LHF: Ask better follow-up questions

The easiest way to have better conversations is simply to ask more questions. Be a little more curious and present, try to listen a bit more (two ears, one mouth and all that). Perhaps we are seeing a side effect of online communication where everything is about the next thing. And of course, it is tempting to quickly follow up on a point by relating it to something you have experienced yourself. Nothing wrong with that, it’s how we connect the dots. But try to acknowledge what the other person is saying by asking a follow-up question or two. Otherwise, the conversation can easily turn into a tedious back-and-forth of “Enough about you, let’s talk about me” affair. When you feel seen, heard and perhaps even understood, you are also much more likely to share more, and the conversation becomes deeper. I am trying to become better at this myself; it is mostly about being aware and just being a little bit curious. That’s it, really.

Oh, and LHF is ‘Low Hanging Fruits,” just super simple little things you can try.

The moon

John Davies Cale / Jack L Kerouac

The moon her magic be, big sad face
Of infinity
An illuminated clay ball
Manifesting many gentlemanly remarks

She kicks a star, clouds forgather
In Scimitar shape, to round her cradle out
Upside down any old time
You can also let the moon fool you
With imaginary orange-balls
Of blazing imaginary light in fright

As eyeballs, hurt and forgathered
Wink to the wince of the seeing
Of a little sprightly otay
Which projects spikes of light
Out the round smooth blue balloon ball
Full of mountains and moons

Deep as the ocean, high as the moon
Low as the lowliest river lagoon
Fish in the tar and pull in the Spar
Billy the Bud and Hanshan Emperor
And all wall moon gazers since Daniel Machree
Yeats see

Gaze at the moon ocean marking the face
In some cases, the moon is you
In any case, the moon

Listen to it here

Stranger Things

I have been know to use Apple Keynote for things it’s not supposed to do. Strange things. And because of Season 5 of the Netflix series, here’s an old attempt at doing the intro in four keynote slides. It was simple enough to get 90% of the way, but (as so often before) the last 10% of a thing often takes 90% the effort (the timing being the main challenge here).

My TRON Moment

The Grid. A digital frontier. I tried to picture clusters of information as they moved through the computer. What did they look like? Ships? Motorcycles? Were the circuits like freeways? I kept dreaming of a world I thought I’d never see.

And then, one day.. I got in..

Recently I watched the old Tron and the newer TRON: Legacy back-to-back. There are plenty of ridiculous elements in the first film, but at the same time it carried this extraordinary idea: a virtual world with geography and spatial depth inside the computer. Back then it hit something deep in the emerging hacker- and computer culture and became a kind of beacon. For many of us. For me too.

Shortly after seeing the original Tron in the cinema, I had my own personal Tron-moment. In the eighties, if you wanted anything creative to happen on a computer, you had to code it yourself. I had written a Pac-Man clone in a version of BASIC that could be compiled, so it ran absurdly fast. The ghosts were programmed to turn around when they hit a wall, but at the top of the screen I had a score counter, and I had forgotten to tell the ghosts that they also needed to turn if they entered that area. While testing the game, one of the four ghosts suddenly disappeared from the maze—it simply escaped through the hole in my code.

I stopped the program and typed “LIST” to inspect the source. But what had happened was that the ghost had carved its way straight down through the program lines and destroyed them. On a ZX81 the screen memory lived dangerously close to the area used for code, and I just caught a glimpse of how the ghost, like Flynn on his light cycle, had left the arena and driven into the “forbidden” zone. For a couple of seconds the shredded program flickered on the screen. And then the computer crashed.

