Culture was the central point of my reason to start this blog. I thought that there was so much to explore in Asian culture to try and understand the future.
Initially my interest was focused very much on Japan and Hong Kong. It’s ironic that before the Japanese government’s ‘Cool Japan’ initiative there was much more content out there about what was happening in Japan. Great and really missed publications like the Japan Trends blog and Ping magazine.
Hong Kong’s film industry had past its peak in the mid 1990s, but was still doing interesting stuff and the city was a great place to synthesise both eastern and western ideas to make them its own. Hong Kong because its so densely populated has served as a laboratory of sorts for the mobile industry.
Way before there was Uber Eats or Food Panda, Hong Kongers would send their order over WhatsApp before going over to pay for and pick up their food. Even my local McDonalds used to have a WhatsApp number that they gave out to regular customers. All of this worked because Hong Kong was a higher trust society than the UK or China. In many respects in terms of trust, its more like Japan.
Korea quickly became a country of interest as I caught the ‘Korean wave’ or hallyu on its way up. I also have discussed Chinese culture and how it has synthesised other cultures.
More recently, aspect of Chinese culture that I have covered has taken a darker turn due to a number of factors.
The Michelin Snow Sock or to give it its proper name SOS GRIP(R) Evolution does a similar job to studded tyres or snow chains (often called RUD Chains after the German company RUD Ketten – a famous manufacturer of snow chains).
The Michelin Snow Sock looks much easier to store and fit than snow chains and is likely to be less damaging to road surfaces. This new Michelin Snow Sock seems to rely on the black bands across the face of the tyre.
A key difference is that snow chains can also be used in really muddy conditions and can be used to protect the tyres in hard surfaces such as quarries and mines – although this is usually the domain of a specialist product. You can’t doe these things with the Michelin Snow Sock.
Inspecting a car before purchase
Interesting tips on inspecting a car that you are interested in buying. Its interesting how democratised specialist tools have become.
Twitter
Professor Scott Galloway talks to Christiane Amanpour about the current economy and the rollercoaster moves at Twitter. My favourite quote from this, describing the recession as a ‘Patagonia vest’ recession affecting knowledge workers the most so far.
Junya Watanabe Menswear Fall/Winter 2022
I am about 10 months late to this, but Junya Watanabe did a menswear collaboration with Jay Kaye from Jamiroquai mirroring his mid-to-late 1990s style. Its a mix of indigenous wear that was popular from gap year students (or people who wanted that boho look), rave culture and Goa trance, sports wear and technical outdoor clothing.
Here is the mini video look book that Junya Watanable made for the menswear collection.
Here is the original video for Virtual Insanity
Behind the scenes on how the Virtual Insanity video was made. How the effect was achieved was quite surprising.
Shakatak
I didn’t realise how popular jazz fusion group Shakatak was in Japan. To me there where pre-house UK dance music. I found this Japanese festival performance by them.
The Tokyo Crossover Festival was was originally organised by the Kyoto Jazz Massive member Shuya Okino.
It was April 2002. I was invited to the Future Jazz Festival held at Zagreb, Croatia. The well select lineup for this 3-days event was Victor Davies, Jessica Lauren, Rainer Truby, Azymuth, Zero dB and many more. The huge success all owed to Eddy & Duss and their incredible local support attracted 1500 enthusiastic people each day! Frankly, and forgive my ignorance, I was quite shocked. This was Zagreb, Croatia. The media that I was exposed to depict the negative image of an on-going civil war for all what I remember. Needless to say, I was inspired and at the same time wondered why Japan never had such festivals. Sure we have money-flowing mainstream Rock Festivals and Techno Festivals but nothing such as Deep House or Future Jazz festivals – which is surprising especially when Japan holds the biggest market share for such music. What is more depressing is that the “traditional” Jazz summer festival seems to be loosing its energy every year… I waited. I thought someone would eventually do the future-jazz festival here in Japan. There were few attempts but did not leave strong impact. Waited few more years…and thought it was time for me to take some action. I called it “Tokyo Crossover Jazz Festival”! This is the first year and I am treating it as an introduction or presentation for the successful year to come. Therefore, it will not be a gigantic outside “typical” festival but the main purpose for this first festival is to cause Crossover Jazz awareness and for artists who have same music vision to gather together. Of course, I am aiming for the fan-pleasing exciting showcases. We have a good “crossover” jazz scene in Japan and I want the fans, all over the world, to know. In the future, the festival will feature artists from Jazz, Techno, Hip- Hop, House and the music will cross all over – the ideal festival that I keep visioning and working hard for! At the end though, all I want for everyone and myself is to…have a good time!
