MTF Labs Podcast

Andrew Dubber

MTF Labs is a growing global community of over 8000 brilliant innovators established and developed over a decade. These innovators come from a wide range of backgrounds, disciplines and skill sets. Many are academics – doctoral, postdoctoral and professorial; others are professional artists and musicians; some are industry experts, and many are scientists. MTF includes producers, curators, media professionals, policymakers and more. They come together from fields as diverse as medicine, agriculture, oceanography, theoretical physics, automotive, aviation, policy, product design, social sciences, robotics and AI, music composition and performance, arts management, cryptography, business incubation, traditional and Indigenous crafts, neuroscience, ecology and economics – and they pool their expertise in collaborations that could happen in no other context. Hosted on Acast. See acast.com/privacy for more information.

  1. 06/27/2021

    118. Robertina Šebjanič – Aquatocene

    Robertina Šebjanič - Aquatoceneby MTF Labs | MTF Podcast https://musictechfest.s3.eu-west-3.amazonaws.com/podcast/118-robertina-sebjanic.mp3 Robertina Šebjanič is an internationally awarded artist, whose work revolves around the biological, chemical, political and cultural realities of aquatic environments, and explores humankind’s impact on other species and on the rights of non-human entities.    Based in Ljubljana, her research into the sound worlds and everyday realities of aquatic environments serves as a starting point to investigate and tackle the philosophical questions on the intersection of art, technology and science, and the role of humans not only in damaging the environment but also potentially helping to repair it.    Robertina Šebjanič @roiiroiiro on Twitter Download episode ← Previous episode TranscriptDubber      Hi, I’m Andrew Dubber. I’m Director of MTF Labs, and this is the MTF Podcast. You’ll be familiar by now that one of the main interests that brings this amazing global MTF community together is the intersection of science and art. But it’s not just that it’s cool or interesting to bridge those worlds in new ways, although, of course, it is that too. It’s also becoming central to our understanding of how the grand challenges of our world – not the least of which involves our stewardship of the earth, its ecosystems, and diverse species – can be urgently addressed. With that in mind, over the course of this podcast we’ve explored the built environment, new ways of mapping the world, new ways of understanding biological lifeforms, and new knowledge through the perspective gained with the view from space, but perhaps one of the richest seams of seldom explored potential for the kinds of new knowledge we need to ensure our ongoing existence is to be found in something that there is more of than pretty much anything else in this world: ocean. And someone who doesn’t just bridge but blends oceanic science and art is MTFer Robertina Šebjanič. Robertina is an internationally awarded artist whose work revolves around the biological, chemical, political, and cultural realities of aquatic environments and explores humankind’s impact on other species and on the rights of non-human entities. Dubber      Robertina, it’s really great to have you on the MTF Podcast. Of course, you were involved in MTF Aveiro in Portugal last year, but I remember we first met at MTF Central in Ljubljana back in 2015. Do you want to start by telling us a little about how you connected with MTF in the first place? Robertina  It’s true. It’s quite some while ago that we met and all this started to happen. So I was at that time working on a performance together with a colleague. It’s an audiovisual performance together with colleague Aleš Hieng Zergon, and we had been doing different experimental stages, I would say, with ferrofluidic structures, which we went into showing the micro and macro situations real-time with the sonic interpretation of it also. And, actually, Miha Ciglar organised IRZU Festival at that time, also in Ljubljana. And he was the one who connected with Michela and with you and with the Music Tech Festival and with organising the Music Tech Lab also in Ljubljana, and he invited me and Aleš to encourage us to be part of it, and he was very happy to introduce us also to Michela Magas and you. This was how we started to meet. And then when you spend time together physically at the event, when you exchange a lot of thoughts… Especially with Michela. We had quite nice conversation flow. And then since then, I’m following what is happening, and I think it’s great to have this kind of base hub to follow how the communities are developing also. Dubber      Because IRZU was a long-running Slovenian sound art festival. Had you done a lot with Miha at that before? Robertina  Yeah. With IRZU, I was collaborating with different hats, I would say, because I was also for some while in the beginning of 2010/2012 and so on working in the media lab in Ljubljana as a producer. So with Miha, we organised together events also many times. So it wasn’t only me as an artist, but also me as an active member of the bigger organisation structures, also sometimes collaborating with Miha inside of that. And it was great because his festival… Was that it was very boutique. It was small, but it was very interesting. The people he managed to bring to Slovenia also. And I have to say, at that time, I didn’t travel yet so much. For me, it was great opportunity to really get to know different branches of experimental improvisation and sound art in general, so it was really good platform to be involved with. Dubber      And you say sound art. You’re an artist and you’re a researcher, but it’s mostly underwater related things, isn’t it? It’s sound from beneath the sea. It’s sound from aquatic animals. Why? Why is that interesting? Robertina  It started very organically. 2012, when I stopped working as a producer and started to be much more involved as an artist, an independent working in different projects, I was invited to take part in Triennial of Contemporary Art in Turkey in Izmir, and there… Actually, they invited me specific with the idea of combining the knowledge of the local scientists and local artists. So I was in the same way working as a mediator between these two different communities. And at the same time, I was also developing some conceptual frame for a new research which I was… Looking into it, and then spending lots of time in the Izmir Bay at the marine station there. And first, it was more on the shores, and then also sometimes with boats and so on. I started to be more interested what is happening. And sound-wise, I have to say that first time I put the hydrophone into the water, it was… Getting just immersed into something which I didn’t heard before, and this effect is still, even though I work on this now since several years, it’s still very, very engaging and it’s very interesting because it’s the sound of something which we don’t hear on the daily basis. It’s quite foreign. It’s sometimes quite hard to understand what it is, which animal it is. It’s full of different kinds of structures. And also physicality of the sound by itself in the water, it’s like having absolutely different shape, if I call it like that, because it travels wider, it’s stronger, it’s… Dubber      It’s a very different medium, isn’t it? Robertina  Yes. Dubber      I’ve got a couple of hydrophones myself. Hydrophones – if you haven’t come across the term, if you’re listening – it’s basically a microphone that you can stick in the water. But one of the things that you notice the first time you use a hydrophone is when you record sound underwater, mostly what you hear is people. You hear motors. You hear boats. You hear those sorts of… How big a problem is that? Is that having a particular effect, or should I just try and block that out? Robertina  That’s a very good question because, actually, this is something which I came across in the beginnings a lot. I was trying to block out all the human imprint. And then after some while, I realised more than I will try to delete and clean that sound from the boats and ships and everything else what is around, I realised that then I would be just showing half of the soundscape, which is us being there and our presence. The noisy presence is something which I really started to point out on the end of the day. And then from this, I’ve started to develop body of work of the sound artwork which is called ‘Aquatocene’ where I’m mixing together bioacoustics and the sounds of all these different sounds and songs from fish and shrimps and everything which is… All the creatures of the sea, I would say, and then also us humans, from the boats and similar. And it happens many times that I go out on field trip to record and most what I get is us humans with different technological imprints being there. Dubber      Is aquatocene your word, or is there a literature of that? Robertina  Aquatocene is actually my word. I was playing around with the Anthropocene defining how the human is actually imprinting everything. And in my conceptual frame about my work, I started to develop also… I call it aquaformations. It’s the way how we are changing the water from inside out. Then in this kind of play of words… Dubber      You mean like terraforming but underwater? Robertina  Yes, exactly. Dubber      Okay. I’m with you. Robertina  This is happening a lot, and this is something I think in next few years, the topic will be much stronger because I see already the pace… I remember, when I started to work on this in 2012 and when I started to do compositions in 2016 and so on, there was not such a big interest into this. People have been always asking me “Why this? It sounds very esoteric.”, or there had been different ideas because if you don’t know it, we apply something to it and not always say something, but it’s actually there. I was quite persistent with this because I really wanted to bring this out. And in my work, I try to invite also scientists, which they’re working on daily basis with this, to also give them the platform which we artists have and share it with them because I think it’s very important to have this mergence of different knowledge coming together. Dubber      Sure. But you are an artist in a very scientific domain. To what extent are you a scientist? Robertina  Well, I always joke with scientists that I’m scientist until they let me go. No, but it’s a tricky question because, yes, I’m actually trained as an artist. I finished sculpturing. But since ten years, I’m working very in-depth and very interested into marine… I’m specifically interested into marine science. So, of

