A simile is a kind of metaphor. Rather than saying this noun “is” that noun, we say it is “like” that noun. We insert a little distance between the two things. The bleeding glacier in Antarctica is like a wound in the ice.

Our first instinct in viewing the photograph is to ask what it “really” is. That’s not really blood, what is it? I mean scientifically.

Taylor Glacier in Antarctica’s McMurdo Dry Valley, in 1911, is in fact the run-off from a microbe-filled lake deep beneath the surface of the glacier. The run-off seeps out through a fissure in the glacier, and it is red not because the poor microbes are bleeding, but because it comes from a very iron-rich environment.

The power of the image is defused in its scientific explanation. It’s iron-rich microbe run-off. That’s not blood. The ice isn’t wounded; it isn’t bleeding.

Blood is a bodily fluid in animals that delivers necessary substances such as nutrients and oxygen to the cells and transports metabolic waste products away from those same cells.

The image is arresting, it’s like the ice is bleeding. Even in this remote place at the bottom of the world, the earth has suffered a wound and bleeds into the ocean. What does it mean that the earth shows the signs of a stigmata? Why does the earth bleed from this glacier of ice? Does the earth grimace in pain?

How would we view this image differently if it was created by the artist Andy Goldsworthy? Is it only through the medium of an artist’s work that it can be considered and read as a work of art? Today we say that an artist is a genius. “Genius or Genii” was once what we called the attendant spirit of a place. Imagine that this mass of ice, flow of microbes and change in temperature joined forces to create a work of art — an image that is meant to resonate and find a permanent home in your mind’s eye.

The best minds of my generation have been destroyed by the madness of contriving ways to get people to click on ads, conforming to a conceptual framework of disruption in which ruptures take the form of optimizing commercial capitalism. As the hot air of “technology” and “social” fill up the bubble once more, food for Cacophony fills the streets, the airways and the wires of the Network. The time is ripe for more weird fun from The Cacophony Society.

The Cacophony Society is a randomly gathered network of free spirits united in the pursuit of experiences beyond the pale of mainstream society. We are the punctuation at the end of hypothetical sentences, words in the prose of technological satire, grammarians of absurdist syntax and our numbers are prominent in the flat edge of a curve. You may already be a member!

A common criticism of the Occupy Movement has been that its anarchist structure means it will have little influence beyond the current moment. The counter-example is the San Francisco Cacophony Society (formerly The Suicide Club) which spawned and influenced the Billboard Liberation Front, Burning Man, Fight Club, Ad Busters and Santa Con. Culture jamming continues to be a powerful force in countering the technological scientism of Silicon Valley.

Non Event
Wednesday Dec. 9th all day.

Dress like you always do. Do what you normally do.
Object of the event: See if you can pick out the other participants. This was a really big event last year. Let’s see if we can do it again!

Sponsored by: The Bureau of Objective Reality

Last Gasp of San Francisco has published “Tales of the San Francisco Cacophony Society.” This new instruction manual and historical document is cornucopia of cacophony and should prove to be an inspiration to a new generation about to be chained to the “promise” of Google Glass.

Frankenstein’s Workshop
Saturday, Sept. 5 8:00 p.m.
Meet: At the N.E. corner of Judah and 7th Ave.
Bring: Recently or about-to-be deceased animal bodies or parts (please no “roadkill”)
Wear: Something you won’t mind getting indelible stains on

Dr. X and The Other One

For the scholars of Cacophony, and the future generation of pranksters, the holy historical documents (Rough Draft) and other ephemera are being housed in the virtual halls of the Cacophony Society Section of the Internet Archive. The youth of the world have an indispensable new resource in their pursuit of a renaissance of cacophony.

The objects that accumulate around us remain silent and so eventually sink into the background. Once part of the background they are present but completely disappeared. Like fish in water, we swim in this sea of objects. We maintain some kind of interactive relationship with a set of these consumer objects, but due to our physical finitude we can only keep a small number of balls in the air.

The Internet of things is coming upon us faster than anyone could have imagined. From the large scale “Brilliant Machines” industrial project of General Electric to the personal clouds of SquareTags imagined by Phil Windley and others. It was in Bruce Sterling’s book called “Shaping Things” that I was first introduced to the concept. The little book seemed to call out to me from the shelves of the bookstore at the Cooper-Hewitt.

Things call to us in different ways. The Triangle Shirtwaste Factory fire called out to a generation about the role of labor conditions in the very clothing on their backs. The stitching told a story about conditions under which the stitching itself occurred. Instead of fading into the background, the threads become Brechtian actors employing the verfremdungseffekt.

The term Verfremdungseffekt is rooted in the Russian Formalist notion of the device of making strange (Russian: прием остранения priyom ostraneniya), which literary critic Viktor Shklovsky claims is the essence of all art. Lemon and Reis’s 1965 English translation of Shklovsky’s 1917 coinage as “defamiliarization”, combined with John Willett’s 1964 translation of Brecht’s 1935 coinage as “alienation effect”—and the canonization of both translations in Anglophone literary theory in the decades since—has served to obscure the close connections between the two terms. Not only is the root of both terms “strange” (stran- in Russian, fremd in German), but both terms are unusual in their respective languages: ostranenie is a neologism in Russian, while Verfremdung is a resuscitation of a long-obsolete term in German. In addition, according to some accounts Shklovsky’s Russian friend playwright Sergei Tretyakov taught Brecht Shklovsky’s term during Brecht’s visit to Moscow in the spring of 1935. For this reason, many scholars have recently taken to using estrangement to translate both terms: “the estrangement device” in Shklovsky, “the estrangement effect” in Brecht.

For this generation, the tragic factory collapse in Bangladesh has radically changed the clothing hanging in our closets and folded in our chest of drawers. The stitching and the labels in these clothes now call out, they make themselves strange and unfamiliar. A piece of the background pricks our attention and wants to have a conversation. “Let me tell you about myself. I was born in Bangladesh in a factory like the one you read about the other day on your iPad.”

In the Internet of things, the number of things that could be transmitting data to a central store is limited only by practicality. In other words, it’s practically unlimited. Although, as Lisa Gitelman reminds us “Raw Data is an Oxymoron.” Data is a form of rhetoric based on exclusion. Deciding what counts as data is always already a form of cooking. Drawing conclusions from big data is not making an assessment of big pile of raw, natural artifacts. Data is always pre-cooked and can benefit from an analysis of our counter-transference toward it. And while the Internet of things seems to be mostly on the side of objects helping to manufacture themselves more efficiently, there’s another side to the conversation aspect of the objects surrounding us.

