One strand of it is people blogging about women who have influenced them and their tech/science/engineering/maths-life. So that’s what I’ll do.

This year, I want to write a little about Nancy Baym – Nancy is Professor of Communication Studies at the University of Kansas, with a special personal emphasis on “personal connections in a digital age” (the title of her excellent book) and in the changing relationship between musicians and their fans.

I’ve been reading Nancy’s ‘online fandom’ blog for years, and was drawn in immediately by her scholarly approach to looking at the subject. Almost all the people who write about the changes that the internet has brought about for musicians and music fans do so from a purely anecdotal perspective – me included (albeit somewhat aggregated anecdotes that point to a sea-change in those relationships). Nancy is doing brilliant research and presents that work all over the world at conferences in both the academic and music sectors. Her book is one of -if not THE – key text(s) on connections online.

I’ve been fortunate enough to learn from Nancy and swap ideas with her over the last couple of years. I finally met up with her at a conference in Berlin last year, and have been interviewed by her twice for different books or papers she’s writing. It’s not often that an interview teaches me more than I’m able to impart but not only does talking to Nancy make me up my game just through her not letting me get away with any folksy fluffy BS about the internet being nice for musicians – at least not without backing it up – but her questions are the best questions and her responses reveal her to have the most astute grasp of the whole area of online communication as it relates to musicians of anyone I’ve ever come across.

She’s a brilliant academic, digital ninja, ardent music fan and brilliant analyst of what happens beyond the fluffy shiny stuff of our lives onine. She also wins at Twitter – follow her at @nancybaym – she manages to be funny, sarcastic, erudite and fiercely intelligent in 140 characters. Another rare trait.

There are still a few hours of Ada Lovelace Day to go - who are your digital heroines?

We’re very lucky, in that neither of us are in jobs where we’re trapped into staying in an unaffordable house by the promise of future earnings. It seems all too common now for people caught between crash-related falling wages and pre-crash defined housing costs to end up in ‘speculative debt’ – taking out loans or putting rent on credit cards, in the hope of things picking up and them paying it all off.

One of the latest projects that Amplified are involved in is looking at this very issue – ‘Shirts4Shelter’ sees shirt maker TM Lewin teaming up with housing and homelessness charity Shelter. They are helping raise money, awareness and support for Shelter, as the charity seek to help and advise people from across society who are facing housing difficulties. It will culminate in a ‘shirt amnesty’ in London and Manchester – bring an old, sellable shirt to be donated to Shelter’s charity shops, and get a TM Lewin shirt with a hefty discount, with part of those sales also being donated to Shelter. a massive win all round, methinks.

They’ve also produced a series of videos, telling the stories of people caught in what are sadly increasingly typical stories of modern housing crisis. Here’s the first one. Please feel free to share it around, tell your story, and check out www.shirts4shelter.co.uk to find out just how TM Lewin are helping out.

want to be a part of something fun that may make life a little easier for all of us? 

I’ve been working with the genius digi-gnomes at the Imperial College Dept Of Social Computing for over a year on a music sharing app/platform. It’s been through a few revisions, and we want to give it a trial now.

If you’re up for being involved, all that would happen is you’d get to download the app, and could then upload your music. There won’t be any financial transactions in the trial version of the app (though it will be a really interesting proof of concept to see if anyone who hears you chooses to go outside of the app in order to pay you for your music!) – so there’s no money in it, but there is some potential audience, and the chance to play with something very cool before anyone else. You need to have the rights to all your music – if you’re legally allowed to put it on bandcamp, you can put it here as well.

So, if you’ve got at least one album you’re happy to upload into the system (you’ll have the option to remove it again before any properly live version of the app goes out to the general publique.) let me know and I’ll send you an invite as soon as the app’s available (in the next couple of days)

 Sound good? of course it sounds good. Call me, m’kay? 

First, there was the case of Paul Chambers, AKA the #twitterjoketrial, where one guy tweets a jokey, hyperbolic, frustrated tweet ostensibly to his friends that follow him, and has now ended up (after appeal even) with a £1000 fine and a criminal record. And has lost his job.

