Cultural Overload: Oblique Strategies vs Major Tom

This week, Content in Context took a break from start-ups, fintech and the information superhighway to immerse itself in some cultural overload, with hardly a digital device in sight. However, I didn’t need to wander very far to realise that digital technology is both enhancing and restricting our ability to engage with art, music, culture and live performance – while analogue still wins out in terms of creating tangible experiences.

What technology would Thomas Jerome Newton have used to interpret “David Bowie Is”? (Image found here.)

To start with, I went to the “David Bowie Is” exhibition currently showing at Melbourne’s ACMI. As a retrospective on Bowie’s music career, including his dalliances with mime, theatre, fashion, videos, cut-ups, painting and film, it’s pretty comprehensive. What makes it particularly engaging is the lack of digital trickery among the exhibits: no touch screens, no VR or AR spectacular, not even a smart phone app to accompany your visit. It’s all very museum-like sedateness, well-presented artefacts, and extensively annotated displays – not surprising given the V&A provenance.

The absence of complex digital displays or an interactive/interpretive visitor experience is somewhat surprising, given that Bowie has always been an early adopter of new technologies (after all, this is the man who launched his own ISP, BowieNet, and was one of the first musicians to securitise his songwriting royalties via the so-called Bowie Bonds). Not forgetting that  Bowie was using multiple characters, personas and alter-egos long before we got around to internet avatars.

Bowie’s remarkable run of studio albums in the 1970s (unparalleled in popular music) stretched the limits of contemporary recording standards, because each LP has a distinct sonic palette, based on the careful selection of locations, musicians and studio technology. There’s even a section dedicated to some lyric-writing software that Bowie used to automate his cut-up process (which emulated the Dadaists and writers like Burroughs and Gysin). And videos for some of his early 80s songs (“Ashes to Ashes”, “Fashion”, “Let’s Dance” and “China Girl”) were MTV staples when the medium was still in its infancy. (But as the exhibition reminds us, Bowie was using the short film format as early as the late 60s.)

The only real concession to digital technology is the audio guide, which uses a personal playback device. These devices are linked to either NFC tags or wireless beacons to trigger specific music, commentary or soundtracks when the visitor is in a relevant location. Mostly it works well, and provides a collage of sounds to accompany the more significant exhibits. However, the cut-over between some “trigger zones” is a bit abrupt, even clunky, and there is nothing interactive for the visitor to explore or experience.

At the end, each visitor was given a postcard with a promotional code to download a free Bowie album. All very nice, and a great idea, but poorly executed:

  • The choice of albums is limited to his more recent studio albums, and a fairly average live album (by Bowie’s standards) – so none of those classic 70s recordings
  • The promotion is linked to Google Play and the process of setting up and downloading my account was not very intuitive, and compared to iTunes was very clunky (at least on my iMac)
  • It was not possible to curate my own personal Bowie album, which could have been fun – now, I understand the reluctance to deconstruct complete albums into individual songs, but perhaps some specially selected and Bowie-approved thematic compilations (e.g., based on his many stage and studio personas) could have provided a neat compromise?

While I liked the fact that the exhibition mainly used analogue technology, I think there was a missed opportunity to create an additional layer of interactivity, either via the audio guide, or via a separate smart phone app or website (I’m thinking of MONA’s “O Device”, the NGV’s “Melbourne Now” app, or some of the marvelous exhibition apps developed by London’s Tate Modern, the Réunion des Musées Nationaux in France, and both the MCA and Gallery of NSW in Sydney). Something for the V&A and ACMI to think about?

Then, it was a short walk across Federation Square to the Arts Centre, for a 3-day extravaganza of live events (music, dance, theatre, mixed media) collectively known as “Supersense”. OK, so I appreciate that this curated festival was all about experiencing live performance up close and in the moment – without being (dis)intermediated by any layer of technology between performer and audience (apart from some 3D glasses I wore for one mixed media show). But a festival app would have been very useful to help navigate the warren of corridors and backstage areas where the festival was held, to let visitors know when events were due to start, and to notify them when there no more seats in the smaller performance spaces.  Also, the festival website’s complicated schedule of events was impossible to read on a smart phone, so an app would have been great!

Anyway, the festival format, range of styles and mixed quality inevitably meant it was a veritable curate’s egg – the broad theme made it difficult to establish a cohesive context, and yet there were some connections and overlaps (both direct links between performers, and indirect conceptual links among the cross-cultural references and influences). Again, an app would have helped to make those connections. But the organisers (and performers) are to be congratulated for pulling off this inaugural event, and I look forward to next year’s programme.