Not too long ago it was our food that was calling out to us. “Ask me where I’m from. Let me tell you about how I was grown.” We’ve been through the whole cycle by now. At first we could hear the words “natural” and “organic” and know something about origins. Today highly-processed foods sport the labels natural and organic. A longer dialogue than can be printed on a container is called for. Now our clothes need to explain themselves. We need to be able to ask them about where they were stitched up, and they need to be able to tell us.

In Bruce Sterling’s “The Last Viridian Note” he makes the case for deaccessioning one’s collection. If we are all curators, defining ourselves by exhibiting our taste as consumers — what are we saying about ourselves? And in this era of the Internet of things, what will the things themselves be saying about us behind our backs?

In earlier, less technically advanced eras, this approach would have been far-fetched. Material goods were inherently difficult to produce, find, and ship. They were rare and precious. They were closely associated with social prestige. Without important material signifiers such as wedding china, family silver, portraits, a coach-house, a trousseau and so forth, you were advertising your lack of substance to your neighbors. If you failed to surround yourself with a thick material barrier, you were inviting social abuse and possible police suspicion. So it made pragmatic sense to cling to heirlooms, renew all major purchases promptly, and visibly keep up with the Joneses.

That era is dying. It’s not only dying, but the assumptions behind that form of material culture are very dangerous. These objects can no longer protect you from want, from humiliation – in fact they are causes of humiliation, as anyone with a McMansion crammed with Chinese-made goods and an unsellable SUV has now learned at great cost.

Furthermore, many of these objects can damage you personally. The hours you waste stumbling over your piled debris, picking, washing, storing, re-storing, those are hours and spaces that you will never get back in a mortal lifetime. Basically, you have to curate these goods: heat them, cool them, protect them from humidity and vermin. Every moment you devote to them is lost to your children, your friends, your society, yourself.

It’s not bad to own fine things that you like. What you need are things that you GENUINELY like. Things that you cherish, that enhance your existence in the world. The rest is dross.

In the sphere of social networks, we talk about the Dunbar number. While electronic computerized networks theoretically allow people to connect with tens of thousands of other people, stable social relationships, according to Robin Dunbar, are limited to a much smaller number.

Dunbar’s number is a suggested cognitive limit to the number of people with whom one can maintain stable social relationships. These are relationships in which an individual knows who each person is, and how each person relates to every other person.[1] Proponents assert that numbers larger than this generally require more restrictive rules, laws, and enforced norms to maintain a stable, cohesive group. It has been proposed to lie between 100 and 230, with a commonly used value of 150.[2][3] Dunbar’s number states the number of people one knows and keeps social contact with, and it does not include the number of people known personally with a ceased social relationship, nor people just generally known with a lack of persistent social relationship, a number which might be much higher and likely depends on long-term memory size.

The globalization of the manufacture of household objects has put us in a situation similar to that of online social networks. Theoretically we can own as many things as we can afford. And if we can’t afford them, we can wait until they make their way to the deep discount stores and outlets and then buy them for below the cost of production. These things, by making themselves strange strangers — they raise their hands and step out from the background a stranger in our midst. But once our food and clothing becomes inscribed into our social space and wants to have a conversation about origins and process, can we really keep consuming at our current pace? Will the slots available in the cognitive limit of our Dunbar number now have to include all the objects that are waking up around us in this Internet of things?

We are waking up inside a world that is waking up to find us waking up inside of it.

Resolved: it’s an article of faith that higher resolutions are better. I want to take you higher. The way to get a higher resolution is to start with the density of pixels or the sampling rate. Sound and vision. The more information packed into each unit of measure, the higher the resolution of the image. Clarity and “realistic-ness” are the qualities we attribute to high resolution images. The image was so clear, it was just like the real thing. I couldn’t tell the difference. Was that live or a recording?

McLuhan talked about hot and cool media. Hot media is high definition in the sense that the viewer can’t get a word in edgewise. The media, and its content, is projected toward the senses filling up all the space, there is little or no room for the viewer to fill in the gaps. The interpretive faculties are overwhelmed and retreat. Cool media leaves spaces for the viewer to project herself into the stream. When the viewer fills in the gaps a different kind of richness, or density, is created. Each strategy absorbs the viewer in a different way.

“Big Data” is another form of high definition. More data points, bigger sample sizes bring more statistical clarity. Meta-figures emerge from Big Data that aren’t available from the perspective of the civilian on the ground. These meta-figures provide probabilities of future outcomes and are reliable to such an extent that corporate strategies are based on them. In the light of high def big data your future possibility space has become both visible and has had probabilities assigned to each vector.

There are two uncanny moments when it comes to the experience of high def. The first is the well-known idea of the uncanny valley. That’s the creepy feeling we get when a simulation of a person is just a little off, just short of perfection. We are both attracted and repelled, the experience is close enough to the real that we’d could be easily sucked in. But we’re creeped out by the idea of being sucked into a simulation — in the sense that it isn’t alive and real, but an illusion of life created out of dead matter.

The second uncanny moment is more subtle. When Steve Jobs was standing on stage selling the benefits of high-definition retina screens, he made the argument that these new screens matched the capability of the human eye to perceive visual data. For humans, the retina screen is the finest viewing experience available. This also happens with audio recordings. When designing codecs and compression strategies, the science of the human ear and the process of hearing is taken into account. The idea behind MP3 compression is to remove the sound that is unhearable by humans resulting in a smaller file size. What you don’t hear, you won’t miss.

This means that as we move toward higher and higher resolutions we reach the end of the capabilities of our perceptual apparatus. Our senses begin to fail us. We keep adding visual information to the picture, but the picture doesn’t change. All the instruments agree that the resolution is getting better. The unaided eye and ear face the uncanny moment when invisible change begins to occur. The picture gets better and better, but for whom is it getting better?

It’s in the world of recorded audio that we see the most passion when it comes to the ability to hear beyond the capacity of humans to hear. Audiophiles purchase stereo equipment and special recordings that reproduce both hearable and unhearable sound. It’s an invisible material difference that’s measurable, yet imperceptible. This non-human form of high-fidelity recording technology no longer uses humans as a reference point. Audiophiles claim that humans can hear the difference and to settle for less is a moral failing in the commercial market for audio recordings.

On the road to higher definition visuals, the state of the art appears to be High Frame Rate 3-D. Peter Jackson released a version of his film of “The Hobbit” in the highest-definition visual recording technology yet created. The purpose of this technology is to get even closer to reality — to show how it really is with seeing. At 48 frames per second, HFR is well within the upper bound of 55 fps for human seeing. So at this point, there is no unseeable information in the image.

