yoo by wanghonghx

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									                                       The less, the better, Perhaps: Learning from Music Language
                                                                                     Youngjin Yoo

            The less, the better, Perhaps: Learning from Music Language

                                     Youngjin Yoo

The other day, I was at Severance Hall, watching the Cleveland Orchestra perform a
century-old piano concerto. The Cleveland Orchestra had never performed the piece
before. It was incredibly rich in its texture and filled with emotions. I was struck by the
extraordinary energy erupting out of the Orchestra, filling the entire hall. When the
composer composed the piece, he must have felt something. He might have even seen or
heard something. And, he put his feelings and thoughts into the music. Yet, what was left
behind were pieces of paper with a set of symbols and, perhaps few words at the most.
More than a century later, to a conductor and the members of the orchestra who
performed the piano concerto, however, those limited words and restrained symbols were
more than enough. More than enough to stir up their own imagination, feelings, and
thoughts. More than enough to touch and move people who filled the concert hall that
night. Yet, the composer never spoke to anyone in the hall.

I have been studying and thinking about knowledge management and computer-mediated
communication over the last 10 years. I have studied desktop videoconferencing systems,
groupware, and other modern computer and communication technologies. Many of the
problems that I have studied in the past share a common thread. That is, computer-
mediated communication is often too constraining and is not rich enough for effective
communication, coordination, and learning. As a result, we (technologists) build more
and more tools, with more bandwidth, with more speed, and with richer media. We first
added audio channels, then video channels. We added multi-media graphics. We also
added interactive data and application sharing capabilities. Then, we realized that we did
not have enough bandwidth. So we wanted broadband Internet connections. Now, we
want broadband wireless connection everywhere. We invented e-mail. But, the responses
from our colleagues and friends via e-mail were not simply fast enough. So, we invented
“instant” messaging systems. We even have media “richness” theory. The richer and
faster, the better the world would be, we thought.

I first experimented with computer and communication network for teaching in 1995.
Back then, we connected two classrooms, one in Maryland and the other in Arizona, via
two sets of 28.8kbps modems and 128kbps ISDN-based videoconferencing. The modem
connections were used to transmit professors’ PowerPoint slides to the students at the
other side. It was painfully slow. We had to remove all the fancy background patterns
that Microsoft programmers wanted us to use. The videoconferencing was slow. The
image was blurring. The sounds and the motions were usually out of sync. Back then, we
thought that once the technology became better and faster, more universities and
professors would do what we did as an experiment for real. Around that time, someone
even wrote an article entitled “Will the Internet Revolutionize Business Education and
Research?”

Now we have an impressive array of technology at our disposal. Connections are much
faster. Our school is moving into a building with a “giga bit switched network to the
                                       The less, the better, Perhaps: Learning from Music Language
                                                                                     Youngjin Yoo

desktop”. I don’t have to remove nice background patterns from my PowerPoint slides
any more. Students can see the videoconferencing from their desktop or laptop computers
(soon, they may be even able to walk down the street with their PDAs). Yet, there is still
no sign of a revolution in business education and research to be found, at least not due to
the technology.

A few years ago, I conducted a field study at a large global management consulting firm
for their use of “knowledge management systems.” It was a large repository of probably
hundreds of thousands of documents created by the consultants. Consultants of the firm
all over the world could share the “best practice” of the firm to solve their clients’
problems. It was heralded as an exemplary use of technology to manage organizational
knowledge. To my surprise, however, few consultants were actually using the systems in
the field. The reason was that they could access the systems only through the dial-up
connection and most files they wanted were too big to download via dial-up. Therefore,
many consultants simply did not access the systems unless they were in their offices,
which was very infrequent. Thus, consultants often used the systems to win the contracts,
but rarely used them during the project. The management of the firm also talked about
adding video clips to share “tacit” knowledge. They felt that documents were too
constraining to share tacit knowledge. Today, the firm has access to virtual private
network with high bandwidth Internet access. I don’t know whether they added “tacit”
knowledge to their system using video clips of their experts. But, what I know is that the
firm is still searching for the “holy grail” technology for effective knowledge sharing,
particularly valuable tacit knowledge.

