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A Primer for a sustainable future

Recently, I’ve been thinking about how we need to reinvent something like The Whole Earth Catalog.

The Whole Earth Catalog is an ancient thing. Initiated by Stewart Brand in 1968 as a response to the communard movement that followed the summer of love. During the autumn and winter of 1967/1968, more than 30.000 hippies sought to make true on the idealistic promises of the 1960s counter culture, and moved back-to-the-land and into communes throughout the US southwest.

The first Whole Earth Catalog was a 64-page catalog that provided “access to tools” with which to build the new and better world envisioned by the communards. In addition to providing information on how to order material goods (mostly books), the Catalog, and to an even greater extent, the Whole Earth Supplement that subscribers would receive in-between new versions of the catalog, provided a forum where the communards could share information and reach out to one another. As Stewart Brand explains:

If [the commune dwellers] were going to go back to basics, they needed to know where the basics were. And I didn’t either. But I set a thing in motion a thing by which by purveying the stuff, and being a node of a network of people purveying it to each other… I would get to learn whatever the network was learning.

The Catalog and the supplement became looking glasses through which to peer down and see a reflection of an emerging world and, at the same time, spot doorways through which newcomers could enter that world.

Inspired by his own experiences of environmental biology and the works of Buckminster Fuller, Brand sought to develop this fledgling network into what he hoped would become a self-sustaining system. As he put it,

What you’re trying to do is nourish and design an organism which can learn and stay alive while it’s learning. Once that process has its stride, don’t tinker with it, let it work for you.

Indeed, the Whole Earth Catalog inspired a whole generation of communards, free-thinkers, activists and dreamers to think of computers, cybernetics, ecology, Buckminster Fuller, geodesic domes, and lots more.
One of the key design principles of this information eco-system was juxtaposition. Brand juxtaposed radically different topics in order to help the reader to win new perspectives. As he put it,

How you get energy is, you take polarities and slap them next to one another. If you get into Cybernetics and your head is just a minute ago full of organic gardening and ecology, then cybernetics starts to come alive for you in a different way.

Little wonder that the Whole Earth Catalog inspired long-haired computer programmers as they imagined how a computer would handle and juxtapose information. As Alan Kay (the man who first envisioned the laptop computer) said, “We thought of the Whole Earth Catalog as a print version of what the Internet was going to be.”

And that is what the Internet - and especially the World Wide Web - has become. It is the ultimate information eco-system - the ultimate juxtaposition of human knowledge. Everything is just a click a way. But that also means that it is too big to know. With Google, you can find anything that you know to seek, but you rarely come across that which you did not expect to find. You tend skim along, never focusing, never allowing the energy of the juxtapositions to hit home.

I find myself lacking the carefully curated, annotated and juxtaposed mix of inspiration, ideas, and tools that the Whole Earth Catalog offered. Tools gathered with a specific purpose and audience in mind. Just like the Whole Earth Catalog was a primer for the hippies, the communards, and the computer geeks, we need a primer for young people today.

Such a primer should provide tools and inspire conversations and everyday action towards the sustainable, open, free and shared future we know we need to build.

If you know of something like that that already exists, or if you want to help make one, get in touch.

(PS: All of the quotes above are taken from Fred Turner’s excellent book “From Counter Culture to Cyberculture and the related panel discussion at Stanford University)

On utopias

Lately, I’ve been reading a book called “The Tao is Silent”. It is a series of reflections on tao and taoism by Raymond Smullyan, a mathematician, musician, magician, philosopher and all-round trickster figure.

Long-time readers of this blog may remember that I blogged about Smullyan’s text “Is God a taoist” ages ago. The whole book is full of witty dialogues and thoughtful reflections trying to map the differences and similarities between western and eastern philosophies.

Smullyan has a lovely little story from the taoist philosopher Chuang Tzu, as translated by Thomas Merton:

When life was full, there was no history

In the age when life on earth was full, no one paid any special attention to worthy men, nor did they single out the man of ability. Rulers were simply the highest branches of the tree, and the people were like deer in the woods. They were honest and righteous without realizing they were “doing their duty”. They loved each other and did not know that this was “love of neighbour”. They deceived no one yet they did not know that they were “men to be trusted”. They were reliable and did not know that this was “good faith”. They lived freely together giving and taking, and did not know that they were generous. For this reason their deeds have not been narrated. They made no history.

