IN THE BUBBLE JOHN THACKARA - witz cultural

More documents

Recommendations

Info

Tempo Design Speed 49 Music has always helped us find a balance between fast and slow, event time and clock time, up time and down time. Ragtime, the English writer Charles Leadbeater reminds us, marked the start of the acceleration of music to match the acceleration of industry: ‘‘jazz was followed by boogiewoogie, rock and roll, disco, punk, techno and house—the latter racing along at 200 beats a minute.’’ 61 We make music as a response to tempo— but also to regulate tempo. The introduction of the metronome into music marked the first clash between technology and culture around the issue of speed. A young colleague of Ivan Illich, Matthias Rieger, discovered that in preindustrial times, musical tempo was provoked by the setting—a special event, a place, a type of work or action. Work songs were related to the rhythm of the work; the tempo of dance music to the acoustic of the place and, of course, to the mood of the dancers and musicians. Tempo indication began to be used only in the early years of the seventeenth century. Composers started to use Italian time words like adagio (‘‘at ease’’), allegro (‘‘cheerful’’), or presto (‘‘quick’’). These time words did not, at that point, refer to an externally prescribed, measured time that could be expressed by units per minute. Although the metronome became common in the early nineteenth century, other nontechnical ways to give hints for the right tempo persisted: One was the use of the musician’s pulse as a measure—a method first mentioned in the sixteenth century by an Italian monk named Zaccini. The metronome itself, which was invented in 1812 by the Dutch technician Nicolaus Winkler, shocked Beethoven when he listened to the first performances of his music that followed his metronome indications. ‘‘He tried to change [the prescribed settings] several times,’’ says Rieger, ‘‘but finally—and he was not the only composer—he came to the conclusion that the usage of measured tempo made no sense in music.’’ 62 Rieger’s account of the tension between externally measured tempo and instinctual tempo then shifts from Beethoven to belly dancing and a story about a young drummer (who narrates the story), his teacher Ali, and a belly dancer called Abla: ‘‘This is very interesting,’’ Ali said to me with a sly smile. ‘‘Come on, take your drum and let us try to reflect on the concept of ‘speed’ with the help of Abla. Take your drum and just play a simple rhythm. Abla will dance with you. See if you can get
50 Chapter 2 the right tempo with the help of the metronome.’’ So I adjusted the metronome at 60 minims per minute, and started to play. I immediately recognized that something was wrong. Abla moved, but not at ease. She really had difficulties in following my drumming. Drum and dancer did not harmonize. ‘‘Stop!’’ Ali shouted, ‘‘you are wrong.’’ ‘‘Yes, I know,’’ I said. ‘‘It seems to me that Abla just started to hate me. Shall I play it a little bit slower or faster?’’ ‘‘No,’’ Ali replied, ‘‘you should not play faster or slower, you should play right. I know,’’ Ali said. ‘‘Following the machine is the best way to play exact, which also means to be always wrong. There cannot be a fit, as long as you look at Abla from the machine’s point of view.’’ 63
Page 1 and 2:
IN THE BUBBLE DESIGNING IN A COMPLE
Page 4 and 5:
In the Bubble Designing in a Comple
Page 6:
Contents Acknowledgments vii Introd
Page 9 and 10: viii Acknowledgments many journalis
Page 12 and 13: Introduction ‘‘In the bubble’
Page 14 and 15: smarter—and usually cheaper—pro
Page 16 and 17: Introduction 5 innovation—results
Page 18 and 19: Introduction 7 ply to all kinds of
Page 20 and 21: 1 Lightness I am driving along the
Page 22 and 23: Lightness 11 there are a lot of the
Page 24 and 25: Lightness 13 areas of productive la
Page 26 and 27: into product development have resul
Page 28 and 29: necessities—food, clothing, shelt
