Social Distancing in Victorian Melbourne…

At the time of writing Victorians, like most of Australia, are living under a Covid19 “stay at home and practise social distancing” regime in attempt to “flatten the curve” and reduce the spread of this contagion. I have been working from home for 3 weeks, only going out for essential food shopping and a daily walk for exercise (since my gym is closed). This perambulation has revealed some lesser-seen aspects of Melbourne (apart from the empty streets), including the way the modern city’s 19th century founders went about their approach to urban design – including some examples of built-in social distancing.

The first example is the number of public parks and gardens close to the CBD that were established in the 1800s, and which have managed to survive the onslaught of developers. As we know, public parks, with their trees and green spaces act as the lungs of the city, and provide a place to exercise, relax and get some fresh air. So we need these facilities more than ever in times like these. (Strange why the Victorian Government still insists in allowing vehicles to use the culturally and historically significant Yarra Park as a public car park on so many days, with all the horticultural and environmental damage that this causes…)

Second, the decision to incorporate lane-ways into the grid design of the CBD, as well as throughout the 19th century expansion of the inner city suburbs. While their design was mainly pragmatic (ease of access for night carts, storm drainage), the result is that in densely-built areas such as Richmond, Carlton, East Melbourne, Fitzroy and Collingwood, lane-ways mean even terraced houses can have ample space between them and the next block, allowing for better ventilation, natural light and reduced risk of disease. (For an example of the lane-ways importance to Melbourne’s character and psyche, check out Daniel Crooks’ video, “An Embroidery of Voids”.)

Third, the decision not to build right up to the urban banks of the Yarra River (and the straightening and leveling of the river itself) has left them accessible to the public, both as a means of cycling and walking to/from work, and for recreational purposes. In many cities, riverfront access has largely been blocked off as adjacent land has been appropriated for private, commercial and industrial use.

At a time like this, I truly appreciate the foresight of Melbourne’s Victorian town planners – I just hope we can continue to enjoy their legacy in the coming weeks and months!

Next week: #Rona19 – beyond the memes

 

My Four Years in Crypto

It’s four years since I began my career in Blockchain, crypto and digital assets. (I can’t claim to be an early adopter, although this blog first mentioned Bitcoin in 2013.) My knowledge on the topic was quite rudimentary at the time, and it was like jumping in at the deep end when I joined the small team at Brave New Coin. Apart from the 3 co-founders, there were 3 other core team members already on-board, so I was lucky 7.

My professional career has mainly been in law, publishing and financial services, plus a range of consulting, contract and freelance roles across various sectors. My point of entry into crypto was my experience with Standard & Poor’s and Thomson Reuters in market data, indices, analytics, content, research and portfolio tools – the basis of Brave New Coin’s business, and therefore an appropriate fit with my experience and skills set.

In the past four years, I have been privileged to witness at close hand the market exuberance of 2017 (fuelled by the ICO phenomenon and the incredible bull market), the regulatory backlash of 2018, the crypto winter of 2018-19, and the stop-start messages coming from regulators, markets, institutional investors, central banks and major corporations.

Getting to grips with some of the technical and other idiosyncrasies has been a steep learning curve – but I have tried to adopt a dual approach to expanding my own understanding. First, focus on the major components before getting to far into the weeds on any particular area of technical detail; second, create a personal framework of analogous concepts, and identify practical metaphors that you can also easily explain to others – self-education is critical to personal survival, but sharing knowledge is the path to wider adoption.

It’s also important to maintain an anchor based on your original point of entry – not only does that become a constant point of reference, it also enables you to build areas of personal expertise and domain knowledge. So, while many early proponents and adopters were drawn to crypto because of their underlying belief in Libertarianism, or their fascination with cryptography, or their distrust of centralised banking systems, my own points of reference continue to be around financial services (asset origination, tokenisation, digital wealth management), market data (indices, industry standards, benchmarks), regulations and analytics. While I am an advocate for Blockchain technology, I am not a hardcore technologist, but I realise that it will take time for issues such as scaling, interoperability and mass adoption to be fully resolved.