Going back to my experience at the Severance Hall, I have to wonder why management
people (particularly those of us who love to apply technology to solve complex business
problems) cannot do what musicians all over the world have been doing over centuries.
Their symbols are deliberately limited and simple. Yet, musicians routinely communicate
extremely complex sets of ideas and feelings—beauty, sorrow, death, and life—using
these limited and simple symbols. I propose that the secrete lies in the way they use the
symbols. In music, symbols are not used simply to communicate ideas and knowledge.
Instead, musical symbols are used to design a musical space in which performers and
audience are effectively invited to participate. When an orchestra is performing a piece,
they are not communicating with the composer through the notes. Rather, they are
creating a musical space in which the audience is also invited to participate. They are
invited to design their own spaces using their own imaginations. Composers do not
communicate all of their thoughts and feelings through the symbols. Instead, they rely on
the reflexivity of the people who perform and listen their music to fill the details. Thus,
the musical space shapes and is shaped by the people who design them and the symbols
are used to bring them together across time and distance. It is this notion of “design” of
the space that shapes and is shaped by the actions of participants and the use of simple
and limited symbols in the design of such space that I would like to emphasize in this
essay.

Unlike composers, we technologists often try to provide more and finer details with better
technology. We often forget that technology that we design will be used by other people
                                        The less, the better, Perhaps: Learning from Music Language
                                                                                      Youngjin Yoo

who can think. We design technology as if people are mere connectors of these
intelligent tools. Thus, we use more symbols and symbols are getting more elaborate.
Yet, we fail to effectively communicate.

For example, new e-learning tools are fast. We can put many things on a web site. Our
entire lecture can be captured via video and made available over the Net. Yet, there is no
evidence that e-learning is actually enhancing students’ learning. Why? I would like to
argue that it is because our e-learning tools are designed as tools to communicate, not as
tools to invite people to design and create learning space. When we design e-learning
tools as if there will be no teachers and no learners, it will fail. When we design e-
learning tools as if there will no learning processes, it will fail. When we design e-
learning tools as if there will only e-learning tools with “dummy” teachers and “dummy”
learners, it will fail, even if the tools might have the greatest and the latest features.

However, when we start thinking about learning space that shapes and is shaped by
teachers and learners, technology tools begin to have very different roles. Like musical
symbols, they are used not only to communicate, but also to invite people to join the
learning space that is made of both people and technology. Thus, it requires the
simultaneous design of both technology and the learning process. When the technology is
used to design such a socio-technical learning space, we maybe able to find the
appropriate level of the use of technology in the process. Will we still look for technology
that is faster, better, and richer? Probably, yes. But, probably for different reasons.

Let me conclude with an anecdotal example. When we look PalmPilot’s handwriting
recognition system, it expects a lot from the users. In fact, it demands people to learn its
“graffiti” system and get used to it. As a result, the designers of PalmPilot could keep the
tool simple, yet very effective. Contrarily, Apple Computer’s infamous Newton
attempted to learn everyone’s different handwriting styles. As a result, it became
complex and bulky and it failed. While the designers of PalmPilot were able to design a
man-machine system of PDA and used their simple tools to invite others to join, Apple’s
designers were only designing the tools. PalmPilot’s designers were able to trust their
users and used simple tools, Apple’s designers did not leave any room for the users.

Composers need to trust the people who will perform and listen their music in order to re-
create what they want to create to begin with. They always have to think about the people
and their symbols together. After all, musical notes without people to perform does not
do anybody any good. Likewise, technologists will need to learn to design simultaneously
technology and organizational space at the same time. For that, they will have to learn
how to trust people who live and practice in organizational space first.

								
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