Finally, for the culturally aware (or just plain old trainspotters) there were a number of connections to be made between “Bowie Is” and “Supersense”:

  • The performance of Brian Eno‘s ground-breaking ambient composition “Discreet Music” by The Necks and friends reminded us of Eno’s crucial role in recording Bowie’s trio of Berlin albums, “Low”, “Heroes” and “Lodger”
  • More specifically, the incorporation of Eno’s “Oblique Strategies” into the “Discreet Music” concert was very pertinent; not only did Eno use this system of random instructions when working on “Lodger”, he gave Bowie his own deck of “Oblique Strategies” cards, which are on display at ACMI
  • The festival finale by John Cale (also a sometime collaborator with Eno) included versions of “I’m Waiting for My Man” and “Venus in Furs” which he first recorded with The Velvet Underground in the 60s – and Bowie was one of the earliest artists to cover songs by The Velvet Underground in the early 70s.
  • Bowie’s early career incorporated mime, poetry and performance art, reflecting his influences and interests. In turn, thanks to the influence of cultural polymaths like him, a festival as diverse as Supersense seems perfectly natural to contemporary audiences.

Next week: Tourism – time to get digital

 

 

It’s not enough to be #disruptive – you also have to #collaborate

For most tech #startups, especially in #fintech, it’s no longer just about being #disruptive – there’s a growing realization that entrepreneurs also have to be #collaborative.

One year on from his last visit to Melbourne, Stripe co-founder John Collison was back in conversation with Paul Bassat from Square Peg Capital, courtesy of Startup Victoria and sponsors Envato, LIFX, BlueChilli, Bank of Melbourne and PwC. Previously, John spoke about the need to be “disruptive rather than incumbent”, yet it seems that Stripe’s growing success can be attributed to relationships with other providers in the payments industry, such as AliPay and VISA, plus deals with retail sites such as Catch Of The Day and RedBalloon. Oh, and it probably helps that most U.S. presidential candidates are using Stripe for campaign donations….

Stripe has already launched an SDK platform for developers, and is planning to launch StripeConnect, a market place platform. The point being, the more users (upstream and downstream) you can plug into your platform, the greater the traction, but also the deeper the collaboration. Why would you want to annoy your potential partners, vendors and suppliers?

Meanwhile, Australia is now Stripe’s 4th largest market, and close to being its 3rd largest.

Going forward, despite some criticism (e.g., it’s still not rolled out in Australia), ApplePay has huge potential. It has an estimated 800m credit cards registered with iTunes (making it 5x bigger than PayPal), and with people currently paying as little as $1.69 per song download, ApplePay could crack the market for broader micropayments (e.g., the $2 on-line daily newspaper?).

However, Stripe stills sees that there are disconnects between traditional credit card application processes, account registration forms, payment solutions, merchant set-up and downstream payments for low-value (but high volume) transactions.

Looking ahead, Collison is talking up opportunities in same-day delivery for e-commerce (hard to see this happening outside of Australia’s main metro areas – unless the infrastructure is there…), and better video-conferencing services (again, in Australia this is hampered by poor broadband services).

A few days later, and Adrian Stone from AngelCube was in conversation with StartUpGrind‘s Melbourne convener, Chris Joannou. Adrian restated the sentiment that angel investors tend to back founders rather than ideas, which can seen by some of the ventures AngelCube has backed so far, including Tablo, LIFX and CoinJar. Each venture has been successful in raising early-stage funding (despite some teething problems and much pivoting), although AngelCube itself has not yet completed an exit.

Rather like his associate Dave McClure from 500 Startups, Adrian recognizes that for various reasons, VCs are having to make smaller, multiple bets, rather than betting the farm on single or a few ideas.

Perhaps this gives further credibility to the proposition that every portfolio (including individual members in retail and industry superannuation funds?) should have a discretionary 1-2% allocation to startups, but you still need an investment vehicle or platform to screen and manage opportunities. Sadly, we see that there is still a disconnect between institutional investors and startup founders. The former are having to get bigger to reduce operating costs, yet this means they have what one friend of mine has defined as the “Allocation Gap”. And of course, founders far outnumber the available sources of VC funding. Time for a rethink on how investors can collaborate to access startup opportunities?

Next week: Cultural Overload

 

 

“I’m old, not obsolete”

In the recent “Terminator” sequel, Arnold Schwarzenegger coins a new catchphrase: “I’m old, but I’m not obsolete”. He may not be the latest android, but he has learned to adapt, he is still relevant and his purpose remains consistent. A bit like older workers, then: not ready to be consigned to the scrap-heap, consistent and reliable, and even capable of being upgraded (as Arnie is towards the end of the film).