It was a wild moment. People are welcome to chuckle here, but for me it was a strangely defining moment. The idea that something inside the computer could feel that physical, that concrete, never left me. Later Gibson and the rest came along and filled cyberspace with language and imagery, but for me it was the Tron-mythology that stuck. Today we live with fifteen–twenty layers of abstraction between the CPU and the interface we touch, but back then there were only a couple of thin membranes between the user and the hardware’s heart. Oh, and here’s a similar story, even more TRON than mine. (Thanks, Michael Knudsen)

Tron 1982 – TRON: Legacy 2010 – TRON: Ares 2025

Digging too deep into the datamine

Many years ago, I took on a somewhat ‘special’ freelance job. It was for Jubii, the big Danish portal I also wrote newsletters for. They were planning to launch a new section called “Jubii Lir’kassen” – a large collection of all that ‘humorous’ stuff office workers forward to each other via Outlook. The raw material was a big, unfiltered lump of content pulled from Lycos, which owned Jubii at the time (2003). Lycos already had an “Absolute Viral Golden Collection” in several countries, and my task was to censor, categorize, and describe the content prior to the Danish launch. Looking back, it was very much the shape of things to come, and not in a good way..

At first glance, it seemed like a fun way to spend a couple of days. I can’t recall how many items there were in total – but we’re talking a lower-end four-digit number. The pay was five-digit, and I figured that if I could finish it in no more than three days, I’d walk away with a decent hourly wage. So, early that first morning, I cheerfully launched into the task, actually looking forward to a few unpretentious days as a metadata slave. Because of the content management system, the work had to be done on a PC – and even though such a Windows XP contraption had never set foot inside Tveskov HQ before, I managed to get hold of one thanks to my brother Thomas. So I settled in with my big coffee mug within arm’s reach, in front of the humming, buzzing machine with its big thick CRT screen, and began working through the pile of ‘content.

Very quickly, I discovered that a high number of people from corporate environments have a close relationship with their Office suite. A huge amount of funny cat pictures, death videos, and gag cartoons were buried deep inside Word documents, PowerPoint presentations, and even Excel spreadsheets. People use the tools they know, and instead of simply forwarding a funny JPEG, many of those with a “PC driver’s license” embedded the images where they felt more in control. Good for them, bad for me – the constant switching between Office programs and the CMS system felt like wading through thick, sticky syrup, not a pleasant sensation with that much work ahead.

And of course, it’s never great to sit at a computer you don’t know well. The mouse feels off, the keys are arranged just differently enough to be annoying. Around lunchtime on day one, I began to realize the project would take significantly longer than I had expected.

But what really started to gnaw at me wasn’t the time. It was the stuff upon my screen.

I have never, in such a short span, seen so many people get hit by trains, buses, cars, bicycles, dogs, and other moving objects. There was also an overwhelming number of amazing soccer goals, kids falling in “funny” ways, vomit, broken limbs, and racy jokes, of course styled in Comic Sans and garnished with an absurd number of smileys. It was as if the entire decline of Western civilization passed through me, via small bite-sized nuggets of digital garbage.

Julia Allison (remember her?) once said that there are three things that bring success online: funny, boobs, and kittens. Oh Allison, if only you knew how right you were.

Gradually I realized it’s a rough life being a day laborer in the data mines deep down in the belly of the big portals. After day one, I was completely empty and numb, but still in fairly good spirits. When I shut down the PC on day two, I wasn’t so sure anymore. Especially after going through all the videos that didn’t get approved because they were too bizarre, too violent, or otherwise inappropriate for the general public. All that death and dismemberment. The whole thing started to feel like a deranged Word-based RPG where the gameplay couldn’t get sleazy or extreme enough.

Remember poor Alex at the end of A Clockwork Orange? It was like that.

That night I had evil, evil dreams – cats and puppies being brutally kicked into clip-art soccer goals over and over again by hyperactive Page 3 girls, while I flew off a motorcycle ramp surrounded by drooling, manically grinning babies with enormous eyes staring at me from all sides. And the next morning, it was back down into the data mine again. Fortunately, I’ve repressed most of what I saw back then. I do, however, still remember this little MTV gem I titled “Use the Force, Lorenzo.” Thankfully, there was some harmless and funny material in the pile – it just got harder and harder to spot as time went on.