Shuya Okino (Kyoto Jazz Massive)
Internet explained in five levels of difficulty
I showed this to my Dad and he loved it. So I thought I would share it here too.
Back to 1992 with DJ Vertigo. I knew DJ Vertigo or to call him is proper name Steve from my time shopping at 3Beat Records where he worked behind the counter. His Grin tapes brought a steady stream of non-record buyers into the store. Weekends saw him DJ’ing across the north of England in the early 90s including big nights at the time like Maximes in Wigan, Ark and The Gallery which were both in Leeds and The Orbit @ Morley in the greater Leeds area. At the time 3 Beat was having its status THE record store was being challenged by Probe Records that was around the corner at 9 Slater Street. There was a new manager who got in some amazing house and techno alongside Probe’s usual material. Down on Matthew Street you had the Groover Record Bar with Rusty, Les Calvert and Dave Graham.
Over time, DJ Vertigo’s legacy got cemented as tapes were passed on, copied or transferred to digital. The other names faded away in terms of their cultural relevance.
Last I heard DJ Vertigo was playing regular ‘old school’ club nights in Leeds for middle aged people to relive their youth and young people to hear the sounds that had excited their gen X peers.
The Peripheral
Amazon Studios have adapted William Gibson’s book The Peripheral, which I enjoyed reading when it came out. I look forward to each new episode. Here’s the trailer
Porsche have built a homage to the Safari Rally, Oman Rally and Paris-Dakar Rally cars that Dave Richards (of Prodrive fame) used to build on Porsche 911 SC RS cars.
I personally would want it jacked up a bit more for ground clearance and portal axles a la a Mercedes Unimog. There’s also no mud flaps, but otherwise its an interesting looking car.
DJ Kenta
What I have been listening to this week. Japanese DJ, DJ Kenta. Its kind of like an upbeat version of a Giles Patterson set. More here.
Kherson offensive
William Spaniel does a good job of providing an analysis of the Ukrainian effort to take back Kherson.
A more nuanced view on the Ukraine invasion in the air from a RUSI analyst.
I remember catching Thirtysomething in between working and DJing on a weekend and during my evenings. What caught my eye at the time is that the show felt ‘bigger’ than other shows on TV at the time. It was down to Thirtysomething having talented directors and really good script writers who managed to tease the drama and storytelling out of everyday life events. It was the first show where I watched and learned how it was being created rather than being merely entertained by it. I had already taken a similar attitude to film thanks to Alex Cox’s Moviedrome series.
Promotional artwork for the series
Thirtysomething dealt with issues like ‘selling out’, having career disappointment and becoming a ‘corporate being’. The storylines included episodes where cast members were killed off or had cancer. It was also unashamedly aspirational; they were all university educated. Two of the main characters ran an advertising agency together, that would be later bought out – which brought its own troubles. Others were a successful artist, a successful photographer and a college lecturer.
In many respects Thirtysomething was a forerunner for the BBC’s This Life, which was the younger, hipper British cousin. There is something very ‘HBO’ about the feel of Thirtysomething despite the fact that it was shot for the network ABC.
The people went on to work on big Hollywood projects:
Looking back at Thirtysomething you realise that the problems that middle class America worry about have grown. Thirtysomething came from a middle class that was still striving and unashamedly white as was the later Friends. This Life had it easier being set in multicultural London rather than Thirtysomething which was set in Philadelphia. Thirtysomething had a limited release as a box set in the US. It is unavailable for streaming in the US or UK and doesn’t have the kind of following it would likely deserve, given the quality of the storytelling and the script writing involved. Much of this seems to be down to issues with music rights, which makes sense when you see tracks by The Who being replaced on the DVD releases of the original TV series of CSI.
Tracker software
In the early 1990s, tracker software packages that ran on the Commodore Amiga inspired a number of music producers, mostly bedroom producers. Some prominent producers used this set-up, notably drum and bass pioneer Micky Finn.
Tracker software is the grandparent of modern DAW software like Cubase which has replaced most outboard studio equipment.
Making Leatherman multi-tools
This video looks at the Leatherman multi-tool factory and the legacy of engineer Tim Leatherman who founded the company in 1983. In a globalised world, Leatherman is unusual in continuing American manufacturing.
