Collisions & Smash Repairs

My brief keynote to the ICT Roundtable of the TAFE Sydney Institute. Recorded on Wednesday, 13 August 2008. Many thanks to Trish James and Stephan Ridgway for arranging the audio recording!



Sydney looks very little different from the city of Gough Whitlam’s day. Although almost forty years have passed, we see most of the same concrete monstrosities at the Big End of town, the same terrace houses in Surry Hills and Paddington, the same mile-after-mile of brick dwellings in the outer suburbs. Sydney has grown a bit around the edges, bumping up against the natural frontiers of our national parks, but, for a time-traveler, most things would appear nearly exactly the same.

That said, the life of the city is completely different. This is not because a different generation of Australians, from all corners of the world, inhabit the city. Rather, the city has acquired a rich inner life, an interiority which, though invisible to the eye, has become entirely pervasive, and completely dominates our perceptions. We walk the streets of the city, but we swim through an invisible ether of information. Just a decade ago we might have been said to have jumped through puddles of data, hopping from one to another as a five year-old might in a summer rainstorm. But the levels have constantly risen, in a curious echo of global warming, until, today, we must swim hard to stay afloat.

The individuals in our present-day Sydney stride the streets with divided attention, one eye scanning the scene before them, and another almost invariably fiddling with a mobile phone: sending a text, returning a call, using the GPS satellites to locate an address. Where, four decades ago, we might have kept a wary eye on passers-by, today we focus our attentions into the palms of our hands, playing with our toys. The least significant of these toys are the stand-alone entertainment devices; the iPods and their ilk, which provide a continuous soundtrack for our lives, and which insulate us from the undesired interruptions of the city. These are pleasant, but unimportant.

The devices which allow us to peer into and sail the etheric sea of data which surrounds us, these are the important toys. It’s already become an accepted fact that a man leaves the house with three things in his possession: his wallet, his keys, and his mobile. I have a particular pat-down I practice as the door to my flat closes behind me, a ritual of reassurance that tells me that yes, I am truly ready for the world. This behavioral transformation was already well underway when I first visited Sydney in 1997, and learned, from my friends’ actions, that mobile phones acted as a social lubricant. Dates could be made, rescheduled, or broken on the fly, effortlessly, without the painful social costs associated with standing someone up.

This was not a unique moment; it was simply the first in an ever-increasing series of transformations of human behavior, as the social accelerator of continuous communication became a broadly-accepted feature of civilization. The transition to frictionless social intercourse was quickly followed by a series of innovations which removed much of the friction from business and government. As individuals we must work with institutions and bureaucracies, but we have more ways to reach into them – and they, into us – than ever before. Businesses, in particular, realized that they could achieve both productivity gains and cost savings by leveraging the new facilities of communication. This relationship between commerce and the consumer produced an accelerating set of feedbacks which translated the very physical world of commerce into an enormous virtual edifice, one which sought every possible advantage of virtualization, striving to reach its customers through every conceivable mechanism.

Now, as we head into the winter of 2008, we live in a world where a seemingly stable physical environment is entirely overlaid and overweighed by a virtual world of connection and communication. The physical world has, in large part, lost its significance. It’s not that we’ve turned away from the physical world, but rather, that the meaning of the physical world is now derived from our interactions within the virtual world. The conversation we have, between ourselves, and with the institutions which serve us, frame the world around us. A bank is no longer an imposing edifice with marble columns, but an EFTPOS swipe or a statement displayed in a web browser. The city is no longer streets and buildings, but flows of people and information, each invisibly connected through pervasive wireless networks.

It is already a wireless world. That battle was fought and won years ago; truly, before anyone knew the battle had been joined, it was effectively over. We are as wedded to this world as to the physical world – perhaps even more so. The frontlines of development no longer concern themselves with the deployment of wireless communications, but rather with their increasing utility.


Utility has a value. How much is it worth to me to be able to tell a mate that I’m delayed in traffic and can’t make dinner on time? Is it worth a fifty-cent voice call, or a twenty-five cent text (which may go through several iterations, and, in the end, cost me more)? Clearly it is; we are willing to pay a steep price to keep our social relationships on an even keel. What about our business relationships? How much is it worth to be able to take a look at the sales brochure for a store before we enter it? How much is it worth to find it on a map, or get directions from where we are? How much is it worth to send an absolutely vital email to a business client?

These are the economics that have ruled the tariff structures of wireless communications, both here in Australia and in the rest of the world. Bandwidth, commonly thought of as a limited resource, must be paid for. Infrastructure must be paid for. Shareholders must receive a fair return on their investments. All of these points, while valid, do not tell the whole story. The tariff structure acts as a barrier to communication, a barrier which can only be crossed if the perceived value is greater than the costs incurred. In the situations outlined above, this is often the case, and is thus the basis for the wireless telelcomms industry. But there are other economics at work, and these economics dictate a revision to this monolithic ordering of business affairs.

