First Place, and the Poise Award
6 days ago
"An extraordinary 2006 article from The New York Times profiles ultra-endurance cyclist Jure Robič who apparently regularly loses his sanity during his races - literally becoming psychotic as he pushes himself to the limit.
The craziness is methodical, however, and Robic and his crew know its pattern by heart. Around Day 2 of a typical weeklong race, his speech goes staccato. By Day 3, he is belligerent and sometimes paranoid. His short-term memory vanishes, and he weeps uncontrollably. The last days are marked by hallucinations: bears, wolves and aliens prowl the roadside; asphalt cracks rearrange themselves into coded messages. Occasionally, Robic leaps from his bike to square off with shadowy figures that turn out to be mailboxes. In a 2004 race, he turned to see himself pursued by a howling band of black-bearded men on horseback...
In a consideration of Robic, three facts are clear: he is nearly indefatigable, he is occasionally nuts, and the first two facts are somehow connected. The question is, How? Does he lose sanity because he pushes himself too far, or does he push himself too far because he loses sanity? Robic is the latest and perhaps most intriguing embodiment of the old questions: What happens when the human body is pushed to the limits of its endurance? Where does the breaking point lie? And what happens when you cross the line?
It's a wonderfully written article that touches on the man himself, the physiology of fatigue and the psychological strain of intense athletic feats."
Gin, Television, and Social Surplus - Here Comes Everybody: "Gin, Television, and Social Surplus
(This is a lightly edited transcription of a speech Mr. Shirky gave at the Web 2.0 conference, April 23, 2008.)
I was recently reminded of some reading I did in college, way back in the last century, by a British historian arguing that the critical technology, for the early phase of the industrial revolution, was gin.
The transformation from rural to urban life was so sudden, and so wrenching, that the only thing society could do to manage was to drink itself into a stupor for a generation. The stories from that era are amazing-- there were gin pushcarts working their way through the streets of London.
And it wasn't until society woke up from that collective bender that we actually started to get the institutional structures that we associate with the industrial revolution today. Things like public libraries and museums, increasingly broad education for children, elected leaders--a lot of things we like--didn't happen until having all of those people together stopped seeming like a crisis and started seeming like an asset.
It wasn't until people started thinking of this as a vast civic surplus, one they could design for rather than just dissipate, that we started to get what we think of now as an industrial society.
If I had to pick the critical technology for the 20th century, the bit of social lubricant without which the wheels would've come off the whole enterprise, I'd say it was the sitcom. Starting with the Second World War a whole series of things happened--rising GDP per capita, rising educational attainment, rising life expectancy and, critically, a rising number of people who were working five-day work weeks. For the first time, society forced onto an enormous number of its citizens the requirement to manage something they had never had to manage before--free time.
And what did we do with that free time? Well, mostly we spent it watching TV.
We did that for decades. We watched I Love Lucy. We watched Gilligan's Island. We watch Malcolm in the Middle. We watch Desperate Housewives. Desperate Housewives essentially functioned as a kind of cognitive heat sink, dissipating thinking that might otherwise have built up and caused society to overheat.
And it's only now, as we're waking up from that collective bender, that we're starting to see the cognitive surplus as an asset rather than as a crisis. We're seeing things being designed to take advantage of that surplus, to deploy it in ways more engaging than just having a TV in everybody's basement.
This hit me in a conversation I had about two months ago. As Jen said in the introduction, I've finished a book called Here Comes Everybody, which has recently come out, and this recognition came out of a conversation I had about the book. I was being interviewed by a TV producer to see whether I should be on their show, and she asked me, 'What are you seeing out there that's interesting?'
I started telling her about the Wikipedia article on Pluto. You may remember that Pluto got kicked out of the planet club a couple of years ago, so all of a sudden there was all of this activity on Wikipedia. The talk pages light up, people are editing the article like mad, and the whole community is in an ruckus--'How should we characterize this change in Pluto's status?' And a little bit at a time they move the article--fighting offstage all the while--from, 'Pluto is the ninth planet,' to 'Pluto is an odd-shaped rock with an odd-shaped orbit at the edge of the solar system.'
So I tell her all this stuff, and I think, 'Okay, we're going to have a conversation about authority or social construction or whatever.' That wasn't her question. She heard this story and she shook her head and said, 'Where do people find the time?' That was her question. And I just kind of snapped. And I said, 'No one who works in TV gets to ask that question. You know where the time comes from. It comes from the cognitive surplus you've been masking for 50 years.'
