How the Enlightenment Ends

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The Death of Text?

 

The following short essay was published in the NY Times feature called The Fate of the Internet. Frankly, it’s difficult to take these arguments too seriously, despite the transformative effects of technology.

Welcome to the Post-Text Future

by Farhad Manjoo, NY Times

I’ll make this short: The thing you’re doing now, reading prose on a screen, is going out of fashion. [Which means what? It’s popularity is fading as a communication channel?]

We’re taking stock of the internet right now, with writers [Hmm, what’s a writer without a reader?] who cover the digital world cataloging some of the most consequential currents shaping it. If you probe those currents and look ahead to the coming year online, one truth becomes clear. The defining narrative of our online moment concerns the decline of text, and the exploding reach and power of audio and video. [Yes, but where does real “power” really reside? In cat videos and selfies? Those behind the curtain are really smiling.]

This multimedia internet has been gaining on the text-based internet for years. But last year, the story accelerated sharply, and now audio and video are unstoppable. The most influential communicators online once worked on web pages and blogs. They’re now making podcasts, Netflix shows, propaganda memes, Instagram and YouTube channels, and apps like HQ Trivia.

Consider the most compelling digital innovations now emerging: the talking assistants that were the hit of the holidays, Apple’s face-reading phone, artificial intelligence to search photos or translate spoken language, and augmented reality — which inserts any digital image into a live view of your surroundings.

These advances are all about cameras, microphones, your voice, your ears and your eyes.

Together, they’re all sending us the same message: Welcome to the post-text future. [No, they are welcoming us to the distractions of circuses. That’s what entertainment is.]

It’s not that text is going away altogether. Nothing online ever really dies, and text still has its hits — from Susan Fowler’s whistle-blowing blog post last year about harassment at Uber to #MeToo, text was at the center of the most significant recent American social movement.

Still, we have only just begun to glimpse the deeper, more kinetic possibilities of an online culture in which text recedes to the background, and sounds and images become the universal language.

The internet was born in text because text was once the only format computers understood. Then we started giving machines eyes and ears — that is, smartphones were invented — and now we’ve provided them brains to decipher and manipulate multimedia. [Yes, but civilization was not born with the ASCII computer language. Computers are becoming clever tvs, but they still deliver a lot of trivia as content and video formats probably amplify that. Perhaps we are seeing the trivialization of popular culture? Has it ever not been trivial?]

My reading of this trend toward video as a substitute for text applies to certain types of media and content. Certain commentators have adapted readily to YouTube channels to transmit knowledge and ideas and the educational potential is just being tapped. But true power in the world of ideas is controlled by those who know how to manipulate text to understand abstract intellectual ideas that govern our world.

The question is, is technology turning us into sheep or shepherds? Because for sure, there are wolves out there.

As John Maynard Keynes wrote,

The ideas of economists and political philosophers, both when they are right and when they are wrong are more powerful than is commonly understood. Indeed, the world is ruled by little else. Practical men, who believe themselves to be quite exempt from any intellectual influences, are usually slaves of some defunct economist. Madmen in authority, who hear voices in the air, are distilling their frenzy from some academic scribbler of a few years back…

Dennis_The_Menace-11-6-09-240x300

The Death of Culture?

Designing a Sustainable Creative Ecosystem

Too Much information = The Death of Culture?

The major creative industries of music, photography, print, and video have all been disrupted by digital technology. We know this. As Chris Anderson has argued in his book Free, the cost of digital content has been driven towards zero. How could this be a bad thing? Well, TMI (Too Much Information — in this case, Too Much Content) is the curse of the Digital Age. It means creators make no money and audiences can’t find quality content amidst all the noise.

The end result will be a staleness of content and stagnant creative markets, i.e., the slow death of culture. So, how did this happen and what do we do about it?

View the rest of the story on Medium.

View story at Medium.com

View story at Medium.com

View story at Medium.com

View story at Medium.com

View story at Medium.com

Why You Should Play Music

 

Following text excerpted from The Ultimate Killer App: The Power to Create and Connect   Chapter 3.

…Music is a bewitching art because it seems to engage areas of our brain that integrate emotions, memory, language/communication, and motor skills. Music not only stimulates more areas of the brain, it resonates to the very core of our physical being, especially when we dance and sing.

