Making Meaning

It’s been a busy week, but I wanted to get back on the blogging horse before I fell too far behind. Too much thinking, not enough capturing ideas in a more coherent and permanent form.

I spent one day last week at Garage Technology VenturesArt of the Start. I had the presence of mind to record the whole thing on my laptop, but the quality is pretty horrible, so I’ll be making transcripts available over the next week or so (the first session transcript is available here). Guy Kawasaki had some interesting things to say, most notably his comments on the need for entrepreneurs to focus on “making meaning” in their endeavours.

I’ve been thinking a lot about “making meaning” over the past couple of months. At its core, making meaning is about improving the world – for me, this had meant trying to figure out how to take my software skills and apply them to real problems (by which I mean “problems that matter”). The question in my mind has been: is it possible to make meaningful change through software?

In my mind, I have associated “real world problems” with environmental problems – the kind of problems that require engineering residing in the world of the physical. In this definition, the path to meaningful change through software is unclear. Software is so intangible – how can a bunch of 0’s and 1’s save us from ourselves? Isn’t software mostly being dedicated to solving ‘artificial’ problems, problems originally created by someone else’s software?

But the more I think about it, the more I’ve come to realize that software has the potential to play a much bigger role – even though the domain of its influence does not often intersect with the real, physical world – at least not directly. However, by applying the pressure in the right places, software can bring about social change that affects the real, physical world.

To illustrate how, consider the recent revolution in the world of music.

Since the advent of the compact disc, we’ve been distributing music in the most circuitous fashion: translating analog signals into digital bits, only to press those bits into plastic discs that need to be packaged and transported. Seems a bit ludicrous, transforming clean (arguably environmental) digital bits into a physical form that requires additional energy to package and transport. But at the time, the lack of bandwidth made it justifiable – but no more. Cheap computers and peer-to-peer networking software has wrought tremendous change on the industry in a short period of time by exposing the inefficiencies in the current system and routing around the brain damage of an industry in decline.

But the battle isn’t yet over – software is currently locked in an epic battle, trying to match innovation against legal attacks mounted by a music industry unwilling to redefine itself. In the wake of this battle, some truly absurd “solutions” have resulted. Consider the mass of companies offering file ripping services – requiring you to ship your CDs (more transportation and energy costs) to them, so that they can validate that you own the music you want them to rip and place on a DVD or hard drive for transfer to an iPod. That is truly messed up.

The key to winning this battle is to continue to write software that outmaneuveurs the legal attacks – whether its software to continue to destabilize anachronistic media industries by enabling or hiding content distribution, or to provide new models for empowering content creators (I’d argue that the Creative Commons license counts as software, albeit legal software). The key will be to continue to prove the futility of perpetuating the current model, and its indirect fallout in the real world (manufacturing and transportation environmental impacts, for example).

Maybe software can change the “real” world. It’s just a matter of finding the right pressure points. Oh, and figuring out how to make a buck at it while you’re at it.

American Idol

There’s nothing like seeing the discovery of a new musical talent. Nothing. Unless you include watching the aforementioned new musical talent attempt to invent new notes in the audition while miming Britney Spears dance moves in a valiant attempt to achieve liftoff. Such was the scene set on American Idol last night and tonight.

While the bluntness of Simon Cowell, the most forthright and outspoken of the three judges always makes for good entertainment, I sensed political purpose in the discussions between the judges. In several cases, the judges appeared to be more engaged in debate over the state of the music industry than in evaluating the participants’ performances. Could there be trouble in music producers’ paradise?

At one extreme, Simon cut down participants with vitriolic panache for their lack of “the look” of an American Idol, pointing out that vocal talent alone did not a star make. At the other extreme, Randy Jackson stood true in his belief that the ability to sing was all it took. Paula Abdul was left to act as referee and remind both Simon and Randy to make a decision regarding the soon to be broken dreams of yet another victim, er, rising star.

The debates raise the question: are the cracks finally showing in the music industry’s facade of invincibility? Up to this point, the fight over the future in music has raged between those of us on the outside and the music industries. But now, with the impending departure of Hilary Rosen from the RIAA, the explosion in decentralized file-sharing networks, cheap and accessible professional sound recording capabilities in every teenager’s bedroom, it was only a matter of time.

Now, viewing the disagreements of Simon and Randy, both major insiders in the music industry, over where the future of music lies, can the end be near for the major labels? It appears it might be.