So how big is that surplus? So if you take Wikipedia as a kind of unit, all of Wikipedia, the whole project--every page, every edit, every talk page, every line of code, in every language that Wikipedia exists in--that represents something like the cumulation of 100 million hours of human thought. I worked this out with Martin Wattenberg at IBM; it's a back-of-the-envelope calculation, but it's the right order of magnitude, about 100 million hours of thought.
And television watching? Two hundred billion hours, in the U.S. alone, every year. Put another way, now that we have a unit, that's 2,000 Wikipedia projects a year spent watching television. Or put still another way, in the U.S., we spend 100 million hours every weekend, just watching the ads. This is a pretty big surplus. People asking, 'Where do they find the time?' when they're looking at things like Wikipedia don't understand how tiny that entire project is, as a carve-out of this asset that's finally being dragged into what Tim calls an architecture of participation.
Now, the interesting thing about a surplus like that is that society doesn't know what to do with it at first--hence the gin, hence the sitcoms. Because if people knew what to do with a surplus with reference to the existing social institutions, then it wouldn't be a surplus, would it? It's precisely when no one has any idea how to deploy something that people have to start experimenting with it, in order for the surplus to get integrated, and the course of that integration can transform society.
The early phase for taking advantage of this cognitive surplus, the phase I think we're still in, is all special cases. The physics of participation is much more like the physics of weather than it is like the physics of gravity. We know all the forces that combine to make these kinds of things work: there's an interesting community over here, there's an interesting sharing model over there, those people are collaborating on open source software. But despite knowing the inputs, we can't predict the outputs yet because there's so much complexity.
The way you explore complex ecosystems is you just try lots and lots and lots of things, and you hope that everybody who fails fails informatively so that you can at least find a skull on a pikestaff near where you're going. That's the phase we're in now.
Just to pick one example, one I'm in love with, but it's tiny. A couple of weeks one of my students at ITP forwarded me a a project started by a professor in Brazil, in Fortaleza, named Vasco Furtado. It's a Wiki Map for crime in Brazil. If there's an assault, if there's a burglary, if there's a mugging, a robbery, a rape, a murder, you can go and put a push-pin on a Google Map, and you can characterize the assault, and you start to see a map of where these crimes are occurring.
Now, this already exists as tacit information. Anybody who knows a town has some sense of, 'Don't go there. That street corner is dangerous. Don't go in this neighborhood. Be careful there after dark.' But it's something society knows without society really knowing it, which is to say there's no public source where you can take advantage of it. And the cops, if they have that information, they're certainly not sharing. In fact, one of the things Furtado says in starting the Wiki crime map was, 'This information may or may not exist some place in society, but it's actually easier for me to try to rebuild it from scratch than to try and get it from the authorities who might have it now.'
Maybe this will succeed or maybe it will fail. The normal case of social software is still failure; most of these experiments don't pan out. But the ones that do are quite incredible, and I hope that this one succeeds, obviously. But even if it doesn't, it's illustrated the point already, which is that someone working alone, with really cheap tools, has a reasonable hope of carving out enough of the cognitive surplus, enough of the desire to participate, enough of the collective goodwill of the citizens, to create a resource you couldn't have imagined existing even five years ago.
So that's the answer to the question, 'Where do they find the time?' Or, rather, that's the numerical answer. But beneath that question was another thought, this one not a question but an observation. In this same conversation with the TV producer I was talking about World of Warcraft guilds, and as I was talking, I could sort of see what she was thinking: 'Losers. Grown men sitting in their basement pretending to be elves.'
At least they're doing something.
Did you ever see that episode of Gilligan's Island where they almost get off the island and then Gilligan messes up and then they don't? I saw that one. I saw that one a lot when I was growing up. And every half-hour that I watched that was a half an hour I wasn't posting at my blog or editing Wikipedia or contributing to a mailing list. Now I had an ironclad excuse for not doing those things, which is none of those things existed then. I was forced into the channel of media the way it was because it was the only option. Now it's not, and that's the big surprise. However lousy it is to sit in your basement and pretend to be an elf, I can tell you from personal experience it's worse to sit in your basement and try to figure if Ginger or Mary Ann is cuter.
