Category Technology


“Those doubting his grand visions have been proved wrong in the past. In 1981 he founded SoftBank to distribute personal-computer software in Tokyo with two part-time employees. On the first day the diminutive Mr Son stood on two apple cartons and announced to those befuddled workers that in five years the firm would have $75m in sales and be number one. They thought “this guy must be crazy”, Mr Son later told the Harvard Business Review, and quit the same day. But Mr Son’s drive and ambition saw SoftBank eventually distributing 80% of PC software in Japan.”

The impact of Masayoshi Son’s $100bn tech fund will be profound.” – The Economist

History Lessons

“A century ago cars were seized upon as a solution to the drawbacks of horses, which were clogging city streets with manure. The broader social consequences of cars, both good and bad, were entirely unforeseen. Today the danger is that AVS will be treated merely as a technological solution to the problems associated with cars and that, once again, the wider impacts will be overlooked. AVS have the potential to transform physical transport as radically as packet-switching transformed the delivery of data. But as with the internet, realising their benefits is a matter of politics as well as technology. AVS offer a chance to forge a new and better trade-off between personal mobility and social impact—but only if the lesson of the horseless carriage is applied to the era of the driverless car.”

“Who is Behind the Wheel,” The Economist, March 3, 2018

> 10bn

“There are, at a conservative estimate, 100 billion stars in our own galaxy. With an average 1.6 planets per star observed so far, we can estimate that there are more than ten billion Earth-like, rocky planets in our own galaxy alone. Statistically, this makes the discovery of a life-sustaining planet very likely. We already know that many planets orbiting distant stars might be very much like those we find in our own solar system. All we need to do now is ascertain whether or not they support life. When we do, that will radically alter the understanding of our place in the Universe.” – Kai Staats, Exoplanets will become a reality” (Wired – The World in 2018)

Inspiration: Kupio Album Preview


Philosophy I.

(Excerpts from Bad Vibes interview with Vladislav Delay)

Why do you feel a need to classify your music under different pseudonyms?  Do you categorized music under each name, during the creation, or are the ideas immediately begin life for each project?

They are my children, my projects. I couldn’t give same name for all my children (musical or otherwise). It’s personal. And then it’s very much also practical.

I play around with so many different musical styles that I think it serves the purpose to give them different names. I can appreciate people doing music that mixes everything up; one of my biggest influences is Frank Zappa to begin with. But I can’t do that myself, and rarely I like the mash up music beside the Zappa stuff. So for me the different productions are very conscious and I guess I enforce them with different names. I also assume, and partly know also from the long history of experiencing audience’s reactions, that many people like only narrow selection of music. so it makes no sense to offer everything I do under one name, it would just confuse and piss people off, at least more than it would satisfy people by surprises in each release.

I also like concepts, musically, but also giving them titles. I mean in the end there are just few, but Luomo and Vladislav Delay for example have strong conceptual ideas behind them which I’ve had for long time already. And having new ideas for each project is very exciting. there’s something like a foundation but then you move around in that space and try to create something new, I like that.

You’ve described where you live ‘as in the middle of nowhere’ – Do you feel your environment lends itself to the creation of your musical aesthetic?

I think environment plays a big role to everyone. There’s probably the most suitable surrounding for each and everyone and it’s different to each and everyone. The big thing and the challenge is for us to even begin to look for it, never mind to find it.

I noticed while living in Berlin that I’m going to be ##### if I can’t find my “place” and then spent few years trying to figure it out, and luckily had faith and power to go through that and also a partner to support me in that and of course very importantly share my views of life.  So to a point. When you have “your place” where you live and feel well it totally benefits your creations. I have seen it very clearly already.

You’ve described your relentless work ethic as a personal vision – what is your perfected musical manifesto?

I don’t believe in manifestos actually at all. I learn new things every day and change my views accordingly, and many things I felt in the past feel already ridiculous. So I try to question myself and what I do constantly. So maybe that is the manifesto if one has to be said.

But also I don’t work so much or so hard in the end. You lose the necessary “something” if you just do and do and do without a break, and you also begin to repeat yourself. So older I’m getting more I’m trying to do other stuff, my daughter also helps a lot in that…

But my musical quest is relentless still, for sure. And the musical vision I have is also quite relentless and maybe little bit unforgiving, to myself that is.  The main thing is, there’s so much possibilities to do, and not everything is easy to achieve so what can I do? I really want to do lots of things musically. Only difficult thing is that more and more it becomes very hard to make a living out of making music, especially if you don’t want to constantly tour around. And the thing is, if you tour around you end up not making any music, good music at least. There’re sadly way too many proofs out there about that for sure.


Parallels: 1984+2012

A Mind Forever Voyaging II.

Several months after I stopped writing in August 2011, I noticed my creative and thinking abilities had lessened (I label this collective “design”).  While I was still thinking of new ideas and concepts, I found they lacked the time (and “environment”) to develop.

Now that I’ve restarted this process, I am slowly regaining a sense of “flow” that I have been able to periodically achieve over the past several years.  It’s this sense of flow that ultimately drives new ideas and initiatives, both of which help pave the way for new opportunities.

The basis for building a solid design foundation is to continuously create.  In my opinion, writing, drawing, programming, building and reading are activities that  positively contribute to this “foundation” and are a method of creation in their own right.

While creation is key, it’s important to heed frog founder Hartmut Esslingen’s warning:

The way of design is only achievable via creative model-making and prototyping by the designer. Tools, both real and virtual, connect our mind with the real world. However, tools also define how we shape things: tools’ limitations enhance our deep involvement with them and the materials, and honing our skills ultimately leads to mastership. The curse of “easy” digital tools is to become complacent after relative early “successes.” This can lead to mediocrity and a loss of creative excellence. Like the new “polystyrene slates” of many new electronic products, where excellence is defined by how well the corners are shaped (a re-run of 1950‘s boxy design), our modern-day digital design software is the cause for zillions of repetitive and bland products. Charlie Chaplin’s classic film of mechanized dehumanization, Modern Times, is a déjà vu of our current state.

While his opinion is perhaps based in the industrial design arena (frog helped develop Apple’s foundation design language), his comments clearly apply to design disciplines outside of ID.

This is one tension of many that I will need to factor into my development strategy, and will be further explored in future posts.

Early Concept: “T2”