I have a new Academic CV and Publications track record (PDF).
The document integrates for the first time my academic research; PhD and Masters studies; Disinformation website work (mainly from my first editorial and writing tenure in 1998-2003); journalism; and subculture research. There are some known gaps in the publications history – notably the Black Box magazine project in 2002, two small REVelation excerpts in 1996-97, and many more Rabelais student journalism articles / reviews from 1994. It’s as near complete a list that I’m likely to get – unless I do further archival work. Many of the Disinformation articles in 1998-2003 are available at Archive.org. Much of the academic research is available from this website or in the specific academic journals.
A personal reflection:
I spent much of my first decade of public writing as a freelance journalist, subcultural researcher, website editor / writer during the end of the dotcom speculative bubble, and then in the Swinburne University Masters program in strategic foresight. This period covered several phases: (1) a 1994-95 period of primarily New Journalism experimentation; (2) a 1996-97 period of immersive subculture research and magazine articles which largely ended in March 1998; (3) a 19998-2003 period of my first Disinformation editorial tenure; and (4) my 2002-04 Masters studies which were largely a reflection cycle on the prior periods and the lessons I had learned. This period transitioned when I joined the Smart Internet Technology CRC research consortium in December 2003.
I spent my second decade as a researcher; pivoted into research management; did Masters and early PhD work on counterterrorism and political science; and then collaborated with others on academic research. This period covered several phases: (1) a 2003-2007 period of Smart Internet Technology CRC research in which I also pivoted out of doing magazine research due to employment contract restrictions; (2) a 2007-09 pivot period of moving into research management and transitioning my academic research career into political science; (3) a 2010-14 period of collaborative research articles; and (4) a 2009-present period of focus on PhD research about pattern languages and strategic culture, and applied research on hedge funds / terrorist organisations as strategic subcultures.
Collectively, I put in 10,000 hours of deliberate practice over the 20-year period in journalism and research. The 1994-95 period of New Journalism was skills acquisition and experimentation. The 1996-97 period of subculture research benefited from close work with several talented magazine editors, and led to new insights during the 2003-07 period at the Smart Internet Technology CRC. This was a period in which I enjoyed a brief publicly visible profile as an editor and writer. The 1998-2003 period at Disinformation led to a renewed focus in 2009 on event arbitrage and understanding hedge fund strategies. I experienced personal crises in 1997 and in 2006-07 over financial and ‘decision to publish’ issues that led to life-changing pivots. The 2002-04 and 2007-09 periods were active reflection cycles on these pivots. In Spiral Dynamics terms, the 20-year timeframe of writing involved several sequences of skills cultivation (Alpha new state), rapid growth (Delta surge), life crisis (Gamma Trap problems), and pivot to new opportunities (alternation of Beta questioning and new Delta surge).
This 20-year writing arc has led to a current personal synthesis: (1) PhD and recent academic publications as a new phase of skills building; (2) applied research as a strategy to address the life circumstances of the 1997 and 2006-07 crises; and (3) this blog as a way to capture and communicate some of these ideas to a public audience. My writing is more focused and often more private. I publish more slowly in academic journals than in past internet and magazine work. I work with a smaller group of collaborators. I have a more sustainable daily routine.
I’m grateful for the past experiences. I’m looking forward to sharing new writings in the future with you.
We had broken up for about a year when I saw Nicholas Ray’s In A Lonely Place (1950). I had restarted a ‘lapsed’ undergraduate degree at La Trobe University, majoring in cinema studies and politics. I thought of you during Dr. Geoff Mayer’s class on Pre-Code cinema when he examined the origins of Hollywood’s ‘fallen angel’ image, and its influence on contemporary femme fatales. It was in Mayer’s film noir class that I saw In A Lonely Place. Afterwards, I saw our relationship in a new light.
In A Lonely Place explores the rise-and-fall arc of a brief, romantic relationship between screenwriter Dixon “Dix” Steele (Humphrey Bogart) and neighbour Laurel Gray (Gloria Grahame). Steele is suspected of murdering nightclub girl Mildred Atkinson (Martha Stewart) and his relationship with Gray unravels. Ray deals with popular themes in film noir: early Cold War paranoia; Hollywood cynicism; the dark heart of some personal relationships; and the suspicion of major characters as unreliable narrators. Today, In A Lonely Place is regarded as a film noir classic.