Chuang Tzu indicates that there was a “once-upon-a-time” when life on earth was full. A sort of edenic scene. Such ur-topia goes well with the taoist notion that we live our fullest when we are as uncarved wood. Whole and unsplintered. It doesn’t mean that such a utopia has actually existed, but it is a way of describing that true power (or virtue) is within us and that it only requires us to find it.

Now, what I find really interesting is how Chuang Tzu says that in this utopia, there is no history. When all of the people there are living in effortless harmony with the Tao, it is unremarkable in its own right. They don’t consider it a story worth telling.

I think this is a remarkable insight on utopias in general: No one living in a utopia would have a need to describe it. But it is also a remarkable insight on how taoist philosophy transcends morality by suggesting that the considerations of morality lead us away from living in harmony with the Tao. As the Zen poet Seng-Ts’an says:

If you want to get the plain truth,
Be not concerned with right and wrong.
The conflict between right and wrong
Is the sickness of the mind.

Open Source Villages

Today, I came across a presentation called “How to Build a Post-Scarcity Village Using Existing Technology“, which introduces a project called Open Source Ecology.

The people behind the project argue that we already have the technological foundations needed to ensure a sustainable and pleasant standard of living, and that with some effort, these technology can be made available at the cost of “scrap metal + labor”. They’re currently experimenting with easy-to-make prototypes of what they consider to be the technology necessary to bootstrap such a village. The goal is to make a “Global Village Construction Set” with open sourced blueprints, documentation, permaculture designs and descriptions that will enable a small determined group anywhere in the world to build such sustainable communities of their own.

As an example of what such a future of resilient communities might look like, they point to a piece of speculative fiction called The Unplugged. In this future, the unplugged are a group of people who voluntarily leave society and the main economy behind. They build on the idea that if we save up enough money, we can all live off that wealth for the rest of our lives (This is the classic capitalist dream of “getting off at the top”, cashing out and living like you want to for the rest of your life).

Unplugging inverts this notion to some extent by offering the opportunity “buy out at the bottom” and build an independent life-support infrastructure and financial architecture - a society within society at the cost of just three months of wages to get started. Of course, then you’ll have to learn how to live such an unplugged life, and work everyday to ensure your own survival - but you’ll be living sustainably and independently.

I find the whole notion of Open Source Ecology to be fascinating, but it seems to me that the people involved in the projects are more interested in the technical and agricultural aspects of building a sustainable village than in the social aspects. In their presentation, they appear to be aware of this themselves as they’ve sketched out a sort ofsocial contract for their experimental village. Though its rough and unfinished nature is apparent in statements such as “can people simply get along?”

I expect they’ll discover that the hard part about building a replicable sustainable village won’t be the technology part but the getting along part.

Visualising computer memory

Green letters flowing

Did you ever see the Matrix and wonder just how all of those green characters of weird computer code flowing across the screen corresponded to what was represented on the screen inside the matrix?

Well, today I came across a tool on the BERG blog, which shows this correlation very well with real computer code:

ICU64 is a real-time debugger for Commodore 64 emulators. On the right is an emulator program emulating a virtual C64 machine. This virtual machine is running an old C64 game. On the left is ICU64 displaying the memory registers of the virtual C64 machine.

Tom Armitage on the aforementioned BERG blog does well to describe what’s going on:

To begin with, you can see the registers being filled and decompressed to in real time; then, you can see the ripple as all the registers empty and are refilled. And then, as the game in question loads, you can see registers being read directly corresponding to sprite animation. What from a distance appears to be green and yellow dots can be zoomed right into – the individual values of each register being made clear. It’s a long video, but the first minute or two makes the part I liked clear: a useful (and surprisingly beautiful) visualisation of computer memory. It helps that the computer in question has a memory small enough that it can reasonably be displayed on a modern screen.

Seeing how the individual memory registers of the C64 as it runs the game, you can get an idea of how the individual bytes all play a part in presenting the game. And as the video progresses, you get an understanding of how you can change individual bytes and thus change the game - in realtime. This is pretty much what Neo does in the Matrix films: He hacks the code of the Matrix on the fly to give himself superhuman powers such as the ability to fly or fight, thereby breaking the programmed laws of the game.

It is a beautiful visualisation of the relationship between the physical computer (the registers on the disk) and the information we see displayed on our screen.