Then there was the case of Sarah Baskerville – @Baskers on Twitter. She’s a Civil Servant, one that clearly cares a great deal about her job and has a whole load of wonderful ideas for making the processes involved in governing the country more transparent through social technology.

However, when Quentin Letts in the Daily Mail decided – without any warning or reasoning – to write an article about her, instead of praising her well-documented forward thinking approach to the role of emergent technology in the CS, and her commitment to improving CS practices, he instead drew attention to a couple of tweets that mention her having a hangover and suggested that she should be sacked for them.

Wow. What a shitbag he is.

Fortunately, Sarah’s bosses seem to realise that this kind of groundless muck-racking is the work of a putrid mind, a festering, morality-free bullying instinct, fostered by a newspaper that neither likes the Civil Service nor understands Social Media. Indeed, one that appears to be positively threatened by both.

That the Independent followed the story not with a critique, but with an expansion on Letts’ ill-founded bullying, is both a sorry indictment on them as a paper, and a wake-up call to just how few people in our national broadcast media really have the faintest clue about social media, how it works and what it means. Thankfully, the Guardian supplied the voice of sanity.

For me and the work I do with Amplified, the implications of this are potentially huge. We work with a lot of public institutions – including the Civil Service. I have explained how social technologies can increase transparency and public engagement, to people at all levels of the Civil Service, via Amplified’s involvement at the CSLive conference last year. We were invited by the COI – a department jam-packed with people who ‘get’ social media, who are passionate about good, effective governance – to demonstrate and explain social media to attendees at the conference, and to use the conference itself to demonstrate what we were talking about. We used Audioboo, blogs, Twitter, Flickr and other places to take the conversations that would otherwise only have happened over coffee and present the wisdom of the Civil Service to anyone who wanted to hear it. We asked questions, we took questions from outside to people inside. We recorded conversations with everyone from low ranking Civil Servants worried that social media usage was in contravention of their terms of contract, through to Gus O’Donnell, head of the Civil Service, and the head of Scotland Yard’s Serious Organised Crime unit.

Beyond that, we’ve worked with the NCVO, The Arts Council, BITC, IBM, Sungard, Reuters, the Citizens Advice Bureau and others, to open up their thinking, their processes and their planning to input from their users, their employees and conference attendees through social media. There have been loads of overwhelmingly positive stories of what this has enabled for the people we’ve worked with.

So when some tech-phobic journalist with a grudge decides to stalk someone’s Twitter account in order to ‘dish the dirt’ on them completely without context or a shred of honest reflection on the stirling committed work that person does in their role, I – as you might understand – get rather angry. Not least of all because I now need to warn the people we work with that their staff social media usage policy needs to take into account the possibility that some Letts-shaped turd may well be looking for a way to make a couple of hundred quid out of taking ill-informed, unresearched and morally bankrupt pot-shots at their staff for their use of social media. Further more, the #twitterjoketrial case shows that we can’t even rely on the law to understand the conversational nature of social media usage, regardless of any broadcast ‘potential’ that may be latent in the service. Paul Chambers case is an horrific miscarriage of justice and an insane waste of police and court time, presided over by someone with no apparent working knowledge of the internet at all.

These are interesting times we’re in – they are transitional and this new and largely misunderstood technology is highly disruptive and some institutions are proving highly resistant to the kind of adaptation required to take full advantage of their wonderful democratising potential.

But we know – you know, or you wouldn’t be reading this (unless you’re just Quentin Letts doing a vanity search, in which case, you should be ashamed of yourself, but clearly aren’t, or you’d have the decency to refuse to work for the Daily Mail in the first place.) this stuff is changing everything, it’s not going away, however many draconian and ignorant ‘digital economy acts’ are passed, however many dumbass Daily Mail journalists hide behind their pamphlet of hate and fear to peddle lies about hard-working Civil Servants.