    50 min
  2. 05/30/2021

    117. Caspar Melville – It’s A London Thing

    Caspar Melville - It's A London Thingby MTF Labs | MTF Podcast https://musictechfest.s3.eu-west-3.amazonaws.com/podcast/117-caspar-melville.mp3 Dr Caspar Melville is a Senior Lecturer in Global Creative & Cultural Industries at SOAS. He's an educator, journalist, editor and author of the book It's A London Thing: How rare groove, acid house and jungle remapped the city.   Caspar believes that dance culture has been ignored in academic treatment of history and cultural theory and that it should be thought of as a powerful and internationally significant form of popular art. His work bridges decades and genres of dance music but ties them together into a single narrative of Black musical scenes of the city, from ska, reggae and soul in the 1970s, to rare groove and rave in the 1980s and jungle and its offshoots in the 1990s, and on to dubstep and grime.   @casparmelville on Twitter It's A London Thing Download episode ← Previous episodeNext episode → TranscriptDubber      Hi, I’m Andrew Dubber. I’m Director of MTF Labs, and this is the MTF Podcast. Now, some years ago, I was a professor in a media and cultural studies department at a UK university, teaching, among other things, on a music industries degree course. And when that’s your focus, you tend to cross paths with other professors in media and cultural studies departments at UK universities who teach, among other things, on music industries degree courses. It’s not an enormous subset of the academic world. And so as a result of this selective professional socialising and collaboration, I know and work with Caspar Melville. Caspar’s a senior lecturer in Global Creative and Cultural Studies at SOAS, which we’ll talk about and unpack, but what I really want to discuss with him is his recent book, ‘It's a London Thing: How Rare Groove, Acid House and Jungle Remapped the City’. Dubber      So, Caspar Melville, thank you so much for joining us for the MTF Podcast today. So you are, as I mentioned, a senior lecturer at SOAS. Let’s start with that. What’s SOAS? Caspar       Well, SOAS is a part of the University of London. The acronym SOAS stands for School of Oriental and African Studies. Now, we call ourselves SOAS now because we’re all very uncomfortable with the term oriental. And, of course, there’s an inbuilt discomfort with the whole thing about SOAS because SOAS, which originates in the early twentieth century, was a school for training civil servants of the empire, or sometimes known as a school for spies. It was the place where the British government sent their civil servants to learn local languages of the places that they were going to go out and administer in Africa and in the Far East and the Near East and Malaya and Singapore. Places like that. So that’s the history of the institution. It has been affiliated with the University of London for I’m not quite sure how long, and now it’s a university. It’s in Bloomsbury, right near the UCL and the Institute of Education, which has actually been absorbed into UCL now. So it’s in the university intellectual part of London, around Russell Square, Bloomsbury area. Dubber      Right. But you’re not teaching spies how to speak Mandarin. Caspar       I don’t think I am, no. I’m in the School of Arts. I’m a slightly square peg in a round hole in the sense that the School of Arts at SOAS… It wasn’t originally an arts and humanities based institution. So the core of it, after it had been training imperial civil servants, was politics, development. Those kinds of questions. Specialists in water. Languages, very important. Out of this developed an art stream. So people who were particularly… They were ‘Africanists’ – African specialists, but they had a particular interest in music. There were people in Korean studies, in what they call area studies. This is not a discipline, but you study a particular area. They banded together and they set up a music department, and then there was a history of art department. Similarly, local area expertise. China, Korea, Africa. Usually older forms. Traditions, you might call it. And this banded together in the School of Arts, which was formed maybe ten years ago. I’ve been at SOAS for about eight years, and I came in to teach something called Creative and Cultural Industries. So this was SOAS recognising that while the ethnomusicology and the history of art were really important, there was a missing link, partly to do with media and cultural studies and partly to do with recognising that all of this is caught up within a set of industrial systems and processes. Obviously, the internet and the digitisation of culture which came in the 2010s was happening all around, and there was a sense that they wanted to recognise that. So they brought me in – it was partly under pressure, I think – to think more about careers. As you know, having been an academic, this idea of “Well, what am I going to do when I finish my course? What job does it lead to?” is quite a big component of the academic market, and they wanted to answer that question a little bit more straightforwardly by suggesting that the kind of course that I teach, which is actually called Global Creative and Cultural Industries, is for postgraduate students, many of whom are already working somewhere in the arts – maybe in arts management, in arts policy, or they are a musician or an artist of some kind – and they want to think about how they can build a career, and that’s part of the kind of thing that I teach. And there’s certain skills components. So I teach a class in podcasting. I do a work internship programme which allows students either to go and work for a short period of time, do a placement somewhere, or develop their own entrepreneurial project – a website, an event, record an album – and think reflectively about themselves as a cultural worker. So it’s that kind of element. I’m part of something now called the Centre for Creative Industries, Media and Screen Studies, which is a slightly expanded unit. I work with a professor who is a professor of film studies, but who has similarly moved from thinking about film only as an aesthetic object – she’s an African film expert – to thinking about film as part of a global information market. How is it distributed? How does it get made? How can you make a living doing it? Can you make a living doing it? All of these kinds of questions. So that’s where I sit, rather… I quite like being uncomfortable. Having been trained in cultural studies, it’s built in that you’re always going to be somewhat not fully within one discipline. You’re going to work in an interdisciplinary way, which is both exciting but can also feel somewhat unanchored. Dubber      Yeah. There’s always a long answer to “What is it that you do?”, I find… Caspar       Well, it’s like “The long or the short one? I’m not sure. Probably the long one.”. Dubber      Well, yeah. It’s not a one-word job description like lawyer or a doctor, is it? Caspar       No. Or a sociologist or a… Hence these incredibly long titles for these classes and a lot of students writing in saying “That sounds really interesting. Can you explain what it actually is? What will I be? What will be on my certificate when I come out of here?”. And these are all slightly difficult to answer questions, which I think indicate a big change in the university sector but also in the job sector, which is there is no one job you’re going to go and get. Dubber      Exactly. Caspar       It’s not about applying for one job. It’s really, as you know very well, given the nature of your career – what do they call it? Portfolio, career – with precarity somewhere in the background but also with the freedom to follow your interests. Dubber      Yeah. I think it’s actually more foreground, generally speaking. Caspar       Well, yeah. Dubber      But the entrepreneurial aspect of this is interesting because I used to say to my students “Anybody who aspires to a job in the music industry lacks ambition.”. It’s one of those things where most people who do these sorts of courses, they go out and start things for themselves. They don’t tend to end up in the mailroom sending out CDs to newspapers. They start projects that are important to them. Like you say, they record albums. They start podcasts. They build websites. They make things that are very self-starting. To what extent is that sustainable, do you think? Caspar       Oh, well, to go alongside your advice about “You’re lacking ambition if you just want to work in the music industry.”, I tend to fall back on telling my story. And I wanted to encourage students who realise that this is not the first time in history where it’s been difficult to get a job coming out of university. I’m a child of the eighties. Margaret Thatcher, what she did to Britain… There were no jobs in the early eighties when I was coming out of school. But also, similarly, we didn’t aspire to have jobs. There was a very strong sense that you could go and make your own culture. Obviously, I was surrounded by club culture, which was a paradigm of the idea of young people doing things for themselves, managing to make a living. Is it sustainable? What I say to the students and what I actually believe is that you need to be realistic about your desire to make money doing exactly what you want and balance that with… I know these days they call it a side hustle or something like that, but I waited tables for fifteen years while I was a music journalist. I never made money as a music journalist or a radio DJ or even a club DJ. Not proper money, enough to pay the rent, so I waited tables. I worked as a barman. Not only do I think that’s a wise thing to do, is to have a job which pays you like that,

