Archive for the 'Technology' Category
April 21st, 2014 by Wil
An interesting idea dawned on me recently. Many people have commented that the advent of 3D printing means that it is really the design of objects, rather than the objects themselves, that has value. The day may arrive when if you need a new thing—say, a coffee cup—you just use the design to print one off.
Of course, it’s not merely the design of the object that has value there; the raw materials used to make the thing—likely plastics and metals—have value. Maybe we’ll all have a pile of goop that we use to make new things. And if we run out of goop we’ll simply melt down some existing objects back to their goop form. “We’re out of scissors? Melt down the old television and use that!”
April 17th, 2014 by Wil
I’m often rather loudly complaining around here about the devaluation of entertainment products brought about by the internet. This is partly because the internet engenders piracy, but also because piracy itself engenders creators to offer their work for free (because it’s probably going to end up available for free anyway.) The result is the destructions of big chunks of the entertainment industry.
We’ve primarily seen this in the music business. But it stands to reason that as movies become more downloadable, the same thing could happen there. According to this excerpt from a book by screenwriter Lynda Obst, it is.
I leaned back a little on Peter’s comfortable couch, and he sat forward to say, “People will look back and say that probably, from a financial point of view, 1995 through 2005 was the golden age of this generation of the movie business. You had big growth internationally, and you had big growth with DVDs.” He paused to allow a gallows laugh. “That golden age appears to be over.”
“The DVD business represented fifty percent of their profits,” he went on. “Fifty percent. The decline of that business means their entire profit could come down between forty and fifty percent for new movies.”
For those of you like me who are not good at math, let me make Peter’s statement even simpler. If a studio’s margin of profit was only 10 percent in the Old Abnormal, now with the collapsing DVD market that profit margin was hovering around 6 percent. The loss of profit on those little silver discs had nearly halved our profit margin.
This was, literally, a Great Contraction. Something drastic had happened to our industry, and this was it. Surely there were other factors: Young males were disappearing into video games; there were hundreds of home entertainment choices available for nesting families; the Net. But slicing a huge chunk of reliable profits right out of the bottom line forever?
There it was. Technology had destroyed the DVD. When Peter referred to the “transition of the DVD market,” and technology destroying the DVD, he was talking about the implications of the fact that our movies were now proliferating for free—not just on the streets of Beijing and Hong Kong and Rio. And even legitimate users, as Peter pointed out, who would never pirate, were going for $3 or $4 video-on-demand (VOD) rentals instead of $15 DVD purchases.
Frankly, I never understood why people paid 15 bucks to own a DVD movie but I guess they’ve come to their senses on that one. Netflix is probably a big reason for that as you can essentially buy a huge streaming dvd collection for 7 bucks a month.
So what does this collapse mean in terms of movie quality? I think Obst’s article ties into an article I wrote a while back about the noticeable decline in the quality of current film’s stories. I used the blockbuster “WWZ” as an example.
On top of that, “World War Z” was just poorly written. There’s was no sense of ratcheting tension, no sense of real danger. The hallmark of the great horror films is that some of the characters—sometimes characters you really love—get killed. (Even “Shaun of the Dead,” which was something of a horror satire, got this.) Nobody you like in “WWZ” dies. (This is partly because you don’t like any of the characters but that’s another complaint.) And unlike the book, the movie “WWZ” is devoid of clever plot twists. The main conceit of the film—the means by which Pitt formulates a way of stopping the zombies—barely generates a “meh.”
“World War Z” had the sense of being written by committee. When a story is written this way, any interesting proposed plot twist (say, killing a key character, or having a likeable character betray the group) is bound to upset someone in the room. If everyone working on the story is granted veto power, all life gets sucked of a tale.
To quote Obst:
[The studios are] frozen, so the gut is frozen, the heart is frozen, and even the bottom-line spreadsheet is frozen. It was like a cold shower in hard numbers. There was none of the extra cash that fueled competitive commerce, gut calls, or real movies, the extra spec script purchase, the pitch culture, the grease that fueled the Old Abnormal: the way things had always been done. We were running on empty, searching for sources of new revenue. The only reliable entry on the P&L was international. That’s where the moolah was coming from, so that’s what decisions would be based on.