And I'm willing to raise that to a general principle. It's better to do something than to do nothing. Even lolcats, even cute pictures of kittens made even cuter with the addition of cute captions, hold out an invitation to participation. When you see a lolcat, one of the things it says to the viewer is, 'If you have some sans-serif fonts on your computer, you can play this game, too.' And that's message--I can do that, too--is a big change.
This is something that people in the media world don't understand. Media in the 20th century was run as a single race--consumption. How much can we produce? How much can you consume? Can we produce more and you'll consume more? And the answer to that question has generally been yes. But media is actually a triathlon, it 's three different events. People like to consume, but they also like to produce, and they like to share.
And what's astonished people who were committed to the structure of the previous society, prior to trying to take this surplus and do something interesting, is that they're discovering that when you offer people the opportunity to produce and to share, they'll take you up on that offer. It doesn't mean that we'll never sit around mindlessly watching Scrubs on the couch. It just means we'll do it less.
And this is the other thing about the size of the cognitive surplus we're talking about. It's so large that even a small change could have huge ramifications. Let's say that everything stays 99 percent the same, that people watch 99 percent as much television as they used to, but 1 percent of that is carved out for producing and for sharing. The Internet-connected population watches roughly a trillion hours of TV a year. That's about five times the size of the annual U.S. consumption. One per cent of that is 100 Wikipedia projects per year worth of participation.
I think that's going to be a big deal. Don't you?
Well, the TV producer did not think this was going to be a big deal; she was not digging this line of thought. And her final question to me was essentially, 'Isn't this all just a fad?' You know, sort of the flagpole-sitting of the early early 21st century? It's fun to go out and produce and share a little bit, but then people are going to eventually realize, 'This isn't as good as doing what I was doing before,' and settle down. And I made a spirited argument that no, this wasn't the case, that this was in fact a big one-time shift, more analogous to the industrial revolution than to flagpole-sitting.
I was arguing that this isn't the sort of thing society grows out of. It's the sort of thing that society grows into. But I'm not sure she believed me, in part because she didn't want to believe me, but also in part because I didn't have the right story yet. And now I do.
I was having dinner with a group of friends about a month ago, and one of them was talking about sitting with his four-year-old daughter watching a DVD. And in the middle of the movie, apropos nothing, she jumps up off the couch and runs around behind the screen. That seems like a cute moment. Maybe she's going back there to see if Dora is really back there or whatever. But that wasn't what she was doing. She started rooting around in the cables. And her dad said, 'What you doing?' And she stuck her head out from behind the screen and said, 'Looking for the mouse.'
Here's something four-year-olds know: A screen that ships without a mouse ships broken. Here's something four-year-olds know: Media that's targeted at you but doesn't include you may not be worth sitting still for. Those are things that make me believe that this is a one-way change. Because four year olds, the people who are soaking most deeply in the current environment, who won't have to go through the trauma that I have to go through of trying to unlearn a childhood spent watching Gilligan's Island, they just assume that media includes consuming, producing and sharing.
It's also become my motto, when people ask me what we're doing--and when I say 'we' I mean the larger society trying to figure out how to deploy this cognitive surplus, but I also mean we, especially, the people in this room, the people who are working hammer and tongs at figuring out the next good idea. From now on, that's what I'm going to tell them: We're looking for the mouse. We're going to look at every place that a reader or a listener or a viewer or a user has been locked out, has been served up passive or a fixed or a canned experience, and ask ourselves, 'If we carve out a little bit of the cognitive surplus and deploy it here, could we make a good thing happen?' And I'm betting the answer is yes.
Thank you very much."
Pruned: Yellow Fog: "Yellow Fog
(Less sinister, at least we think so, than Artigas' vapor is Olafur Eliasson's Yellow Fog. In this permanent installation, fog rises up the sides of the Sammlung Verbund in the center of Vienna, Austria, shrouding it from street level to the roof. Fluorescent tubes embedded in the pavement emit a yellow light, which illuminates and substantiates something that's barely visible. Obviously related: Diller + Scofidio's Blur Building. Photo by Rupert Steiner.)
Do you know the Shins song New Slang? Sure you do, it's in Garden State.
Do you like it? Hell, even if you don't you should totally check out this cover.
There, didn't that make your day?