    1h 24m
  3. 05/25/2021

    116. Sofia Crespo – Artificial Life

    Sofia Crespo - Artificial Lifeby MTF Labs | MTF Podcast https://musictechfest.s3.eu-west-3.amazonaws.com/podcast/116-sofia-crespo.mp3 Sofia Crespo is a Berlin-based visual artist who uses artificial intelligence to create speculative living organisms that exist in the gap between real biological species and our perception and understanding of what ‘life' is.   Her work is collaborative and connects with scientists, other visual artists, AI experts, musicians and sound designers. She is interested not just in how technologies can create biological forms, but also how organic life can create and use technologies.   @soficrespo91 on Twitter sofiacrespo.com Download episode ← Previous episodeNext episode → TranscriptDubber      Hi, I’m Andrew Dubber. I’m Director of MTF Labs, and this is the MTF Podcast. Now, if you find yourself on Instagram and you’re looking for something other than the children, pets, and meals of friends and family, the privileged lives of the famous, the heavily filtered images of people who are good at wearing clothes, or – if you’re like me – vintage hi-fi gear, then you might find yourself looking at generative visual art. And as you scroll through the abstract designs, hypnotic pulses, and seizure-inducing strobes, you might see something that looks almost, but not quite, like a cross-breed between a penguin and a fluorescent blue slug, or an anatomically unlikely cicada, a fractal parrot, a melty squid, or a patchwork butterfly. If so, then chances are you’ve found the art of Berlin-based AI artist Sofia Crespo. With the help of machine intelligence, Sofia creates artificial life. She joined us to do that at MTF Aveiro in Portugal last year, and she’s started collaborations with other MTFers, not so much to play god, but – to mangle the theology of the metaphor – maybe to act as one of his elves in the living organism toy workshop. Okay, this all breaks down a little bit, but you get the idea. She uses thinking computers to make what you might call speculative creatures, and then she brings them to life. Dubber      Sofia Crespo, thanks so much for joining us for the MTF Podcast. I was going to say “How are you doing?”, but you’re not doing very well. Sofia          Yeah, I’m not. I’m a bit ill right now, but, nevertheless, thank you so much for having me here. Dubber      You’re welcome. And you’re a hospital escapee. Sofia          Yeah. Dubber      You have to tell that story. Sofia          I left the hospital yesterday. I got very anxious after being there for eight hours, waiting, and alone in a room in isolation. I feel terrible for their hospital staff, though. And the police came looking for me, and it was a first. First time running away from hospital for me. Dubber      It’s good that you can laugh about it and that, I know you say you’re unwell, but you tested negative for COVID. You have a bit of a fever, but you’re not bleeding to death or anything like that. Sofia          No, but I’m worried that I might have tuberculosis. Dubber      Oh, really? Oh my god. Sofia          Yeah. So that’s something that is also a first. I have all the symptoms, but I haven’t been tested for it. Dubber      Wow. And that’s why they were quite keen for you to stay in the hospital. Sofia          Yeah. Well, mainly because of COVID because they were worried that I have COVID. But I was in the ER station, so they don’t do TB tests there. They were just worried about something very acute. But, yeah, it’s strange. The only things I know about tuberculosis are that it’s a very old disease that used to kill a lot of people back in the day before there was a cure. Dubber      Sure, yeah. The only thing I know about it is that you’re meant to take it seriously. You seem fine, but I’m not a doctor. Sofia          Yeah. That’s why I went to the ER in the first place. But it’s a strange time to have that because obviously COVID is the main priority right now as a health emergency. Dubber      Wow. Well, I really hope you’re okay. It puts a slightly different slant on the whole interview. Sofia          Oh my god. Dubber      But let’s assume you’re okay and start with what you do is you make artificial life. Sofia          I do. Dubber      Which is to say you’re an artist that uses AI to create living creatures. What does that mean? What does that look like? Sofia          Yeah. Well, in a way, it depends. There are many things to unpack, like how do we perceive life, what do we see as life, and where does life even begin for us? So what I do is just things that simulate, on a very high level, so to say, what life looks like to us when digitised. So I’m exploring that threshold of where human perception sees something that looks alive and how all those patterns are recognised by our brains. So that’s the bit that I’m really interested in. And when we look at an image, for example, how can we tell “Okay. This looks like this image contains life or a lifeform or something that looks like what I know could be alive in the natural world.”. And there’s a threshold between knowing what that thing is and not knowing, not being able to match it to something specific, and I love that place. An uncanny or visual indeterminacy. Dubber      Wow. When I went to high school, which was a very long time ago, there were these things that we were told about how you know if something has life, and it was like “It moves. It responds. It breathes, for the most part.”, but you could say that looking at a cartoon of an imaginary creature. Somebody could just draw something and over several frames make it appear to do those things. What’s different about what you do? Sofia          So I don’t draw things by hand. I’m terrible at drawing. So I use an algorithm – or several algorithms, not a single one – to be assisted. A generative workflow. I’m really interested in the automation of processes. So how, as artists, we don’t need to anymore do something by hand, but we can code or create an algorithm or reuse an algorithm that somebody else created and use it to automate a process such as creating a pattern. So what I can do is create a data set instead of creating the image or painting the image. I make a data set of hundreds or sometimes thousands or sometimes even hundreds of thousands of images, and then I train a machine learning model based on that. And then I can tell to that model “Okay. Now generate a one-hour video.”, or a thirty-second video or ten-hour video. Dubber      So when you say you start with a hundred thousand images, these are images of a particular creature type, or… Sofia          Yeah. Dubber      So, for example… Sofia          So, for example, recently I trained two models. One on caterpillars and another one on butterflies. And I wanted to create that transition between caterpillars and butterflies to visually explore that transition of how a caterpillar gets its whole body reassembled inside of this cocoon, and then everything liquefies to become a butterfly and be able to fly and live a completely different stage of their life. So for that, I made two data sets, and I trained two models, and then I made them connect to each other to transition from one to another in the closest visual reference that they have. So, yeah, that’s one example of what I… Dubber      Sure. I’m really interested, is it the biological life that you’re interested in or is it the intellectual life of the machine when it processes those things and comes up with its own version? Sofia          So I’m interested in both things, actually. From the algorithmic perspective, I’m interested in how we developed neural networks based on neuroscientific research, inspired by neuroscientific research, and the idea that neurons are interconnected, and the whole point is that they build a network to transfer information from one to another and that there’s a larger emergence that happens from that interconnectivity between each single neuron. So from that perspective, I find it fascinating that we managed to extract a model of an algorithm and that we can use it now for computer science and artistic applications. So that’s one thing. But then on the other hand, I’m really interested as well in biology and to learn about nature, and also biology as a human study. How we created biology – biology is a human-created thing – to understand and organise, make sense of the natural world. So I also think that’s a fascinating thing to learn about. Dubber      For sure. So your interest is in both the computer-generated life idea but also the exploration of biology also for your own interest. What is it you think that people who look at your images and look at your videos should get out of it? Are you trying to communicate something to them? Is there something that people say that they get out of it? Are you not interested in that? Sofia          Yeah. To some extent, what I want to communicate is intuitive. So part of it, I say “Okay, this is what I want to talk about. I want to open a dialogue about this.”, and sometimes I just do something and I don’t really know why, but it feels right to do that. And I love having a dialogue with people when they see the work. I think that an artwork is not just made of one part. The creator doing it. It’s made of two parts. The person observing it. And that’s why I think it’s so important to see art as a human thing. We consume art, and art is made for us to consume. We don’t make art for an algorithm to consume, at least yet. Dubber      Or another species, for that matter. Sofia          Exactly, yes. Or another species.