Page 30 and 31: own weight to manufacture such an o
Page 32 and 33: BodyMedia took a communication desi
Page 34 and 35: Lightness 23 for feedback and sense
Page 36 and 37: Lightness 25 and writer Antoine Sai
Page 38: Lightness 27 ‘‘Lightness,’’
Page 41 and 42: 30 Chapter 2 Questioning speed and
Page 43 and 44: 32 Chapter 2 burn as much fossil fu
Page 45 and 46: 34 Chapter 2 standard of living of
Page 47 and 48: 36 Chapter 2 also warned that the a
Page 49 and 50: 38 Chapter 2 picture. Speed, in thi
Page 51 and 52: 40 Chapter 2 To fill this gap, howe
Page 53 and 54: 42 Chapter 2 quitting work, or goin
Page 55 and 56: 44 Chapter 2 measures, such as redu
Page 57 and 58: 46 Chapter 2 water, and nutrients i
Page 59: 48 Chapter 2 Service has identified
Page 63 and 64: 52 Chapter 3 Why Mobility Matters M
Page 65 and 66: 54 Chapter 3 ‘‘Time is money, w
Page 67 and 68: 56 Chapter 3 failure. The average c
Page 69 and 70: 58 Chapter 3 journey is by air on A
Page 71 and 72: 60 Chapter 3 of mobility is unsusta
Page 73 and 74: 62 Chapter 3 room that blends physi
Page 75 and 76: 64 Chapter 3 were inspired by the s
Page 77 and 78: 66 Chapter 3 Digital playgrounds ar
Page 79 and 80: 68 Chapter 3 puter world, in which
Page 81 and 82: 70 Chapter 3 that matters, accordin
Page 83 and 84: 72 Chapter 3 such as walking, bikin
Page 85 and 86: 74 Chapter 4 four or five thousand
Page 87 and 88: 76 Chapter 4 a city for passive par
Page 89 and 90: 78 Chapter 4 creative. The survey i
Page 91 and 92: 80 Chapter 4 Futures models the geo
Page 93 and 94: 82 Chapter 4 The Regionmaker as one
Page 95 and 96: 84 Chapter 4 Handsets allow users t
Page 97 and 98: 86 Chapter 4 Relationships mediated
Page 99 and 100: 88 Chapter 4 centers—but left mos
Page 101 and 102: 90 Chapter 4 been able to reduce th
Page 103 and 104: 92 Chapter 4 chapter, much of the w
Page 105 and 106: 94 Chapter 4 An Icelandic designer,
Page 107 and 108: 96 Chapter 4 In this chapter, I hav
Page 109 and 110: 98 Chapter 5 we made was to move tw
Page 111 and 112:
100 Chapter 5 complex interactions,
Page 113 and 114:
102 Chapter 5 Planning a big transp
Page 115 and 116:
104 Chapter 5 says Winnicott, ‘
Page 117 and 118:
106 Chapter 5 by architects or syst
Page 119 and 120:
108 Chapter 5 the point. The fundam
Page 121 and 122:
110 Chapter 5 We were seen rather p
Page 124 and 125:
6 Conviviality Whole nations now wo
Page 126 and 127:
Wellware Conviviality 115 Confronte
Page 128 and 129:
More and more people are convinced
Page 130 and 131:
Conviviality 119 peer production of
Page 132 and 133:
One online user of a support servic
Page 134 and 135:
meet the needs on their behalf.’
Page 136 and 137:
perous regions make similar points:
Page 138 and 139:
Conviviality 127 m Redefining work
Page 140 and 141:
Once a population expands beyond a
Page 142 and 143:
Connected Communities Conviviality
Page 144 and 145:
Throughout history, human beings ha
Page 146 and 147:
7 Learning Learning as a Design Iss
Page 148 and 149:
e able to transfer knowledge from o
Page 150 and 151:
institutions to join them; these in
Page 152 and 153:
in e-learning continues at signific
Page 154 and 155:
some kind of Learning Central, that
Page 156 and 157:
launched a website accessible from
Page 158 and 159:
Learning 147 geology, viticulture,
Page 160 and 161:
The most interesting phase of a pro
Page 162 and 163:
degree and quality of reflection de
Page 164 and 165:
Learning 153 rapid, mass, large-sca
Page 166 and 167:
Learning 155 with a learner. What p
Page 168 and 169:
Learning 157 standing. Banks, oil c
Page 170:
Learning 159 how learners, teachers
Page 173 and 174:
162 Chapter 8 system taking place o
Page 175 and 176:
164 Chapter 8 of paper, most of it
Page 177 and 178:
166 Chapter 8 spills,’’ said Li
Page 179 and 180:
168 Chapter 8 can attract attention
Page 181 and 182:
170 Chapter 8 Criticism of the glob
Page 183 and 184:
172 Chapter 8 the central question
Page 185 and 186:
174 Chapter 8 the human colon. 39 (