Through the ages philosophers and artists have often argued over which of the arts is preeminent and most venerated.[i] The ancient Greeks lauded poetry, Leonardo da Vinci exalted painting, and Michelangelo favored sculpture as the most sublime art of all. I have to side with philosopher Arthur Schopenhauer’s judgment that music portrays the inner flow of life more directly than the other arts,[ii] and Friedrich Nietzsche, who famously said “Without music, life would be a mistake.” With music we dance, we sing, we communicate, we synchronize and coordinate, we contemplate, we remember. Sometimes we even fall into an otherworldly trance. Reggae icon Bob Marley perhaps puts it most simply when he sings, “One good thing about music, it gets you feeling okay…”

schopenhauer

Reflect, for a moment, on how we interact with music: how we remember and respond to certain melodies over time; how a particular song or melody can replay constantly in our mind’s ear, even to the point of distraction[iii]; how particular melodies and harmonies can make us feel joyful or sad, fearful or fearless; how some individuals can see musical pitches as colors; how a particular shuffle rhythm can make us relax with a resting heartbeat, or an up-tempo straight beat can make our hearts race. Interestingly, humans are unique among primates in being able to tap their feet in time to a rhythm, an activity that involves a process of meter extraction so complicated that most computers cannot do it.

E.O. Wilson argues from an evolutionary perspective that creating and performing music is instinctual, one of the true universals of our species. Anthropological studies of tribal cultures show the extent to which singing and dancing is a natural activity in various communities, seamlessly integrated and involving everyone.[iv] In many of the world’s languages, the verb for singing is the same as the one for dancing; there is no distinction, since it is assumed that singing involves bodily movement.

Functional brain imaging shows that playing and listening to music involves nearly every region of the brain and nearly every neural subsystem. Learning to play a musical instrument even alters the structure of our brains, from subcortical circuits that encode sound patterns to neural fibers that connect the two cerebral hemispheres and patterns of gray matter density in certain regions of the cerebral cortex. One neuroscientist [Harvard’s Gottfried Schlaug] has shown that the front portion of the corpus callosum—the mass of fibers connecting the two cerebral hemispheres—is significantly larger in musicians than in non-musicians.[v]

Music is also powerful in its impact on human feeling and on perception. This is why movie soundtracks have the sublime capacity to enhance our multisensory experience. Music is extraordinarily complex in the neural circuits it employs, appearing to elicit emotion in at least six different brain mechanisms. We have all experienced the pleasures of music and neuroscientists have found that music is strongly associated with the brain’s reward system through the release of dopamine.

The emotional power of music is also reflected in that most time-honored form, the romantic love song. One researcher who analyzed the lyrics of the year’s 10 most popular songs listed in Billboard for two eras, 2002-2005 and 1968-1971, found that 24 of the 40 songs in the modern era — 60 percent — and half the songs of the classic era were devoted to the subject of love and relationships.[vi]

In The Descent of Man Darwin surmised that “musical notes and rhythm were first acquired by the male or female progenitors of mankind for the sake of charming the opposite sex. Thus, musical tones became firmly associated with some of the strongest passions an animal is capable of feeling, and are consequently used instinctively.” Beyond love and sex, music in politics and revolution can become a national anthem, a rallying cry, or a military march. In a communal celebration, such as Mardi Gras, music becomes an expression of collective joy and celebration.

Music is a language, not only an aural language but a written one. Music invokes some of the same neural regions as language but, far more than language does, music taps into primitive brain structures involved with motivation, reward, and emotion. The mental structure in music requires both halves of the brain, while the mental structure of language only requires the left half. In this sense, music is even more powerful than spoken language and is its likely precursor. Music may have prepared our pre-human ancestors for speech communication and for the very cognitive, representational flexibility necessary to become human. Singing and instrumental activities might have helped our species to refine motor skills, paving the way for the development of the exquisitely fine muscle control required for vocal or signed speech.

Not surprisingly, studies have found that children who take music lessons for two years also process language better. Music therapy using listening and instrument playing has been shown to help people overcome a broad range of psychological and neurological problems. Patients suffering from Parkinson’s disease, in whom movements tend to be incontinently fast or slow, or sometimes frozen, can overcome these disorders of timing when they are exposed to the regular tempo and rhythm of music.