    40 min
  4. 05/03/2021

    115. Gary Pisano – Creative Construction

    Gary Pisano - Creative Constructionby MTF Labs | MTF Podcast https://musictechfest.s3.eu-west-3.amazonaws.com/podcast/115-gary-pisano.mp3 Gary Pisano is a Professor at Harvard Business School. He's an author, lecturer, researcher and innovation and strategy consultant to many of the world's largest corporations. His book Creative Construction focuses on how large organisations can create a culture that will allow them to innovate so that they can grow and thrive.   He has strong roots in the biotech sector, but works across industries as diverse as automotive and fashion, restaurants and specialist chemicals. He's been a director of both public and private companies and currently serves on the boards of Axcella Health and Celixir.   @motogp61 on Twitter gpisano.com Download episode ← Previous episodeNext episode → TranscriptDubber      Hi, I’m Andrew Dubber. I’m Director of MTF Labs, and this is the MTF Podcast. So I want to just get straight down to business. And since we’re interested in bringing together the brightest minds in any field, if it’s business we want to get down to, who better than a Harvard Business School professor to guide us? Gary Pisano is, among other things, a researcher, author, and educator. He’s a consultant to a whole lot of the world’s largest corporations, and he’s an expert in industry innovation, strategy, enterprise growth, and international competitiveness. He’s got a particular interest in the biotech industry, but his work spans across fields as diverse as aerospace, automotive, fashion, electronics, entertainment, finance, healthcare, manufacturing, restaurants, semiconductors, software, the chemical industry, and web platforms. His most recent book is called ‘Creative Construction: The DNA of Sustained Innovation’, and it shows how large organisations can develop the kinds of strategies, systems, and cultures of innovation needed to allow for the sort of innovation that we need in order to solve grand challenges, deal with a changing world, and grow. Dubber      Professor Gary Pisano, thanks so much for joining us for the MTF Podcast. How are you doing? Gary           I’m doing terrific, Andrew. Thanks for having me here. Dubber      Fantastic. You’re the Harry E. Figgie Professor of Business Administration at Harvard Business School. The first question, who is Harry E. Figgie? Gary           He was an industrialist. Started a fairly large company. I don’t know exactly when. It was probably the fifties or so, or forties. Rose to quite a bit of prominence and then endowed a chair at Harvard University, I think because it was interested in manufacturing. And the department I’m in is actually Technology and Operations Management, where we spend a chunk of our time doing manufacturing, and that’s also been a chunk of my research as well. Dubber      Sure. Operations management being? Gary           Operations management being a very broad area of inquiry. Everything from supply chains to manufacturing. There’s technical aspects of scheduling. I’m trained as an economist. My work has always spanned two areas: manufacturing and innovation. I trained as an economist in economics of R&D, economics of innovation. But when I joined Harvard back in 1988, it was actually the then called Production and Operations Management Unit which actually had some people doing innovation. So I joined that unit, but I had to teach about production, so I learned a lot about manufacturing real fast. Dubber      And this is not specific to any one particular industry. It’s a broad church. Gary           Yeah, absolutely. Dubber      Fantastic. Gary           Yeah, we’ve got folks working in everything. Dubber      Yeah, for sure. I used to have two books on the shelf in my office when I was a professor. One was called ‘Everything They Teach You at Harvard Business School’, and the other one was called ‘What They Don't Teach You at Harvard Business School’. And my joke was “That’s the sum total of human knowledge right there.”. What do they teach you at Harvard Business School? Gary           Oh, wow. Well, it depends how you think about it. Let me tell you how I think about it. Yes, you do learn some stuff about business. You learn about capital asset pricing models, and you learn about some technical things on supply chains or marketing and branding. You learn some substantive things, of course. But if you think of how you could read all of those things in a book, you can get all that. So I think the way we’ve always thought about it at Harvard Business School, certainly the way I think about it, is we teach you a way to think about problems. So it’s a problem-solving mentality and a problem-solving approach. I think that’s what we do very well. And then I think what we do at our best is we teach people how to learn from their experience. So if you’re thinking about case-based methodology, you’re confronted with a case, and what you’re really learning is how to approach a problem but also how to understand what you don’t understand. And each time you do a case, it’s like an experience, and then you build upon that. Now, I say to our students that in the first week of their jobs after Harvard Business School, they’re going to have a hundred real-life cases, and what’s going to determine how well they do in their career is not how well they… Partly how well they solve those cases, those real-life cases in their real-life jobs, but how well they learn from those. Where are you on case number one hundred after the first week? And I think we teach… It’s really an approach to learning. An approach to reasoning. Dubber      I guess how well they do is also affected by the fact that they’re building an incredibly powerful network by being at Harvard Business School. Gary           I think so. People say that. Nobody’s ever researched that. You do have a network, but folk don’t do folk favours who aren’t good. So this idea that it’s all the network… If you’re not very good, I don’t think the other people are going to do you many favours, and certainly… It would be an interesting question for somebody to do research on. I’d have to think about how you’d do it. I do think people get to know each other, so they obviously… They reach out to classmates, and so that helps. So you’re in the radar screen of people, so if you are good, there’s other people who know you’re good. But I think what ends up happening is these networks grow very big over time through your work, and you’re exposed to lots of other people. So maybe the power of the network that matters is not the one you got from Harvard Business School or from your university, but through the other things you’re involved with. The companies you’re involved with, the industries you’re involved in, etc. It would be interesting to study that question in more detail. Certainly, it probably can’t hurt. But if it was just the network then it would be disappointing because then you could just have people come to Harvard Business School for two years and party for two years, and then they know each other, and they’d move on. That would be a very hard experiment to run and probably unethical as well, but… Dubber      I think it’s pretty much how British politics works. But I’m interested how somebody ends up being a Harvard Business School professor. Were you a lemonade stand kid? Were you this entrepreneurial type? Gary           Yeah, it’s a great question. Was I interested in business? My father was a salesperson. He was a salesman. He worked for a company called Black & Decker. Machine tools. And I used to, as a kid, go around with him. Sometimes he would take me with him on sales calls. But did I aspire to be a business school professor and go into business? No. When I was in high school, I wanted to be a lawyer. In fact, I wanted to be a criminal lawyer, funny enough. I used to love reading books by criminal lawyers. I don’t know why, because now it just seems so alien. As an undergrad, when I went to Yale, I thought I’d want to be a lawyer, and then I realised everybody else wanted to be a lawyer. I thought “That doesn’t sound like a lot of fun.”. There was this part of my brain that said “If everybody wants to do something, that’s too competitive. Maybe…”. So then I fished around for what else I wanted to do. And then what I really loved was architecture, so I thought “I want to be an architect.”. I took some great courses in art and architecture, but I’m not very good at drawing, so I got worried about doing that. And then I wasn’t particularly interested in economics, funny enough, but I stumbled into a professor who was studying the economics of innovation as my undergraduate advisor. That was purely by accident. And I certainly got very interested intellectually in technology and how it evolves, and the impact of economics on trade and economic performance. This was in the seventies when the US was struggling. There was a lot going on with Japanese competition. I actually spent almost a year in Britain studying this at the University of Sussex, down in a place called Science Policy Research Unit, which I think at one time was probably the best place in the world for this type of research. I was just very lucky that I became research assistant there. And then I was really excited about this, so I went to graduate school to study this, but I still didn’t think I’d be a professor. I thought I’d study it and then go do something else. But then my thesis work turned out to be pretty good, so I got a few good job offers, including one at Harvard. So I said “Well, let me go to Harvard, and I figure after a few years they’ll kick me out. If they cancel the tenure sy