The musketeer rule

Just trawled my way through a ridiculously long slide deck by David Gillespie called “Digital Strangelove - or how I learned to stop worrying and love the internet“.

It has a lot of good points, and describes among other things:

  • How it doesn’t make sense to talk of digital anymore. It is a qualifier that is losing meaning as our physical and digital lives melt together.
  • How all media technology has always been enabling new forms of human expression - and how the Internet has enabled everybody to express themselves in all sorts of new ways. And we don’t know where we might end up.
  • How it doesn’t make sense to talk of social media, since with the internet, all media are social. We might just as well talk of the internet.
  • How the internet is changing the way we perceive media. On the internet, we have to design for the users’ intent and ability to express themselves rather than count upon their passive attention.
  • But the point that stuck with me occured around slide number 190 (!) was the “musketeer rule”, which sort of sums it all up:

    Your intent is framed by the way you deliver value.

    I call this The Three Musketeers rule.

    All for One or One for All

    All For One is 20th century value creation. It is driven by self-interest & excelled in the silos.

    One For All is how businesses thrive today. When they create value for themselves, they create value for an eco-system.

    It is called the “Good Enough Revolution”, and it is not a conversation about features.

    It is a conversation about benefits.

    Good stuff!

The myth of perfection

One of the bloggers I read regularly is the American journalist Jeff Jarvis. Jarvis provides insight into the changing media landscape, and has written a book called “What Would Google Do”, which uses Google as a case in point of these changes.

One of the most interesting aspects of this is what Jarvis calls the “the end of the myth of perfection.” His point being that we need to get used to thinking products in a web-minded manner: Always in beta, releasing early to learn and collaborate and improve:

This is of course very similar to the open source mindset I’ve studied in my fieldwork, but I find Jarvis says it well. And not only that, he only also makes it clear that this is not just relevant for software developers, but for almost every walk of life. We have to let go of the notion that we’ll ever achieve perfection, and instead focus on how to provide the best circumstances for continual improvement. The new world order is a permanent state of acceptable errors and continuous improvement.

Presenting my thesis (again)

A couple of weeks ago, I presented part of my thesis at the Danish open source conference Open Source Days.

In the process of preparing the presentation, I returned to thesis and delved into the material in a way that I haven’t done since I wrote it. It was interesting to see how my own ideas have developed in the light of what I have learned and worked with since finishing two years ago. So I’ve continued working on the presentation even after the conference, annotating and adding to it, and making a more visual, more updated and - hopefully - more easily approachable version of my thesis than just the raw PDF of the whole thing that I’ve showed so far:

Oh, and if you read it - please let me know what you think can be improved. One big part is probably killing some more darlings, so tell me which parts didn’t work for you.

Roles for the 21st century artist

Recently, I’ve been fascinated with Douglas Rushkoff, and I came across this presentation, in which he does well to sum up some of the main themes of his work. His style is earnest and passionate, and though some of his arguments are very generalized for easy consumption, he does have some very good points:

Talking to a crowd of DIY artists, Rushkoff focuses on how art is changing in the 21st century. He argues that the classic male sexuality curve of narrative with which we’re so familiar (tension, climax, release), and which can be in just about any Hollywood film or thirty second tv advertisement, won’t be the only narrative in town.

Rushkoff argues that the new interactivity and active participation that the Internet and the computer offers us, will lead to new forms of narrative. And he ends his presentation highlighting 3 new roles for the artist to take on to explore these other forms of narrative:

1) Call and response
Open up your narrative for audience participation. The audience is still uncertain of their own abilities, and they don’t yet want complete freedom. Offer them some freedom to participate, but continue to lead the narrative - like classic oral storytelling or protestant preaching. Eventually, they will supply the best ideas for leading the narrative forward.

2) Make tools
Create the tools and means for the audience to tell their own story. Here, the artist’s role is more like the role of the Dungeon Master of old D&D games: He may have absolute power, but he is continually bending the rules and shaping the scenery to create those story moments where the audience, the players can interact and create their own story.
That story is not a matter of reaching the climax and going to sleep. The point of the game is to keep playing the game. To keep the game interesting. The art - the process of playing, of creating the story - is a goal unto itself.

3) Play spaces
This is the hardest part: Creating free spaces where the members of the former audience all participate on equal terms, creating play, art and magic together. Temporary Autonomous Zones without leaders, where everybody is an artist. I wonder whether story club be an example of this?

