Ged Carroll

Category: media | 媒體 | 미디어 | メディア

It makes sense to start this category with warning. Marshall McLuhan was most famous for his insight – The medium is the message: it isn’t just the content of a media which matters, but the medium itself which most meaningfully changes the ways humans operate.

But McLuhan wasn’t an advocate of it, he saw dangers beneath the surface as this quote from his participation in the 1976 Canadian Forum shows.

“The violence that all electric media inflict in their users is that they are instantly invaded and deprived of their physical bodies and are merged in a network of extensions of their own nervous systems. As if this were not sufficient violence or invasion of individual rights, the elimination of the physical bodies of the electric media users also deprives them of the means of relating the program experience of their private, individual selves, even as instant involvement suppresses private identity. The loss of individual and personal meaning via the electronic media ensures a corresponding and reciprocal violence from those so deprived of their identities; for violence, whether spiritual or physical, is a quest for identity and the meaningful. The less identity, the more violence.”

McLuhan was concerned with the mass media, in particular the effect of television on society. Yet the content is atemporal. I am sure the warning would have fitted in with rock and roll singles during the 1950s or social media platforms today.

I am concerned not only changes in platforms and consumer behaviour but the interaction of those platforms with societal structures.

  • IT First Look + more things

    IT First Look by Forrester Research

    Forrester Research has some interesting video and audio sessions attached to its IT First Look (November 9, 2005) – subscription required. Forrester’s work on IT First Look is interesting because it touches on how technology and web companies are failing in their marketing communications with consumers.

    IT First Look touches on how these companies understand how build the stuff, but do not understand how the consumers really use and adopt it.

    AT Kearney on mobile media

    Thanks to Ian Wood who pointed out an interesting thought piece and associated research by management consultants AT Kearney. Some interesting data in there which I haven’t had a full chance to check out but two points immediately leapt out:

    • Western European survey respondents were less interested in downloading music on to their mobile phones than their counterparts in Asia, The US and Russia. This and a flatlining of online music sales in the US since May this year indicates that the post-iPod age may be upon us
    • Interactive entertainment like games was less popular and did not have as much repeat demand as other mobile services. Interactivity is something that tech advocates bleat on about since before the arrival of the CD-ROM, but it fails to take account of the different types of people and the various ways that they like get and work with information.

    Mobile society

    The FT devoted much of its magazine over the weekend to mobility and its impact on society. The main article by Richard Waters, their US technology correspondent can be read here. What is really interesting is the way people have absorbed mobility into their cultures, rather a brave new world occurring like all the tech-mavens like to crow about.

    37 Signals

    Salon.com has an interesting article about 37 Signals a Chicago based software company that is making waves. The company has developed lean, responsive web-service based software applications for project management and personal productivity.

    Odeo

    Odeo is a way of making podcast publication and consumption much easier, it has the ease-of-use that one would expect from one of the founders of Blogger.

    Firedrop and Basecamp

    When I worked during the dot.com boom I briefly used a great free document management service called FireDrop to manage approvals from press releases to appraisal forms for my team. There has seldom been a web service that has impressed me since, however BaseCamp looks like it might do that.

    Unlike many web services offerings it is truly platform-agnostic.

  • PSP + more news

    PSP

    The PSP has fired the imagination of grass roots developers already, which bodes well for its competition from Gizmondo – the Tiger and Microsoft-backed alternative. Nintendo’s DS doesn’t make claims to be any form of ‘convergence device’, but an honest mobile games console which focuses on playability rather than speeds and feeds. iPSP allows you to synch music with iTunes, carry your iPhoto library around with you and back up game data on to your Macintosh. Whilst Sony would probably not approve of this close linkage between the PSP and Apple’s iLife suite, it will not harm sales of the device amongst generation iPod.

    Expect sales of PSP movies and Sony Connect sales to be on the low side as PSP early adopters rip from their DVD and MP3 collections instead. Sony’s best option as with games is to go for exclusive movie and music content for the PSP.

    Folksonomy

    Folksonomy seems to have caught the imagination of both News.com and Charles Arthur’s contribution of netimperative. Yahoo’s purchase of Flickr is seen not only as a way of getting hold of a great info-imaging service, but also of harnessing a grassroots approach to creating true contextual searching.