This post on AI and creativity was inspired by experiments being done at work by a member of our design department. They had been using Midjourney to create images within a minute of receiving an initial set of words as creative prompts.
For example we created this surreal image which fits somewhere between Christian kitsch familiar to catholic households around the world and a touch of Syd Mead‘s visual futurism. This comes from the prompt.
Jesus fighting alongside the US Air Force
https://flic.kr/p/2nSGwLB
Other efforts weren’t successful, we had faces featuring eyes with two pupils and when it tried to render round shapes, it didn’t know when to stop. The hands would go on and on as a twisted mass of flesh. This could be resolved by creating a human character in a service like MetaHuman and uploading that to Midjourney as a base model instead.
How neural networks drive AI and creativity?
Midjourney works using two neural networks. The first works to render an image. The second compares the processing image to exemplars from a data bank of images. There is a back and forth exchange between the two networks until a number of variants are rendered. At this point the human operator is given a choice, or they can choose to have other variations created if the originals don’t meet their requirements.
These images can be rendered in high resolution allowing for an amazing level of detail.
Dystopian vibes
The dystopian feel of the use of AI and creativity is down to a few different factors.
The first reason is that dystopia is at the centre of our cultural zeitgiest in the west. Documentary maker Adam Curtis covers it really well in this discussion with with the Joe Politics channel on YouTube. This zeitgeist affects the type of imagery that the AI has available to draw upon and the kind of prompts that people use to create AI images.
Secondly, the use of AI to ‘create’ something lacks the feeling and collective emotional experiences of a real person. Those elements can’t be captured in prompts which is why images land with the sensation of a dead fish.
What does AI and creativity mean for agencies?
Concepting
The most immediate impact could be in rapid concepting, analogous to how rapid prototyping for manufacturing design. Creative teams would still need to conceive of ideas but concepts could then be brought to live in minutes.
It’s as far away from the black marker and pad that creative directors traditionally used; as paste up graphic design techniques from the use of desktop publishing software that started to impact the design world in the mid to late 1980s.
News illustrations and graphic novels show the way
One of the first areas that is really shaken up by AI and creativity has been the world of the political cartoonist and news illustrator. At the moment newspapers and news magazines pay skilled artists to develop and conceptual designs that convey a political concept.
A good example of this is the covers of The Economist magazine. However things are starting to change. US political publication The Bulwark has already started using AI generated illustrations processed by Midjourney. Midjourney has also been used to create graphic novels.
One could easily see how this might be extended into business-to-business marketing for intangible products like software and services.
Production
The hyper-realistic effects that AI can produce is likely to inspire a desire in clients to use them more often for cost effective production costs. At the moment however, the results can be very hit and miss. There is a problem with hands, faces, interlocking round shapes and a ‘dead’ look to the work.
Social implications
At first we had a discussion about what happens to designers? Were they doomed? Should there be a universal income for them or should they march in the streets to ? How could the technology be stopped?
I wasn’t exactly a ray of sunshine in this discussion. I pointed out that over the past few centuries, capital won out over labour every time. So people only kept their jobs if they cost less than the process to automate their tasks.
Globalisation versus automation
London like a few other cities have ad agency work done that is designed for global audiences. At the moment I work on campaigns designed for markets including: the UK and Ireland, Spain, Italy, the US, Vietnam and Japan. Globalisation seems to have benefited hub cities rather than moved the work to cheaper locales.
This in sharp contrast to what happened to British manufacturing. Whole sectors largely disappeared:
Steel making
Textile mills
Shipbuilding
Car manufacturing
Chemical industry
Pharmaceutical manufacturing
Engineering and fabrication
Where capacity was spared, it was largely down to the UK being a good point of entry into the European Union. As the number of countries expanded new manufacturing jobs moved east; and workers moved west to fill workforce needs in established UK factories depressing salaries.
Research shows that globalization only accounts for 13 percent of job loss in US manufacturing while 88 percent of losses were from automation including robotic manufacturing. In fact, availability of ever-cheaper automation options combined with uncertainty in the global supply chain has led to a resurgence in “onshoring” manufacturing.
Automation has been the quiet destructor of roles. During the 1960s businesses had typing pools and secretaries. Many of these roles disappeared due to desktop computers, office productivity software and the democratisation of touch typing as a skill.