Lucy Suchman on framing technology

This is a sort-of rough edit of my live-blogging notes for Lucy Suchman’s talk today at the IT University of Copenhagen. The talk was entitled “Human-machine reconfigurations - expanding frames and accountable cuts”

Lucy Suchman is an antropologist by training, and has worked at the legendary Xerox PARC research facility for many years. Suchman is here to talk about framing, and how we think about the way we frame technology. She presents a photo of a computer screen and an engineer’s hand pointing to something on the screen. This is an example of framing the human-machine interaction. Here, it’s just the hand - the body part interacting with the machine. This frame cuts out a lot of context in order to focus on the specific interactions.

What Suchman wants to draw our attention to, is the way that we make these frames in how we relate and think of technology and our interaction with technology, particularly in relation to research on technology: Where are we to make the cut between human and machine in a given research frame? How do we make those frames? How might we expand those frames? How can we take responsibility for the cuts we make?

She points to the cover illustration of her latest book “Human-Machine Reconfigurations” (2007). The illustration shows a “Device for washing hands” where the framing of the device blurs the boundaries between human and machine - which parts belong to whom?

Suchman says that this illustration is a good way to illustrate the word “reconfiguration”, which she finds to be a vital part of using technology. She cites Donna Haraway’s notion of technologies as ‘materialized figurations’ (from her book, “Modest Witness”). That is: Technologies take part of our activities and practices and materialize them. Configuring a tool to fit with a certain activity or practice.

Designing, then, is most of all a question of reconfiguring the relationship between human and machine, between practice and the materialized figuration of that practice. For instance, between the practice of drilling a hole and the specific drill matching the practice of drilling and containing certain assumptions as to how drilling works.

In all of this, the question Suchman focuses on is “how are persons and things configured and reconfigured in relation to one another? And how might they be figured together differently?”

She uses the example that when roboticists are designing human-like machines, they are expressing their notions of what it means to be human - of human practices - in their design. Suchman wants to show a series of examples of such reconfigurations that she’s worked with while at Xerox.

She shows an age-old magazine ad from back when people still believed in “the paperless office”:

“Why do this…” (picture of paper napkin with the proverbial good idea scribbled on it)
“… When you can do this?” (picture of two persons sitting with a laptop between them at a lunch table)

The ad suggests that people would always prefer the laptop since it offers much more technological power. But rather than assuming the complete displacement of paper technology by digital technology, Suchman and her research associates focused on how to compare the particular affordances of these two media, focusing on the interoperabilities and incompatibilities between the two media. This proved to be a much more challenging and fruitful approach, partly because the relationship between paper and digital media was the central focus of the work at Xerox - it is the “Document company”, after all.

They learned that it is vital to focus on the social arrangements within which design takes place. If you want to change the way things are designed, you have to change the context, offering designers the opportunity to engage in meaningful relations with the potential users.

Suchman presents another example where the Xerox researchers were examining customer complaints in relation to a new xerox copier. The machine proved notoriously difficult to use, and they tried to map the issues people had with these photocopiers by hanging out by the photocopier, talking to users trying to make duplex copies.

But the problems regarding the machine proved too tricky to study “in the wild”, so they ‘captured’ the machine and brought it back into the lab at PARC to test it. So they got their colleagues to try out the new copier, filming their efforts on video. They filmed a memorable sequence of two famous computer scientists failing to get the machine to do duplex copies: “They theorized, and tried their best. Spending an hour and half making prints, filling the room with paper but unable to make a single two-sided print.”

This immense difficulty of using the device stood in stark contrast to Xerox’s own advertising, which remarked “all you have to do is push the green button.” Thus, “the marketing campaign tried to obscure that any learning was required to use the more advanced functions of the machine.”

In the end, Suchman did a careful mapping of user rationale against actual use against the design rationale of the copier to discover how differently the technology had been framed by the designers compared to the users.

Then, Suchman shows a short bit of video from a study of the work flows at ground operations centre at an airport (the place where they handle communication and coordination of aircraft once they’re on the ground).

They did a careful examination of which sources of information the ground controllers consult in order to gather the information necessary to coordinate planes: Video screens, flight tables, radio contact, talking to one another in the control room, and so on.