Like a desperate jet pilot slamming “Eject, Eject” on the escape seat, I was clicking “Reject, Reject” in the CMS system just to make the images disappear. Eventually, it became really difficult to tell which videos crossed the line – a line that got fuzzier and fuzzier as my ability to think clearly faded, while the PC just kept buzzing away as if it couldn’t care less about what was passing through it.

That final day was like a simulated car crash in extreme slow motion. Visual distortions, nausea, and self-pity in equal measure. I was confused and numb. Synapses burned out. Too many inputs. Too much metadata to fill out. Overload. Wish I could forget what I saw. But I got through and got paid.

Game over, man. Insert coin.

Hundred years of Bang & Olufsen

Besides a certain toy company, Bang & Olufsen is surely the Danish brand closest to my heart. Today the company turns 100 years old, quite a feat, especially in the field of electronics. When I grew up in Denmark, B&O was not a luxury brand, but very much a household name, their products found in many ordinary Danish homes. I remember my dad purchasing a 24″ B&O color TV in the mid-70s; if I recall correctly, the price was around 7000 DKK (40,000 DKK in 2025 prices). That TV lasted for many, many years. All the money from my confirmation went into buying a pre-owned Beocenter 1400 + loudspeakers. As a kid and teenager, I was inspired and fascinated by the clean, futuristic-looking products that were so utterly different from all the Japanese hi-fi equipment at that time (and today for that matter).

Beovision 3702 and Beocenter 1400.

I remember the legendary B&O designer Jacob Jensen doing a talk for us LEGO designers in Billund sometime in the 80s. He said he liked our spaceship designs if we could just get rid of those pesky ‘warts’ (studs) that were everywhere on our designs! Back then, the LEGO and B&O companies were of similar sizes; today, the latter is a dwarf compared to LEGO in terms of market position and revenue (75 Billion vs 2.5 Billion DKK).

Today, some of the B&O products feel more like expensive jewelry for houses and apartments in Dubai and similar tacky places. But their cheaper streaming loudspeakers and headphones are great and offer quite good value for money. I have done some concept work for B&O, which was an aspiration for me, both for the core brand and some early work on what was to become Beoplay. Today, I own two products from Struer, a Beolit 15 portable loudspeaker and those most excellent Beoplay H95 headphones, a real joy to use. The software could be better, but the build and the sound quality are very, very good.

So happy birthday to Bang & Olufsen, here’s to another 100 years. Here are a few of my favorite beoproducts:
(Many more on my Pinterest board)

Can AI make art?

Short answer; No, but a person can make art (even quite good art) with AI, just as a few select people can do with a paintbrush or Photoshop. But perhaps AI in art is to be seen more like a musical instrument rather than a ‘tool’, as this long article (converted from a talk) suggests. Another take comes from cartoonist Matthew Inmann, who touches upon some of the same themes and dilemmas, and, funnily enough, also uses the metaphor of music at one point. But he likens AI prompting ‘art’ to pressing the ‘demo’ button on a cheap Casio music keyboard. Both are fairly long, but worth a read if you have time and interest, and both go beyond all the predictable knee-jerk reactions to AI ‘art’ and AI versus Art.

As mentioned earlier, I actively hate 99.9% of AI ‘art’ and visual slop that the net is so hopelessly full of now. But that still leaves 0.1%, and there are some signs of a new genre emerging. Here is a selection of AI-based Instagram accounts that I enjoy: Is it art? You decide..

DDR Mondbasis – Nostalgic German counterfactual reports from the future; love it!
Niceauties – One of the grand old accounts, surreal but with a clear theme and distinct style.
The Strangest Fleamarket – Visually interesting, bizarre creatures and characters.
Moss Carpet – It’s a vibe… Folksy and slightly unnerving tableaus from elsewhere.
Voidstomper – Enter at own risk, bizarre and scary
Aim not here – ‘Excerpts from interdimensional journeys powered by the human mind’

Bonus: Also check out Fellowship a place with many AI-positive artists to explore.

Image credits : DDR Mondbasis / Moss Carpet