In comparisons between the HFR 3D and standard 2D versions of the film we get an object lesson in McLuhan’s hot and cool media. Many viewers coming to the film for the first time had trouble following the details of the story in HFR 3D. Peter Jackson, who knows the story on a frame-by-frame basis, prefers to watch the HFR 3D version. Jackson believes the HFR 3D version provides a more “immersive” experience. For an average audience member, the HFR 3D version leaves no gaps. For the director there are plenty of gaps between what’s on the screen and how he imagined the film.

As our technologies are able to provide higher and higher resolution reproductions to our senses our own finitude is exposed. Historically resolution has been limited by cost. Higher resolution cost more and therefore wasn’t widely used. As cost becomes less of an issue, aesthetic judgement moves to the foreground. If you make your home movies in HFR 3D will that preserve a record of how it really was? Is it live or is it Memorex?

Something must be missing. That’s the only possible explanation. Otherwise we humans would naturally live for ever and approach a much higher level of consciousness. It’s as plain as the nose on your face. And while each of us is different, the thing each of us is missing is always imagined as a single common ingredient. It’s a special commodity that once discovered can be sold or given to the entire human race in a transformational act that will fundamentally change the course of human history.

It might be water from a particular fountain or some kind of plant seed from deep in the darkest jungle. The first step is eternal life. Then with time and mortality taken out of the picture we can get down to the business of some kind of perfection. That moment will mark the beginning of the end of our quest.

In the age of networked cloud-based technical solutions, we see this missing piece as coming from computation. Wireless mobile computing puts vast amounts of information at our command or at least within reach. But this is an augmentation, not a filling in of a lack. In the religion of the singularity, it’s the body itself that functions as the flaw. Once the immaterial intelligence (our infinite internal space) is uploaded into an eternally existing industrial cloud computing complex, the fun gets started. The parts that wear out can now be replaced, and replaced with newer and better parts ad infinitum.

Between now and eternal life, there will no doubt be some interim steps. For instance before the body can be confidently discarded and replaced with electronic machinery, it’s likely that we’ll keep our bodies and use ever more sophisticated robots on the side. Even now the replacement of all types of workers with robotic processes is accelerating. We can easily imagine all types of work will soon be replaced with advanced robotics plus big data computation.

Imagine. At birth we’ll be given our first robot. The robot will be assigned to do whatever labor we might have had to do in the past. Credits will be deposited in our account as compensation for the robot’s labor. Everyone will receive a base model robot. Those with more means will be able to augment their robots to do more advanced and highly compensated tasks. And of course, this being the land of the free and the home of the brave, any robot has the potential to be augmented in such a way that it could do the job of President of the United States for somebody. In the eyes of God and law, all robots are created equal. The key political moment was when it was decided that every single person was to be given a robot as a basic right. Initially there was an objection based on the cost. But once robots were building robots from materials obtained and processed by robots, the cost of robots began to approach zero. There were plenty of robots to go around.

And then a day arrives, and we leave our robots behind. Our bodies stop functioning optimally and we agree that it’s time to upload ourselves into that big computer in the sky. At first people held out as long as possible, waiting until they were quite elderly before uploading. More recently, as soon as the bloom of youth is off, an upload may be considered. Our robots can then be reconditioned and assigned to the new people being born into the world. Recycling is so important.

Some people will resist this final exit from the material plane. They’ll spread nasty rumors that the reason robots have been able to replace every possible human job is that they’re actually powered by uploaded souls. The uploaded souls that we think were talking to are really just simulations based on a person’s historical tendencies as encoded in a big database. An actual soul is required to make a robot fully operational for any human capacity, whereas people living in the material world are easily fooled by a simulation of a human. Once the Turing Test was routinely cracked, it wasn’t hard to create satisfactory simulations for each of us. Even the simulations can’t tell simulations from the real thing.

The fantasy of immortality has found various forms over the years. The singularity is just the most recent concoction. But the replacement of labor by robots / machines is a definite reality. One can think of each of the major appliances in an American home as the equivalent of a servant. Labor continues to be displaced by machines, which is a good thing until a majority of people can’t afford to buy a machine of their own.

Of course television isn’t what it used to be. Nothing is, that’s how it goes with “time” and its “it was”. The number of channels has expanded from three to infinity. With weekly magazines Life, Look, Time, Newsweek no longer consolidate a view for the entire country. There were some very bad things about such a narrow window. A lot of voices couldn’t find a national platform or any platform. But when something strange happened, everyone knew about it.

There was a very interesting moment in the late 60s and early 70s when rock music started to break through on national television. It started showing up in our living rooms pretty much full strength. Not the pre-fabricated kind, the stuff that was constructed as a simulation of rock — music but without the rebellion, sex and drugs. The simulation had to be revolutionary and at the same time not threaten consumers. They needed to feel hip when they made their next purchase. But this was the real stuff coming through the tube; the stuff that seemed to actually threaten the status quo. It’s hard to imagine a popular music that could do that these days.

Rock music was a mode of communication among the youth culture. Coded messages, visions and entire ways of life were transmitted through short pop songs. The disruption was starting to take hold when the whole thing was shut down. Any number of events could serve as the signal of the backlash, the one that struck me was the firing of the Smother’s Brothers and the cancellation of their television show by CBS in 1969.

Some technologists like to think the torch was passed from the rock generation of the 60s to the computerists of recent days. They point to technology as a force for radical disruption. When we use the word ‘disruption’ to describe a new monopoly taking over for an old monopoly, we really miss the ‘rupture’ in disruption. In the technology business some like to talk about disrupting things and changing the world. But really they’re just talking about market share, revenue and stock price. It’s disruption that doesn’t overturn the apple cart. It just moves some apples from the bottom to the top. The world isn’t really changed at all.

In a television interview with Dick Cavett, Janis Joplin talks about getting to the bottom of the music. It’s the same shock that Elvis generated with his first television appearance. The bottom of the music was suddenly being broadcast directly into the living rooms of middle class families — and without filters into the minds and dreams of the children watching those shows.

These days those moments are rare. But I had a small shiver of recognition watching Brittany Howard play electric guitar on television the other night. Even if you were to turn the sound off, you could see that she was getting to the bottom of the music. In that image, worlds of possibility were transmitted.