    Mobile TV

    According to the Global Telecoms Business top five stories newsletter that NTL and O2 have announced which TV channels will be available to the 350 test subjects during their six month-long trial in Oxford. The 16 channels involved come from BSkyB, Chart Show TV, Discovery Networks Europe, Shorts International and Turner Broadcasting.

    Customised Nike sneakers

    In New York, Nike has extended their design your own trainer programme to billboard signs that you can manipulate via phoning a free phone number. Your specification can be shared via an SMS message. There is still no option to allow people like Jonah Peretti have Sweat Shop sewn on his set of trainers.

    8vo: On The Outside

    Finally ‘8vo: On the Outside’ is going to be launched. Written and designed by Mark Holt and Hamish Muir, based on their work designing for the likes of the famous Hacienda nightclub and changing and its influence in the emergent typographically-led design movement in the UK during the late 80s and through the 90s.

  • Renaissance

    Platform Art and Renaissance

    At Gloucester Road there is a series of self portraits by a photographer who has desguised himself in each picture. It is part of London Underground’s Platform Art series.

    I boought the tenth anniversary reissue of the original Renaissance mix album by Sasha and John Digweed. Renaissance is hailed by many clubbers as being revolutionary. I thought I would comment on some of the innovations:

    – Renaissance was the birth of progressive house: no it wasn’t you can hear a natural progression between early Renaissance and Sasha’s sets before the club was formed. Renaissance was built on the back of the reputation that Sasha had earned at Shelly’s in Hanley, Stoke-on-Trent. Progressive house had been put out for a fair while by artists, most notably the Italian acts Sueno Latino and Last Rhythm. Fabi Paras had championed the sound in London.

    – Renaissance changed the visual language of clubbing: kind of. Renaissance got its name from borrowing fromrenaissance paintings, which were deconstructed and repurposed, however from the early days of house, many club flyers and imagery was borrowed from the cheesier ‘catholic’ religious art.

    – Renaissance was a life changing experience: It depends where your head was at. Renaissance was a good club, they managed to get all the ingredients right: the security, the staff, the clubbers, the venue, the ambience, the music and the DJs. People had a great time, but then in club culture during the early 1990s there was a lot of great times to be had every weekend all over the country.

    – Renaissance revived clubbing: Don’t believe the hype. Renaissance caught the top of the clubbing wave. It was one of a number of clubs that issued in a glitzy waye: straight lads wearning Versace shirts and leather trousers. Another trend to benefit was the mixed gay straight clubs like Vague in Leeds. The reasons why this came about was as much to do with getting a licence as baggy clothes for dancing meant wholesale drug use and possible dealer rumbles. Mincing around the club in clothes you would be afraid to sweat in was supposed to prevent it, it didn’t it just heralded the arrival of wholesale cocaine use. It replaced the egalitarian nature of house and rave with snobbishness.

    My recollections of Renaissance

    It was towards the end of 1992, a friend of mine had got a gig on a Friday night at the Venue 44 in Mansfield playing what would now be termed drum and bass. I knew him as we used to play house sets together. He had met a couple in some ski resort where he had gone to play for a couple of months. The couple were involved in putting club flyers in shops and bars throughout the Midlands and the North of England. When he came back, he got in touch with the couple and they got him the gig.

    I turned up to a half empty night decked out in decorations. After I made some enquiries, I got into Renaissance for free a few weeks later. I remember having a nightmare parking the Austin Metro I had at the time and stiff legs from the two-hour drive that did not welcome the stairs I had to climb to the front door. The building looked anonymous and whitewashed on the outside.

    The main dance floor had the DJ booth well above it and there was a chill out area between the front door and the barn like dance floor with bench seating and some sort of trellices. Most of the lads going there looked like rugby league players and the girls like night wear models. The club had a buzz, but it was not the raw electric feel of Shellys, The Hacienda or the Quadrant Park. More related content here.

  • Autumn of the Moguls by Michael Wolff

    I have been working my way through Michael Wolff’s new book Autumn of the Moguls and found some of it very predictable. Its obsession with disfunctionality amongst business leaders including Eisner and Messier.One thing that did strike a chord with me was the way technology had moved from saving the record industry from itself to becoming the industry’s kryptonite. Around about 1984 or so, the music industry had hit paydirt as Joe Public moved from their analogue recordings on 8-tracks, cassettes and vinyl on to CDs. Artists of the 1960s and 1970s were the money spinners, reputedly there was one CD factory in Germany that did nothing but make copies of Pink Floyd’s Dark side of the Moon.

