Posts Tagged ‘Reviews’

Living by Instinct – Malcolm Gladwell’s Blink

Thursday, April 17th, 2008

I’m buckling down here. I’ve got to write this quickly. Instinctually, I know what I want to write about – I’ve just got to sit here and pound it out. I’m on an airplane – there’s a limited amount of time I’ve got before we’re back in Pope City – let’s see how this book holds up. You see, I just finished Malcolm Gladwell’s Blink, a book that dissects the relevance of instinct in decision making. Weaving together an eclectic blend of personal anecdotes, interviews, and old psych papers, Gladwell spells out both the benefits and dangers of using less data to make decisions. As it turns out, our unconscious minds often know things before our conscious minds do – so working faster can oftentimes lead to better results.

Let’s give it a shot.

One of the many stories Gladwell tells to advocate for the role of automatic thought is the story of Paul Van Riper. Van Riper is a Vietnam veteran who played a key role in the Joint Forces Command’s Millennium Challenge (basically the war game to end all war games). The two players in the game were the ‘Red Team’ (run by Van Riper as a *completely hypothetical* virulently anti-American Middle-Eastern government) and the ‘Blue Team’ (the U.S.). The Blue Team was stocked with the most advanced warfare technology of the time. Their combat decisions were carefully executed based on information provided by an incredibly complex system of databases and modeling algorithms. Van Riper had significantly less technolgoy, and acted far more on instinct. His operational theory was that he was “in command, but out of control” – the idea being that, by placing nearly unfettered trust in his subordinates, he would enable a type of automatic cognition (the faster, lighter, stronger approach).

I think you can probably see where this is leading – with an unsuspected volley of fictional cruise missiles, the graybeard general crushed the nerd troupe who was left helplessly attempting to fit the attack into rigidly structured analytical models as they were being pummeled. Instinct 1, Analysis 0.

But not so fast.

As much as Gladwell advocates for a return to the primal nature of automatic thinking, Blink also warns of its consequences. In a look at the unlikely rise of Warren Harding, a dim politician whose main proclivities were womanizing, drinking and golf, Gladwell notes that the judgment of his champions was clouded by the overwhelming ‘air of distinction’ Harding seemed to emit. His advisors made instinctual decisions, but they were based on Harding’s presidential good looks, not on his political prowess. To further illustrate the dangers, Gladwell provides an analysis of the case of Amadou Diallo, the Guinean New Yorker gunned down in a hail of 41 bullets several years ago. Again, in this situation the police acted instinctually, but when placed within the context of an unusually tense environment, the officers missed all of the situational cues, and ended up making a series of, to put it mildly, ‘critical misjudgments’. Instinct 1, Analysis 2

It turns out that Gladwell is advocating more for a conscious recognition and balance of both the automatic and the analytical sides of the decision making process. As important as instinct is in decision making, in the absence of any situational data that instinct is uninformed, and can be wrong. At the same time, a glut of information clouds the dataset with noise, distracting from the key factors of an issue. Relying solely on either process is when the disasters come – the better decisions are made from an equilibrium of instinct and analysis.

The concepts of Blink track well to the creative process. In my songwriting experience, the trick is finding the balance between inspired improvisation (the automatic thought) and iterative editing (the analytical thought). So while Echo Bloom can tend towards the analytical side of things (guilty as charged), that intentional exploration enriches the instinctive output – hopefully it’s a good blend between the two.

And now, the plane is starting to land. Instinct 2, Analysis 2 – we’ll call it a draw.

More:

Justice at the 9:30 Club

Thursday, March 13th, 2008

I saw Justice at the 9:30 club last night and through a sweaty haze of awkward dancing had a few observations:

Give the audience what they want – I recognize that it was a techno show, and thus, by definition, should be heavy on the remixing – BUT. The show was one big tease. All night the group played snippets of their very recognizable, über-catchy songs and immediately jumped into something else nobody had ever heard (it was like somebody playing the opening of Stairway to Heaven, looking around in suspense, and starting to play something else). Whenever it happened everybody stopped their awkward dancing, looked slightly confused, and stared at the stage until they heard something recognizable again.

Have some strong visual identification with your music – Justice do this brilliantly – their stage set (in the picture above) is a perfect distillation of their music – classical in structure, with a mix of techno and heavy metal. They are brilliantly branded.

