Tag Archives: #culture

The Tech in My Life #1 – Telstar!

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This week’s blog is the first in a series on key technology that has helped to shape my life. It will be a very personal perspective, and obviously it can’t capture every tech development, interface or environment that I have engaged with. But as I hope to establish, my selections do reveal three recurring themes: information, communication, and music. These threads should become apparent in the coming weeks.

First up is a record, “Telstar”, released by The Tornados in 1962.

I have blogged about this record before, mainly from a musical perspective. But as a tech artefact it also provides other context.

It is probably the first 7″ vinyl record that I can recall hearing – and certainly one of the only pieces of music from my early childhood that remains both familiar and intriguing to this day. Maybe it was also the first record I got to play on the family Dansette myself, so there is a reinforced tactile connection with the record as a “data object” and the gramophone player as a “playback device”. And while the tune itself is relatively simple, the arrangement and recording techniques reveal a lot more depth than a normal pop record. For a start, the choice of electronic keyboards, and the treatment of the electric guitar give it a suitably unworldly atmosphere.

More specifically, and without my realising it at the time, it is probably my earliest experience of musique concrète. I distinctly remember putting my ear as close to the speaker as possible to absorb the opening passage of Joe Meek’s sound effects, tape manipulation and general studio wizardry. What were these strange noises? Why did they fascinate me? Was it really music, or was I hearing something else entirely, like signals from outer space?

Which is exactly the point, as “Telstar” is named after the communications satellite of the same name. Leaving aside Joe Meek’s fascination/obsession with spiritualism and the occult, he was something of an autodidact in the studio – if he needed a particular effect (“what would a satellite signal sound like?”), he would create or improvise from whatever technology was to hand (primitive or otherwise).

In coming weeks, the significance of “Telstar” (the satellite) on my childhood will emerge. But if I was ever invited to appear on “Desert Island Discs”, I’m certain that “Telstar” would be included in my playlist of 8 records.

Next week #2: Goonhilly

 

 

Reverb-erations

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“This is a journey into sound” reads the sub-title of ACMI’s Melbourne edition of “Reverb”, the London exhibition organised by Vinyl Factory and hosted by 180 Studios in 2024-25.

Spoiler alert: the ACMI show is a heavily edited/remixed/redacted version of the original, and because it was grafted on to the concurrent Rising festival, it feels like the original’s agenda has been co-opted due to curatorial choices.

Overall, I found ACMI’s Reverb a quite underwhelming experience – with the disappointment being compounded by high expectations. For a start, Vinyl Factory described their show as a celebration of “art and sound with [an] immersive exhibition”. 180 Studios called it an exploration of “the lasting impact and influence of electronic music on contemporary art and culture”. Both of which are big calls, and quite different in terms of scope and intent, despite describing the same exhibition.

ACMI’s re-adapted synopsis boasts that the exhibition “explores music’s influence on art, film and social movements, traversing hip hop and rap, house, techno, dancehall and Jamaican sound system culture”. Quite a different purpose to the original event.

For logistical reasons, I understand that ACMI could not simply replicate the London show, and many items were omitted. But given ACMI’s success in bringing “David Bowie is” to Melbourne, their world premiere of Julian Rosefeldt’s “Manifesto”, and the “Light” show comprising works from the UK’s Tate Gallery, it’s a shame that “Reverb” didn’t deliver to the same level.

First, there was only one interactive work, by Carsten Nicolai (aka Alva Noto) – so hardly an “immersive” experience, unless you include the ACMI Listening Room, which served more as a passive audio space and vinyl lounge (albeit a very nice one!).

Second, the only two works that really engaged with and explored the interaction between electronic music and popular culture were: a semi-educational documentary by Jeremy Deller on the second summer of love and the UK rave culture; and an informative and creative account of the Detroit techno scene by Jenn Nkiru.

Third, as much as I enjoy the work of William Kentridge, his video installation of animated drawings seemed out of place and out of context – although it appears this same work was included in the original London show.

Not having had the opportunity to see the original version, direct comparisons are difficult. But it felt like there were huge gaps. For example, nothing about the role of music videos on MTV (much of it electronic music) in shaping the visual packaging of pop artists and how these videos themselves brought a cross-fertilisation of different sub-cultures, fashion styles and musical genres into mainstream publishing, advertising and the broader entertainment industry. Nothing about the technology that helped electronic music to propagate and which led to scratching, remixing and sampling, and also shaped how, where and when we listen to music. I could go on but hopefully the point is made.

Maybe the point is that the original exhibition was simply the source material for galleries and museums to each put their own spin on the impact of music on art and culture, like a series of reverberating events around the world.

But at the very least, surely there should have been a video of Coldcut’s classic remix of “Paid In Full” by Eric B and Rakim? Now that’s what I call a “journey into sound!”

Next week: End of the road for Lime?

 

Cultural References

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Most days I like to try and solve a cryptic crossword. It’s a hobby I picked up from my dad, when I was in my early teens. He probably regretted introducing me to this particular pastime, as we used to compete for the newspaper…

I think I have persisted with this hobby because I have an innate interest in word-play, and solving puzzles helps to maintain my cognitive agility.

Apart from having a large vocabulary and an understanding of the rudiments of solving different types of cryptic clues, it also helps to have wide general knowledge. In my own case, this is underpinned by having received a “classic education” – that blend of critical thinking, an inquisitive approach to learning, and a mix of the liberal arts, formal science and a hint of classics.

Cryptic clues frequently involve specific and oblique references to weights and measures, chess, bridge, languages, history, geography, the arts, literature, politics, current affairs, religion, sport, law, technology, entertainment and the sciences. Puzzle setters also rely on lexical techniques such as abbreviations, palindromes, homophones, anagrams, synonyms, antonyms and phonetics to construct their clues.