    55 min
  5. 04/25/2021

    114. Anna Grichting – Urbanism and Jazz

    Anna Grichting - Urbanism and Jazzby MTF Labs | MTF Podcast https://musictechfest.s3.eu-west-3.amazonaws.com/podcast/114-anna-grichting.mp3 Dr Anna Grichting is a Swiss architect, urbanist and musician who’s spent her career using arts and design to create a more beautiful, biodiverse and sustainable world, through co-creative, interdisciplinary and holistic approaches to design projects – especially at the city level.   She's also an accomplished jazz singer and recording artist who has worked with musicians all over the world, incorporating different spiritual traditions.   @annagrichting on Twitter AnnaGrichting.com Download episode ← Previous episodeNext episode → TranscriptDubber      Hi, I’m Andrew Dubber. I’m Director of MTF Labs, and this is the MTF Podcast. There’s a lot of talk right now about cities. Cities seem to be the atomic unit of public policy. Smart cities, sustainable cities, social progress cities, cities of culture, industrial cities, music cities. And the ways in which we design and develop cities and public spaces, especially post-COVID, once we are actually post-, are central to initiatives like the New European Bauhaus, the Green New Deal, AI4Cities. Things that ask questions about not just “Where shall we live?” but also “How should we live?”. Now, someone who’s been thinking about city environments from a design, architecture, systems, and social perspective at places like Harvard University and Qatar University, Geneva, MIT, and Vermont is Dr Anna Grichting. She’s a Swiss architect, urbanist, and musician who’s spent her career using arts and design to create a more beautiful, biodiverse, and sustainable world through co-creative, interdisciplinary, and holistic approaches to design projects, especially at the city level. Dubber      Dr Anna Grichting, it’s great to have you with us for the MTF Podcast. How are you doing? Anna          I’m doing very well, and thank you so much for inviting me. It’s a pleasure. Dubber      You’re very welcome. You’re described as various things on the internet, primarily as an urbanist. What’s an urbanist? Anna          An urbanist is a word we use, I think, a lot in Europe. It obviously has to do with the urban, with cities, with planning, and it’s also quite large because it encompasses all the different scales. And I’m also particularly interested in landscape urbanism. So it’s really this bringing together landscape and urbanism and also architecture and urbanism. And I think, obviously, for a few centuries, we’ve been dividing disciplines. And increasingly, especially now, looking at ecology, environment, climate change, nature-based solutions, it’s even more and more important that landscape… What I tell my students, or even in conferences, is that landscape, in fact, for me is the foundation of any project of architecture or urbanism because we need to start from the ground. We need to start from the topography, from the water, from the biodiversity, from the soil. Soil is very important. So it’s even the landscape aspect which I find very important. And why urbanism? Because in certain countries and disciplines, we tend to talk about architecture. We talk about urban design. We talk about urban planning, and urban planning can be very linked to policy or geography. And so we separate it in different… It can be found in different faculties or different ways of teaching. And so, for me, urbanism is a way of really… That’s maybe more holistic. Dubber      Are cities fit for purpose anymore? Anna          Fit for purpose? What exactly… Dubber      Well, fit for humans is probably really what I’m asking. Anna          Yes. Well, it’s an interesting question because, on the one hand, if you listen to UN-Habitat, etc., it’s saying “Well, in the future, we’re shifting from this urban and rural balance to more and more people will be living in cities.”. So there is that focus, and it’s definitely something we have to think about. Even here in Geneva, we think about, very carefully, “Are we going to eat up…”. We don’t have much territory in Switzerland. So “Are we going to eat up all the countryside and continue sprawling, or are we going to densify the city?”. And, of course, there’s all the questions of infrastructure because you need certain densities for infrastructures. But, on the other hand, I feel also that we need to look also more and more and study the rural, and instead of everybody flocking to the city, what do we do in rural areas so that people don’t leave the rural areas? How do we make them more attractive? We have a lot of, whether it’s inner Italy or places even in France, these shrinking villages or cities where people are leaving because there’s not activity, etc. Obviously, now, with digital infrastructure, it’s become… And the COVID has shown us it’s becoming increasingly accessible. I know lots of people now, when we’re on webinars, they’re up in the mountains. I was nearly going to be up in the mountains today, but I wasn’t sure about my internet connection, so I came back to the city. So, for me, I think the question is the balance. And, on the other hand, there’s something quite interesting if… I’m very interested in biodiversity. And because we have this intensive agriculture, we use a lot of pesticides. You’ll actually find, for example, bees, a lot of bee populations. There’s a lot of urban farming in bees. They’re actually healthier in the city because we don’t have this countryside full of pesticides. So we find some of these paradoxes that sometimes maybe the city in some ways becomes more healthy or greener than the countryside because we’re not necessarily doing the right things in the countryside because we’re doing this intensive cultivation, and we’re not really taking care of the soil and biodiversity. So I think we have to rethink all of our structures, generally, yes. Dubber      Interesting. I’m surprised by the idea that people are moving to the cities increasingly. It feels counterintuitive for some of the reasons that you’ve mentioned. COVID shows that you can work from home. Broadband is getting better in a lot of places. So it feels like decentralisation would be the primary trend that you would see happening. But you think, despite that, there is a reason that people are drawn to cities. There’s a reason that people want to be near lots and lots of other people. What is that reason, do you think? Anna          Probably several. Obviously, there is the economic opportunities that the city is associated with. Now, whether they’re real or not… Sometimes they are. Of course, maybe it’s more difficult to survive in a city in certain ways. In the countryside, it’s easier to grow your own food. Although, we’re seeing now that that’s happening in cities too. And cities like Detroit, which were shrinking cities, people have started actually… All the vacant lots, people are starting to grow food again, so the city is becoming rural again through this shrinkage. So I would say it’s not that obvious, this difference. And I was actually recently working for the Aga Khan Foundation. I’ve been collaborating with them, and I worked for them on different projects. But I was reviewing a project that just recently won the Aga Khan Award for Architecture. It was a project for public spaces in Tatarstan in Russia, and it was under the president of Tatarstan. Tatarstan is a very small republic which has… It’s the only republic in Russia that has a president. The others are states with governors. And so they rolled out this project for public spaces, led by a brilliant young lady called Natalia Fishman, and the idea was to build public spaces not just in the cities but also in the rural areas. And the idea was that every space or village or urban area should have good public space. So what was interesting here is that part of this project – it has many different facets, which is also why it received an award – it was also involving a lot of young architects, keeping the young architects in Tatarstan because they all want to leave to Moscow. They all want to leave. The attractivity of the big cities. Making it more attractive to work there by having these exciting projects. She created a biennale for young architects. There’s a whole series of things attached to this. So making it more attractive, creating these exciting projects, and also producing locally. So there was a lot of capacity building. Instead of importing maybe badly designed… Or if we want good design, spending a lot of money to import urban furniture, was actually producing it locally. So you’re creating capacity and jobs. And the other thing is having good public spaces in these villages, small towns, means that young people also start to associate more with their place. It creates an identity, etc. So it’s quite interesting to see how this project of public spaces was also about stopping this migration. Making the smaller towns, cities, also more attractive, and also creating these small industries which provide or make public spaces, maintain them, so that also creates interesting and exciting jobs. For example, one of the producers, I went to see. So I was lucky to visit all of Tatarstan. Either they make agricultural machinery, but then they can also make urban furniture, or they use laser cutting, etc., to make all different parts of this urban furniture, and this also then creates opportunities for youth to then get into these jobs. So it’s just one example that I find very interesting of… It’s urbanism. It’s an urban project on public space, but it’s really addressing this question of “How do we make all these areas attractive and create this urbanity, maybe, or this public space which people