The audience has to believe it – As I watched Justice bop around onstage I kept wondering – what they are DOING up there? Instrumental dexterity is half the fun of a rock or classical show. But with techno music that musical showmanship is completely absent (maybe that’s what the elaborate stage set is compensating for). For all I know, they could be manipulating some interesting Ableton setup in real-time. But you can’t see it, so in a sense, you don’t really believe it.

What will be the next piano? – The piano is a useful tool. It’s direct and intuitive, and because of that tends to be the main instrument for composers. But while we think of pianos as being timeless, they’re really only several hundred years old. And they have little compositional relevance to electronic music. What’s better? Is it a physical interface like Reactable? Some piece of software? A computer itself? What traits does the piano have that makes it so useful?

Monster Cables and Coat Hangers – The Relevancy of Boutique

Tuesday, March 11th, 2008

Mix together some sensitive stereophiles, one ridiculously overpriced product, and James Randi (bullshit-caller extraordinaire) and you’ve got an interesting story.

Pear, a high fidelity audio company, is responsible for the recently introduced Anjou speaker cables. According to the company, the cables feature “a new and completely unique hybrid geometry” that “allow new levels of sonic accuracy to be explored”.

They are $2750 (for 3 feet).

They were enthusiastically received by Positive Feedback Online’s Dave Clark, who called the cables “danceable.” The backlash was swift. My favorite response took on the very premise of boutique audio products by pitting a series of high-priced cables against a soldered coat hanger (a group of audiophiles couldn’t reliably tell the difference). James Randi even got into the picture, offering his now legendary $1 million challenge to anybody that could prove the Anjou Cables are any better than wires from Monster Cable (Pear CEO Adam Blake stepped up to the plate, then chickened out).

I tend to take a pretty utilitarian view of audio products. While there is a modest price jump between consumer and professional products that I will gladly pay (like for my Martin 000-15S), anything more expensive than ‘pro-sumer’ products tend to follow a law of diminishing returns. My one exception is boutique guitar pedals (made by companies like Z Vex), where a little more money buys a wildly expanded sonic palette.

But most products of Pear’s ilk succeed solely because of equipment fetishism. And while I have a certain lurid fascination associated with watching stories like this unfold, the products themselves are just distractions. In the end, nobody is listening any better.

Sigh.

[More! Watch Randi's infinitely entertaining dressdown of James Hydrick on YouTube]

Dancing about Architecture – 33 1/3’s Velvet Underground and Nico

Saturday, December 1st, 2007


“Talking about music is like dancing about architecture”
– Elvis Costello (probably)

I recently finished Joe Harvard’s take on the Velvet Underground’s The Velvet Underground and Nico album – the start of what looks to be a beautiful friendship between myself and the excellent 33 1/3 series, published by Continuum Books. The series exemplifies the new breed of rock criticism popularized by sites like Pitchfork and Catbirdseat – a type of nouveau gonzo that focuses less on the delivery of a verdict about the piece in question, and more about the visceral relationship between the listener and art. It’s exhaustive, literate, nerdy, and great.

33 1/3 started in 2003 as the brainchild of Continuum’s editorial director David Barker, and has grown to include over fifty books, running the gamut from Dusty Springfield’s Dusty in Memphis to Sly and the Family Stone’s There’s a Riot Goin’ On. Each book offers an individual glimpse into the way people personally obsess over their music – Decemberist Colin Meloy’s coming-of-age-filtered-through The Replacements’ Let it Be stands next to ethnomusicologist Erik Davis’s minute dissection of Led Zeppelin IV. And all of the books remind you that, in the era of mp3, the album is still something sacred.

Some might argue that music criticism of this ilk intellectualizes works of art into dull museum pieces. And at times, I agree – maybe the only way to really describe something like Venus in Furs is to turn the stereo to eardrum-shriveling levels, and lose yourself in John Cale’s howling cello, Maureen Tucker’s death march, Sterling Morrison’s slinky guitar lines and Lou Reed’s proto-snarky commentary about sado masochism. Or maybe not – I think Harvard does a pretty good job of it, and after reading his take the album sounds tighter, darker, and more literate. I have a newfound respect for Nico, and my belief that Heroin is one of the most powerful works ever committed to tape has been upheld.

What’s to come in the series? New tomes on The Gilded Palace of Sin by the Flying Burrito Brothers, Fleetwood Mac’s Tusk, Elliot Smith’s XO, and much more. For more information, check out PopMatters’s excellent series of articles on the books, Wikipedia’s 33 1/3 page, as well as an introduction to the series by Barker.

And, by the by, Elvis Costello (Mr. Dancing about Architecture himself) is represented – Armed Forces was #21 in the series.