Chris Anderson, the editor of WIRED magazine, has been writing a series of essays in preparation for the publication of his next book, Free: Why $0.00 is the Future of Business. In his first essay – published in WIRED magazine, of course – Anderson takes a look at Moore’s Law, which promises a two-fold decrease in transistor cost every eighteen months, a rule that’s proven continuously true since Intel co-founder Gordon Moore proposed it, back in 1965. Somewhere around 1973, Anderson notes, Carver Mead, the father of VLSI, realized that individual transistors were becoming so small and so cheap as to be essentially free. Yes, in aggregates of hundreds of millions, transistors cost a few tens of dollars. But at the level of single circuits, these transistors are free, and can be “wasted” to provide some additional functionality at essentially zero additional cost. When, toward the end of the 1970s, the semiconductor industry embraced Mead’s design methodology, the silicon revolution began in earnest, powered by ever-cheaper transistors that could, as far as the designer was concerned, be considered entirely expendable.

Google has followed a similar approach to profitability. Pouring hundreds of millions of dollars into a distributed, networked architecture which crawls and indexes the Web, Google provides its search engine for free, in the now-substantiated belief that something made freely available can still generate a very decent profit. Google designed its own, cheap computers, its own, cheap operating system, and fit these into its own, expensive data centers, linked together with relatively inexpensive bandwidth. Yahoo! and Microsoft – and Baidu and Facebook and MySpace – have followed similar paths to profitability. Make it free, and make money.

This seems counterintuitive, but herein is the difference between the physical and virtual worlds; the virtual world, insubstantial and pervasive, has its own economies of scale, which function very differently from the physical world. In the virtual world, the more a resource is shared, the more valuable it becomes, so ubiquity is the pathway to profitability.

We do not think of bandwidth as a virtual resource, one that can simply be burned. In Australia, we think of bandwidth as being an expensive and scarce resource. This is not true, and has never been particularly true. Over the time I’ve lived in this country (four and a half years) I’ve paid the same fixed amount for my internet bandwidth, yet today I have roughly six times the bandwidth, and seven times the download cap. Bandwidth is following the same curve as the transistor, because the cost of bandwidth is directly correlated to the cost of transistors.

Last year I upgraded to a 3G mobile handset, the Nokia N95, and immediately moved from GPRS speeds to HSDPA speeds – roughly 100x faster – but I am still spending the same amount for my mobile, on a monthly basis. I know that some Australian telcos see Vodafone’s tariff policy as sheer lunacy. But I reckon that Vodafone understands the economics of bandwidth. Vodafone understands that bandwidth is becoming free; the only way they can continue to benefit from my custom is if they continuously upgrade my service – just like my ISP.

Telco tariffs are predicated on the basic idea that spectrum is a limited resource. But spectrum is not a limited resource. Allocations are limited, yes, and licensed from the regulatory authorities for many millions of dollars a year. But spectrum itself is not in any wise limited. The 2.4 Ghz band is proof positive of this. Just that tiny slice of spectrum is responsible for more revenue than any other slice of spectrum, outside of the GSM and 3G bands. Why is this? Because the 2.4 Ghz band is unregulated, engineers and designers have had to teach their varied devices to play well with one another, even in hostile environments. I can use a Bluetooth headset right next to my WiFi-enabled MacBook, and never experience any problems, because these devices use spread-spectrum and spectrum-hopping to behave politely. My N95 can use WiFi and Bluetooth networking simultaneously – yet there’s never interference.

Unlicensed spectrum is not anarchy. It is an invitation to innovate. It is an open door to the creative engines of the economy. It is the most vital part of the entire wireless world, because it is the corner of the wireless world where bandwidth already is free.


And so back to the city outside the convention center walls, crowded with four million people, each eagerly engaged in their own acts of communication. Yet these moments are bounded by an awareness of the costs of this communication. These tariffs act as a fundamental brake on the productivity of the Australian economy. They fetter the means of production. And so they must go.

I do not mean that we should nationalize the telcos – we’ve already been there – but rather, that we must engage in creating a new generation of untarriffed networks. The technology is already in place. We have cheap and durable mesh routers, such as the Open-Mesh and the Meraki, which can be dropped almost anywhere, powered by sun or by mains, and can create a network that spans nearly a quarter kilometer square. We can connect these access points to our wired networks, and share some small portion of our every-increasing bandwidth wealth with the public at large, so that no matter where they are in this city – or in this nation – they can access the wireless world. And we can secure these networks to prevent fraud and abuse.