The Internet is, after all, an Outernet. The “Inter” refers to the interconnection of external networks by way of a common protocol. But there’s also a sense in which we imagine it as an external expression of our vast interior mental space. Sometimes this is called cyberspace, and it used to be described as the mental space we enter when talking on the telephone. Like our internal space, the Internet is mostly invisible to us, waiting to be uncovered through the focus of our attention. We commonly make sense of the Internet as an internal, private place. It’s a social space we project our thoughts into while in total isolation. The external digital artifacts that we produce in the course of our online activity have begun to function as an emulation of our internal space.

Recently emulation has gone meta. Starting long ago with the steam engine and continuing with the computer we have a set of tools capable of emulating the functionality of a whole range of other tools. The meta-level of emulation is emulating an operating system within a different operating system—emulating a platform in which emulated tools run. Internally we also emulate when we have an ambition to equal or surpass another and attempt to do so through a form of imitation. We internalize a platform on which to run the programs we admire.

There are two figures recently in the news who are engaged in forms of emulation. Just two guys you might see on public transit on the way to work.

The first is Sergey Brin. With his Google Glass project he begins to emulate Robert Downey Jr. In the film Iron Man.

The second is Jorge Mario Bergoglio. By taking the name Francis, as Pope he begins to emulate Saint Francis.

Each man is attempting to change the world. Brin with a wearable network computing device to augment human capability. Pope Francis by creating a poor church that is for the poor. Brin’s activities are well known, if not very well understood. Pope Francis’s project is perhaps more obscure—but it is also a technical response to the state of the world. It’s a strategy that could be viewed as the opposite of augmentation.

One way into understanding this idea of a “poor church for the poor” is to take a trip back to the 1960s and the poor theater of Jerzy Grotowski. Faced with the competition of television, the movies and broadway shows of increasing levels of technical sophistication, Grotowski attempted to isolate what was uniquely powerful in the theater. By stripping away everything, he arrived at a Poor Theater that focused on the actor-spectator relationship. He was a Saint Francis of the avant-garde theater.

From Jerzy Grotowski’s “Toward a Poor Theater”

What is theater? What is unique about it? What can it do that film and television cannot? Two concrete conceptualization crystallized: the poor theater, and performance as an act of transgression.

By gradually eliminating whatever proved superfluous, we found that theater can exist without make-up, without autonomic costume and scenography, without a separate performance area (stage), without lighting and sound effects, etc. It cannot exist without the actor-spectator relationship of perceptual, direct, “live” communion. This is an ancient theoretical truth, of course, but when rigorously tested in practice it undermines most of our usual ideas about theatre. It challenges the notion of theatre as a synthesis of disparate creative disciplines — literature, sculpture, painting, architecture, lighting, acting (under the direction of a metteur-en-scene). This “synthetic theatre” is a contemporary theatre, which we readily call the “Rich Theater” — rich in flaws.

The Rich Theatre depends on artistic kleptomania, drawing from other disciplines, constructing hybrid-spectacles, conglomerates without backbone or integrity, yet presented as an organic artwork. By multiplying assimilated elements, the Rich Theatre tries to escape the impasse presented by movies and television. Since film and TV excel in the area of mechanical functions (montage, instantaneous change of place, etc.), the Rich Theatre countered with a blatantly compensatory call of “total theatre.” The integration of borrowed mechanism (movie screens onstage, for example) means a sophisticated technical plant, permitting great mobility and dynamism. And if the stage and/or auditorium were mobile, constantly changing perspective would be possible. This is all nonsense.

No matter how much theatre expands and exploits its mechanical resources, it will remain technologically inferior to film and television. Consequently, I propose poverty in theatre.

Pope Francis employs a similar strategy when he envisions a poor church that is for the poor. Ever escalating levels of finery, technology, capital and broadcast platforms don’t get him closer to his goal. It’s only through emulating the poverty of Saint Francis that he can reach the connection he’s after. Even in an era of streaming high-definition 3D video with 5.1 six channel surround sound to any screen anywhere, for the message he’s sending, the signal is stronger from a poor church.

For Brin, the Google Glasses he wears wirelessly connect to a network of industrial cloud computing installations around the world. These external data sources are able to feed information as multiple media types into the local context to provide a highest level of personal augmentation. For the moment, Brin is one of the few who can take advantage of this new technology. The connection he’s after requires strong wireless broadband coverage and connection to a series of algorithms that send him information based on his particular personal, social and location data.

If we assume that every moment of life can be optimized when we are fed the appropriate sets of contextual information on which to base our moment-to-moment decisions, then the Google Glass will deliver us to a life lead to its fullest. Confronted with a shelf in a supermarket aisle filled with hundreds of brands and formulations of shampoo, we will finally be able to select just the right brand given our hair type. At last we will be able to make the right decision when choosing between Coke, Pepsi and some fancy new gourmet cola-flavored soda. The fit between Sergey’s consumption of the world and what is available to be consumed will be perfectly optimized given the existing data set. In fact, were it to reach perfection, his participation would hardly be required at all–achieving frictionless consumption.

Both Sergey and Francis have taken steps to become jacked in to the present moment. Each set of steps has an ethical underpinning—much in the way Schumacher discusses the operation of “value” in his essay on Buddhist Economics. What we accept as valuable sets the terms of the economy we live within. The same thing is true of a path to the now.

In the end, we’d like it all to add up. The simplest way for things to add up is through counting. If we’ve got a pile of candy, or money, counting to a higher number is considered a better result. In golf, fewer strokes makes a lower score and thus determines the winner. Another way we add things up is to make a whole. Two arms, two legs, a nose, a mouth, et cetera and at some point we have a body. This kind of mathematics is the basis of the crime drama.

Sherlock Holmes adds things up to create an image of a crime and a criminal. A dog that didn’t bark, a bit of cigarette ash, a kind of writing paper and ink and a print of an uneven heel in the mud flash into a kind of picture of the prime suspect. One of the pleasures of the Holmes stories is following along a chain of deductive reasoning that only seems reasonable in hindsight. Television channels are stuffed with one-hour dramas using Conan Doyle’s template. As we read, or more likely watch, there’s the feeling of a conjuring trick— the creation something out of nothing. Even though, as Holmes likes to say: “You know my methods…” Implied is a sort of mathematical reasoning that operates like a logical sorting machine. Anyone making proper use of the machine would come to the same result, like counting apples in a basket.

The other night I was reading a story featuring a precursor to Holmes. Here the amateur detective is C. Auguste Dupin. The story, written in 1844 by Edgar Allen Poe, is called “The Purloined Letter“. The Prefect of Police has come to Dupin to discuss the case of a letter stolen by a Minister and hidden somewhere in his house.