In This is Your Brain on Music: The Science of a Human Obsession, neuroscientist Daniel J. Levitin offers evidence to support the view that musical ability served as an indicator of cognitive, emotional and physical health, and was evolutionarily advantageous as a force that led to social bonding and increased fitness. Levitin writes:

The story of your brain on music is the story of an exquisite orchestration of brain regions, involving both the oldest and newest parts of the human brain, and regions as far apart as the cerebellum in the back of the head and the frontal lobes just behind your eyes. It involves a precision choreography of neurochemical release and uptake between logical prediction systems and emotional reward systems. When we love a piece of music, it reminds us of other music we have heard, and it activates memory traces of emotional times in our lives. Your brain on music is all about…connections.[vii] (emphasis added)

Medical research into two specific neuro-developmental disorders reveals an interesting neurological link between music and social development. Williams Syndrome (WS) is a rare genetic disorder that causes physical and cognitive deficits, such as heart defects, stunted physical development, brain abnormalities, low IQs, high levels of emotional anxiety and various learning disabilities. However, WS individuals also exhibit high levels of sociability, gregariousness, and an affinity and talent for music. In contrast to WS are the family of Autism Spectrum Disorders (ASD), such as Asperger’s syndrome. Individuals with ASD exhibit deficits in sociability and an inability to empathize. In general, they also display no emotional affinity for music. As Levitin explains, complementary syndromes such as these, which neuroscientists call a double dissociation, strengthen the putative link between music and social bonding.

Historically and anthropologically, music has been involved with social activities. People sing and dance together in every culture, and one can imagine them doing so around the first fires a hundred thousand years ago. This observation dovetails with E.O. Wilson’s narrative of the campfire as the focus of social and community development cited in Chapter 1.

In Music and the Mind, psychologist Anthony Storr stresses that in all societies, a primary function of music is collective and communal, to bring and bind people together. As Storr explains, in modern culture the choice of music has important social consequences. People listen to the music their friends listen to and people who listen to the same music form friendships. Particularly when we are young, and in search of our identity, we form bonds or social groups with people whom we want to be like, or with whom we believe we have something in common. As a way of externalizing the bond, we dress alike, share activities, and listen to the same music. It becomes a mark of our chosen identity. This ties in with the evolutionary idea of music as a vehicle for social bonding and societal cohesion. Music and musical preferences become a mark of personal and group identity and of distinction.

As a powerful biological, psychological, emotional, and communicative medium, music reinforces the ties that bring us together and then bind us. Think of two musicians playing together, jamming, or playing a structured piece – the music is heard as one indivisible expression. A duet can become a trio, then a quartet, a quintet, and finally a full orchestra or big band. The possibilities for creative variation multiply with collaborative input. There is nothing more enjoyable to jazz aficionados – players and audiences alike – than an artful improvisation on a theme that becomes a new musical exploration of the unknown. Philharmonic audiences, likewise, are thrilled by the grandeur of an orchestra that plays as one.

I have deliberately highlighted the role of creativity in music because it provides strong evidence for the synergistic power of creating and sharing (connecting). The power of creative art is that it connects us to one another, and to larger truths about what it means to be alive and what it means to be human.

music

[i] Granted, this judgment may be largely influenced by the era in which the art is technically applied. Certainly film has been a dominant art form of the 20th century, while others claim that virtual gaming will be the preeminent creative art form of the near future. Nevertheless, I will stick with the universality and simplicity of music.

[ii] See Schopenhauer on the “Hierarchy among the fine arts.”

[iii] For some inexplicable reason as I write this, the song “Winchester Cathedral” keeps repeating in my head. A song I most certainly have not heard replayed for at least 50 years, and yet, there it is playing back in my memory. Not my first choice!

[iv] This points out the modern travesty of dividing communal music performance between virtuosi and the rest of us listening in the audience. The communal drum circle is much more in tune with our nature.

[v] Gottfried Schlaug, “Musicians and music making as a model for the study of brain plasticity.” Prog Brain Res. 2015; 217: 37–55.

[vi] http://news.ufl.edu/archive/2007/05/love-still-dominates-pop-song-lyrics-but-with-raunchier-language.html

[vii] Daniel J. Levitin, This is Your Brain on Music, p. 188. For a lovely graphic illustrating the myriad brain functions that music engages, which I cannot print here due to copyright issues, go to http://www.fastcompany.com/3022942/work-smart/the-surprising-science-behind-what-music-does-to-our-brains?