    42 min
  6. 04/19/2021

    113. Yaniv Balmas – Cyber Crime and Digital Espionage

    Yaniv Balmas - Cyber Crime and Digital Espionageby MTF Labs | MTF Podcast https://musictechfest.s3.eu-west-3.amazonaws.com/podcast/113-yaniv-balmas.mp3 Yaniv Balmas is head of Cyber Research at Check Point Software in Tel Aviv. He's a security researcher, software developer, and a technology enthusiast with over a decade in the industry. His approach to keeping yourself and your computer free from attack is as much philosophical as it is technical.  Cyber security may well be one of the most challenging domains in our day and age. With infinite complexity, ever changing technological landscape and thousands of new vulnerabilities found every month, protecting your network and ensuring a 100% risk free environment is nearly an impossible task.. @ynvb on Twitter Download episode ← Previous episodeNext episode → TranscriptDubber      Hi, I’m Andrew Dubber. I’m Director of MTF Labs, and this is the MTF Podcast. So given that you’re listening to a podcast right now, it’s a fairly safe bet that you have a computer or a smartphone and it’s connected to the internet, which means that it and you and perhaps everyone you’ve ever sent an email to is in some sort of twenty-first-century peril right now. Enter the cybersecurity specialist, coding furiously against time to take down the criminal underworld, foreign agents, malware and spyware, and lock out the hackers and the bots. The hunter becomes the hunted, and so on. In fact, according to actual cybersecurity expert Yaniv Balmas, there are actually some pretty simple things you can do yourself, or stop doing, as the case may be. And there are some things you might not actually be in a position to do anything about at all, but, well, chances are, you’re not as interesting a target as you might think. Here’s hoping, at any rate. But given that we live in a world where everything is so very digital and so very connected, from our conversations to our thermostats, our politics to our pop music, I thought I’d have a chat with Yaniv – he’s Head of Cyber Research at Check Point – to talk about what’s going on in the world of cyber and see what I can do to avoid a catastrophic network breach or some such. Dubber      Yaniv Balmas, thanks so much for joining us for the MTF Podcast. Can I ask where we find you today, where you are right now, or would that give too much away? Yaniv         Well, I’m at home, like most of the other people around the globe. Dubber      Yeah. And where is home on the globe? Yaniv         Well, I live just outside of Tel Aviv in Israel. Dubber      And you’re in cybersecurity. Is Tel Aviv a good place to be doing cybersecurity? Yaniv         Well, Israel has been called a cyber nation. I don’t know if it’s true or not, but, yes, there is a lot of cyber business going on in Tel Aviv and all around me here. Dubber      All right. So we should probably just get to the very, very basics. What is cybersecurity? Yaniv         When I started this career, there wasn’t such a term, ‘cybersecurity’, actually. It was ‘security engineering’, maybe, or ‘information security’. So cyber, for me, is just a big, new name for something. And, technically, what we’re talking about is we’re talking about mistakes. Human mistakes, usually. So we have software running. We have hardware running. We have all of these mechanics and all of these electronics going on. They should theoretically be perfect and do exactly what they’re supposed to do and absolutely nothing else, but, unfortunately, or fortunately – it depends who you ask – that’s… Dubber      It depends on whether you make your living out of cybersecurity or not. Yaniv         Yeah, exactly. Usually, it doesn’t work that way. There are bugs. There are errors in there. Some of them are just bugs and errors. Some of them might be much worse than that, and they could lead to a lot of security issues, and I guess that’s the core of cybersecurity. That’s where it all starts. Dubber      Because what I imagine when I hear ‘cybersecurity’ is that there are lots of, for want of a better term, baddies in the world who are trying to break things, steal things, blow things up, make people’s lives miserable, and you’re the last line of defence, frantically typing like a hacker in a movie onto a screen to stop them from getting in. Is it anything like that? Is anything of that true? Yaniv         Well, I always think – about this typing like a hacker in a movie – that if someone would ever make a film on me while I’m working, it would be the most boring film in the world. It really doesn’t look that way in reality. Are we the last line of defence? I don’t know. There’s a pretty large community. Some of it is by vendors. Some of it by individuals. Some is mixed. And there’s a lot of work being done on the defensive side of cybersecurity around the world. I don’t think it’s enough. I don’t think it will ever be enough. But I think that all of us, as a whole, we’re changing something. I think we’re protecting the world, the cyber world, just a bit. Dubber      What are we protecting it from? What are the actual risks? What could go wrong? Yaniv         So many things. But the question is not ‘what’ but, maybe, ‘who’. Who are we protecting from? There’s a lot of different individuals or groups that may be a threat to someone, and the real question is “What is their motivation?”. And I think if you’re looking at it from that perspective, you can basically divide it into two very large groups. One of them will be the ones that are financially motivated. Those would be mostly related to what we refer to as cybercrime or scams, whatever. Their end goal is to steal your money, like any criminal anywhere in the world. It really doesn’t change. Just the playground changes. So now it’s the internet and the computers and not pickpocketing on the streets, but the concepts are pretty much the same. So that’s one group of people we should be aware of. And sometimes these guys are pretty sophisticated and do a lot of very advanced technical work, and sometimes they are just… I don’t want to say kids, but unsophisticated. They do the very bare minimum necessary in order to steal your money. From a technical perspective, it looks like “This will never work.”, but the truth is that it works. It works a lot of times. And that’s the first group. The second group… I think it’s, on the one hand, much, much more dangerous. These are usually not motivated financially, but they are motivated by… Usually, their goal is to steal information. So we might be talking about business espionage. We might be talking about intelligence agencies. Stuff like that. These are usually groups that are much better funded than the other ones. They have very high technical skills. They could do a lot more damage, but they are very structured, and, usually, they don’t attack everyone. They just attack who they need to attack. And if you’re not a target for them, then you have nothing to worry about, but if you are, then it’s a different story. Dubber      How does surveillance fit into this? Because I know there’s a lot of talk about personal data security and privacy and these sorts of things. Is that in the same ballpark, the same territory? Do I need to worry about my Google Home or Siri or anything like that, or is this a different domain that we’re talking about? Yaniv         Again, it depends on how you look at it. For example, I’m an intelligence agency. I want to do surveillance on one individual. Probably, I have my tools. I have my ways of doing that. And, again, you or most of the people in the world usually don’t really have anything to worry about that because they will never be a target of these kinds of organisations simply because they are, well, without disrespect to anyone, uninteresting. Dubber      That seems plausible. Yaniv         I like to be uninteresting. It’s a nice place to be. But, on the other hand, there’s surveillance on a larger scale. And that’s like when China, for example, wants to control all of the internet traffic that everyone does and see wherever anyone browses to – and I’m just giving China as an example. There are other examples not from China, of course – and that’s concerning. Usually, their target is not an individual. It’s a very large group of people, and mainly it impacts our privacy. So now when I’m browsing to somewhere, I don’t know. Somebody might be looking at where am I browsing. Maybe he’s not specifically interested in that, but he does have this information. And this should worry basically anyone because it happens, and it happens everywhere. It happens by governments. It happens by big corporations that control most of the internet traffic, most of the search engines, and social networks and so on. You heard that on the news. I didn’t say it. And, yes, I think privacy is something that we should all be worried about. And I think, generally speaking, we are losing our privacy. Day after day we have less and less privacy, and I don’t know if it’s something we should accept or fight against with all our power. It’s a new world, and we should know to adapt to it in that way or the other. Dubber      I’m thinking about things at the national, the nation-state level. Things like spies in the old fashioned spy story sense of people putting bugs into… Well, there was a famous case of bugs in the typewriters at the… I think it was The Pentagon, that were there for decades collecting every single keystroke of these electric typewriters. But now, obviously, all of our information, all of our communication is all zeros and ones flying over the internet. And, presumably, it’s not just a case of being a