Such systems already exist. In the past eight months, Meraki has given their $50 WiFi mesh routers to any San Franciscan willing to donate some of their ever-cheaper bandwidth to a freely available municipal network. When I started tracking the network, it had barely five thousand users. Today, it has over seventy thousand – that’s about one-tenth of the city. San Francisco is a city of hills and low buildings – it’s hard to get real reach from a wireless signal. In Sydney, Melbourne, Adelaide, Brisbane and Perth – which are all built on flats – a little signal goes a long, long way. From my flat in Surry Hills I can cover my entire neighborhood. If another of my neighbors decides to contribute, we can create a mesh which reaches further into my neighborhood, where it can link up with another volunteer, further in the neighborhood, and so on, and so on, until the entirety of my suburb is bathed in freely available wireless connectivity.

While this may sound like a noble idea, that is not the reason it is a good idea. Free wireless is a good idea because it enables an entirely new level of services, which would not, because of tariffs, make economic sense. This type of information has value – perhaps great value, to some – but no direct economic value. This is where the true strength of free wireless shows itself: it enables a broad participation in the electronic life of the city by all participants – individuals, businesses, and institutions – without the restraint of economic trade-offs.

This unlicensed participation has no form as yet, because we haven’t deployed the free wireless network beyond a few select spots in Australia’s cities. But, once the network has been deployed, some enterprising person will develop the “killer app” for this network, something so unexpected, yet so useful, that it immediately becomes apparent that the network is an incredibly valuable resource, one which will improve human connectivity, business productivity, and the delivery of services. Something that, once established, will be seen as an absolutely necessary feature in the life of the city.

Businessmen hate to deal in intangibles, or wild-eyed “science projects.” So instead, let me present you with a fait accompli: This is happening. We’re reaching a critical mass of Wifi devices in our dense urban cores. Translating these devices into nodes within city-spanning mesh networks requires only a simple software upgrade. It doesn’t require a hardware build-out. The transformation, when it comes, will happen suddenly and completely, and it will change the way we view the city.

The question then, is simple: are you going to wait for this day, or are you going to help it along? It could be slowed down, fettered by lawsuits and regulation. Or it could be accelerated into inevitability. We’re at a transition point now, between the tariffed networks we have lived with for the last decade, and the new, free networks, which are organically popping up in Australia and throughout the world. Both networks will co-exist; a free network actually increases the utility of a tariffed mobile network.

So, do you want to fight it? Or do you want to switch it on?

Rearranging the Deck Chairs

I. Everything Must Go!

It’s merger season in Australia. Everything must go! Just moments after the new media ownership rules received the Governor-General’s royal assent, James Packer sold off his family’s crown jewel, the NINE NETWORK – consistently Australia’s highest-rated television broadcaster since its inception, fifty years ago – along with a basket of other media properties. This sale effectively doubled his already sizeable fortune (now hovering at close to 8 billion Australian dollars) and gave him plenty of cash to pursue the 21st-century’s real cash cow: gambling. In an era when all media is more-or-less instantaneously accessible, anywhere, from anyone, the value of a media distribution empire is rapidly approaching zero, built on the toppling pillars of government regulation of the airwaves, and a cheap stream of high-quality American television programming. Yes, audiences might still tune in to watch the footy – live broadcasting being uniquely exempt from the pressures of the economics of the network – but even there the number of distribution choices is growing, with cable, satellite and IPTV all demanding a slice of the audience. Television isn’t dying, but it no longer guarantees returns. Time for Packer to turn his attention to the emerging commodity of the third millennium: experience. You can’t download experience: you can only live through it. For those who find the dopamine hit of a well-placed wager the experiential sine qua non, there Packer will be, Asia’s croupier, ready to collect his winnings. Who can blame him? He (and, undoubtedly, his well-paid advisors) have read the trend lines correctly: the mainstream media is dying, slowly starved of attention.

The transformation which led to the sale of NINE NETWORK is epochal, yet almost entirely subterranean. It isn’t as though everyone suddenly switched off the telly in favor of YouTube. It looks more like death from a thousand cuts: DVDs, video games, iPods, and YouTube have all steered eyeballs away from the broadcast spectrum toward something both entirely digital and (for that reason) ultimately pervasive. Chip away at a monolith long enough and you’re left with a pile of rubble and dust.

On a somewhat more modest scale, other media moguls in Australia have begun to hedge their bets. Kerry Stokes, the owner of Channel 7, made a strategic investment in Western Australia Publishing. NEWS Corporation, the original Australian media empire, purchased a minority stake in Fairfax, the nation’s largest newspaper publisher (and is eyeing a takeover of Canadian-owned Channel TEN). To see these broadcasters buying into newspapers, four decades after broadcast news effectively delivered death-blows to newspaper publishing, highlights the sense of desperation: they’re hoping that something, somewhere in the mainstream media will remain profitable. Yet there are substantial reasons to expect that these long-shot bets will fail to pay out.

