Box Set Culture

I was first introduced to the box set phenomenon in 1974, when I received a collection of novels by J G Ballard for my birthday. This led to an on-off interest in sci-fi (Asimov, Aldis, Bradbury, Dick, Spinrad, Crichton et al). It also made me aware that curators (like librarians) have an enormous influence on the cultural content we consume, and the way we consume it. Even more so nowadays with streaming and on-demand services. Welcome to the binge society.

Welcome to box set culture (Image sourced from Unsubscriber)

With network TV being so rubbish (who needs more “reality” shows, formulaic sit-coms or re-hashed police procedurals?) I am slowly being drawn back into the Siren-like charms of Netflix. More on that in a  moment.

Box set culture has been especially prevalent in the music industry, despite or even because of downloading and streaming services. It’s possible to buy the complete works of particular artists, or curated compilations of entire record labels, music genres or defining eras of music. It’s a niche, but growing, business. In recent times, I have been lured into buying extensive box set retrospectives of major artists (notably Bowie, Pink Floyd, The Fall, Kraftwerk), as well as extended editions of classic albums (Beatles, Beach Boys), and first time releases of exhumed and near-mythical “lost” albums (Big Star, Brian Eno, Beach Boys again). I like to justify these acquisitions on the basis that they are significant works in the canon of contemporary music. But only die-hard fans would attempt to embrace the monumental box set put out recently by King Crimson – comprising a 27-disc compilation of just TWO(!) years in the band’s history.

Death (and/or lapsed copyright) has become a fertile ground for box set curators and re-issue compilers, whether in literature, film or TV, as well as music. I’m sure there are publishers and editors maintaining lists of their dream compilations, waiting for the right moment to release them (a bit like the TV stations and newspapers who keep their updated obituaries of the Queen on standby). Sadly, in the case of Mark E Smith of The Fall, his death was immediately preceded by a significant box set release (tempting fate?). And as for Bowie, he had no doubt planned his legacy (and now posthumous) retrospectives prior to his own demise.

On the other hand, streaming services create the false impression we are in control of what we listen to or watch. Unless we meticulously search, select and curate our own individual playlists, we are at the mercy of algorithms that are based on crowd-sourced behaviours that are imposed upon our own personal preferences. These algorithms are based on what is merely popular, or what the service providers are being paid to promote. And while it is possible to be pleasantly surprised by these semi-autonomous choices, too often they result in the lowest common denominator of what constitutes popular taste.

And so to Netflix, and the recent resurgence in pay TV drama. Binge watching (and box set culture in general) has apparently heralded a golden age of television (warning: plug for Sky TV). But depending on your viewpoint, binge watching is either a boon to shared culture (the normally stoical New Statesman) or results in half-baked content(the usually culturally progressive Guardian). Typically, the Independent is on the fence, acknowledging that binge viewing has changed the way TV is made (and watched) but at what price? Not to be left out, even Readers Digest has published some handy health tips for binge-TV addicts. Meanwhile, Netflix itself has released some research on how binge-watching informs our viewing habits (and presumably, our related consumer behaviours). And not everyone thinks this obsession with binge watching is healthy, or even good for business – presumably because it is not sustainable, as consumers will continue to expect/demand more and more at lower and lower subscription fees.

Meanwhile, for a totally different pace of binge-watching, SBS recently tested audience interest in “slow TV”. The free-to-air network screened a 3 hour, non-stop and ad-free documentary (with neither a voice-over narrative nor a musical soundtrack) featuring a journey on Australia’s Ghan railway. So successful was the experiment, not only did the train company’s website crash as viewers tried to find out about tickets, but SBS broadcast a 17 hour version just days later.

Next week: Infrastructure – too precious to be left to the pollies…

MoMA vs SFMOMA

As regular readers of this blog may have come to realise, any opportunity I have during my overseas travels, for business or pleasure, I always like to visit the local public art galleries. Apart from providing a cultural fix, these institutions can reveal a lot about current fashions, curatorial trends and even technology adoption in the elite world of marquee museums. Earlier this month, I was fortunate enough to visit MoMA in New York, and SFMOMA in San Francisco.

