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Stagger onward rejoicing

Tag: analog (page 1 of 1)

analog elites

It’s interesting to juxtapose this WSJ story about people building “analog rooms” in their houses with Jason Fried’s account of his parents’ “smart home”: 

It’s new construction. No one has lived in it yet. It’s amped up with state of the art systems. You know, the ones with touchscreens of various sizes, IoT appliances, and interfaces that try too hard.

And it’s terrible. What a regression. 

Consider also this

“It is really important that steering, acceleration, braking, gear shifting, lights, wipers, all that stuff which enables you to actually drive the car, should be tactile,” says [Steven] Kyffin, who once worked on smart controls for Dutch electronics company Philips. “From an interaction design perspective, the shift to touchscreens strips away the natural affordances that made driving intuitive,” he says. 

“Traditional buttons, dials, and levers had perceptible and actionable qualities — you could feel for them, adjust them without looking, and rely on muscle memory. A touchscreen obliterates this,” says Kyffin. “Now, you must look, think, and aim to adjust the temperature or volume. That’s a huge cognitive load, and completely at odds with how we evolved to interact with driving machines while keeping our attention on the road.”

(My one quibble here is with the phrase “we evolved”: natural selection has not been at work in the slightly-more-than-one-hundred-years that humans have been driving automobiles.) The question for me is whether this return to analog will trickle down to the average car models or will remain a luxury good. My bet is on the latter. 

The more ubiquitous screens are the more people hate them, but often, it seems, only the rich have any real chance of escaping them. I’ve noticed the same phenomenon in stereo equipment: if you want to have the tactile button-dial-and-switch experience that everyone’s stereos had back in the Seventies and Eighties, you had better be prepared to open your wallet real wide, because you’ll either be buying an expensive high-end amplifier or (for roughly the same price) a restored vintage one. 

We’ve collectively reached the point, I think, at which the words “digital” and “new” typically convey “cheap, unpredictable, frustrating slop.” This ought to be an opportunity for manufacturing businesses of many different kinds to differentiate themselves from their competitors, but that seems never to happen these days — and not just when the differentiation would involve avoiding touchscreens. 

Consider, for instance, the toaster: All toasters are crap, no matter how much they cost, so you might as well buy a cheap one and expect to throw it out and buy another one after just a few years. So shouldn’t somebody be making a quality toaster? Apparently no one will: it would mean forging a supply chain that’s different than that of the competition, and that’s considered an unacceptable risk these days. So every single toaster manufacturer makes the same crappy product and tries to differentiate via marketing. 

As far as I can tell, what’s happening in every part of the manufacturing sector is an absolute reliance on Chinese factories for components, and the only real factor is price. With a handful of products — say automobiles and cameras (Hasselblads and most Leicas are still hand-assembled) and audiophile stereo equipment — you can, if you’re wealthy enough, buy things that offer more mechanical components and fewer cheap-ass digital ones. And you can display some of your cool mechanical gadgets in your “analog rooms.” But those of us who are not among the one percent are probably gonna be stuck with touchscreen slop. 

Last year, on a very rainy day, I was driving my 2013 Toyota RAV4 down a Texas highway and hydroplaned into a tree. I was unhurt, and was even able to drive the fifty miles to my house. But eventually my insurance company decided that the car was totaled, and when I learned that one of my first thoughts was “Oh great, now I’ll have to buy a car that shoves a stupid big screen in my face.” Ever since then I’ve been sharing a car with my wife while I try to decide whether I should buy a new car or take a chance on an aged but largely screenless used one. It’s a tough call. 

Related: the Sam Vimes Boots Theory

tradeoffs

David Sax, from The Future Is Analog

“The ideas that come to our mind are around curiosity, creativity, exploration, which come to you when you’re out and moving around,” said Joseph White, the director of workplace futures and insight at the office furniture company Herman Miller. White is a professional fabric designer (he owns a loom), who moved from Brooklyn to Buffalo in the midst of the pandemic, but the longer he worked remotely, the more White noticed how much physical, sensory information his work was lacking. He missed wandering around the rambling Herman Miller campus in Michigan, moving his body, walking between buildings, touching, seeing, and even smelling the company’s different ideas as they took shape in wood, plastic, metal, and fabric. “I used to work from a dozen different spots throughout the day,” White said. “Now I look at the same piece of art all day. I miss the variety of experience. My mind connects to concepts like embodied cognition — our mind connects to the world around us, and by the process of moving around it, we get information that we’re not consciously aware of, and have meaning. We lose that when we’re stuck in the same place over and over again.” Working from home was pitched as liberating, but as my neighbor Lauren discovered each day, glued to her desk, it can easily become a type of incarceration. “[Remote work] degrades the human experience,” White said. “I worry about sensory atrophy. I worry about curiosity, because as soon as curiosity ends, that is the beginning of death.” 

Hmmm. I have some questions: 

  1. Joseph White says he “used to work from a dozen different spots throughout the day” but at home works at one spot. Has he thought about moving around? Maybe working elsewhere in his house, or going to a coffee shop? 
  2. Does White think that most workers have the freedom to work from a dozen different spots in their workplace? 
  3. Or, to put essentially the same question another way: Where are we more likely to be “glued to a desk,” at the office or at home? 
  4. How has White shaped his home life such that his home afflicts him with “sensory atrophy” and “the end of curiosity”? Maybe he could rearrange his furniture or something. 
  5. If we have families at home, then the more analog and connected our work lives are, the more virtual and disconnected our family lives will be; and vice versa. But is it obvious that it’s more important for us to be connected to our co-workers than to our families? That might be great for Capitalism, but not so great for Humans. 

rebellion against stability

I’m not a huge fan of the music of Kelly Lee Owens, but I am a huge fan of this interview:

“I grew up in a working class village in Wales and choirs were part of everyday life,” explains Owens. “It’s almost like National Service; everybody has to join a choir. People talk about this idea of finding your voice and I think that’s what happened when I was listening to those choirs. Hard men, ex-miners in their 40s, 50s, 60s and 70s, singing with so much passion. Music had never hit me like that before. It made me want to explore my own voice. How could I express my emotions with this sound?

“The next step was Kate Bush,” she says, laughing. 

Of course that’s how it works: you go from Welsh miners’ choirs to Kate Bush and then you become a successful musician. (Also: “My God, don’t you miss that? Don’t you miss hearing something that good in the Top 5?”) Later: 

Much as I love working on the laptop, there is something about a machine like Dark Time that I find truly inspiring. You can program whatever you want and it doesn’t matter if it’s correct or not. It’s as if analogue is designed to go wrong because you always make mistakes. You press this button or put the kick here instead of here. So much of my stuff has that. I wish you could get plugins to fuck up more than they do. I think we need more of that randomness in music! 

When the interviewer agrees and continues, “Obviously, you can do mouse clicks just as easily,” KLO replies, 

But is it as much fun? Can you still create chaos? Will that kick be ridiculously late? Are you interested in making perfect music? I’m not. What does that even mean? Perfect music. What is perfect? A lot of time in the studio seems to be spent reintroducing variation and accident. I suppose you might call it humanness. Nudging things forward, nudging them back, dipping the volumes, trying to keep the listener engaged…. Analogue keeps things interesting. It rebels against stability. 

Back to the rough ground! 

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