A decade defined

I remember exactly where I was on 11th September 2001. I had taken a day off work and travelled to London with my friend Tim. We were just outside the ExCeL Centre, the exhibition space that was hosting DSEi, an arms fair. A particularly tough-looking set of riot police had lined up six deep shoulder-to-shoulder in front of the crowd we were with, most of us in white overalls. It was looking like it was about to turn ugly. 

The news that a plane had flown into the World Trade Center rippled through through the crowd. I've never mentioned this before but I remember distinctly that a big cheer went up as the announcement was made. I looked at Tim as he shook his head. We immediately assumed this was an accident, a light plane perhaps. We were acutely aware, stood on the periphery, of a small number of journalists and a few cameras, filming the demonstration. The lack of self-awareness of our fellow protestors was disheartening, plane crashes not being something to celebrate, whatever the perceived symbolism. A microphone was stuck under our noses, I can't recall which news channel the interviewer said he was from, but I remember the question was something like "what does this mean for what you're trying to accomplish here". We correctly answered "no comment" and moved away. We saw him interviewing someone else minutes later, some idiot chatting away, presumably responding to the same question with no inkling of what was to follow. In light of the events of the next few hours I was glad of our reaction. I wonder what happened to that footage?

The sense that something significant had happened was palpable, despite the fact we knew very little. We picked our way between metal barriers that had been intended to fence us in on one side and the line of police on the other (the term 'kettling' had yet to be coined). No one stopped us. The roads immediately around us were deserted, no doubt closed by the police due to the march passing through, which added a surreal air as we walked away. 

We found a pub, I guess it was around midday and I suppose watched the towers fall from there, the order of events became a blur as the enormity of what had happened sank in. Our dress marked us out from the regulars, all hardened daytime drinkers. We faced down one man who accused us of being unemployed trouble-makers, the irony we were taking time off work to protest a cause we believed in while he was clearly so gainfully employed as to be drunk in a pub prior to most people's lunch hour was lost. He had no interest in why we were there, he'd simply pigeon-holed us immediately and was taking the opportunity to pick an argument. As we sat down a second man, a pensioner, limped over and admonished us. He pointed fiercely at a television in a corner with his walking stick as the repeated images of smoke pouring from the towers took up the screen and told us "that's your lot that is". I don't know in what world he conflated two demonstrators with a terrorist attack, possibly the same one from which the people we marched with cheered at the news earlier in the day. I don't remember how we got home to Brighton. I think we found some double-decker bus hired to take people to the demo and just climbed on.

A black day. There was a sense of foreboding. I had no idea how many deaths would follow over the next decade.

And so, to today, and the news Osama Bin Laden is dead. 

I'm quoted in New Media Age...

It's in an article in last week's issue entitled Social Media Analytics. Sadly a subscription is required to read the whole thing; I wonder how much traffic they actually get to older features? Be very interesting to know whether it is really worth locking all that content away. I digress, here's what the article covered:
 
"As people spend increasing amounts of time conversing on social networks, monitoring what they’re saying about your brand is crucial. So what tools are there to help you listen in?"
 
Here's what I said:
 
'Another popular paid-for product is Brandwatch, favoured by Mark Higginson, Head of Social Media at search agency iCrossing, for being one of the most cost-effective solutions available. He says iCrossing tweaks the network of sites crawled and reported on to match its sector knowledge, combining this with analysis. "We call our quantitative and qualitative research a ’stories and numbers’ approach. It’s through this narrative we ascertain what content to create for which audience and who it’s best to approach in those networks in order to gain the greatest share of available attention."'
 
It's interesting to read what other people had to say, particularly those that favoured Radian6. They've revamped their dashboard since I last tried it out; all well and good but I remember being pretty unimpressed with the quality of the actual data collected, although given how quick they are at responding to blog posts about them there must be something to be said for it. Andrew Girdwood of Bigmouthmedia is quoted as saying:
 
'... that the data supplied by Radian6 is "pretty rudimentary" and comparable to that from some of the free tools, but its front end is "sexy". “If you’re preparing social media reports to show someone else, there’s a lot to be said for a package that will wrap it up and can be presented to the board. Sometimes you’re paying for that.'
 