Terminator Genisys

Remaining relevant is tough, even for a Terminator….  (Copyright 2015 Paramount Pictures)

A great deal of the discussion on employee engagement, business productivity, workplace flexibility and career transition talks about what we do with older employees, particularly those in their 50’s, who often struggle to find comparable work when they are retrenched or “restructured”.

Many 50-somethings can vouch for the fact that making a career transition into another full-time role can be extremely difficult. In my own case, I left my last corporate position just after I turned 50, and I soon realised it would be virtually impossible to find the exact same or similar permanent role elsewhere. So I embarked on a portfolio of interests (non-executive board positions, consulting work, contract roles and entrepreneurship) in order to remain “economically active”.

Over the past four years, in order to remain active, retrain and build my professional networks, I have:

  • completed the AICD Company Director course
  • served on a number of advisory and pop-up boards
  • launched this weekly blog, and written for 3rd party sites
  • coached business owners and entrepreneurs
  • competed in a FinTech hackathon and a MedTech startup competition
  • consulted in the education, public, NFP, publishing, manufacturing, technology and professional services sectors
  • joined numerous MeetUp and networking groups
  • participated in the Lightning Conference on Victoria’s StartUp Future
  • developed a new app for employee performance management,
  • trained as a presenter on community radio, and
  • become a participant and adviser at the Slow School of Business.

As part of my plan to become familiar with new technology, I have also built a side-project to record and release my own music via Bandcamp and Soundcloud, incorporating many iOS apps for which I am a beta-tester.

Not all of this activity is remunerated, yet the people I work with all tell me how much they value my unique input and original insight, and so I keep on doing it. Given the need/expectation to work longer, and the continued tinkering with tax, super and income rules and policies, I’m not sure many of us can ever think about full-time “retirement” (whatever that now means).

I’m aware that there are some ad hoc initiatives to engage older workers as mentors for new entrants to the workplace. While such projects are well-meaning, and may have some desirable benefits, they are not yet financially sustainable, and don’t address the core issue that the expectation of full-time, permanent, lifelong employment is no longer realistic, and we will all have to adapt to these new circumstances.

On the few occasions I have considered full-time roles, I am staggered that so many prospective employers seem incapable of thinking outside the box: on the one hand, they say they want diversity and fresh thinking; but on the other, they resort to the habit of appointing square pegs for square holes.

There is a real sense among many of my peers that their age counts against them, because either employers don’t believe they can learn new technology or processes, or that their previous seniority means they are only interested in roles where they can wait out their retirement, or simply “direct traffic”, rather than getting their hands dirty. Which is both insulting and demoralising. I recall one early discussion where the recruitment consultant said, “despite what the ad says, the business just wants a safe pair of hands – someone who has done the exact same role in a similar organisation for the past 20 years”. How does that support diversity, in particular, cognitive diversity?

So, my question to employers, hiring managers, industry bodies and policy-makers is: when will you truly embrace the challenge of (and opportunity for) change in your hiring and employment practices, and how do older age workers fit into your thinking (if at all)?

Next week: Startups, VC’s and Entrepreneurs

Who needs banks? My experience of “We R One World”

This past weekend, I participated in the “We R One World” game hosted by Carolyn Tate on behalf of the Slow School of Business, and facilitated by Ron Laurie from MetaIntegral. The game is an immersive learning experience in the form of a simulated global strategy workshop, based on the work of Buckminster Fuller. I joined a team whose role was to represent the interests of the commercial banks. It was a rather sobering experience, because as the workshop unfolded, it soon became clear that in the context of the game the banks were almost redundant – which partly reflects what is going on in the real world, as banks face increased disintermediation and disruption by FinTech, crowdfunding and the shared economy.

The Fuller Projection or Dymaxion Map

The Fuller Projection or Dymaxion Map

The Premise – Earth as Spaceship

Without going into too much detail, “We R One World” mimics elements of the board games “Risk” and “Monopoly”, and takes the form of a narrative-based hackathon, combined with a meetup and an unconference. Played out on a floor-size version of the dymaxion map, the game also draws on Fuller’s concept that the Earth is a spaceship, of which the players are the crew, and the “fuel” is the inventory of global resources at the crew’s disposal, including people, technology, capital, food, energy, munitions, water, etc. The participants form teams to represent various geo-political regions, supranational NGOs, multinational corporations and banks. The goal is to achieve (through trade negotiations), the best socio-economic outcomes for everyone, with a few surprises along the way!

