re a child you’ll just have to grow up; it’s worth the wait, honest.

But the reason for this rather vague, dancing-around-the-plotlines-to-avoid-spoilers post is to mention one thing they both do really well: integrating a new device with conviction and coherence.

In SVK’s case it really is a device, an ultra-violet light source that reveals extra features of the story when beamed at the pages. It could so easily have tipped into gimmickry, but in Warren Ellis’ hands SVK becomes integral to the plot. It’s intricately woven into the world of the hero, Thomas Woodwind. The device shines a light on some characters’ innermost thoughts, but, even as the story unfolds, the intentions of some others remain a closed book. This is a necessary and consistent feature of the technology as imagined.

What Punchdrunk do on a vacant building plot next to the new BBC building in Salford is something else. There the novel device is the integration of the audience into the story. I won’t tell you how, but the children really do save the day. The genius of it is that only the audience, only the children, can save the Doctor – because of their knowledge of the Doctor Who universe. The audience are elevated because they arrive with special information not available to the story’s other protagonists. That, to an eight-year-old, is incredibly exciting and empowering.

The common thread: masterful restraint in the way the new device is integrated. I think there’s a lesson here for a lot of transmedia, augmented reality, and other buzzword-based story-telling forms: it’s not what you do with the technology, it’s what you leave to the imagination.


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