II. The Vanilla Republic

It’s election season in America. Everyone must go! The mood of the electorate in the darkening days of 2006 could best be described as surly. An undercurrent of rage and exasperation afflicts the body politic. This may result in a left-wing shift in the American political landscape, but we’re still two weeks away from knowing. Whatever the outcome, this electoral cycle signifies another epochal change: the mainstream media have lost their lead as the reporters of political news. The public at large views the mainstream media skeptically – these were, after all, the same organizations which whipped the republic into a frenzied war-fever – and, with the regret typical of a very disgruntled buyer, Americans are refusing to return to the dealership for this year’s model. In previous years, this would have left voters in the dark: it was either the mainstream media or ignorance. But, in the two years since the Presidential election, the “netroots” movement has flowered into a vital and flexible apparatus for news reportage, commentary and strategic thinking. Although the netroots movement is most often associated with left-wing politics, both sides of the political spectrum have learned to harness blogs, wikis, feeds and hyperdistribution services such as YouTube for their own political ends. There is nothing quintessentially new about this; modern political parties, emerging in Restoration-era London, used printing presses, broadsheets and daily newspapers – freely deposited in the city’s thousands of coffeehouses – as the blogs of their era. Political news moved very quickly in 17th-century England, to the endless consternation of King Charles II and his censors.

When broadcast media monopolized all forms of reportage – including political reporting – the mass mind of the 20th-century slotted into a middle-of-the-road political persuasion. Neither too liberal, nor too conservative, the mainstream media fostered a “Vanilla Republic,” where centrist values came to dominate political discourse. Of course, the definition of “centrist” values is itself highly contentious: who defines the center? The right-wing decries the excesses of “liberal bias” in the media, while the left-wing points to the “agenda of the owners,” the multi-billionaire stakeholders in these broadcast empires. This struggle for control over the definition of the center characterized political debate at the dawn of the 21st-century – a debate which has now been eclipsed, or, more precisely, overrun by events.

In April 2004, Markos Moulitsas Zúniga, a US army veteran who had been raised in civil-war-torn El Salvador, founded dKosopedia, a wiki designed to be a clearing-house for all sorts of information relating to leftwing netroots activities. (The name is a nod to Wikipedia.) While the first-order effect of the network is to gather individuals together into a community, once the community has formed, it begins to explore the bounds of its collective intelligence. Political junkies are the kind of passionate amateurs who defy the neat equation of amateur as amateurish. While they are not professional – meaning that they are not in the employ of politicians or political parties – political junkies are intensely well-informed, regarding this as both a civic virtue and a moral imperative. Political junkies work not for power, but for the greater good. (That opposing parties in political debate demonize their opponents as evil is only to be expected given this frame of mind.) The greater good has two dimensions: to those outside the community, it is represented as us vs. them; internally, it is articulated through the community’s social network: those with particular areas of expertise are recognized for their contributions, and their standing in the community rises appropriately.

This same process transformed dKosopedia into Daily Kos (dKos), a political blog where any member can freely write entries – known as “diaries” – on any subject of interest, political, cultural or (more rarely) nearly anything else. The very best of these contributors became the “front page” authors of Daily Kos, their entries presented to the entire community; but part of the responsibility of a front-page contributor is that they must constantly scan the ever-growing set of diaries, looking for the best posts among them to “bump” to front-page status. (This article will be cross-posted to my dKos diary, and we’ll see what happens to it.) Any dKos member can make a comment on any post, so any community member – whether a regular diarist or regular reader – can add their input to the conversation. The strongly self-reinforcing behavior of participation encourages “Kossacks” (as they style themselves) to share, pool, and disseminate the wealth of information gathered by over two million readers. Daily Kos has grown nearly exponentially since its founding days, and looks to reach its highest traffic levels ever as the mid-term elections approach.

III. My Left Eyeball

Salience is the singular quality of information: how much does this matter to me? In a world of restricted media choices, salience is best-fit affair; something simply needs to be relevant enough to garner attention. In the era of hyperdistribution, salience is a laser-like quality; when there are a million sites to read, a million videos to watch, a million songs to listen to, individuals tailor their choices according to the specifics of their passions. Just a few years ago – as the number of media choices began to grow explosively – this took considerable effort. Today, with the rise of “viral” distribution techniques, it’s a much more straight-forward affair. Although most of us still rely on ad-hoc methods – polling our friends and colleagues in search of the salient – it’s become so easy to find, filter, and forward media through our social networks that we have each become our own broadcasters, transmitting our own passions through the network. Where systems have been organized around this principle – for instance, YouTube, or Daily Kos – this information flow is greatly accelerated, and the consequential outcomes amplified. A Sick Puppies video posted to YouTube gets four million views in a month, and ends up on NINE NETWORK’s 60 Minutes broadcast. A Democratic senatorial primary in Connecticut becomes the focus of national interest – a referendum on the Iraq war – because millions of Kossacks focus attention on the contest.