Page 187 and 188:
176 Chapter 8 designed a new set of
Page 189 and 190:
178 Chapter 8 come into bloom at di
Page 191 and 192:
180 Chapter 8 make us switch off th
Page 193 and 194:
182 Chapter 8 Fluxus—a movement o
Page 195 and 196:
184 Chapter 8 us new processes of c
Page 197 and 198:
186 Chapter 9 just a dumb bird. It
Page 199 and 200:
188 Chapter 9 of an abalone is twic
Page 201 and 202:
190 Chapter 9 existing needs, desig
Page 203 and 204:
192 Chapter 9 tend to vary through
Page 205 and 206:
194 Chapter 9 Julian Vincent sees c
Page 207 and 208:
196 Chapter 9 Structural self-repai
Page 209 and 210:
198 Chapter 9 error works when mill
Page 211 and 212:
200 Chapter 9 Embedded—but Not As
Page 213 and 214:
202 Chapter 9 thanks to advances in
Page 215 and 216:
204 Chapter 9 AmI? The mission for
Page 217 and 218:
206 Chapter 9 Pervasive computing t
Page 219 and 220:
208 Chapter 9 Zeroing Out When an I
Page 222 and 223:
10 Flow Four grand pianos, their li
Page 224 and 225:
complex world, ‘‘its ultimate o
Page 226 and 227:
Flow 215 body,’’ said the sage;
Page 228 and 229:
and Amsterdam. Places whose lifeblo
Page 230 and 231:
Flow 219 enhance the kinds of daily
Page 232 and 233:
Flow 221 public project ever, creat
Page 234 and 235:
Flow 223 Our world is fast being su
Page 236 and 237:
same thing as a cake.’’ 38 Desi
Page 238 and 239:
Notes Introduction 1. Statistic quo
Page 240 and 241:
Notes to Pages 10-11 229 warming du
Page 242 and 243:
and outputs of industrial processes
Page 244 and 245:
tainable Europe Research Institute
Page 246 and 247:
2 Speed 1. Bruce Chatwin, The Songl
Page 248 and 249:
33. Vivek Ranadive, The Power of No
Page 250 and 251:
needed again. The elimination of po
Page 252 and 253:
in the online discussion forum Worl
Page 254 and 255:
freely, gain access, communicate, t
Page 256 and 257:
29, 2003, available at http://www.f
Page 258 and 259:
Notes to Pages 80-82 247 16. Local
Page 260 and 261:
37. Townsend has since started a bl
Page 262 and 263:
7. Henry Plummer, ‘‘The Poetics
Page 264 and 265:
systems in 191 member states, it fo
Page 266 and 267:
Academic Health Centers (final repo
Page 268 and 269:
39. Ann Oakley, The Sociology of Ho
Page 270 and 271:
7 Learning 1. Ivan Illich, Deschool
Page 272 and 273:
23. Ibid. 24. Charles Hampden-Turne
Page 274 and 275:
43. Thomas A. Stewart, ‘‘What I
Page 276 and 277:
Notes to Pages 165-167 265 Homeland
Page 278 and 279:
34. Terry Winograd and Fernando Flo
Page 280 and 281:
55. Joseph Nathaniel Kaye. ‘‘Sy
Page 282 and 283:
Architecture Foundation (www.smarta
Page 284 and 285:
west coast railway line thought the
Page 286 and 287:
44. A case study about Oticon is in
Page 288 and 289:
Notes to Pages 204-205 277 59. Geor
Page 290 and 291:
2. Manuel Castells, The Rise of Net
Page 292:
1998); Michiel Schwarz, Holland sch
Page 295 and 296:
284 What to Read Next Benyus, Janin
Page 297 and 298:
286 What to Read Next Schlosser, Er
Page 299 and 300:
288 Bibliography Boutinet, Jean-Pie
Page 301 and 302:
290 Bibliography Florida, Richard.
Page 303 and 304:
292 Bibliography Laurel, Brenda. Co
Page 305 and 306:
294 Bibliography Schor, Juliet B. T
Page 308 and 309:
Index 2001: A Space Odyssey, 172 3-
Page 310 and 311:
British Airports Authority, 233n30
Page 312 and 313:
speed design and, 43-44 time scales
Page 314 and 315:
dashboards and, 169 German study of
Page 316 and 317:
control and, 225-226 designing spac
Page 318 and 319:
job quality and, 124-125 kairologic
Page 320 and 321:
cost and, 90 digital graffiti and,
Page 322 and 323:
McDonald’s, 92 McDonough, William
Page 324 and 325:
Nemawashi, 43 Netherlands Design In
Page 326 and 327:
RhineRuhrCity project, 82 Rhythm, 4
Page 328 and 329:
Southwest Airlines, 56 Soya Choupal
Page 330 and 331:
speed and, 30, 36 ticket purchasing
Page 332:
Winkler, Nicolaus, 49 Winnicott, Da
show all

IN THE BUBBLE JOHN THACKARA - witz cultural

Create successful ePaper yourself

Delete template?

Save as template?