What they found was that this sort of utilizing different information sources is unremarkable everyday stuff to the controllers. This led to a new understanding of what an information system is:

- multiple, partial information sources
- assembled into a working system through the skilled practices of their use

Their conclusion was that it is only by having the professional knowledge to use a number of partial information sources in conjunction that these information sources became useful. In this way, the information system is a configuration of both information sources and the skilled practices of the controllers. As Suchman’s colleague, the eminent interaction analyst Charles Goodwin, noted in his later work on the study (”Professional Vision” (1994)):

practices … used by members of a profession [that] shape events in the domains subject to their professional scrutiny. The shaping process creates the objects of knowledge that become the insignia of profession’s craft.

A third story from Xerox. Suchman did participant observation at a big law firm in Palo Alto in order to explore how the lawyers used and stored paper records. She set up a video camera pointing at a lawyer’s file cabinet, and asked him to “please record what you do when you use your file cabinet.”

She shows a short video clip with the lawyer going through his file cabinet to find a specific kind of Non-Disclosure-Agreement for one of his colleagues.

Suchman found that the lawyer acted as a librarian, helping the other lawyer find and give context to the specific document that he wouldn’t have had, had he found it on his own in the company online document repository. They also studied the way that lawyers and temporary filing workers worked to code comparable documents.

She was surprised to find that the lawyers considered their coding to be better because it required ’subjective’ interpretation and professional judgement. They considered the temporary workers’ coding to be poor because of they sought to be ‘objective’ and thus without the necessary interpretation.

In studying how both groups coded the documents, they found that all jobs contain elements of routine work and knowledge work, and it is impossible to simply separate the routine work from the knowledge work. Instead, it is a much more delicate process to find out how to best apply automation in relation to these elements.

As she ends her lecture, Suchman quotes Bruno Latour’s famous passage from Pandora’s Hope on the “gun in the hand”:

You are different with a gun in your hand; the gun is different with you holding it. You are another subject because you hold the gun; the gun is another object because it has entered into a relationship with you.

(Latour, Pandora’s Hope, page 179)

In short: We get different entities when we put technology and people together. She ends by quoting the feminist physicist Karen Barad (in her book “Meeting the universe halfway” (2007)):

Agency is not an attribute but the ongoing reconfigurings of the world.

- which obviously matches the points that she’s been making very well.

Q: What are the big challenges in your work today?
A: Still very interested in Artificial Intelligence, including the reconfiguration of military technology such as pilot-less aircraft and their interfaces. The military and entertainment complexes are growing together in this space.

Also: Remotely controlled robots for use in surveillance, sentry duty and so on. which poses the interesting AI-question: How do you determine whether a given person is a friendly or a un-friendly?
We won’t see the full-blown autonomous robot soldier anytime soon, but the remote controlled robots will certainly be possible and big part of the near-future.

Also: Wants to write about her time at XEROX Parc and what she’s learned about what innovation is based on her experiences there: What constitutes an innovation? She posits that it is all about the framing…

Bootstrapping complexity

So, last week I posted my remix of Kevin Kelly’s book “Out of Control”. And soon after putting the remix online, I sent a note with a link to Kevin Kelly to make him aware of the remix, hoping that he would approve.

He did approve. Much more than I expected. And it didn’t take him long to reply:

I LOVE the remix! I wish you had been my editor. There is only one thing missing from this fantastic remix - a better title. I was never happen with the book’s title and now that it is more focused, the need is even greater. What would you call it?

Whoa! Initially, I hadn’t considered changing the title as I wanted to make it as clear as possible where the material came from. Good titles are notoriously difficult to find, and I’m sure that Kevin has thought quite a bit about this one.

Considering the remix as a new whole work, I found that it was the notion of bootstrapping and self-organization that had kept me reading the book initially: the recurring patterns of self-sustaining systems, which I knew were to be summed up at the end of the book. What appealed to me was the fact that the book not only describes self-organisation but also invites further experimentation.

So I picked my title with that in mind: “Bootstrapping Complexity” plays on the fact that the book not only describes how complexity comes about but also how complex a venture self-organization really is. In this way, the title meant to signal a positive empowerment to explore self-organization - both by reading the book and by experimenting on the basis of the book.

I’ve updated the remix with the new title. The new PDF version is here.

bootstrapping_complexity.pdf (page 1 of 155)

Creative Commons Attribution-NonCommercial-ShareAlike 2.5 Denmark
Creative Commons Attribution-NonCommercial-ShareAlike 2.5 Denmark