Gut calls are part of what lead to interesting, innovative movies. And deference to the international market means you have to dumb content down for non-English speakers and those who may not get the nuances of certain kinds of storytelling.
As I mention in my article, I think cheap horror flicks are still willing to take risks, as they always have. But I’m curious as to whether they are making any money.
April 7th, 2014 by Wil
Author Jeremy Rifkin has an interesting op-ed in the LA Times titled “The Sharing Economy.” It discusses the rise of companies like AirBnB (the online service that allows people to rent bedrooms in other’s houses, bypassing hotels.)
Nestled in the article is this point:
Hundreds of millions of people are already transferring parts of their economic lives to this new business model. They are making and sharing their own information, entertainment, green energy and 3D-printed products at near zero marginal cost.
This is a point I made not long ago. If we can share 3d printer schematics then we can share a lot physical objects. And this seriously affects the marketplace for stuff leading to a loss of jobs related to making a transporting stuff. To quote myself:
And what about piracy? When we are printing objects, it’s no longer the objects themselves that have value, it’s the designs of the objects. With 3D printers, the design is held in a downloadable computer file. If mp3s and digital movies can be pirated, there’s little reason to think schematic files will not. I suspect that when it becomes easy and free to download and print stuff, we can expect profound ramifications for the economy. (Ignoring the issue of piracy, it also seems likely that schematics for many useful and entertaining objects will simply be offered for free by charitable or anarchistic designers.)
April 3rd, 2014 by Wil
The Economist has a new story on a topic I like to comment on: the rise of the robots. The article take special note of how robots could replace parts of the human work force.
As consumers and citizens, people will benefit greatly from the rise of the robots. Whether they will as workers is less clear, for the robots’ growing competence may make some human labour redundant. Aetheon’s Tugs, for instance, which take hospital trolleys where they are needed, are ready to take over much of the work that porters do today. Kiva’s warehouse robots make it possible for Amazon to send out more parcels with fewer workers. Driverless cars could displace the millions of people employed behind the wheel today. Just as employment in agriculture, which used to provide almost all the jobs in the pre-modern era, now accounts for only 2% of rich-world employment so jobs in today’s manufacturing and services industries may be forced to retreat before the march of the robots. Whether humanity will find new ways of using its labour, or the future will be given over to forced leisure, is a matter of much worried debate among economists. Either way, robots will probably get the credit or blame.
Also note that Google is poised to get into the robot game. (A premise I parodied in my short story “The Dance of the Quarks.”)
The biggest robot news of 2013 was that Google bought eight promising robot startups. Rich and well led (by Andy Rubin, who masterminded the Android operating system) and with access to world-beating expertise in cloud computing and artificial intelligence, both highly relevant, Google’s robot programme promises the possibility of something spectacular—though no one outside the company knows what that might be.
The article has some great, cartoon robot art too!
March 25th, 2014 by Wil
I’ve certainly complained about the intrusions of social media into our lives, but even I didn’t see this one, er, coming.
Facebook use during sex? Many seem to ‘like’ it
A more formal national study found young Britons having less sex today than in the past, with social media perhaps partly to blame.
[The survey] also found that 12 percent had answered a phone call during sex and 10 percent had read a text in the midst of the act.
I don’t consider myself a guru in the fields of either sex or social media, but I am confident enough to say that combining the two probably means you’re doing one of them wrong.
I DO consider myself a sex guru and I agree!
March 21st, 2014 by Wil
The New Yorker notes that we are in the midst of a suicide epidemic. While I’m always wary of the term epidemic, it’s worth noting that American suicide rates rose about 30% from 1999 to 2010.
The article posits that suicide’s main sponsor—depression—is an illness, not a deficit or character weakness. While I agree with gist of that, one has to question, “Why then has this illness only recently increased so dramatically?”
I’m often arguing that technology has substantially changed our lives over the past 15+ years. I talk about my total frustration with the intrusions of modern media (endless email messages, Facebook alerts, the incessant fucking phone, etc.) Part of what is so annoying about all this stuff is that it gives you this sense of losing control over your life. You want to just lie down and take a nap, or sit in the yard and stare into space but there’s a half dozen electronic devices poised to ruin your reverie. I wonder if all this contributes to the rise in self-immolation.