    45 min
  7. 04/08/2021

    112. Julia Coney – Wine is Science

    Julia Coney - Wine is Scienceby MTF Labs | MTF Podcast https://musictechfest.s3.eu-west-3.amazonaws.com/podcast/112-julia-coney.mp3 Julia Coney is a wine writer, wine educator, speaker, and consultant. Her wine writing includes stories on wine, winemakers, and the intersection of race, wine, and language. She was the recipient of Wine Enthusiast's 2020 Social Visionary Award Winner for her work in writing and speaking on diversity, equity, and inclusion in the wine industry. Julia is the Founder of Black Wine Professionals, a resource for wine industry employers and gatekeepers, professionals, and the food and beverage community. Their goal is to lift up the multifaceted Black professionals in the world of wine. Julia Coney @juliaconey on Twitter Black Wine Professionals Photo: Justin T. Gellerson Download episode ← Previous episodeNext episode → TranscriptDubber      Hi, I’m Andrew Dubber. I’m Director of MTF Labs, and this is the MTF Podcast. I quite like wine. Maybe you’re the same yourself. I’m not someone who has it every evening, but when I do have it, I enjoy it, and I know enough to have some favourites and also to know what my sort of thing is when I come across it. I particularly enjoy drinking wine with people who know more about it than I do, which, to be fair, is a low bar, but it’s always interesting to learn something along the way. So when I’ve been to wine tastings at vineyards or in the company of winemakers, which I’ve been lucky enough to do on occasion in a number of places around the world, something I’ve been struck by is that here’s someone who overlaps with the world of MTF in ways you might not expect, because while you might not think of growing and stomping on grapes for a living or serving thirsty customers in a restaurant or selling bottles in a retail outlet as having a great deal of connection with the worlds of innovation and creativity, well, au contraire. This is science meets art at its most fundamental level. The last winemaker who poured me a glass of Reserva was a microbiologist by training, a musician by calling, an entertainer by nature, and an innovator, creating new and award-winning combinations. So I thought I would indulge one of my enthusiasms by tying it, however loosely, to the established interests of this programme. Wine is art, wine is science, wine is politics, and it can also be a platform for social justice and inclusion, and someone who knows that better than anyone is wine writer and critic, Julia Coney. Dubber      Welcome, Julia. Thanks so much for joining us for the MTF Podcast today. Apologies for the clichéd wine music. How are you doing? Julia           I’m good. The sun is shining out here. It’s not too cold, so I’m happy. Dubber      And where do we find you today? Julia           Washington, DC. Dubber      Right, okay. So there’s been a lot going on there in the last few months. Do you care to talk a bit… Julia           Just a little bit. Dubber      Yeah. We hear some bits and pieces. I’m a long way away, but some of the news filters through. You’re from the world of wine. Has there been some impact on how wine is enjoyed or consumed or sold that’s come about in the last… Well, in the last couple of months, particularly? Julia           Well, I think one of the good things that has happened is the tariffs have been lifted for the US between the US and Europe for four months while people actually sit down and talk things through on how to do a tariff, or “Is it going to take place?”, or are they going to continue to have it. I’m very excited that’s stopped. And also because there’s a lot of moving parts in wine, especially because of the way the system is set up in the United States, that a lot of people were really hurting – a lot of importers, distributors, retailers – because the price and the mark up just was so expensive, so high. So hopefully, with everything coming out, it will be okay. So that’s some good news that has come out of Washington, DC, besides the November election. Dubber      Yeah, for sure. I know that there’s a lot of wine production that goes on in the US, but I guess probably not all of the consumption of wine is of American wines. What proportion would that be? Julia           I will say, I think people still drink the majority of American wines in America. California is the biggest, but then after that, you have Oregon, you have Washington State, you have, in New York, the Finger Lakes. We also drink a lot of European wines as well. And it also depends on where you live because the way the system is set up, everybody can’t export their wine to certain states, so it depends… New York can get anything, I always like to say, but a lot of Europe doesn’t always make its way west. So I’m here in the DC, so we’re able to get a lot of good things. So I just will say, people are now more curious about wine. In a way, I think the consumer is more informative. Where before, it was people just saying “You should drink this.”, I think the consumer now is like “Well, I did my own research, and I’m probably not going to drink that.”, or “I want to try something new.”. And I think with the onset of social media, we have new drinkers, which is always a good thing. Dubber      Yeah, for sure. We should probably back up a little bit because there are probably some people listening to this going “Hang on. What have I tuned into? This is not what I was expecting.” because we focus a lot on artificial intelligence and artistic experimentation in nuclear power reactors. Suddenly, we’re talking about wine. And I want to justify it because – we were talking just before we started this interview – I see it very much as this intersection of creativity and science. There’s a real heavy science going on. Where do you come into this from? Julia           Well, as a wine journalist, I look at wine. Wine is farming. Agriculture is science. You have to know acid, you have to know ratios, because a lot of wine happens in the vineyard but a lot happens in the lab. And I think people forget that if they’re making – what I say – wines of place, wines of character, wines that are interesting… That’s why you find a lot of engineers, chemistry majors, they become winemakers because of that intersection of science and farming and… Also, right now, we’re using technology to talk about wine. We had to. I’ve been on more Zooms with wine in the past year than I had ever thought in my entire life. But also I think wine and artificial intelligence will happen. You have a lot of labels now that are putting AI labels so people can use their phone. Think of all the apps. We have apps to take a photo of your wine bottle. That app then uploads it. Now you have a record, and then you could rate it. You could see other people’s rating of that wine. Some of them purchase from that site. So I think technology in wine is moving faster than I think the wine world is ready for. Dubber      Sure. Recommendation engines, particularly, I guess you’re talking about. Julia           Well, that. Also when you go to a restaurant, there are going to be apps where you’re going to say “Okay, I’m scanning a wine list. I’m having this wine. How can I get it now?”. Dubber      And pairings too, I suppose. Julia           Pairings, yeah. Well, pairings are subjective because I think it goes back to everybody’s taste. What I like and you don’t like is okay. So I think pairings will look different now than… Especially with the restaurants slowly coming back. For a long time, all the somms told everybody what to drink. And then now, with social media, I go on Instagram and I talk to winemakers. I don’t tell them what to drink. And then you have to think about other… Like Clubhouse. Clubhouse has wine rooms, and everybody’s talking about drinks on Clubhouse, and whisky, beer, and all that. So technology in wine is here to stay, even though I think some wine people are a little reluctant to embrace it. Dubber      Interesting. And of course, all of this happens with a backdrop of politics and labour and history, and there’s a big story to be told there. Julia           So many stories. Wine, to me, tells a story. It’s economics. It’s politics. It’s also romance. It’s family. If you think about Europe, they’re really family dominant. I know stories that are “Hey. I moved here with ten thousand dollars, and I’m going to start a winery.”, and fifteen years later, they have that dream. They’ve worked hard. They worked their butts off to get there, and they have that too. So wine just tells a story of everything that goes on, in my opinion. Dubber      Is there a distinction between the story of farming and the story of wine? Is it particularly different? Julia           I think people don’t think of wine as farming. People think “Oh, they’re grapes that grow. Okay.”, and when they think of farming, they think of animals. But you have to have somebody watch those grapes due to climate change. Spring frost. Rains that happen. What’s going on? I look at weather now more than I ever did before I started working in wine because I didn’t want to know what’s happening. And so farming plays a place… It’s come so if you look at… There’s farming, and then there’s biodynamic farming. People who look like “It’s a moon day, so I can’t do this to the grapes.”. You have a lot of that that’s happening in biodynamic farming, and people putting crystals in the vineyard. It’s still farming, but it’s getting… It’s just very different. Dubber      Yeah, wow. How much of superstition falls into this? Because it sounds like once you start paying attention