Attention engenders salience, just as salience engenders attention. Salience satisfied reinforces relationship; to have received something of interest makes it more likely that I will receive something of interest in the future. This is the psychological engine which powers YouTube and Daily Kos, and, as this relationship deepens, it tends to have a zero-sum effect on its participants’ attention. Minutes watching YouTube videos are advertising dollars lost to NINE NETWORK. Time spent reading Daily Kos are eyeballs and click-through lost to The New York Times. Furthermore, salience drives out the non-salient. It isn’t simply that a Kossack will read less of the Times, eventually they’ll read it rarely, if at all. Salience has been satisfied, so the search is over.

While this process seems inexorable, given the trends in media, only very recently has it become a ground-truth reality. Just this week I quipped to one of my friends – equally a dedicatee of Daily Kos – that I wanted “an IV drip of dKos into my left eyeball.” I keep the RSS feed of Daily Kos open all the time, waiting for the steady drip of new posts. I am, to some degree, addicted. But, while I always hunger for more, I am also satisfied. When I articulated the passion I now had for Daily Kos, I also realized that I hadn’t been checking the Times as frequently as before – perhaps once a day – and that I’d completely abandoned CNN. Neither website possessed the salience needed to hold my attention.

I am certainly more technically adept in than the average user of the network; my media usage patterns tend to lead broader trends in the culture. Yet there is strong evidence to demonstrate that I am hardly alone in this new era of salience. How do I know this? I recently received a link – through two blogs, Daily Kos and The Left Coaster – to a political campaign advertisment for Missouri senatorial candidate Claire McCaskill. The ad, featuring Michael J. Fox, diagnosed with a early-onset form of Parkinson’s Disease, clearly shows him suffering the worst effects of the disorder. Within a few hours after the ad went up on the McCaskill website, it had already been viewed hundreds of thousands, and probably millions of times. People are emailing the link to the ad (conveniently provided below the video window, to spur on viral distribution) all around the country, and likely throughout the world. “All politics is local,” Fox says. “But it’s not always the case.” This, in a nutshell, describes both the political and the media landscapes of the 21st-century. Nothing can be kept in a box. Everything escapes.

Twenty-five years ago, in The Third Wave, Alvin Toffler predicted the “demassification of media.” Looking at the ever-multiplying number of magazines and television channels, Toffler predicted a time when the mass market fragmented utterly, into an atomic polity, entirely composed of individuals. Writing before the Web (and before the era of the personal computer) he offered no technological explanation for how demassification would come to pass. Yet the trend lines seemed obvious.

The network has grown to cover every corner of the planet in the quarter-century since the publication of The Third Wave – over two billion mobile phones, and nearly a billion networked computers. A third of the world can be reached, and – more significantly – can reach out. Photographs of bombings in the London Underground, captured on mobile phone cameras, reach Flickr before they’re broadcast on the BBC. Islamic insurgents in Iraq videotape, encode and upload their IED attacks to filesharing networks. China fights an losing battle to restrict the free flow of information – while its citizens buy more mobile phones, every year, than the total number ever purchased in the United States. Give individuals a network, and – sooner, rather than later – they’ll become broadcasters.

One final, and crucial technological element completes the transition into the era of demassification – the release of Microsoft’s Internet Explorer version 7.0. Long delayed, this most important of all web browsers finally includes support for RSS – the technology behind “feeds.” Suddenly, half a billion PC users can access the enormous wealth of individually-produced and individually-tailored news resources which have grown up over the last five years. But they can also create their own feeds, either by aggregating resources they’ve found elsewhere, or by creating new ones. The revolution that began with Gutenberg is now nearly complete; while the Web turned the network into a printing press, RSS gives us the ability to hyperdistribute publications so that anyone, anywhere, can reach everyone, everywhere.

Now all is dissolution. The mainstream media will remain potent for some time, centers for the creation of content, but they must now face the rise of the amateurs: a battle of hundreds versus billions. To compete, the media must atomize, delivering discrete chunks of content through every available feed. They will be forced to move from distribution to seduction: distribution has been democratized, so only the seduction of salience will carry their messages around the network. But the amateurs are already masters of this game, having grown up in an environment where salience forms the only selection pressure. This is the time of the amateur, and this is their chosen battlefield. The outcome is inevitable. Deck chairs, meet Titanic.

