UPDATE: This was very much a stream of consciousness blog post, where I wrote down my thoughts as they occurred to me. Among other things, this meant that it lacked a good summary of what it is actually supposed to be about. The basic idea was/is to take Clayton Christensen’s theory of disruptive innovation in business and apply it to music and (by extension) to other arts, with a goal of sketching out a “unified field theory” that (with suitable elaboration) could potentially explain how music evolves not only from an aesthetic perspective but also in terms of the sociology and economics of the communities of composers, performers, critics, educators, audiences, etc., who participate in particular musical traditions and movements. I referenced Kyle Gann a lot because for a while I’ve been reading his blog and his writings on “downtown” vs. “uptown” music, but the themes of the post are really more in line with the writings of people like Alex Ross and (in particular) Greg Sandow who’ve been writing about the future of classical music in relation to popular music and the rest of contemporary culture. ...

Atul Varma of Mozilla Labs has a great post up, “Kids and the Open Web” where he advocates having the Mozilla Drumbeat initiative explicitly include some messaging around the value of an open web for children: What if promotional materials for the Open Web focused on how it makes lives better for children who are budding hackers? Lots of adults aren’t tech savvy, but they know that their kids are, and if we can prove that the Open Web is better for their kids, and that they can make their kids’ lives better by choosing a standards-compliant browser, maybe they will. ...

Apparently I have a thing for the British artist Jack Strange. After my post about Strange’s g and a follow-up, I’m back with more amateur (or should that be amateurish?) analysis of Strange’s work, this time his Spinning Beach Ball of Death. As with my first post on g, this is a cold reading without the benefit of seeing any artist’s statements or critics’ analyses. Spinning Beach Ball of Death is one of those works that most decidedly depends on one’s knowledge of “external facts” to elicit a proper appreciation. The naïve viewer will see simply a rainbow-colored paper circle spinning around. Clearly the circle is reminiscent of a beach ball, and as a first order analysis they might note the incongruity between the image of a child’s toy and the mention of death and conclude that the artist has given the work this particular title in order to invoke a particular set of emotional associations (e.g., a sea-side vacation tragically interrupted by a child’s death by drowning). ...

I recently posted some thoughts on the work g by the British artist Jack Strange. It was pretty much of a cold reading, without the benefit of having done any research on Strange or his work. Since then I’ve done some googling and discovered some useful commentary. Not to telegraph the punchline, but no one echoed my thoughts about g being (at least in part) a symbolic reenactment of the literal act of falling—which means that either I had a unique and valuable critical insight or I just pulled something out of my rear end. (I suspect the latter.) ...

Continuing my amateur ruminations on contemporary art: One of the things that’s fun about art is going on a journey from “OK . . .” to “aha!” from seeing something and not really understanding or even registering it, to both grasping an essential point about the work (even if it’s essential only for you) and seeing and appreciating the further associations and cross-connections it raises. It’s especially fun if you can get to that point on your own, without having to read the wall text or a critic’s article. ...

Now that I’m interested in art again, a few background comments might be in order, especially since my main interest is in contemporary art, a field both inscrutable and risible in the minds of many. In the work-related discussion I alluded to in a previous post, a colleague brought up Damien Hirst’s infamous shark in a tank; he seemed incredulous at this being considered art, but at the same time happened to remember the exact name of the work (something I myself had forgotten). This seems to encapsulate the paradox of contemporary art: it’s dismissed as silly and inconsequential, but at the same time has wormed its way into public consciousness. ...

As a congenital generalist I maintain ongoing relatively superficial interests in a lot of different things. However every once in a while an interest will take me over and lead me to explore it obsessively for a time. Several years ago I had that experience with art, especially contemporary art. (I have a bias towards what’s going on currently in a field; thus my current interest in “classical” music is focused on what’s being composed here and now, and extends back only to the dawn of minimalism.) ...

This is a very rare week (the first one in years) in which I’ve been left at home to take care of the pets and work past my usual stopping time. Tonight I decided to take a break and check out Pure Wine Café, a new wine bar in downtown Ellicott City. I’d noticed it some time ago while driving and walking down Main Street, had checked it out on the web, and thought it might be a nice place to relax after work. I was not disappointed. ...

In the few remaining minutes before Firefox 3.5 storms its way around the world, I wanted to highlight two Firefox-related accessibility projects that are just getting under way, courtesy of special funding from the Mozilla Corporation. Both projects address key goals in the proposed Mozilla accessibility strategy. The first is a project by the Paciello Group to continue work they’ve previously been doing under Mozilla Foundation funding to make the Firebug developer tool more accessible, with a particular focus on the Firebug releases intended for use with Firefox 3.5. This work is complementary with related Firebug work by the University of Illinois Urbana-Champaign (funded by the Mozilla Foundation), with the overall goal being to integrate accessibility for web applications into the standard tools used by web developers (i.e., Firebug), as opposed to having accessibility testing confined to special accessibility-focused tools used by only a small subset of developers. ...

Given the extent to which Michael Jackson the person was crushed beneath the weight of Michael Jackson the commercial phenomenon, it’s sadly appropriate that his death should allow Sony Music Entertainment and eMusic to conduct a natural experiment in maximizing profits through price discrimination. Jackson’s death has rekindled interest in his music, to the point where Michael Jackson albums now dominate the charts at the iTunes Store and Amazon. As far as I can tell all the Michael Jackson digital releases on the iTunes Store are being sold at full-price; the same is true for Michael Jackson releases in MP3 format at Amazon. Individual Michael Jackson tracks range from $0.99 to $1.29 on both services. ...