Finite and Infinite Games: the Internet and Politics

About two decades ago James Carse, a religious scholar and historian, wrote a philosophical text titled Finite and Infinite Games. As he explained, there are two kinds of games. One could be called finite, the other infinite. A finite game is played for the purpose of winning, an infinite game for the purpose of continuing the play.

This simple distinction invites some profound thought. War is a finite game, as is the Superbowl. Peace is an infinite game, as is the game of love. Finite games end with a winner(s) and loser(s), while infinite games seek perpetual play. Politics is a finite game; democracy, liberty, and justice are infinite games.

Life itself, then, could be considered a finite or infinite game depending on which perspective one takes. If ‘he who dies with the most toys wins,’ one is living in a finite game that ends with death. If one chooses to create an entity that lives beyond the grave, a legacy that perpetuates through time, then one is playing an infinite game.

One can imagine that we often play a number of finite games within an infinite game. This supports the idea of waging war in order to attain peace (though I wouldn’t go so far as saying it validates destroying the village in order to save it). The taxonomy also relates to the time horizon of one’s perspective in engaging in the game. In other words, are we playing for the short term gain or the long term payoff?

I find Carse’s arguments compelling when I relate them to the new digital economy and how the digital world is transforming how we play certain games, especially those of social interaction and the monetization of value. That sounds a bit hard to follow, but what I’m referring to is the value of the information network (the Internet) as an infinite game.

I would value the internet according to its power to help people connect and share ideas. (I recently wrote a short book on this power called The Ultimate Killer App: The Power to Create and Connect.) The more an idea is shared, the more powerful and valuable it can be. In this sense, the internet is far more valuable than the sum of its various parts, and for it to end as the victim of a finite game would be a tragedy for all. So, I see playing on the information network as an infinite game.

The paradox is that most of the big players on the internet – the Googles, Facebooks, Amazons, etc – are playing finite games on and with the network. In fact, they are using the natural monopoly of network dynamics to win finite games for themselves, reaping enormous value in the process. But while they are winning, many others are losing. Yes, we do gain in certain ways, but the redistribution of information data power is leading to the redistribution of monetary gains and losses across the population of users. In many cases those gains and losses are redistributed quite arbitrarily.

For instance, let us take the disruption of the music industry, or the travel industry, or the publishing industry. One need not lament the fate of obsolete business models to recognize that for play to continue, players must have the possibility of adapting to change in order to keep the infinite game on course. Most musicians and authors believe their professions are DOA. What does that say for the future of culture?

Unfortunately, this disruption across the global economy wrought by digitization is being reflected in the chaotic politics of our times, mostly across previously stable developed democracies.

These economic and political developments don’t seem particularly farsighted and one can only speculate how the game plays out. But to relate it to current events, many of us are playing electoral politics in a finite game that has profound implications for the more important infinite game we should be playing.

 

New Book Release: The Ultimate Killer App

 

Do you ever question why we like to spend so much time on Facebook or fiddling with our smartphone apps? The obvious answer is that it connects us socially with others. But that answer just begs a host of additional questions about what satisfies us and why.

i_heart_love_my_cell_phoneThe Ultimate Killer App: The Power to Create and Connect seeks to explore those questions and connect the dots between creativity, social connectedness, happiness, and health. It’s about how technology helps us fulfill our basic needs as well as our aspirations that ultimately connect us to our friends, peers, and wider communities of interests.

It’s a short book. Simple, not profound, but wide in scope in the implications for living the life we aspire to. You can read a longer blurb on the Amazon webpage here.

You can also return to this web blog periodically for chapter excerpts. Here are a couple of quotes from the frontispiece:

Creativity is a central source of meaning in our lives … most of the things that are interesting, important, and human are the results of creativity… [and] when we are involved in it, we feel that we are living more fully than during the rest of life.

Mihály Csikszentmihályi

Man is by nature a social animal… Anyone who either cannot lead the common life or is so self-sufficient as not to need to, and therefore does not partake of society, is either a beast or a god.

Aristotle 

UKA SW Cover

Publishing launch September 12, 2016 at all eBook retailers.

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