Obviously this argument is so speculative it doesn’t even deserve the term “fanciful.” But that doesn’t mean it’s wrong. And there’s another way I think technology, particularly the web, has unsettled our psychology. In the pre-internet era, people could (somewhat) comfortably settle into various tribal distinctions, often but not exclusively based on the music they listened to. Punks, Metal-heads, hippies, hip-hoppers, yuppies etc. This allowed a certain sense of self-definition and self-worth. “I’m a cool, rebellious punk rock type!” one could think. But I think the web, for a variety of reasons has weakened these tribal self-definitions making us more like interchangeable members of the digital citizenry. And this has weakened our sense of ourselves… we find ourselves, in some hard to define way, asking ourselves “what am I?”
March 7th, 2014 by Wil
I’ve talked a bit about the work of computer scientist David Cope who has developed several software tools that compose music. The exact methodology he uses is complex (he’s written several books about it) but his programs have ably output hours of music in the style of various classical masters.
In one of his books, Cope comments that he has not used his software to write pop music. This is partly because he isn’t interested in pop music and partly because he concedes pop music is about a lot more that just the notes on a page (which is what his software is fundamentally creating.) Pop is also about the tone of instruments, their hip factor, and a lot of contextual baggage the performing artists bring to the song (their personal history, persona etc.)
Nonetheless, I think it’s inescapable that computers will be composing pop song in the future. Or more likely, computers will be helping humans compose pops songs.
But, then what? Cope’s software can generate thousands of variations on a basic tune. Say someone does the same with a pop song. You have 10,000 versions of a certain melody in A minor. Obviously nobody wants to listen to all of them to find the “best one.”
But what if you could look through a data pool of what listeners were listening to and spot upcoming trends? For example, two years ago you could have noted, “Gee, it looks like people are really digging music with these wonky low end gurgles… I bet dub-step will be popular.” Basically, you would note what properties of music seemed to be getting popular and aim the computer composed music towards those styles.
But where would you get this data? This recent NY Times piece, noting that music analysis company Echo Nest has been bought by Spotify, may offer clues.
The Echo Nest is one of a handful of companies specializing in the arcane but valuable science of music data, examining what songs are being listened to by whom, and how. It makes this information available to its clients, including major media companies like Sirius XM, Clear Channel and Univision, which use the data primarily for music-related apps.
“Analyzing music preferences is something we’ve been doing for a long time,” Jim Lucchese, chief executive of the Echo Nest, said in a joint interview with Mr. Ek. “But being directly wired in, and sitting alongside the Spotify team, will give us the ability to push products a lot faster and learn a lot faster than we could before.”
I suspect Echo Nest is, right now, just analyzing “big picture” music trends, like “people are digging hip-hop country songs.” I think eventually they could move towards more granular observations like “major scale melodies that climb high over three bars and then fall down in a giant octave leap in the fourth bar are getting popular,” or “Synth timbres that sound like a theremin and glockenspiel are getting big.” That data could then be used to power the computer aided composition of pop music.
I’m not saying this is a good thing; it worries me. It could certainly lead to an arms race of musical ideas that would result in fads burning out faster and faster. But I think it’s the future.
March 5th, 2014 by Wil
The Guardian has an interesting article about the challenges faced by writers in the digital age. With that distinctively British pessimism, the article states…
Roughly speaking, until 2000, if you wrote a story, made a film or recorded a song, and people paid to buy it, in the form of a book, a DVD or a CD, you received a measurable reward for your creativity. Customers paid because they were happy to honour your creative copyright. When the internet began in the 1990s, many utopian dreams of creating an open society, where information would be free for all, sprang into prominence. Wikipedia, for instance, is the child of such dreams. Today, Wikipedia is appealing to its users for subscriptions.
Among many champions of the open (and free) society, Jaron Lanier, author of You Are Not a Gadget and Who Owns the Future?, celebrated the idea of knowledge without frontiers from the comfortable security of a university post. The reckoning has been slow in coming, but now there are some crucial indicators of a change of heart. Lanier, for example, acknowledges that, in his excitement at the birth of the worldwide web, he forgot about the creative classes. He concedes that he has watched a generation of his friends – film-makers, writers, musicians – become professionally annihilated by the loss of creative copyright.