Mario Bellini – Olivetti TCV 250 Video Display Terminal (1966) – MoMA New York (Gift of the manufacturer) – Photo by Rory Manchee

Both museums are housed in contemporary buildings which, in keeping with a noticeable trend among modern galleries and museums, emphasise their vertical structure. Compared to say, the 18th/19th century museums of London, Paris and Berlin (with their long, languid and hall-like galleries), these 21st century constructs force us to look upwards – both physically, and perhaps metaphorically, as they aspire to represent “high” art in a modern context?

Although I have been to MoMA many times before, there is always something new to discover among the touring exhibitions and permanent collections. On this latest visit, there were four standout displays: Thinking Machines: Art and Design in the Computer Age (see illustration above); Louise Bourgeois: An Unfolding Portrait; Max Ernst: Beyond Painting; and Stephen Shore.

Apart from the latter, there is clearly a statement being made within the format of “Title/Name – colon – concept/context/subtext”. Stephen Shore is obviously an exception to this curatorial technique. Here is a photographer, whose name I was not familiar with, but whose work seemed both familiar (everyday images and popular icons) and exotic (otherworldly, outsider, alien); yet also pedestrian (repetitive, mundane) and alienating (elements of the macabre and voyeuristic).

The Thinking Machines display threw up some interesting juxtapositions: most of the devices and the works they produced were artisanal in approach – one-off pieces, requiring detailed and skilled programming, and not the mass-produced, easily replicated works we associate with most digital processes these days. Plus, even when the outputs were generated by a computational approach, the vagaries of the hardware and software meant the works were more likely to produce chance results, given the large role that analog processes still played in these systems-defined creations.

Louise Bourgeois’ work can still challenge our sensibilities, especially when conveyed through her lesser-known works on paper, even though many of the images are familiar to us from her sculptures and installation pieces (the latter represented here in the form of one of her giant spiders).

The exhibition of works on paper by Max Ernst also reveal another aspect of the artist’s oeuvre, although unlike Bourgeois, I feel there is greater affinity with his more formal paintings because, despite the different media in which he worked, there is a consistency to his image making and his visual language.

Across the country in San Francisco, this was the first time I had been to SFMOMA, so in the available time, I tried to see EVERYTHING, on all 6 levels. But I still manged to miss one entire floor, housing the late 19th century/early 20th century permanent collection.

The main exhibitions were Robert Rauschenberg: Erasing The Rules; SoundtracksWalker Evans; Approaching American Abstraction; and Louis Bourgeois Spiders.

So, less of the colon-delineated concepts compared to MoMA, and more literal titles – and you have to think that photographers, like Shore and Evans, don’t merit these sub-textual descriptions, because with photographers, what you see is what you get?  On the other hand, with Bourgeois’ Spiders, it contains what it says on the tin – giant spider sculptures.

I’d seen the Rauschenberg exhibition earlier this year at the Tate Modern in London, as it’s actually a touring show curated by MoMA itself. Seeing these (now familiar) works in another setting revealed aspects that I hadn’t appreciated before – such as the similarities between Rauschenberg’s collages and combines, and the mixed media works of Max Ernst and other Surrealists, for example.

The Evans exhibition was an exhaustive (and at times exhausting) career retrospective. In addition to many of his iconic images of crop farmers during the Great Depression, there were more urbane/mundane images of shop window displays, merchandising and branding – not too dissimilar to some of Shore’s serial photo essays.