Dupin’s exploration of the case with the story’s narrator, his version of Watson, begins with an assessment of mathematics, poets and fools:

This functionary, however, has been thoroughly mystified; and the remote source of his defeat lies in the supposition that the Minister is a fool, because he has acquired renown as a poet. All fools are poets; this the Prefect feels; and he is merely guilty of a non distributio medii in thence inferring that all poets are fools.”

“But is this really the poet?” I asked. “There are two brothers, I know; and both have attained reputation in letters. The Minister I believe has written learnedly on the Differential Calculus. He is a mathematician, and no poet.”

“You are mistaken; I know him well; he is both. As poet and mathematician, he would reason well; as mere mathematician, he could not have reasoned at all, and thus would have been at the mercy of the Prefect.”

“You surprise me,” I said, “by these opinions, which have been contradicted by the voice of the world. You do not mean to set at naught the well-digested idea of centuries. The mathematical reason has long been regarded as the reason par excellence.”

Then as now, the “mathematical reason” is regarded as reason par excellence. The Prefect of Police has brought in microscopes and measuring sticks to search every speck of the Minister’s house. He’s been very methodical, no stone has been left unturned. We would expect Dupin to defend mathematical reason as the ne plus ultra, the method that trumps all other methods. The mechanical method that produces a correct result regardless whether humans believe it or not. Instead he launches in to a discourse on the limits of mathematical reason:

“I dispute the availability, and thus the value, of that reason which is cultivated in any especial form other than the abstractly logical. I dispute, in particular, the reason educed by mathematical study. The mathematics are the science of form and quantity; mathematical reasoning is merely logic applied to observation upon form and quantity. The great error lies in supposing that even the truths of what is called pure algebra, are abstract or general truths. And this error is so egregious that I am confounded at the universality with which it has been received. Mathematical axioms are not axioms of general truth. What is true of relation –of form and quantity –is often grossly false in regard to morals, for example. In this latter science it is very usually untrue that the aggregated parts are equal to the whole. In chemistry also the axiom falls. In the consideration of motive it falls; for two motives, each of a given value, have not, necessarily, a value when united, equal to the sum of their values apart. There are numerous other mathematical truths which are only truths within the limits of relation. But the mathematician argues, from his finite truths, through habit, as if they were of an absolutely general applicability –as the world indeed imagines them to be. Bryant, in his very learned ‘Mythology,’ mentions an analogous source of error, when he says that ‘although the Pagan fables are not believed, yet we forget ourselves continually, and make inferences from them as existing realities.’ With the algebraists, however, who are Pagans themselves, the ‘Pagan fables’ are believed, and the inferences are made, not so much through lapse of memory, as through an unaccountable addling of the brains. In short, I never yet encountered the mere mathematician who could be trusted out of equal roots, or one who did not clandestinely hold it as a point of his faith that x squared + px was absolutely and unconditionally equal to q. Say to one of these gentlemen, by way of experiment, if you please, that you believe occasions may occur where x squared + px is not altogether equal to q, and, having made him understand what you mean, get out of his reach as speedily as convenient, for, beyond doubt, he will endeavor to knock you down.”

In the era of “Big Data” the computational power at our disposal is enormous. Big Blue can play chess or the game show Jeopardy. Google Now has a pretty good chance of predicting what you’ll do next and the data set that might prove useful in doing it. Even the NSA and the CIA, continuing the efforts started with ‘Total Information Awareness’, have started collecting and saving every electronic digital trace that is collectable. “Big Data” gives us the sense that we’re seeing high resolution, at zillions of pixels per inch. We could even say that we’re seeing at a resolution that far outstrips the organic capacity of the human eye. It’s in the mind’s eye that this new kind of picture comes into focus.

Just as with the Prefect of Police, there’s an illusion of high-resolution clarity that comes with Big Data. We think we’re seeing everything there is to be seen. And further, that with sufficient amounts of data, all answers will clearly present themselves. I wonder what will happen when we have all the data there is to have and we still can’t find the purloined letter.

The GE commercial played in the background, but something about those first lines resonated. Where had I heard them before? Turns out the lines are part of an advertising campaign called “Brilliant Machines”. In a promotional piece called “Pushing the Boundaries of Minds + Machines” they say:

The world is on the threshold of a new era of innovation and change with the rise of the Industrial Internet. It is taking place through the convergence of the global industrial system with the power of advanced computing, analytics, low-cost sensing and new levels of connectivity permitted by the Internet. The deeper meshing of the digital world with the world of machines holds the potential to bring about profound transformation to global industry, and in turn to many aspects of daily life, including the way many of us do our jobs. These innovations promise to bring greater speed and efficiency to industries as diverse as aviation, rail transportation, power generation, oil and gas development, and health care delivery. It holds the promise of stronger economic growth, better and more jobs and rising living standards, whether in the US or in China, in a megacity in Africa or in a rural area in Kazakhstan.

Who’s speaking? Who’s saying those things? Who is the “I” who has “seen things”? It’s a non-human, an android–a non-human machine that is meant to simulate a human machine.

I’ve seen things. I have a past, a memory. This thing I’m seeing now I’ve put into the context of all the things I’ve seen during my life. I’ve seen things that aren’t me. These things are separate from me; they coexist with me inside some larger ecological space. That thing we used to call the world. I’ve seen things. I’ve seen incredible things. Things so rare. I’ve seen things you people wouldn’t believe.

I wonder if GE, in telling the beginning of the story of ‘Brilliant Machines’, wanted to foreshadow the end of these same brilliant machines? It finally came to me, the line from the commercial resonated with Roy’s “Tears in the Rain” speech from Bladerunner.

I’ve seen things you people wouldn’t believe.
Attack ships on fire off the shoulder of Orion.
I watched C-beams glitter in the dark near the Tannhauser gate.
All those moments will be lost in time, like tears in rain.
Time to die.

It was a quote that rolled by on Twitter the other day:

“Don’t skate to where the puck is going to be, skate to where hockey is going to be invented.”

While the speaker probably intended this to be a sign of energy and a singular commitment to disrupt the status quo with a completely new technology, I took it as a signal of a bubble that was about to burst. In the previous dot com era, there was the joke:

“If you don’t come in on Saturday, don’t bother coming in on Sunday.”

The fiction was created that one’s work is one’s life and that the two never need be in balance because they are one and the same. The current saying about hockey implies that if you are smart enough and work hard enough you can create a paradigm shift in the way technology is used and the way people live. You can create a new kind of game.