    Autumn of The Moguls highlights how this model then collapsed.

    Then the internet came along and the record companies were slow to take advantage of this technology so the consumers did. Instead the industry created a huge knee jerk reaction blaming the customer for their own mistakes. From pages 283 and 284:

    File sharing replaced radio as the engine of music culture.

    It wasn’t just that it was free music – radio offered free music. But whatever you wanted was free, whenever you wanted it. The Internet is music consumerism run amok, resulting not only in billions of dollars in lost sales but in an endless bifurcation of taste. The universe fragmented into subuniverses, and then sub-subuniverses. The music industry, which depends on large numbers of people with similar interests for its profit margins, now had to deal with an ever-growing number of fans with increasingly diverse and eccentric interests.

    Not a unique challenge, clothes manufacturers, car companies et cetera all have had to deal with the fragmentation of consumer interests. There is no longer any such thing as the teenager, when do people now get old? These are all similar challenges. The fear in Autumn of The Moguls isn’t piracy, it’s the ability of these businesses to manage themselves and adjust to a post modern society.

    My own take on this is that the music industry has failed:

    • Failed to give customers what they want, more eclectic artists and built a business model about more ‘customised’ sales. I read somewhere that a Volvo car model can have some 48,000 variants. Customers now have a more eclectic musical taste, artists and record companies should build for a business model of selling 40,000 rather than 400,000 of a given record
    • Failed to take advantage of their back catalogue of deleted recordings and putting them for sale online to make a better return on slowly decaying master tapes
    • Failed to innovate, during the time that record companies may or may not have sold less CDs, depending whose numbers you believe; they signed and supported less acts and off loaded talented but not huge selling artists
    • Failed to realise that a fast buck is not always the best buck. In prostituting their recordings for supermarket soundtracks, films and car advertisements the music industry turned music into musak
    • Failed to grab their own destiny and allowed their product to be dictated to them by the radio stations
    • Failed to recognise that a number of customers still wanted analogue recordings, thus allowing niche players to subvert a reasonable revenue stream. Much of the US and European requirement for vinyl is pressed in state-of-the-art factories based in the Czech Republic as the majors exited the market

    More book reviews here.

  • The Hacienda must be built

    The Hacienda (or Fac51) was one of the most famous and influential clubs of all time, together with London nights like Shoom, Spectrum and Solaris it catapulted house music (at the time, the sound of black and gay Chicago into worldwide exposure). The Hac influenced and was influenced by the Ibizan scene. Even prior to house, the club innovated; hosting the first UK performance by Madonna in the early 1980s. The club was a work of love by designer Peter Saville, Rob Gretton who managed New Order and Tony Wilson TV newsreader and founder of Factory Records. The name itself came from a passage in arty situationist manifesto by Ivan Chtcheglov that culminated in the passage:

    And you, forgotten, your memories ravaged by all the consternations of two hemispheres, stranded in the Red Cellars of Pali-Kao, without music and without geography, no longer setting out for the Haçienda where the roots think of the child and where the wine is finished off with fables from an old alamanac. Now that’s finished. You’ll never see the Hacienda. It doesn’t exist. The Hacienda must be built.

    Famous art galleries and authors houses get preserved and saved. However night clubs don’t get this reward: The Cavern where the Beatles played is a car park, The Warehouse in Chicago has disappeared, The Wigan Casino and Twisted Wheel hubs of the northern soul scene have been redeveloped, The Wag Club which hosted new music throughout the 1980s from the new romantics to Bomb the Bass is part of a tacky mock Irish pub chain on the edge of London’s Chinatown.

     The Hacienda was demolished in 1997 and auctioned off piece by piece, the site is now a block of overpriced yuppie apartments.Despite the desecration committed by property developers, its cultural mark still lives on.

    This can be seen in the popular Steve Coogan film 24 Hour Party People, the ‘classics chart’ of Graeme Park hosted at Hard To Find Records online and London event promoters Get Loaded. More related posts here.