I would recommend in the strongest possible terms that you spend your budget on human analysis and insight over an expensive tool with weak data but pretty charts. At iCrossing our reports are generally bespoke, the size of client we deal with means we need to be flexible enough to fit in with existing reporting and a self-serve dashboard just doesn't serve that need. Also, as I say above, this analysis does not exist in a vacuum; it needs to be acted on and that requires it to be substantiated.
 
There is also an emphasis from other commentators on the importance of real-time reporting. This is actually a distraction from the core features you need. There are exceptions but this level of response is really only applicable to activity around your own profiles, which is simple enough to do. Until online social behaviours become more embedded most people I speak to say that they would find a brand responding to them directly around something they've said online that did not specifically occur on a brand-managed property as more akin to stalking than useful customer service. Analytics tools should assist you in gathering useful data in aggregate, from which you can derive intelligent and considered insights. They should not encourage you to make unnecessarily rapid responses.
 
If you are interested in real-time social results Google launched this feature about the same time this New Media Age article was coming out. It's available from the regular search results. Just click 'show options' above the first item on the search results page, then click 'updates' in the section entitled 'all results'. This will give you a timeline you can scrub through as well as mentions as-they-happen. It's a really nice implementation.
 
Essentially all analytics tools are search engines with a few useful filters on the data. They have an index of sites to crawl, process the data collected and allow the user to filter the results. It's a hard job and there's only one business out there doing it outstandingly well and that's Google. Despite millions invested, the most intelligent engineers and an ever-expanding cloud of hardware even their results have significant flaws. It is a tough task to condense meaning from the vapour of nuance where language is concerned.

A heartfelt work of staggering genius...

My musical listening history is dotted with artists who went from being the next great inspiration to just having one early album as the defining moment in their career. The mark of the true artist is not one of a discrete act of creation, but of development and ascendency. The Kleptones had that one great album, A Night at the Hip-Hopera, an exercise at once both thematically complete and diversely eclectic. This was an album so popular it was stolen from the hi-fi while it was playing at our house parties. What marks them out is that they have built on this success with each subsequent release.

Their latest work, Uptime / Downtime, scoops up a great armful of my most favourite tunes for a hug that delights as much as it surprises with a continuation of the double album concept of 24 Hours. As my friend Joe would say, so retro, so future... to a point where the vital feeling I had when I first listened to these old friends is recaptured in these multi-layered self-referential slices of pop (culture). The Kleptones are successful at recycling the inherently disposable into something greater than the sum of their parts; making the tunes that really meant something into genre and time-spanning dancefloor fillers, whether that floor is a club or your own front room.

Note: all albums are free to download. So get to it!

Mirror's Edge and Strange Days...

I was playing the beautiful looking Mirror's Edge the other day and was struck by the way in which the first person perspective was very similar to that used in the Kathryn Bigelow directed Strange Days. I haven't seen this film since it came out so don't clearly recall it. Has anyone else made that link?

While on the subject of Kathryn Bigelow I notice, having been quiet for a few years, she has a new film coming out called 'The Hurt Locker'. I think this gives credence to the theory that Hollywood is running out of film titles. Hmm.

Thinking about Directors I haven't heard from for a while but whose films I liked I noticed on the credits of the last Battlestar Galactica episode The Oath that John Dahl took the credit. Surely not the Director of The Last Seduction and other contemporary noir films?

The joy of reading...

We've been reading the further adventures of Sally Lockhart to each other and liked this gem from Philip Pullman:

"Already the words were becoming transparent: he could see through them into the text, like a lot of little windows into a house. And day by day more light got in, so the the big words were beginning to look familiar too, and he felt more able to guess what they might be, and got more of his guesses right. It wouldn't be long now before he'd be able to go straight to The Communist Manifesto."

Sorted and boxed...

This should be interesting. The BBC are tracking an individual shipping container as it travels round the world transporting cargo for a year. Hopefully this will also include the type of goods it carries as it's put to work.

I didn't realise until a couple of years ago how something seemingly mundane was the main component in a complex system that has had a profound impact on our world. I haven't read this yet but it's on my list: The Box: How the Shipping Container Made the World Smaller and the World Economy Bigger.

Thing is, when something becomes a standard it can start to influence other areas of innovation such as the  datacentre-in-a-box concept that has done the rounds. The latest version of this is Google's patent on stacking a load of these at sea to be cooled and powered by the waves. I've read how when Google started they piled bare bones systems in plastic desk drawers and just left them, it being cheaper to add more capacity than spend time swapping out faulty units. This idea has now been scaled-up  to the size of entire containers that are only swapped out when a certain number of modules fail. As our demand for additional capacity increases so the solutions for answering that demand scale accordingly.