At the very least, a great deal of that market experience (especially driven by the decentralized, project-intensive and ICO-related activity of 2016-18) has demonstrated the following truths about Blockchain technolgy:

1. This is a new model of capital formation – just as companies no longer have a monopoly on human capital, banks and traditional intermediaries no longer have a monopoly on raising financial capital

2. This is a new means of asset creation, wealth distribution and market access – backed by Blockchain solutions, crypto is the first asset class that was retail first, in a distributed/decentralized bottom-up approach to issuance

3.This is a new platform for commerce – whether via tokenomics, network incentives, value transfer, smart contracts or programmed scarcity

4. This represents a paradigm shift in governance models – via the use of decentralized, autonomous, trustless, consensus and incentive-based operating structures and decision-making systems

5. This introduces new principles of distribution – assets are consumed closer to the source of value creation (fewer intermediaries and rent seekers)

6. But, it is not (and should never be) the solution for everything

Given what is happening at the moment around the COVID 19 pandemic, Blockchain, crypto and digital assets will prove to be perfect solutions to a number of problems such as: establishing the provenance of medicines; identity verification; managing supply chain logistics; enabling the distribution of assets; computing power for scientific modelling and testing; and providing alternatives to cash.

Next week: Social Distancing in Victorian Melbourne…

 

Margaret Tan and Dragon Ladies Don’t Weep

Last week, I mentioned the number of ageing rock stars having to cancel concerts. In contrast, Margaret Leng Tan, aged 74, performed a 75-minute one-person show as part of the Asia TOPA festival in Melbourne. She made it look effortless, producing an almost choreographic style of piano playing, as she performed the world premiere of “Dragon Ladies Don’t Weep”.

Both autobiographical and a tribute to two of her greatest influences, John Cage and her mother, the show is a mix of live piano, prerecorded audio, digital art, multimedia and spoken word. It is comprised of anecdotes from her life, personal musings on loss, and practical aphorisms, such as “DRC” – the “daily reality check” – a must for all artists and anyone else needing to make sense of the modern world.

Clearly a very focused and determined musician, Margaret Tan has carved out a niche for herself in the modern classical world, with her championing of the toy piano. She has made it an instrument for serious composition and concert performance.

The physicality of her performance ensured that the digital technology neither dominated nor descended into gimmickry (no “tech for tech’s sake” here). Her presence on stage was captivating yet self-contained – despite largely being all about her, it was authentic and self-effacing in equal measure.

Margaret Tan revealed two key aspects of herself that go some way to explaining her success. First, at an early age she realised she had to concentrate on the piano – she couldn’t maintain her other music and dance studies – from which we get the sense of her single-minded purpose. Second, her lifelong obsession with numbers – almost a form of synesthesia; and given the strong relationship between numbers and music, it felt that she has learned to live with, even appreciate, this “affliction” in the pursuit of her art.

If there was one thing missing, it was Margaret Tan’s own music. While she is best-known for her interpretations of John Cage and other modern composers, I was curious about her own work, and whether she has ever explored composition herself.

Next week: My Four Years in Crypto

 

Stereolab at Melbourne Zoo

There was a recent newspaper article about the number of older rock stars having to cancel tour dates due to ill health, injury and just plain old age. The irony is that when most of those performers started out as professional musicians, no-one really expected their careers to last 10 or 15 years, let alone 40 or even 50 years. Now that artists increasingly rely on income from ticket sales (rather than royalties from streaming services), there could be lean times ahead for ageing rockers – and that’s before we take the effects of COVID-19 into account. Thankfully, Stereolab were able to play at Melbourne Zoo last week, before cancelling the rest of their Asia Pacific concerts due to the virus. Of course, by comparison to much of rock’s gnarly royalty, they are mere babes, having “only” formed in 1990. And although they have not released any new material for 10 years, during which time the band has been on hiatus, Stereolab have an extensive back catalogue to draw upon now they have started touring again.

Alongside contemporaries Saint Etienne, Stereolab were part of a reaction against late-80s grunge and acid house, and between them they ushered in a return to more interesting melodic and harmonic structures, vintage/retro sounds and complex textures, all informed by an aesthetic that embraces electronica, exotica, soundtracks, bossa nova and dub effects. In fact, both bands have collaborated with similar post-rock artists on each side of the Atlantic such as Jim O’Rourke, Tortoise, Mouse on Mars and To Rococo Rot, not to mention The High Llamas’ Sean O’Hagan. (Both bands also have extensive back catalogues, with frequent non-album, one-off, limited and rare 7″ singles scattered throughout their discographies.)

By going back on the road after such a long break (and with no new material to promote), there was a risk that Stereolab might simply be going through the motions – even coming across as their own tribute act at best, a self-parody at worst. Thankfully, despite the familiarity of the songs, the band managed to keep everything sounding fresh, energetic and full of enthusiasm. And despite maintaining that original aesthetic, Stereolab have enough variety to remain interesting and avoid sounding samey – which has no doubt helped with their own longevity, unlike many contemporary artists who will likely be forgotten quicker than a Crazy Frog ringtone.

Next week: Margaret Tan and Dragon Ladies Don’t Weep