    34 min
  8. 03/29/2021

    111. Nelly Ben Hayoun – Designer of Experiences

    Nelly Ben Hayoun - Designer of Experiencesby MTF Labs | MTF Podcast https://musictechfest.s3.eu-west-3.amazonaws.com/podcast/111-nelly-ben-hayoun.mp3 Dr. Nelly Ben Hayoun-Stepanian is a designer of experiences. She makes it possible to become an astronaut in your living room while dark energy is being created in your kitchen sink and a volcano erupts on your couch. She runs a leading interdisciplinary design agency which devises subversive events, experiences, and feature-length films, working with everyone from NASA to Lego, MOMA to Mattel. Nelly is the founder of the Underground University where she leads with board members including Rose McGowan and P***y Riot's Nadya Tolokonnikova, and she launched the International Space Orchestra – a musical group of astrophysicists, astronauts and other space scientists who have worked with Prodigy, Avalanches, Sigur Ros and others. Nelly Ben Hayoun Studio @nellybenhayoun on Twitter Download episode ← Previous episodeNext episode → TranscriptDubber      Hi, I’m Andrew Dubber. I’m Director of MTF Labs, and this is the MTF Podcast. So this is one of those episodes where introducing the guest might end up taking longer than the podcast interview itself, if I’m not careful, because Dr Nelly Ben Hayoun-Stepanian does an awful lot of different things that all require some explaining but could, in short, be broadly categorised as the creation of experiences. She’s a filmmaker, artist, designer, founder and namesake of one of the world’s top design studios, founder of an underground university, of an international space orchestra that’s worked with Prodigy, The Avalanches, and Sigur Rós. She works with NASA, the European Space Agency, Singularity University, Mattel, LEGO, Airbnb, Google, The Guardian, the SETI Institute, the BBC, Red Bull, WeTransfer, XL Recordings, MoMA, Victoria and Albert Museum, the National Museum of China… You get the idea. She has, she reckons, thirteen jobs, more or less – probably more – and at one point was so in demand for public speaking engagements around the world, she employed doppelgängers, look-alikes who she trained to mimic her mannerisms and delivery style so she could literally be in multiple places at once. Dubber      Dr Nelly Ben Hayoun-Stepanian, welcome to the MTF Podcast. It’s nice to see you again. How are you doing? Nelly          Yes. It’s so nice to see you, Andrew. Hello listeners. Dubber      It’s great to have you on. You do pretty much everything, and I feel like I’m just going to say “Tell me about this project. Tell me about that project. Tell me about this project.” because there are so many things that you do that are so much of interest to the people who listen to a podcast like this. So you’re more or less an experienced designer, but that doesn’t even begin to cover it. How do you describe what you do? Nelly          Well, actually, I don’t describe myself as an experienced designer but as a designer of experiences, which basically means that, suddenly, when you start to speak about experiences, then you allow yourself to look at multiple different fields because if you want to make a meaningful experience for members of the public, then you need to know a bit about music, know a bit about architecture, know a bit about design, know a bit about academia, film. Basically all of the different realms of things. So if you want to say what I’m doing, I design experiences for members of the public to experience a rocket lift-off in their living room while dark energy is being produced in the kitchen sink, sonic booms are erupting in your bathtub, and then, as if it wasn’t enough, you have a volcano that is literally right there in front of you while someone is… I don’t know. Your auntie is experiencing stage one, two, and three of the rocket lift-off, the Soyuz rocket. That’s what I do. Dubber      Okay. So I have to ask the question, why do you do this? Nelly          Why do I do this? I do this because I feel like there is a part of our realities or part of science as we know it or part of the mystery of our world that a lot of us don’t have access to because we don’t have the right degree. If I’m too small, too fat, if I don’t have the right PhD, the chances that you’re going to make it to become an astronaut are really small. I found this so unfair. There is 250 astronauts up there. Why is it that you or I cannot go up there? Why is it that we cannot experience a bit of the magic of going in outer space? So in order to give you that kind of magic experience or to give you access to that sublime that is a part of our world then I have to design a meaningful experience. I need to actually find a way to give you it as close as it can be experienced. So I’m not lying to you, and I’m giving you that as close as it can be experienced, but it’s not exactly like being an astronaut. But it’s working with an astronaut to actually give you the experience of a rocket lift-off in your living room. So that’s exactly my process when I work, Andrew. So I will develop this plural-disciplinary team that allows me to actually make an experience for members of the public that is as close as it can be to the reality. And then I started to work in nightclubs, very much so, because I love nightclub and nightlife audiences because they’re the most difficult. The most critical, in fact. They will criticise everything that doesn’t belong in the realm of entertainment and education, because they want to be educated, as well, as they have a good time. Dubber      Nightclub audiences want to be educated? Is that why they go to nightclubs? Nelly          Well, I think when you go in a nightclub, you want to have fun, but you also want to learn something, whether it’s learning something on the dance floor with a new move or whether it is about learning about love and having your first sex experience in the toilet. I don’t know what that might be. But what I’m saying is, when you go… The nightlife audience is the most difficult to please because there is so much out there. It’s such a brilliant innovative scene. I’m sure your listeners might know all of this, but I think a lot of policymakers and people from politics don’t understand that nightlife is really where it’s at when it comes to innovation, when it comes to new materials, when it comes to new techniques, sound system, experiential. Every single bit of innovation really happens inside this specific time of the day. Dubber      Sure. And there’s a lot competing for attention when you’re in a nightclub, so you have to make an impact. Nelly          Absolutely, yes. And you better not lie to a member of the audience, as well, during a nightlife experience. So if you tell them they’re going to experience something like a rocket lift-off then you need to bring them the astronaut, live, as part of the experience. Dubber      Yeah. And you’re not just talking about astronauts. You’re bringing in NASA, and you’re working with actual people who do go into space. Nelly          That’s correct, yes. That’s coming back to the fact that when I design a meaningful experience, it has to… The meaning comes from bringing this plural-disciplinary expert because, let’s face it, I am not an astronaut. I don’t know what it feels like to be inside the Soyuz rocket, which is a Russian rocket. It’s a very specific type of rocket. I don’t know the detail of the techniques and so forth, so I need to surround myself with the people that can provide this. Or when I tell you you’re going to make dark energy – which is five percent of the universe out there. We don’t know what sort of energy can allow the universe to be in permanent expansion. This dark energy – if I said to you “You’re going to produce it when you’re eating your pancakes.” or “You’re going to produce a bit of the unknown while you’re making your pancakes.”, who am I to actually produce dark energy? What does that even mean? I need to bring the best physicist in the world around me to design this thing so that you can then make your pancake face-to-face with the unknown. And that means finding myself in places where there is Nobel Prize for physics or at the Super-Kamiokande in Japan or the Large Hadron Collider, which is a place where they bombard protons at the speed of light to recreate the first second of the Big Bang. But all of us members of the public, often we don’t even know these things exist. We don’t even know that there is sixty worldwide scientists down below, a hundred meters underground, colliding protons at the speed of light. Think about it. The speed of light. Faster than the speed of light. So it’s all about giving you that experience. So that’s one side of the story, Andrew. The other side of the story is also, for me, there is something extremely frustrating about systems. Politics, economics, sociology. Everything that comes within the mainstream or comes within the status quo of what you should do or what you should be or what is the right thing to do or not the right thing to do, and how politics or top-down approach or hierarchies or… All of these kinds of systems, for me, they are there to be challenged. And so, more and more so, my work is actually about developing collaboration within institutions, whether they are military institutions, whether they are policy-making institutions like the United Nations, NASA, you mention, but many others, and actually find ways and means by which I can design an experience, an event that is going to bring in critical thinking to that specific audience so that they don’t produce space the same way or so that they don’t do the work they’re doing the same way, or so that they start to think about borders differently or that we can start develop

    50 min

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