When does enforcing copyright become ridiculous?

This post over on BoingBoing reminds of a conversation I had a while back about the notion of music copyright. Music in the form of, say, digital information on a disc is protected by copyright yet it only has value to me as sound coming out of my loudspeakers. Is that protected by copyright laws too? Does this mean that if I have friends round to my house I should check with each of them that they all own the music I'm about to play? I'm assuming that if they own that music in some form then they have a 'licence' to hear it round at my house. Anyone else will be issued with bright yellow ear defenders and a guide to lip-reading. Perhaps we could converse using sign-language or maybe just not listen to music at all ever for fear of breaking some aspect of laws whose meaning we are only vaguely aware of. I mean, if I play music off a CD and it turns out one of my friends has it on vinyl is that format-shifting their 'licence' and hence breaking the law? I just don't know. Perhaps the music industry could sell a licence that permits the enjoyment of their product from wherever the sound may be being emitted? Sadly we would all have to rely on people's honesty to not enjoy music they had not purchased the appropriate licence for. Obviously such a scheme is patently ridiculous because it is unenforcable but is surely the ideal the music industry would would wish for as no one would ever hear anything without the copyright owner being remunerated. It can't work because you  can't apply such rules to the environment that we live in. Being able to make digital copies of music and share them at no cost is a change to the environment music inhabits and the rules the industry would like to enforce simply can't work.

Update: U2 tracks leak after Bono plays stereo too loudly

Back from WOMAD...

It took a lot of persuasion by Cindy for me to come round to the idea but I'm really glad we went to WOMAD which was on in Wiltshire this past weekend. It was pretty much the perfect music festival having both artists of a high quality and a friendly atmosphere. Perhaps I'm showing my age but I really liked the fact that by Sunday drug-addled teenagers weren't falling over me every thirty seconds as they staggered round like zombies attracted by the brightest / loudest stimulation in the vicinity. The weather was beautiful and I had the privilege of seeing the following highlights:

Altaikai: being a fan of Huun-Huur-Tu made me really keen to see more throat-singing, even more so as these people were from Altai, a country I'd never heard of (another one to add to the list), which is also reportedly where Shambala is believed to exist.

Sa Dingding: I'm not sure I'd sit and listen to one of her albums but the live show was pretty incredible. Best described as frock-tastic with dancers.

GOCOO + GoRo: I love Taiko drumming having seen Yamato earlier this year. GOCOO were a different style and performed with GoRo, a chap playing the didgeridoo, which is usually somthing I wouldn't be able to stand but fitted perfectly in this contest. It was like techno with instruments; a thoroughly physical experience that the crowd responded to with an enthusiasm I've rarely ever seen.

Tashi Lhunpo Monks
Tashi Lhunpo Monks

From the WOMAD website: Altaikai, Sa Dingding, GOCOO + GoRo

Shanghai stylin'

From 19.20.21:

"The rise of supercities is the defining megatrend of the 21st century. In 1800 less than 3% of the world lived in cities. In 1900 150 million people lived in the world's cities. More than half the people on Earth now live in cities."

We all know rapid changes are occurring in the way people live and interact with their environment and each other. What fascinates me is the little details. This post on The Year in Pictures blog has photos of people in Shanghai wearing pyjamas as outdoor clothing. Here's the book in which the photos appear over on Amazon, it's called Planet Shanghai by Justin Guariglia.

War, Inc.

I saw this trailer over on the Apple site for the upcoming film War Inc. with the always watchable John Cusack. I'm guessing this is his character (or similar) from Grosse Pointe Blank, as it's teaming him up with Joan Cusack and Dan Aykroyd again. The trailer reminds me a little of Wag the Dog; must go and watch that again and see if it's as good as I remember. The Lewinsky scandal broke after that film's release as did the bombing of the Federal Republic of Yugoslavia. From Grosse Pointe Blank:

"It's irrelevant, really. The idea of governments, nations, it's mostly a public relations theory at this point, anyway."

Update: Oops. War Inc. is a pretty cack-handed effort. Watch Grosse Pointe Blank instead.