In Medium Rez


Although Apple introduced its Video iPod at the end of 2005, this is the year when video begins to take off. Everywhere. The sheer profusion of devices which can play video – from iPods to desktop and laptop computers to Sony’s Playstation Portable, the Nintendo DS, and nearly all current-generation mobile phones – means that people will be watching more video, in more places, than ever before. You may not want to watch that episode of “Desperate Housewives” on your iPod – unless you happened to be tied up last Monday evening, and forgot to program your VCR. Then you’ll be glad you can. Sure, the picture is small and grainy, the sound’s a bit tinny, and your arms will get tired holding that screen in front of your face for an hour, but these drawbacks mean nothing to a true fan. And the true fans will lead this revolution.

We’re growing comfortable with the idea that screens are everywhere, that we can – in the time it takes to ride the train to work – get caught up on our favorite stories, the last World Cup match, and the news of the world. A generation ago it seemed odd to see someone in public wearing earphones; today it’s a matter of course. This afternoon it might seem odd to see someone staring into their mobile phone; tomorrow it will seem perfectly normal.


Now that video is everywhere, it won’t be long until the business of television moves online. Already, Apple has sold close to ten million episodes of television series like “Lost” and “The Office”. Google wants to sell you episodes of the original “Star Trek”, “The Brady Bunch” and “CSI”. For television producers it’s a win-win; they’ve already sold the episodes to broadcast networks – generally for a bit less than they cost to make – so the online sales are extra and vital dollars to cover the gap between loss and profit.

Today only a few of the hundreds of series shown in the US, UK and Australia are available for sale online. By the end of this year, most of them will be. Will the broadcast networks like this? Yes and no. It deprives them of some of the power they hold over the audience – to gather them at one place and time, eyeballs for advertisers – but it also creates new audiences: people see an episode online, and decide to tune in for the next one. That’s something we’ve already seen – “The Office”, for example, spiked upward in broadcast ratings after it was offered online. This year, there’s likely to be another breakout television hit – a new “Lost” – which starts its life online.


Once video is everywhere, once all our favorite television shows are available online for download, we’ll learn something else: there’s a lot more out there than just those shows produced for broadcast. On sites like Google Video and YouTube, you can already download tens of thousands of short- and full-length television programs. Some of them are woefully amateur productions, the kind that make you cringe in horror, but others – and there are more and more of these – are as funny and dramatic as anything you might see on broadcast television. Think TropFest – but a thousand times bigger.

Once we get used to the idea that television is something they can download, we’ll find ourselves drawn to these other, more unusual offerings. Most of this fare isn’t ready for prime-time. Much of it is only meant for a tight circle of friends and aficionados. But some of it will break through, and get audiences in the millions. It’s already happened a few times in the last year; this year it will become so common that, by the end of 2006, we’ll think nothing of it at all. This thought scares both the broadcast networks and the commercial TV producers. After all, if we’re spending our time watching something created by four kids in Goulburn, that’s time we’re not watching commercially-produced entertainment. And how do the networks compete with that?


This fundamental transformation in how we find and watch entertainment isn’t confined to video. It’s happening to all other media, simultaneously. More people listen to the podcasts of Radio National than listen to the live broadcast; more people read the Sydney Morning Herald online than read the print edition. And these are just the professional offerings. As with television, each of these media are facing a rising sea of competition – from amateurs. Apple offers tens of thousands of podcasts through its iTunes Music Store – including Radio National – on just about any topic under the sun, from the mundane to the truly bizarre. You can get “feeds” of news from Fairfax – headlines and links to online versions of the stories – but you can also get that any of several thousand news-oriented blogs. Click a few buttons and the news is automatically downloaded to your computer, every half hour.

As it gets easier and easier for us to choose exactly what we want to watch, hear and read, the commercial and national broadcasters find themselves facing the “death of a thousand cuts.” Every pair of ears listening to a podcast is an audience member who won’t show up in the ratings. Every subscriber to an “amateur” news feed is a subscriber lost to a newspaper. And this trend is just beginning. In another decade, we’ll wonder how we lived without all this choice.


Choice is a beautiful thing. We define ourselves by the choices we make: what we do, who we know, what we fill our leisure time with. Now that our media is everywhere, available from everyone, any hour of the day or night, we’re going to find ourselves confronted by an unexpected problem: rather than trying to decide what to watch on five terrestrial broadcast channels – or fifty cable channels – we’ll have to pick from an ocean of a million different programs; even if most of them aren’t all that appealing, at least a few thousand will be, at any point in time.