There is a lot of information to absorb, as well as the structure of the game. One challenge for the players is to not get hung up on the presented “data” (which is more representative, rather than precisely factual). Even though we live with access to real-time, on-line statistics and research, and despite the Internet and search engines, in real life we still experience considerable information asymmetry.

The Prelude – We Are Star Dust

As a prelude, we were shown the documentary “The Overview Effect”, which includes the comment by former Apollo astronaut Edgar Mitchell that we are made of star dust (a now common concept echoed in various songs such as Moby’s “We Are All Made of Stars” or Joni Mitchell’s “Woodstock”, depending on your musical taste/cultural perspective).

It was also a timely connection, given the increased media coverage of space exploration, and Hollywood’s renewed interest in space travel. The recurring theme (in reality as much as in fiction) is that human survival will depend on relocating to, or harnessing other planets.

As examples, in the real world, we have the latest discovery of an Earth-like planet, tweets from Philae on a frozen comet, and the remarkable images from Pluto. While the entertainment world is enjoying critical and popular success with films such as “Moon”, “Gravity”, “Elysium” and “Interstellar” (plus the forthcoming “The Martian”). Even veteran Sci-Fi writer Brain Aldiss has bowed out with his final space novel, “The Finches of Mars”.

The Banks – Increasingly dispensable

But back to the game, and what we might conclude from the outcomes.

From the start, in the role of the banks we had a strategy for encouraging “good” behaviour, and punishing the “bad”. We had a catalogue of regional problems, and a set of possible solutions. “Good” behaviour was predicated on regions finding creating solutions to their problems, based on partnering, prioritization, planning and promotion. “Bad” behaviour might include late or failed interest repayments, misuse of funds (e.g., deploying more military hardware ahead of feeding their population), or actions that led to worsening conditions (increased poverty, hunger and illiteracy, or depleted natural resources).

At the outset, the banks’ role was to manage existing loans (by collecting interest due), and to originate new loans for development and commercial projects. In the initial stages, despite Japan’s attempt to renegotiate its existing repayment terms on the fly, the commercial banks managed to collect all interest due, on time and in full (with a small surplus, thanks to some regions’ lax monetary management). One region paid up without much prompting, cheerfully (or ironically?) commenting that “we must keep the banks happy!”.

However, as the game progressed, the banks were basically ignored, as regions switched their focus to responding to new circumstances, such that the consequences of not servicing their debts seemed irrelevant. Even the risk/threat of bankruptcy did not carry much persuasion, as regions were more willing to find new ways to trade with each other, less reliant on bank capital, and more focussed on alternative value exchanges (part of the game’s secret sauce).

For example, we received only two loan applications throughout the game: one was for a worthy but ambitious development project, but when asked to resubmit the request with some further information, the loan did not materialise; and the other was more in the way of a short-term deposit with the bank, to generate interest income to buy food. Given that deposit rates are low, our response was to suggest using the capital (with additional bank funding) to increase food production, but our offer was declined, maybe because of the need to trade out of a short-term food shortage rather than investing in long-term supply.

Towards the end, the banks were almost mere spectators in the game, and were reduced to protecting their self-interests: namely their capital, and their stalled/stagnant loan assets. If borrowers don’t want the banks’ money, where and what will the banks invest in order to generate depositor, investor and shareholder returns? As one regional participant commented, “we are all bank shareholders”. Just as in real life, we deposit money with the banks, we invest in their financial products (especially through our superannuation and pension funds), and we may even buy their shares and bonds. And of course, following the GFC, many taxpayers found themselves indirect shareholders of banks that were bailed out by their respective governments.

The Conclusion – An alternative approach?

I’m not going to give the game away (you can experience it for yourself in September) but the conclusion and outcome reinforce the view that in order to tackle the world’s problems, we all have to take a different perspective – whether that is challenging existing structures, subverting traditional business models, or questioning our personal motives and objectives. For myself, I recognise that this means an increased awareness of “living lean” (mostly around personal preferences and lifestyle choices), and (multi-)lateral thinking.

For institutions like banks (as well as governments, corporations and NGOs) this alternative approach means re-assessing their roles and contribution (which can also be framed as re-connecting with their “purpose”), remodelling their processes and systems, and redefining the measures of their success. As my team member concluded, “the other players only see the banks as a source of capital, rather than a resource for knowledge, expertise and networks”.

Footnote

Declaration of interest: I participated in the game at the kind invitation of the Slow School of Business.

Next week: “I’m old, not obsolete”