The Technium
Even if labour won out over capital in the UK, there is no guarantee that they would be able to stop the march of technology. Kevin Kelly in his book What Technology Wants shares the idea of ‘The Technium’. The idea behind The Technium is that technology has a momentum of its own building on previous progress. Kelly goes as far to describe it as a super organism of technology. He believes that it exerts a force that is partly cultural with technology influencing and being in turn being influenced by technology. All of which means adaption and accommodation are likely to be the way forward for now.
Adaptation
While people don’t realise it, you’ve been using what could be termed AI for decades:
Autofocus on a camera
Losing ‘shake’ in camcorder and smartphone video
Programmes in a microwave the attempt to cook a casserole or baked potato
Predictive text (although it seems to have become more stupid over time)
Siri, Alexa and Google’s various search functions
In the case of a designer it would also include tools like the ‘lasso’ function in Photoshop that automatically cuts around objects including frizzy hair on a model. So it’s a bit late in the day for people to get squeamish about AI and creativity. Dominant creative software company Adobe sees the place of AI and creativity more as a technology to augment designers in their work rather than replace them. Much of the current Adobe focus seems to be on lowering the on-ramp for new users of their software packages.
There will be more of a challenge for supporting professions like photographers. Fashion brand Hugo Boss is looking to 3D AI powered design to aid in product design and 3D rendering threatening product photography for websites, look books and catalogues.
Limitations of AI and Creativity
One of the things that my colleagues said which really struck with me was ‘if an AI told the world’s funniest joke’ would it know that it was funny? Software is being used to track emotional response, but it wouldn’t necessarily know why something was funny.
The AI can’t be coded with a summation of life experiences, it can analyse emotions, but as far as we know doesn’t experience them yet. This probably explains why Studio Ghibli and Disney animation feels like it has much more life in it than the best AI renders.
Is it art?
Auction houses have sold works generated using AI, but is the art in the creation of the work, or in the decision to use an AI to do the work and thinking of the artist behind that idea? AI can produce works as they have existed before and mash-up genres and ideas, but it wouldn’t be able (at the moment) to create something completely novel through a leap of abstraction, such as a concept like Marcel Duchamp’s sculpture ‘Fountain‘.
AI images can be nice, but do they involve an illusion of creativity? Everything that appears in an AI image is depended on the inputs that the AI receives and the content in image banks that it uses as a reference – which is the reason why AIs often sign works with an indecipherable script.
Do artist styles have to be better protected as part of their IP as well as their works?
IP issues goes beyond artists. We created an artistic rendering of Pokemon character ‘Pikachu’ on Midjourney using the prompt
Definitely not a pikachu
In conclusion
If you’re a creative we eventually managed to get to four thoughts from the discussion:
In the grand scheme of things, change is the only constant
AI has been changing things and will continue to do so
It is inevitable that there willl be some automation and augmentation happening in the creative professions such as design
In the words of Douglas Adams book Hitchhiker’s Guide To The Galaxy ‘Don’t Panic’ – but be prepared to adapt and learn new skills and develop new areas of expertise
Interesting trends interview that covers a lot of the issues influencing the interviewer calls the world of visuals. The world of visuals is considered to be influenced by everything from a desire for authenticity and video content to the metaverse. While the metaverse is immature (despite what you may here elsewhere), the effect on culture of the world of visuals will be more apparent.
I saw the impact of the web on graphic design way before I got to experience the web at college. The idea of the technology inspired (mostly wrong) cultural tropes. The move towards ‘b-roll’ video makes a lot of sense. The world of visual interview gives an insight to where Getty Images thinks that the world of visuals is going.
John Le Carré
I came across some amazing interviews with author John Le Carré. John is sadly no longer with us, but the video footage still feels very pertinent. Beyond the Karla Trilogy ofTinker, Tailor, Soldier Spy, The Honourable School Boy and Smiley’s People – I would also recommend Agent Running In The Field – which shows how well Le Carré still kept his finger on the pulse and was written as a riposte to Brexit. Brexit also persuaded Le Carré to change his nationality to Irish in the end, he died an Irishman.
Gucci x Palace
Following on from their collaborations with The North Face, Gucci has now collaborated with UK skate and streetwear brand Palace. Like Kim Jones over at Christian Dior, Gucci seem to be really on the zeitgeist.
Soviet oil
Asianometry has put together another great documentary. This time he focuses on how the Russian empire became an oil power. If you like John’s introduction to the subject area, I can recommend Daniel Yergin’s The Prize, as a Christmas read. This was required reading back when I worked in the oil and gas industry at the start of my career. Yergin covered the oil industry globally from 1850 to 1990 in this book and complements this introductory video to the subject.