Copyright is the bone-marrow of the western intellectual tradition. Until the book world, like the music world, can reconcile the extraordinary opportunities provided by the web with the need for a well-regulated copyright system, artists of all kinds will struggle.
This is also interesting.
For Kavenna, this freedom is a reason to be optimistic about the future: “The digital age,” she says, “is an extraordinary revolution in consciousness. I grew up with the Modernists – Joyce et al – grappling with the technological developments of the early 20th century. The digital age is just as significant. We are developing a completely different mode of consciousness. So the digital age offers this new challenge for writers.”
A new consciousness… that’s some heavy stuff. I have to admit I was just thinking that despite all my complaints about this era of hyper-technology I do feel lucky to be alive during it. I think we’re seeing fundamental changes in how the human animal lives including changes that could indeed lead to something called “a new consciousness.”
February 15th, 2014 by Wil
A subject I’ve been interested of late is the affect the advent of robots will have on the nation’s workforce, employment rates and economy. I was particularly interested in this post (and fascinating video) about the use of robots at Amazon. These robots are changing the nature of a job I used to have. I worked at Amazon’s Seattle warehouse as a book picker and packager for one month in the mid nineties.
The article states…
[The robots] job in the warehouse is to deliver shelves of items to Amazon workers, effectively reversing the typical “picker” job. Instead of walking across the warehouse all day to retrieve different items, workers can be given fixed stations and let the shelves come to them. When a shelf arrives, they select the appropriate item off it, box it, and place it on the exit conveyor belt.
The article says that so far, no human jobs are being replaced. But for how long!!!???
February 14th, 2014 by Wil
I often comment here about the fact that the emergence of the internet has enabled the production of (and the cheapening of) content. By content I mean writing, music, video, art etc. It used to be that if you wanted to hear a song you had to either buy the cd it was on, or listen to the radio and hope you heard it. Nowadays most songs can be found on Spotify, youtube, pirate sites etc. Additionally there are gazillions of content creators, myself included, posting all kinds of content on various sites like soundcloud, youtube, Noise Trade (which is now offering free books) etc.
For content consumers (e.g. most of us) this is great. Lots of choice, lots of free or cheap stuff. But there’s an obvious problem. Most content is shit. It’s actually beyond shit—it’s utterly amateurish prattling devoid of nuance or refinement. (My work is an obvious exception.) And plenty of other content is not shit, but not all that great either. Only a small percentage of content really hits the mark. So how do you weed out the crap?
One idea is by having people rank content. This is how Amazon reviews, youtube “thumbs up and thumbs down” buttons, Facebook likes and similar concepts work. But they’re somewhat problematic. It turns out there’s a lot of people out there with no taste, so you really can’t trust their opinion on anything. How do I know the person doing the ranking is the kind of person I can trust?
Amazon has kind of gotten around this with their recommendation engine. It basically follows the logic that “this guy liked a lot of stuff you liked so you’ll like this new thing he said he likes.” It’s the obvious idea that like-minded people like the same stuff.
It kind of works, I guess. But I’m starting to wonder about another issue. All these processes assume that whether we will like something is fairly static. I see a movie on Sunday afternoon and like it. The presumption is that had I seen the movie on Thursday evening, or Tuesday morning I would have liked it just the same. But what if our liking something is more flexible? What if our mood before we examined the content affects whether we like it? What if whether we just ate a good meal affects our liking it? Then it matters less what some guy who has liked things we’ve liked thought. Maybe he liked it because he just ate a delicious Fettuccine alfredo?
And, I suspect there’s some truth to this supposition. Sometimes no music or TV, no matter how good, is going to keep my interest. And there are other times when anything seems pretty amusing. I may also like something simply because I like the person making the recommendation. There’s a lot of x-factors at work that are hard to weed out of the process.
You might say that I’m saying appreciating content is subjective (e.g. it depends on the person.) But I’m really saying it’s beyond subjective. The person I will be Saturday may not like stuff the person I am today likes.