See you on Twitter…

Which in turn inspired in me a comment so long it kinda deserves its own post. So here it is, but read her post first

-o0o-

Excellent Rantage.

I feel afronted by the web-phobic ramblings for two reasons – one, just about ever good idea I’ve come across in the last 12 years has been because of the internet. There have been email discussion lists that have changed the course of my life, forums that have connected me to communities that have challenged and supported my various endeavours, found music, videos, books, thinkers, friends… all through recommendations on blogs, sites and social networks. I’ve talked people I’ve never met through potentially life-threatening stress situations, have found an audience for a load of music that has made me a living but which no record label would have a clue what to do with…

Even moreso, every paltry morsel of insight I’ve gleaned from the mainstream media has been tested, corroborated, expanded on, clarified or debunked by the internet. It’s a gloriously disintermediated world where people are actively encouraged to be remarkable because people you care about are watching. Not in a voyeuristic way at all, but as part of a deeper connection that was possible when all relationships were prisoners to geography.

Big media, and the people who glean status, work, meaning and an artificially elevated platform from it are bound to feel threatened, slighted, challenged and disabused of their power by the web. I talk on a daily basis to smarter feminists than Paglia, to better scientists than those who describe twitter as something that only those with a broken sense of self would do, to funnier comics than the TV provides, to more supportive and helpful people that I could possibly find by retreating from the web and…

…and what? What did we do before the web? We were hostages to other people’s community initiatives – be they council, church, school, sport or charitably-led. We were stuck with whatever they offered us. More interested in Kabaddi than football? tough shit, footie’s the only thing available at your local sports ground. Rather talk about contemporary fiction than classics? No dice, your library only runs a dickens appreciation society… Choice is scary, it’s also a very grown up thing, because it requires us to actively seek challenge to our entrenched worldview. But there’s the rub – social networks are far from homogenous. I consciously disagree with almost everyone I’m friends with on a social network, but my own thinking is nuanced, challenged and bettered on an hourly basis by the stream of smart, funny, empassioned information, conversation and community. Sure, there are dickheads. Just as TV has its Clarkson and Newspapers have their Littlejohn, the internet has its fair share of tedious, lying, cretinous bores. But hey, that’s life, shitheads, deal with it.

We’re here, we love it and our lives are better for it. Now, if you want some help understanding it, give us a shout, we’re happy to help.

It seems that one of the many obstructions to the balanced discussion about resourcing talent development is the semantic gulf between the

The role of narrative in providing context for art (as distinct from any narrative – or lack thereof within the art itself) can be a crucial link between the progressive practice of the artist and the need for some kind of measurable, perceivable output for the resource body.

In his book ‘The Sacredness Of Questioning Everything’, writer and thinker David Dark talks about ‘the space of the talkaboutable’, and that concept – of spaces where active, progressive exploration of the language around a subject is encouraged as a way of deepening understanding and relationships – may provide great narrative media as well as a place where the project, the participants, stake holders and the culture that the art exists within or responds to are connected and allowed to enrich one another.

Social media can provide fantastic low-friction ‘spaces of the talkaboutable’ – where democratised space (like twitter) or curated space (like a blog or forum) can be used to throw ideas, descriptors and concepts around as well as sharing ‘small media’ introductions to whatever work may be emergent.

Have a listen to the following Audioboo where Xander and I explore some of the themes that have come up across the weekend:

So one thing I thought it’d be good to chat about is funding, and experiences with funding thus far. So, as the title says, have you ever been funded?

• Ever had money from the Arts Council, the PRS, any other grant body, in order to do your art?
• Ever been on a grant funded tour?
• What was your experience?
• Ever felt like you missed out on funding due to a lack of communication about where it was available?
• Ever been helped out by the Musicians Union in finding funding?