That kind of choice will make us all a little bit crazy, because we’ll always be wondering if, just now, something better isn’t out there, waiting for us to download it. Like the channel surfer who sits, remote in hand, flipping through the channels, hoping for something to catch his eye, we’re going to be flipping through hundreds of thousands and then millions of choices of things to watch, hear and read. We’re going to be drowning in possibilities. And the pressure – to keep up, to be informed, to be on the tip – is about to create the most savvy generation of media consumers the world has ever seen.

We’re drowning in choice, but, because of that, we’ll figure out how to share what we know about what’s good. We already receive lots of email from friends and family with links to the best things they’ve found online. That’s going to continue, and accelerate; our circles of friends are becoming our TV programmers, our radio DJs, our newspaper editors, and we’ll return the favor. The media of the 21st century are created by us, edited by us, and broadcast by us. That’s a deep change, and a permanent one.

The Sweet Spot


Consider the lowly VCR. Once the king of the consumer electronics roost, the Japanese giant Matsushita has stopped manufacturing them in favor of DVD players. Unless they’re combined with a DVD player, most people have stopped buying them. I haven’t bought one in Australia, despite the fact that I need one for work, because I am regularly given video briefs for review, inventions to be presented on THE NEW INVENTORS. But somehow I can’t bring myself to spend the $100 on a VCR. Is that because I’m cheap? Hardly. It’s because I think VCRs suck – and I’m sure most of you would agree. They’re low-resolution, finicky, and nearly impossible to program. Yet, despite all these obvious drawbacks, VCRs changed the world.

In the time before the VCR, the television set was nothing more than a radio-wave tuner connected to an analog monitor. The television could only show programs as they were broadcast. Nothing else. Suddenly, the VCR enabled people to record broadcasts for later playback, or play pre-recorded cassettes. The VCR introduced the concept of “time-shifting” (though that term didn’t emerge until quite recently), and freed the audience from the hegemony of the broadcaster. This was such a catastrophic change that court battles were fought over it: the United States Supreme Court, ruling in the Sony “Betamax” decision, allowed that the VCR could be sold legally, even though time-shifting a television program constituted a violation of copyright – and still does, here in Australia. (The legal status of time-shifting in the United States is vague.)

While time-shifting moved power away from the broadcasters and into the audience, it also created a huge market for pre-recorded entertainment. Theatrical release provided one hundred percent of studio revenues in 1954. By 2004, that figure was down to 15%. It seems that audience choice is good economics; when you empower audience viewing habits, you dramatically increase the overall market.

By the late-1980s, as the studios saw incredible revenues flow in from pre-recorded videocassettes, they got together to promote a format which would have all of the advantages of the VCR, with none of its disadvantages. This format would provide a near-cinema-quality experience, but would be a read-only format. Consumers would be given greater choice, but only from a pre-produced collection of offerings. DVD, like the VCR before it, has become another biggest success story in consumer electronics. At least 75% of all households in Australia have at least one DVD player, and they’re now standard equipment on nearly all personal computers. The studios earn more – often far more – from DVD sales than from the theatrical release of their motion pictures. The DVD has driven the VCR out of the living room, just as the CD player obsolesced the turntable, fifteen years ago.


Nothing comes for free. The qualities that made the VCR, and the vinyl album before it, so annoying (noise, scratches, and just entropy in general) are the same qualities which made it a “safe” medium, so far as copyright protection was concerned. When the music industry transitioned from waves to bits, they unknowingly unleashed the engine of their own destruction. Waves are difficult to copy faithfully; every copy introduces noise and distortion. Bits can be copied perfectly every single time. Bits can be compressed and distributed at the speed of light. When digital music met the Web, back in 1993, the Internet Underground Music Archive, a small site running out of the University of California, Santa Cruz, everything changed. Suddenly, anyone could publish music, or download music, to anyone, anywhere. The combination of digital music plus the World Wide Web produced a resonance of sorts, a “sweet spot” which initiated a transformation that continues to this day, with over 42 million iPods and countless other digital music devices. Within this transformation there are countless secondary sweet spots – such as the iPod itself, and Apple’s iTunes Music Store – moments where technology and design meet in glorious union, producing prodigious amounts of heat and light. Like a spark to petrol, when design meets capability, the results can be explosive.

Like the music industry before them, the studios are confronting the cost of their transition from waves to bits. A DVD provides four times the picture quality of a VHS recording, together with 5.1 surround sound. It performs this magic by encoding a very high-bandwidth video signal into a relatively low-bandwidth data stream. This was high magic back in 1991, when the MPEG-2 standard was developed. Now it’s old tech. You can now squeeze a two hour movie into one-tenth the space, with no loss in quality. And that has changed everything about how we use video.