In 2008, Steve Jobs discussed how he viewed changes in the technology landscape:

“Things happen fairly slowly, you know. They do. These waves of technology, you can see them way before they happen, and you just have to choose wisely which ones you’re going to surf. If you choose unwisely, then you can waste a lot of energy, but if you choose wisely it actually unfolds fairly slowly. It takes years.”

In 1848, the discovery of gold at Sutter’s Mill in Northern California unleashed the largest migration of people in the history of the United States. What no one told those would-be gold diggers was that by 1850 all of the surface gold was gone. Only the large mining companies using hydraulic water cannons were still able to extract gold from the hills.

Today’s version of the large mining company is what Bruce Sterling calls a Stack. These are the ecosystems that have staked out large sections of the Internet from which they can extract gold.

A Stack doesn’t have to “break the Internet” to do this; it just has to set up the digital equivalent of a comprehensive family farm, so that the free-range cowboys of the Electronic Frontier are left with crickets chirping and nothing much to do. A modern Stack will leverage stuff that has never been “Internet,” such as mobile devices, cell coverage and operating systems.

In order to become a “Stack,” or one of the “Big Five” — Amazon Facebook Google Apple Microsoft — you need an “ecosystem,” or rather a factory farm of comprehensive services that surround the “user” with fences he doesn’t see. Basically, you corral Stack livestock by luring them with free services, then watching them in ways they can’t become aware of, and won’t object to. So you can’t just baldly sell them a commodity service in a box; you have to inveigle them into an organized Stack that features most, if not all, of the following:

An operating system, a dedicated way to sell cultural material (music, movies, books, apps), tools for productivity, an advertising business, some popular post-Internet device that isn’t an old-school desktop computer (tablets, phones, phablets, Surfaces, whatever’s next), a search engine, a dedicated social network, a “payment solution” or private bank, and maybe a Cloud, a private high-speed backbone, or a voice-activated AI service if you are looking ahead. Stack cars, Stack goggles, Stack private rocketships optional.

The goal of a Stack is to eliminate the outside. Once inside the Stack, there should be no outside of the Stack. The horizon of possibility is defined by the Stack. With the twist that the horizon should appear unlimited. The Stack is a place where you should believe that you could skate to where hockey is going to be invented.

The control systems for television aren’t very good. One reason they persist is that once a viewer is watching a selected program, the control system recedes into the background. In the course of watching a presentation, the essential controls, the ones that control sound (louder, softer, mute), generally work quite well. The rest of the control system is a disaster that people have learned to accommodate. This snarl of technology around controlling a television is generally why people think there’s room for revolutionary innovation in the “battle for the living room.”

Generally there have been a couple of approaches. The universal remote, a complex remote control device that consolidates all of the other remote controls. So instead of having five or six complex remote controls, you have one really really complex remote control. Google TV’s remote control with a keyboard pushes towards the limits of this kind of conceptual framework. The addition of voice command and SIRI is another solution at the limit. The other approach involves creating a “smart” television. This would be accomplished by integrating a Network connected computer into the television device. This new device would make all of the other devices obsolete. Various forms of this device have been foisted upon the public. It’s not that people don’t buy these “smart” televisions, it’s just that no one uses any of their capability.

The solution to this tangle of technology lies in the role of the remote control. The name “remote control” describes what the device does. It takes the control system from the television and allows it to operate at a distance from the television itself. That meant you didn’t have to get up off the sofa and walk across the room to select a program or control the sound volume. The “remote” has essentially provided the same service since it entered the living room in the mid-1950s. Nikola Tesla described its basic operation in a patent application more than 50 years earlier than that. To some extent, even cloud computing is just a variation of the same theme.

It was while researching wireless audio systems for my study that the basic change in the “remote” became clear to me. With all of my music available through a cloud storage system, I didn’t need a music system to decode physical media. From the many choices available, I selected the Bowers & Wilkins A7. It’s a single speaker that sits in a home WiFi network and listens for AirPlay signals. You can send it music via AirPlay from your phone, iPod, tablet or desktop computer—and that music can be stored remotely on the Network. Radio streams, YouTube sound, podcasts, etc. can be also be sent to this audio system. The key is the change in the signal path. The “remote” is no longer just a controller, it’s the receiver/broadcaster of the audio signal. The “stereo system” now listens for AirPlay signals, decodes and presents the sound. I liked this solution so much, I set up my traditional stereo to operate similarly using AirPort Express as one of the auxiliary inputs.

You can see how this model would work for television. Instead of a smart television, you have a dumb television. The big screen does what the big screen does well. It shows high-definition moving pictures synchronized with sound. You can’t solve the “television problem” without changing the signal path. Once the remote control becomes a receiver/AirPlay broadcaster, all the peripheral devices hooked up to your television go away. Even your cable box becomes just another app on your phone or tablet. The interesting thing about this solution is that it doesn’t necessarily disintermediate the cable companies, the premium channels, Netflix, Amazon, Tamalpais Research Institute, Live from the Metropolitan Opera or your favorite video podcast.

In this analysis, the real problem with the television is identified as the HDMI connector. Every device connected to the screen via HDMI wants to dominate the control system of the television; and every HDMI connection spawns its own remote. Once you get rid of the HDMI connector and transform the remote control into an AirPlay receiver/broadcaster, all the remote controls disappear. The television listens for one kind of signal and plays programming from any authorized source. The new generation of wireless music systems have demonstrated that this kind of solution works, and works today. By changing the signal path and the role of the remote, the solution to the problem of television is well within reach.

The digital, they say, has a cost that approaches zero. Once the digital copying mechanism becomes a sunk cost, the cost per copy asymptotically swoops toward zero. This does a strange thing to value and price. The ink-on-paper media has had to come to terms with the fact that the Network is a vastly less expensive surface on which to inscribe their messages. The digital, in its short history, has yet to find its own level. It’s largely been priced as a discount to its analog counterpart. The news media is starting to understand that its identity lies in the ink rather than the paper.

The digital media can only feed on the corpse of the analog media for so long. We seem to have finally arrived at the point where digital media is beginning to establish its value, and therefore its price. Paywalls are starting to work, some digital editions are starting generate significant advertising revenue, and independent blogs are able to survive by subscription. We pay, not for more, but for less. Fewer things, better quality.