Wandering through (or approaching…) the American Abstraction display was like immersing oneself in a who’s who of modern US art: Brice Marden, Sol Le Wit, Robert Motherwell, Clyfford Still, Cy Twombly, Adolph Gottlieb, Morris Louis, Sam Francis, Ellsworth Kelly, Lee Krasner, Agnes Martin, Sean Scully, Frank Stella, Joan Mitchell…. It struck me that despite the differences among these artists, and their individual mark making and contrasting visual languages, the collection was very much of a whole – the familiarity of many of these works, in close proximity, felt very comforting, even though the original intent was potentially to shock, challenge or disrupt. That’s not to say the works no longer have any impact, it’s just that our tastes and experiences have led us to adapt to and accommodate these once abrasive images.

Finally Soundtracks was probably the weakest of all the exhibitions I saw, pulling together a mish-mash of mostly sculptural and installation works embodying some form of audio element. My interest in this vein of work probably started when I saw the exhibition, “Ecouter Par Les Yeux” many years ago in Paris.

Despite a few banal pieces (too literal or pedestrian in their execution) this current incarnation had some individually engaging and landmark pieces: namely, Celeste Boursier-Mougenot’s “Clinamen”, a version of which has been on display at Melbourne’s NGV in recent times; and Brian Eno’s “Compact Forest Proposal”, which I only know of through its audio component – so here was a chance to walk through the fully realised, and dream-like installation.

As 2017 draws to a close, Content in Context will be taking a (much-needed) break for the holidays. Having made 8 overseas trips in the past 12 months, the author is looking forward to spending some down-time closer to home. Many thanks to all the people who have made 2017 such a truly memorable year for me – for all sorts of personal and professional reasons. You know who you are. Normal service will resume in January, and have a safe, peaceful and uplifting festive season.

 

 

 

 

 

 

 

Personal data and digital identity – whose ID is it anyway?

In an earlier blog on privacy in the era of Big Data and Social Media, I explored how our “analog identities” are increasingly embedded in our digital profiles. In particular, the boundaries between personal/private information and public/open data are becoming so blurred that we risk losing sight of what individual, legal and commercial rights we have to protect or exploit our own identity. No wonder that there is so much interest in what blockchain solutions, cyber-security tools and distributed ledger technology can do to establish, manage and protect our digital ID – and to re-balance the near-Faustian pact that the illusion of “free” social media has created.

Exchanging Keys in “Ghostbusters” (“I am Vinz Clortho the Keymaster of Gozer”)

It’s over 20 years since “The Net” was released, and more than 30 since the original “Ghostbusters” film came out. Why do I mention these movies? First, they both pre-date the ubiquity of the internet, so it’s interesting to look back on earlier, pre-social media times. Second, they both reference a “Gatekeeper” – the former in relation to some cyber-security software being hijacked by the mysterious Praetorian organisation; the latter in relation to the “Keymaster”, the physical embodiment or host of the key to unleash the wrath of Gozer upon the Earth. Finally, they both provide a glimpse of what a totally connected world might look like – welcome to the Internet of Things!

Cultural references aside, the use of private and public keys, digital wallets and payment gateways to transact with digital currencies underpins the use of Bitcoin and other alt coins. In addition, blockchain solutions and cyber-security technologies are being deployed to streamline and to secure the transfer of data across both peer-to-peer/decentralised networks, and public/private, permissioned/permissionless blockchain and distributed ledger platforms. Sectors such as banking and finance, government services, the health industry, insurance and supply chain management are all developing proofs of concept to remove friction but increase security throughout their operations.

One of the (false) expectations that social media has created is that by giving away our own personal data and by sharing our own content, we will get something in return – namely, a “free” Facebook account or “free” access to Google’s search engine etc. What happens, of course, is that these tech companies sell advertising and other services by leveraging our use of and engagement with their platforms. As mere users we have few if any rights to decide how our data is being used, or what third-party content we will be subjected to. That might seem OK, in return for “free” social media, but none of the huge advertising revenues are directly shared with us as ordinary end consumers.

But just as Google and Facebook are facing demands to pay for news content, some tech companies are now trying to democratise our relationships with social media, mobile content and financial services, by giving end users financial and other benefits in return for sharing their data and/or being willing to give selected advertisers and content owners access to their personal screens.