The first folks to realize this were a group of engineers who’d broken away from Silicon Graphics after working on Time-Warner’s Full Service Network, better known as “The Orlando Project.” This test bed (in Orlando, Florida) wired 1500 homes to very high-speed cable modems, and each home connected to the service through their own $60,000 Silicon Graphics workstation. The goal of The Orlando Project was to develop the future of video delivery – in other words, the system which would replace the analog cable systems which had by then fully penetrated the US market. Years ahead in interface design, The Orlando Project fully employed the 3D capabilities of the SGI workstation to create something known as “The Carousel,” which allowed home users to select from about 500 different offerings. (At the time, this was an order of magnitude more than any competitive offering.) The design of The Carousel – spearheaded by Dale Herigstad, who would go on to design the interface for Microsoft’s Media Center, and its Xbox 360 – attempted to guide the user through a bewildering set of video selections in a straightforward manner. While consumers liked The Carousel, Time-Warner cancelled the project to focus on other, less costly digital cable ventures. The engineers at Silicon Graphics, intrigued by what they’d started, soon left to form their own company.

In 1999 the Full Service Network bore unexpected fruit. TiVO, the company founded by those refugees from SGI, introduced its first “personal video recorder.” The idea of recording video to a hard drive for later playback was not new; electronic program guides had been used by cable companies for years. Yet, when these two technologies were integrated around an exceptionally well-designed user interface, another resonance struck, and a sweet spot appeared, one which is utterly transforming the way we think of video. People who could never hope to program a VCR have bought TiVOs in droves, recording all their favorite programs, and watching, on average, 60% more television than individuals who don’t have TiVOs. However, TiVO makes it exceptionally easy to fast-forward through commercial breaks, which is a plus for the audience, but a big concern to the broadcaster. By 2009, there’ll be at least a 30% drop-off in eyeballs watching TV advertisements, all because of TiVO and its many imitators. But the “TiVO effect” is far more profound. TiVO has disconnected any relationship between the network and the audience. The audience is watching a personalized stream of programming, one which bears no fundamental relationship to its source.

I discovered this TiVO effect when one of my friends – who has owned a TiVO for five years – recommended that I watch Making the Band: INXS. I asked him what network it was on. He thought for a long moment, and then said, “I have no idea.” After such along period of time with TiVO, the idea of broadcaster and programming have disassociated; it’s all just programs, on his TiVO. TiVO has become the broadcaster.


This transformation in audience behavior wrought by TiVO points up an essential relationship between design and technology: where they meet in harmony, they produce a new medium. TiVO is the medium, and “the medium is the message.” TiVO has fundamentally changed the relationship between audience and programming; now that TiVOs are broadband-connected, they don’t even need television receivers. TiVOs could download programming directly from the Internet, or take recorded programs, and transmit them to anywhere on the Internet. The latest of TiVO’s competitors, the Slingbox, does this perfectly. I can connect a Slingbox at home in Surry Hills and watch any programming it has recorded, anywhere in the world. Not only have I disconnected the programming from the broadcaster, I’ve cut the cord to my television set. Now my television is anywhere I might be.

Still, TiVO and Slingbox have clung to the idea that there is a content source – that is, the television broadcaster – and an audience hungry for that content. That’s no longer true. With the recent advent of the Video iPod, the iTunes Video Store, Google Video, YouTube, and the ever growing influence of peer-to-peer file-sharing networks, the balance of content is shifting away from the broadcasters to the “peer-productions” of the audience.

This is the revolution that’s waiting to happen. Right now there is no easy way for your average television viewer to find and view the enormous range of content that’s out on the Internet. File-sharing networks are either illegal, dangerous or too difficult for the average audience member to master. Google Video and YouTube must be viewed on a computer. None of the pieces fit together. Yet. And although the Video iPod can be plugged into a television set, very few people do it. It’s still too clumsy.

There is a resonance here, something that’s just on the cusp of happening. Someone (and it could well be Apple) will find a way to tie the television into the Internet meaningfully, formally breaking the bond between the television-as-radio-receiver and television-as-output-device. When that happens, the meaning of television channels and broadcasters will begin to fade into significance. We’ll still watch broadcasts of live events – such as news or sport – but otherwise our televisions will be portals into the ever-increasing supply of peer-produced programming. All we need to do is locate the sweet spot, the harmonious meeting point between design and technology.

It’s widely believed that technology is not informed by design disciplines. Nothing could be further from the truth. Without design, technology remains locked into a culture of expertise. Design-led technologies – such as TiVO and the iPod – transform our expectations and our behavior. Technology alone can not do that. It hasn’t the capability. We need to adjust our thinking. Design is not the handmaiden of technology. It’s the other way around. Design must be in the driver’s seat. Without the resonance which brings mind and hand together meaningfully, all we’ll ever have is unrealized potential. When design drives technology, when we assert that human needs trump raw capability, we create the artifacts which change the world.