The banks of the river of news have overflowed, the medium has overheated and begun a McLuhanesque reversal. No one wants ‘all the news’. At a certain level of quantity the news can no longer be consumed and processed, it just flows through at the level of headlines. Marshal McLuhan noticed that information overload forces the information consumer into mode of pattern recognition. We now try to employ machines to process the torrent and pick out the patterns for us. But now even this pattern recognition mode has overheated. This happens the moment we aren’t satisfied by knowing something ‘like’ the news, but have no familiarity with the actual news itself. We’ve arrived at the uncanny valley of news.

In the era of so-called ‘Big Data’ even your Network identity is a pattern. You aren’t you, you’re someone ‘like’ you. The formula breaks when the pattern no longer predicts the future. The non-conformist breaks into the conversation and says just doing what the pattern predicts is behaving like a machine—and that’s boring. Take a look at this instead…

Those who’ve never been humbled believe there’s a rational explanation for this fact. In the world of technology vendor sports, Google has had numerous product failures, but it’s never really been humbled. Apple was on the verge of closing its doors. It was only an investment by Bill Gates’s Microsoft that kept the company alive. Microsoft itself lost an anti-trust case and was shackled for years. Facebook’s IPO has proved a humbling experience to the most recent master of the universe.

It was Microsoft’s reaching for the stars, it’s total domination of computer operating systems and office automation software that provided the model of what could be done. Given the size and scope of the known computing universe, their domination seemed to be total and everlasting. Of course, we know now that the universe continued to expand. The distances connecting the various functions of computing were distributed across the network of networks. Text became hypertext and the glyphs themselves were used to encode any media type for transmission across the Network. Suddenly, it was a whole new ball game.

Google claims as its mission the task of organizing the world’s information and making it universally accessible and useful. To some extent, Google accomplished this with its search engine product. The product has entered the common parlance, and now we talk of ‘Googling’ something. Google means search, and search is its big driver of revenues and profits. The funding for all its other products rests on the back of search. This allows them to enter established markets without the burden of turning a profit. Microsoft used this tactic when it launched the Internet Explorer web browser as a free product. Suddenly there was no such thing as a ‘web browser’ business.

One of the interesting characteristics of Google is that it doesn’t partner well. In the end, as a corporate philosophy, it believes that anything you can do, it can do better. It buys companies rather than partner with them. Google’s commitment to the open web and open source computing is the one area where they do create partnerships. Although these partnerships can’t be said to exist on an equal basis. Even in these open partnerships Google dominates.

In Geoffrey B. West’s talk for the Long Now Foundation, called “Why Cities Keep on Growing, Corporations Always Die, and Life Gets Faster” he addresses the issue of the lifespan of a corporation. As they become more regular in structure, they become more brittle. If we look at a listing of the current S&P 500, we find a startling fact:

The average lifespan of a company listed in the S&P 500 index of leading US companies has decreased by more than 50 years in the last century, from 67 years in the 1920s to just 15 years today, according to Professor Richard Foster from Yale University.

In the age of the ecological thought, we should ask whether the empire building dreams of the old Microsoft are a reasonable corporate mission. Is it still possible for any corporation really dominate the technical universe on its own? Apple, one the world’s biggest corporations, has arrived at its current position through carefully negotiated partnerships with the carriers, the music industry, the film industry and software application and game developers. Apple’s more humble approach to partnerships seemed to start when a partnership saved its life.

“Apple doesn’t have to lose for Microsoft to Win. Microsoft doesn’t have to lose for Apple to win”

- Steve Jobs

Even Microsoft doesn’t believe in the old Microsoft. For example, they now offer Linux on Windows Azure. They’ve been very friendly to the JQuery and Drupal open source projects. It appears they’ve learned something about coexistence. Interestingly, the one area where Microsoft always had partners was in hardware. With announcement of Surface, that dynamic is going to change.

Google’s Android is the direct analog to Microsoft’s Windows. The difference being that Google subsidizes Android; it’s generally provided for free to its partners. Although if you’ve read anything about gift economies, you know that something given for free creates an obligation of a different sort.

When you look at the scope of Google’s products, it becomes clear that organizing the world’s information actually requires them to mediate every human contact with the world. The world itself becomes an unbundled, chaotic swirl of qualities. It’s just color and light, textures and shapes, never resolving into objects. To get an understanding of how Google sees itself mediating and rendering the world, making it accessible and useful, take a look at their new television commercial for the Nexus 7. A father and son, camping in nature—what could possibly come between them?

It could be that Google is the harbinger of a new era of philosopher kings, or perhaps we should call them engineer kings. And perhaps a king who has never been humbled can rule with humanity and wisdom. On the other hand, Google’s harmartia may lie in its belief that there’s a rational explanation for why it’s never been humbled.

The New York Times called it ‘weird’ and ‘unabashedly British.’ Some other descriptors included ‘wild jumble, celebratory, eccentric, off-the-wall, noisy, busy, witty, dizzying, slightly insane, and zany.’ In the end, the opening ceremony for the 2012 Olympic games, created by director Danny Boyle, was boiled down to a tribute to the anarchic spirit of the British. After all, the winner of the motto contest for the Olympics was “No Motto Please, We’re British.” The spectacle was packed with much more than can be quickly unpacked in a short essay, but there were a couple of moments that really caught me eye.

The thing that caused a conservative member of Parliament to call the ceremony too “lefty and multicultural” was that it wasn’t an unequivocal, unqualified positive portrait of Great Britain. It’s interesting to contrast its project with the production four years ago in China. Danny Boyle’s opening ceremony spectacular offered a vision of how we all really got here—to this spot–where these games will be played with competitors from all over the planet. By definition the Olympics are multicultural and to some extent ‘lefty.’ But to hold that mirror up to the world is still a dangerous proposition. Best to be thought of as ‘zany’ rather than serious.

I’m reminded of something I recently heard in Paris. Some citizens there were discussing the question as to whether France should be multicultural or not. One need only walk around the streets of Paris to know that the question is moot. Rather than start from a position of purity, Boyle starts with the words of Caliban, a moon calf, a freckled monster, recited by the actor Kenneth Branagh:

CALIBAN
Be not afeard. The isle is full of noises,
Sounds and sweet airs that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices
That, if I then had waked after long sleep,
Will make me sleep again; and then, in dreaming,
The clouds methought would open, and show riches
Ready to drop upon me, that when I waked,
I cried to dream again.

The Tempest 3.2.148-156
William Shakespeare

Caliban’s dreams far outstrip his reality and so he cries to ‘dream again.’ In essence he seems to be dreaming of pastoral Great Britain, something well beyond his grasp.