Many times, I find I just “know” the answer because some word association triggers mental recall. Often, though, clues are solved by a process of deduction and logic to parse the cryptic component to align with the factual meaning or definition.

I am increasingly challenged by references to current popular culture. Sometimes, I can deduct the reference to the name of a chart-topping singer or title of a Hollywood movie franchise – and not from hearing the music or watching the film.

It does make me think about what defines “general knowledge” – the stuff you should know without having to use a search engine? The public canon obviously shifts and evolves over time, but increasingly our individual knowledge is becoming fragmented, siloed and insular – not helped by algorithms designed to serve up more of the same or push us deeper into very narrow bands of information. Obviously, tastes and currency change with the times, but what constitutes a core foundation of personal wisdom and understanding to help us navigate the world?

This thought struck me recently during a family games night. One of the teenage participants was given a particularly difficult film title in a round of charades: “Dog Day Afternoon”. I was certain our young contestant had never seen (let alone heard of) this controversial 1975 movie (but which even now, seems highly topical). Yet, our plucky player rose to the challenge, and acted out a very literal interpretation, which made it relatively easy for the rest of the team to solve. It was great to see the process of deduction based on limited information!

So, maybe as long as we keep teaching basic general knowledge plus strong problem-solving skills, we’ll be OK?

 

 

Does age matter?

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When it comes to standing for President, how old is “too old”? When it comes to travelling alone abroad, how young is “too young”?

In the first example, Donald Trump mocked his opponent, Joe Biden about his age and infirmity. Now Trump could become the oldest ever candidate to be elected President, but he doesn’t countenance any criticism of his own mental or physical frailty….

In the second example, a parent has been criticised for allowing their 15-year old son to go Interrailing around Europe, with friends, but minus any adult supervision. The teenager doesn’t appear to have come to any harm – and has probably gained some maturity in the process!

When it comes to the US Presidency, first Trump and then Biden set the record for being the oldest candidates to assume Office (both being in their 70s at the time of their respective inaugurations). In general, Presidents get elected in their 50s or 60s; in the post-war era, only three Presidents have been elected in their 40s – JFK, Clinton and Obama. Meanwhile, across the Atlantic, at the age of 61, Keir Starmer is the oldest person to become British Prime Minister since his Labour predecessor, James Callaghan, who took Office in 1976. I’m not sure what conclusions we can draw from this, but it’s interesting to note that while many countries have mandatory retirement ages for Judges, it seems there is no upper age limit to becoming (or remaining) President, Prime Minister or Head of State. So while old age may be seen as a barrier to dispensing justice in a Court of Law, there is no such concern about exercising political power.

Obviously, age should not be the sole or primary criteria for measuring one’s ability to perform one’s role, to fulfil one’s obligations and to meet one’s responsibilities. Factors such as capacity, cognition, experience, character and overall fitness (physical, mental and moral) should be the basis on which candidates are to be assessed and evaluated.

At the other end of the spectrum, there are several areas where the legal minimum age is being debated: for example, the age of criminal responsibility; the age when children and teenagers should be allowed access to social media; and the voting age. There are also related discussions on the age of consent, marriage, reproductive rights, access to birth control, and censorship controls.

While it is understandable and desirable to protect minors from harm (both by themselves and by others), setting universal minimum ages is not that easy. Individual children and adolescents develop at different rates – biology is simply not that uniform or consistent! I’m sure we all know of teenagers who are far more mature and responsible than adults in their 20s (and even 30s).

Part of the problem is that a fixed age limit does not allow for any sort of transition period. For example, at age 17 years and 364 days, I’m not allowed to buy alcohol; one day later, I can fill my boots! Logic and common sense would suggest that if teenagers had the opportunity to consume alcohol in moderation, in appropriate social and public settings, they would have a much better appreciation for its effects and greater understanding of their personal tolerance, without getting themselves into trouble.

My concern is that in too many areas we are denying young people any control over their own choices and decision-making, and as a result we are absolving them from any personal responsibility. Consequently, as a society we are undermining the concept of individual accountability; when things go wrong as a result of their own choices and actions – whether deliberate, reckless, negligent, careless, inconsiderate or simply idiotic – it’s other people who are left to pick up the pieces. The situation is not helped by the inconsistencies inherent in our definitions of “minor”, “legal age”, “adult”, etc. For example, people can legally drive, have sex and reproduce before they can legally vote, or get married without their parents’ consent.

When I see media coverage that suggests that people in their 20s who have engaged in anti-social, irresponsible or unacceptable behaviour are “too young to know any better”, I can’t help thinking that these commentators are being too generous (or totally patronising). Some people in their 20s are responsible for making life-or-death decisions (first responders, emergency workers, police, medical staff, members of the military). Many more are in the workforce, fulfilling legal and contractual obligations on behalf of themselves and their employers. (And in some fields such as sport and entertainment, they get paid very handsomely to do so.)

Surely, we should treat people over the age of 18 as “responsible adults”. Likewise, we should really know the difference between “right and wrong” by the age of 8 or 9, and certainly by the time we start high school. But if, as some academics and social policy advocates suggest, “adults” don’t fully mature until they are in their mid-20s, perhaps we need to raise the minimum age for driving, marriage, consent and voting to at least 25!

Finally, on the issue of access to social media, I would argue that since the minimum age to enter into a legal contract is 18, and since a social media account is a form of contract (at the very least, it is a type of license?) then anyone under 18 needs to have their parents or legal guardians sign on their behalf to ensure compliance with the terms of use. Alternatively, underage users need to complete a test or undertake an assessment to demonstrate their understanding and competence to participate in these platforms.

Next week: “Megalopolis”? More like mega-flop it is!