Before looking at some interesting examples of these new businesses, here’s an anecdote based on my recent experience:

I had to contact Facebook to ask them to take down my late father’s account. Despite sending Facebook a scanned copy of the order of service from my father’s funeral, and references to two newspaper articles, Facebook insisted on seeing a copy of my father’s death certificate.

Facebook assumes that only close relatives or authorised representatives would have access to the certificate, but in theory anyone can order a copy of a death certificate from the UK’s General Register Office. Further, the copy of the certificate clearly states that “WARNING: A CERTIFICATE IS NOT EVIDENCE OF IDENTITY”. Yet, it appears that Facebook was asking to see the certificate as a way of establishing my own identity.

(Side note: A few years ago, I was doing some work for the publishers of Who’s Who Australia, which is a leading source of biographical data on people prominent in public life – politics, business, the arts, academia, etc. In talking to prospective clients, especially those who have to maintain their own directories of members and alumni, it was clear that “deceased persons” data can be very valuable to keep their records up to date. It can also be helpful in preventing fraud and other deception. Perhaps Facebook needs to think about its role as a “document of record”?)

So, what are some of the new tech businesses that are helping consumers to take control of their own personal data, and to derive some direct benefit from sharing their personal profile and/or their screen time:

  1. Unlockd: this Australian software company enables customers to earn rewards by allowing advertisers and content owners “access” to their mobile device (such as streaming videos from MTV).
  2. SPHRE: this international blockchain company is building digital platforms (such as Air) that will empower consumers to create and manage their own digital ID, then be rewarded for using this ID for online and mobile transactions.
  3. Secco: this UK-based challenger bank is part of a trend for reputation-based solutions (e.g., personal credit scores based on your social media standing), that uses Aura tokens as a form of peer-to-peer or barter currency, within a “social-economic community”.

Linked to these initiatives are increased concerns about identity theft, cyber-security and safety, online trust, digital certification and verification, and user confidence. Anything that places more power and control in the hands of end users as to how, when and by whom their personal data can be used has to be welcome.

Declaration of interest: through my work at Brave New Coin, a FinTech startup active in blockchain and digital assets, I am part of the team working with SPHRE and the Air project. However, all comments here are my own.

Next week: Investor pitch night at the London Startup Leadership Program

Gaming/VR/AR pitch night at Startup Victoria

Building on the successful format that has been the mainstay of Startup Vic‘s regular meetups for the past few years, February’s pitch night kicked off a scheduled programme of thematic events for 2017. First up was Gaming, VR and AR.

Photo by Daniel C, sourced from the Startup Victoria Meetup page

Hosted as usual by inspire9, the event drew a packed crowd, no doubt helped by the impressive panel of judges assembled by the organisers:

Dr Anna Newberry, responsible for driver-assistance technologies at Ford Australia; Stefani Adams, Innovation Partner at the Australia Post Accelerator; Tim Ruse, CEO of Zero Latency; Rupert Deans, Founder and CEO of Plattar; Samantha Hurley, Co-Founder and Director of Marketing Entourage; Gerry Sakkas, CEO of PlaySide Studios; and Joe Barber, a Commercialisation Advisor to the Department of Industry and Science, a Mentor at the Melbourne Accelerator Program (MAP), and angel investor.

Maintaining the tradition of this blog, I will comment on each startup pitch in the order in which they presented.

Metavents

This niche business offers an event planning app for festivals. At its heart is a tool that allows users to build a 3-D simulation of proposed events, combined with an AI capability to simulate risk management, logistics and team communications, plus a digital time capsule where event attendees can upload photos and other content.

Once licensed to event planners and organisers, the platform charges clients $1 per ticket sale, plus a 2.5% fee on donations and fees for other content and services such as the digital time capsule. In addition, Metavents is building strategic partnerships, and announced a relationship with the Vihara Foundation and its Rock Against Poverty programme from 2018.