While the floor of the stadium is portraying pastoral Great Britain we hear the anthem “Jerusalem” with music by Sir Hubert Parry, written in 1916. The words are by the visionary poet William Blake. Presaged in the poem are the dark Satanic Mills that transform the green and pleasant land to an industrial machine.

Jerusalem
(The Preface to ‘Milton, a poem)
William Blake

And did those feet in ancient time.
Walk upon England’s mountains green:
And was the holy Lamb of God,
On England’s pleasant pastures seen!

And did the Countenance Divine,
Shine forth upon our clouded hills?
And was Jerusalem builded here,
Among these dark Satanic Mills?

Bring me my Bow of burning gold;
Bring me my Arrows of desire:
Bring me my Spear: O clouds unfold!
Bring me my Chariot of fire!

I will not cease from Mental Fight,
Nor shall my Sword sleep in my hand:
Till we have built Jerusalem,
In England’s green and pleasant Land

John Lienhard describes what Blake meant by the phrase ‘I will not cease from Mental Fight:’

Blake, the sensible observer of the human lot, outlines our responsibility. We can’t shrink from the mental fight of building a world fit for habitation. When he asks for his bow, arrows, spear, and chariot of fire, he’s reaching for tools with which to build that world. He’s arming for mental fight. He realized that, from now on, nature would shine through the fire and mills only if we had the wits to make it do so.

It’s difficult to imagine the courage, the mental fight that Boyle had to muster to show the world this stage picture of England during the industrial age:

The information age follows the industrial age in Boyle’s telling of the story. And here all our modern stories are woven together into the multicultural fabric that we inhabit. Of particular note in the transition section is the tribute to the National Health Service.

And finally the entrance of the athletes by country in alphabetical order. The exceptions are Greece which traditionally enters first, and the host country, Great Britain which enters last. The randomness of the sequence of the letters of the alphabet presents us with strange and beautiful juxtapositions of countries and cultures. While the Olympics are contests of physical skill, they also represent a shining example of ceaseless mental fight.

Woody Allen once observed that “ninety percent of life is just showing up.” But in 1948, Bing Crosby convinced the ABC radio network that “showing up” wasn’t actually necessary. That was the year he launched the first pre-recorded weekly radio broadcast. The previous year he’d made the same request of NBC, but they’d refused. For NBC, by definition radio programming was live with the exception of a few commercials.

Radio and TV historian Steve Schoenherr decribes Crosby’s deal:

The new ABC network, formed out of the sale of the old NBC Blue network in 1943 to Edward Noble, the “Lifesaver King,” was willing to break the tradition. It would pay Crosby $30,000 per week to produce a recorded show every Wednesday sponsored by Philco. He would also get $40,000 from 400 independent stations for the rights to broadcast the 60-minute show that was sent to them every Monday on three 16-inch aluminum discs that played 10 minutes per side at 33-1/3 rpm.

Eventually Crosby buys the first two Ampex 200A tape recorders, serial #1 and #2, to record his show. This allows him to control microphone placement and do multiple takes to get the best performance possible. As a film actor, Crosby had been used to this kind of production process. After hearing the tape of Crosby’s demo, ABC ordered 12 of the Ampex recorders and that was the beginning of the end of the broadcast of live radio programming.

By not showing up and instead creating the first pre-recorded radio broadcast, Bing Crosby set the pattern for all modern “broadcast” media. (He also pioneered microphone technique for vocalists.) Perhaps it never occurred to anyone that the audience would one day assert the same privilege that Crosby did in 1948. We are all Bing Crosby now, and there’s very little that we need to actually show up for in the world of broadcast media.

Now there’s only sports and news programming enveloping the earth in a new real-time synchronization of time that knows neither day nor night. As Richard Nixon sings in John Adams’s opera Nixon in China: “News has a kind of mystery.”

The heads of programming at the Networks used to decide when a particular recording would be played over their syndicate of local stations. Now that power rests with the audience. What’s “new” is what’s new to you; and the quality of material in the vast library of pre-recorded media far outstrips whatever is being presented live in real time right now. Like Crosby, we the audience, don’t bother showing up for the broadcast. We’ll choose the time and place for the performance to occur.

Time present is the sequencing of the recordings of time past. Time future is what is yet to be recorded, an appointment for our DVRs. If all time is pre-recorded, all time is unredeemable. Nothing need be missed, there is no possibility of that. Everything is just a matter of priority in the great queue of items awaiting our future consumption.

When we mortals are presented with seemingly infinite banquets aimed at our appetites, the discussion quickly turns to the seven deadly sins; and in particular, gluttony. While we can now consume anything at anytime and practically any place— what is it that we should be consuming? What asserts control over our potentially infinite appetites? Is it the rational “I” who decides while basking in the luxury of its individual freedom? Does our access to the infinite buffet transform us into a mature adult who can keep, not only its ego, but its id in check? Or do we end up joining the rest of the gluttons in Dante’s third circle of the inferno?

And as we more fully become Bing Crosby, do we engage over our real-time social networks by playing pre-recorded snippets for the purpose of constructing an ideal projection of ourselves as the narrator of our lives? Walter Benjamin regrets our loss of the “aura” in a work of art in the age of mechanical reproduction. Are these new networks we’ve constructed even capable of transmitting “aura” across their tangle of wires? And if they are, are we capable of telling the difference? Through the recording arts, Crosby was able to create a technically better performance. He accomplished this through deferring the moment of transmission. The message is worked and re-worked at a distance from the performance date. The medium itself has deferral and distance built into it. As an audience we now re-wire broadcasting to take advantage of these qualities.

What Crosby removes from the encounter is the element of chance, the possibility that something unexpected could happen. Crosby pre-rolls the dice and presents the best outcomes for your enjoyment. There’s a presupposition in this approach that enjoyment is increased when all error is absent and the moments of spontaneity are pre-auditioned and arrives with the appropriate imprimatur. What we miss is the moment when the wrong note suddenly becomes right. Herbie Hancock describes such a moment while playing with Miles Davis:

“And just as Miles was about to start his solo for ‘So What,’ at the peak of the concert, I hit a note that was so wrong I thought I had crumbled the show down like a falling tent,” he recalled.

“And Miles took a breath, and played some notes that made my note right. It took me years to understand that Miles didn’t judge what I played. He worked with it. That lesson wasn’t just about music. It was about life.”

Bing changed our relationship with time. And while it may seem like we’ll manage to avoid error and present a photoshopped version of ourselves to the world, we simply encode our errors at another level. The unexpected unexpected emerges despite the best laid plans.

Even a pre-recorded roll of the dice will never abolish chance…