Would be great to hear your experiences, the good the bad and the ugly, and how things could’ve been done better…

Over to you, arty types:

One of the wonders of the ‘tearable web’

So, for you bloggers, here’s a suggestion - add a Bandcamp album embed or Soundcloud widget to each post. Assuming that your blog readers are predominantly desktop readers, it’s a great way for people to discover new music while reading about a wholly unrelated subject. the player is pretty lightweight in terms of load-time, and any time soon they’ll be adding an HTML5 embed so that it’ll work on iPhone/iPad as well…

For bandcamp, all you need to do is go to the bandcamp page for any album or track, click ‘share’ and grab the embed code for your kind of blog.

You could even, if you have one album you really love, add it (via a different shaped embed – all tweakable after you’ve clicked the share button on bandcamp) to the side bar on your blog for your readers to listen to each time they come – a theme tune, if you will

It’s a great way to add interest to your blog, and become a positive link in the chain of discovery that forms this marvellous brave new world of online music.

like this:

[and if you want a list of albums that are available like this from people in some way connected with this blog, check out the bandcamp directory post and of course my own music page at http://music.stevelawson.net]

Mick Grierson is Co-Director of the Masters in Fine Art – Computational Studio Arts, BSE program in Creative Computing at Goldsmiths College in London

Goldsmiths are an ideal early partner in the Centre For Creative Collaboration as they’re already fairly focussed on interdisciplinary work, and as you’ll hear Mick explain as you listen to the Audioboo, they are already working on projects with some of the other colleges within the University Of London and with UCL

Mick highlights the need for collaborative work, given the focus on delivering measurable output for the public funding that the department is receiving, which often just doesn’t happen without collaboration.

Also, computing of the kind that Mick and his department do lends itself to modular work – where different teams can share the load and do what they’re great at.

The limitations of funding are what makes a project like the Centre For Creative Collaboration so vital in the current climate – as Mick says, the relationship between tiny-but-deeply-significant ideas and observable outcomes that the funding bodies need to see to be able to measure the value are often found when people have time and space to throw ideas around, to experiment, collaborate and see what’s possible.

The neutrality of the Centre For Creative Collaboration makes it an ideal place for that kind of idea-development to happen. The range of interested parties will allow for cross-disciplinary involvement in a way that may rarely happen if left to the departments within the various colleges to organise.

Have a listen to the whole conversation with Mick for more of his thoughts on this.

This year, I’m going to write about the power of playful tech usage. Jamillah Knowles works at the Beeb, and makes Pods And Blogs – the only podcast I listen to regularly (that in and of itself is worthy of note). She spends her time single-handedly making awesome broadcast journalism about the social web and the fun things that happen therein. She’s an advocate for it, and an incredibly sharp and savvy user of the things she write about.

Case in point: When we (Lobelia and I) announced we were having a a baby last year, we had a huge amount of support and congrats and general fluffy loveliness from our online chums. Jamillah told us she was going to write a ‘short story’ for the baby, by then already known as ‘Flapjack’ (still his online name).

She then, unbeknownst to us, set about not only writing the story, but getting in touch with people all over the world who were part of her online circle of curious lovelies to turn the story into a radio play. Many of the people who got involved did so because they know us as well as J, and so felt deeply invested in it (such was the power of us tweeting on behalf of a foetus!). Some were just friends of Jamillah’s who were compelled, no doubt, by the sure knowledge that anything she was involved in was worth being a part of.

The end result is genuinely astonishing. It obviously means more to us than anyone, given the endless references to little things from our lives, but loads of people have been enjoying the stories because, of course, instead of putting them on a CD or printing them on paper, she put them on her blog for anyone to see/share/enjoy.

Here are the links to the chapters:

• chapter 1
• chapter 2
• chapter 3
• chapter 4
• chapter 5
• chapter 6
• chapter 7
• chapter 8

read it, play it to your kids. Probably best not to Google ‘Cannibal Corpse’ though, unless you’re a fan of gore-obsessed death metal (the bassist in the band is a good friend of mine, hence it ending up as the name of flapjack’s doll side-kick…)

Lots of people do fun playful things online. Few fill a project with so much WIN, build a story, include anyone who wants to be included and does it while single-handedly running the best podcast on the BBC.

Hats off to Jamillah Knowles.