All good so far. Then, things got a bit confusing. For example, in addition to festival and event logistics, Metavents claims to offer humanitarian support services in response to natural disasters, and emergency management capabilities for smart cities. There was also talk of a global network (linked to the UN?), and an impact investment fund.

I’m sure I wasn’t alone in thinking that the pitch was a bit disjointed and suffered from a lack of focus. But the pitch did reveal something of the founders’ core passion, and incorporated some impressive graphics – it just felt like a case of form over substance.

Second Sight

Second Sight is a game analytics service that “unlocks the secrets in player data”, by enriching existing big data sources with social media interactions. It does this by profiling players based on their behaviours, and providing this feedback and insights to game developers and product managers. Focusing on the mobile game market, Second Sight is initially targeting independent developers, and will then move on to corporate game businesses.

Second Sight’s own development path is to build automation tools first, then create a library of tasks and insights. With an estimated 1 million users (based on game statistics), 3 paying clients and another 27 beta clients, this startup is showing some promising market traction. However, there are a number of established competitors, including Omniata (which is more of a general user analytics engine, like Mixpanel or Flurry), GameAnalytics, deltaDNA and Xsolla, some of which offer free user services.

In response to the “ask”, ($500k in seed funding in return for 20% equity), the judges suggested that Second Sight might want to address the needs of a specific game sector.

Dark Shadow Studio

This presentation featured an application called Drone Legion, that merges drone experience with VR. Part simulation game, part training software, it was nice to see a demo of the app running in the background, without detracting from the pitch itself.

A key point made by the presentation is that the Civil Aviation Safety Authority (CASA), which is responsible for regulating drones in Australia, is in danger of falling behind other countries. For example, Drone Legion could be adapted to provide user training, testing and licensing before a customer buys a physical drone.

Although there are drone simulators available via Steam, they are not aimed at the general public. Drone Legion is also compatible with a range of gaming consoles.

The judges suggested that this pitch was more an individual game, rather than a business, so it was suggested that the founders should try to get funding from HTC or Oculus to build their first game. And given that one of the judges works for Australia Post (ostensibly a logistics company with a growing interest in drone technology….), there was the offer of a personal introduction.

Phoria

Phoria describes itself as an “immersive media business”, offering rapid 3-D visualisation (especially for the property development sector and the built environment),  and other services such as digital preservation.

But tonight, the pitch was about a plan to use “VR for social good”. Under the moniker “Dreamed”, Phoria is developing a niche health care solution, designing “patient experiences” to help them get out of their current care or treatment environment.

Predicated on an immersive therapy platform, Dreamed will offer a distribution service for cloud-based content, designed to be used alongside other, related assisted therapies that feature Animals, Nature and Music as stimulants for patient engagement and therapeutic outcomes. While not exactly a MedTech solution, Phoria’s “IP special sauce” is the use of VR as a constant dynamic feedback loop, which presumably learns from and adapts to user interaction and monitoring of appropriate patient diagnostics.

So, who pays for the service? Hopefully, hospitals will, especially if they can demonstrate reduced therapy costs and patient treatment times. (Maybe there will also be a consumer market alongside existing meditation apps?) But with some early-stage and potentially high-profile research underway via the Murdoch Childrens Research Institute, Phoria and Dreamed look to be making steady progress, notwithstanding the normally slow pace of medical research. Key to the research outcomes will be user acceptance and ease of service and content delivery, although a large number of unknowns remain in the context of the medical benefits. Meanwhile, Phoria continues to serve its core property market.

Finally, something which I found somewhat surprising, according to the presentation, there is no VR content licensing model currently available. Sounds like a job for a decentralized digital asset management and licensing registry (such as MyBit?).

On the night, and based on the judges’ votes, Phoria took out first place honours.

Next week: The Future of Work = Creativity + Autonomy