Ray’s film evokes a larger truth about the Romantic ideal of living with a writer versus its day-to-day realities. Significant others might initially approach this as the opportunity to live with a cultural creative or to be their muse. Gray and Steele’s initial whirlwind courtship reinvigorates their creative work and they become a dyadic couple. But the Atkinson murder investigation makes Gray suspicious about Steele. Writer’s block also shatters their domestic harmony: both Gray and Steele suffer from decision regret. Steele never develops a habitual routine to write. A writer stuck in their material can become irritable, moody, and withdrawn to live with: absent. D.T. Max’s recent biography Every Love Story Is A Ghost Story (New York: Viking, 2012) evokes these feelings about the late author and critic David Foster Wallace, who struggled with depression, and self-loathing about his giftedness and family.
All writers can suffer from the cognitive bias known as ‘positive illusions’. It’s us versus our emotions, thoughts, and a blank page: being in a (potentially) lonely place. As Gray discovered about Steele, we can carry our in-progress writing around as a projective identification onto others. We enter a liminal, subjective state that can be superimposed on others and the objective world. If not inspirational muses then we may look for initiatory allies and significant others to share in the unfolding creative process, to read our work, and to keep us tethered to the everyday world. At its extremes, a writer can venture deep into their material and may not come out of it. David Foster Wallace spent a decade writing drafts and redrafts of his novel The Pale King before he committed suicide in 2008.
You were disinterested to read what I wrote. Fine, I thought, you don’t know or care who guerrilla ontologist Robert Anton Wilson was, when I interviewed him for REVelation. You were not going to read or do the exercises in Prometheus Rising. But we had common, shared experiences and polarities. At that period of my life, I wanted to share the exploratory promise of self-change with you and others. When the self-change occurred it wasn’t what I wanted or had hoped for: I learned that you can help to create the conditions for change but that personal growth is different for each individual. Eventually, you found a new fiancé: an ‘indie’ musician who was more emotionally direct and expressive with you than my writing was.
In A Lonely Place taught me that creative work and its choices will usually have personal costs. Gray and Steele’s relationship did not survive the rumours and suspicions about Atkinson’s murder. Director Nicholas Ray and actress Gloria Grahame’s marriage fell apart during filming. I have mixed feelings about the creative work from this period: you felt I became absent and did not pay you enough attention. 21C’s print edition had cultural cachet: to be published in my early twenties alongside cultural critics like Greil Marcus and Mark Dery was an honour. It’s one reason why Richard Metzger (now running the popular blog Dangerous Minds) asked me to write for the alternative news site Disinformation in 1998 and how I became its site editor in November 1999 (1998-2003 site archive). But you didn’t stay for this journey. You decided beforehand that pursuing these dreams was not feasible when the publisher cheque never comes, your credit card defaults, the telemarketing stop-gap job becomes too unstable, and the realtor sells out your rental house from underneath you. After some difficult experiences I agreed with Richard Metzger to “Find the Others” (quoting Timothy Leary) in new, emerging internet subcultures.
REVelation, 21C, and Disinformation gave me the opportunity to do deep background research on the countercultural topics of interest in my early-to-mid twenties. I got to work with leading writers, editors, designers, marketers, and publishers. Disinformation made me part of the dotcom era’s internet history and I had to create a public persona to deal with fans’ expectations. The reality was that I sat in rooms for eight years with computers as the site changed and the company evolved. I made new friends and gave lectures at This Is Not Art (TINA) between 1999 and 2004: the youth arts festival we had heard about one afternoon on Triple J radio (as TINA’s precursor, the LOUD Festival). I took our break-up and turned it into my first peer reviewed academic article on the Nine Inch Nails album The Fragile (1999).
Most importantly, I served an ‘apprenticeship’ period — 10,000 hours of deep/deliberate play/practice — to develop expertise. Florida State University psychologist K. Anders Ericsson articulated this approach to talent development whilst Malcolm Gladwell’s Outliers, Geoff Colvin‘s Talent Is Overrated, and Daniel Coyle’s The Talent Code popularised it. REVelation, 21C and Disinformation gave me the opportunity to discover who I was as an emerging writer. TINA enabled me to share these insights with others. I learned about meso-cosmoi; how cultural transmission works; the creative synergies of high performance teams; and the significance that writing can have on your audience. I helped attract an audience for Disinformation’s other book and DVD projects, and promoted the Disinfo.Con 2000 ‘happening’.
Recently, I calculated the content and value I created during this ‘apprenticeship’ period versus the actual income earned. It was a sobering valuation exercise. (Read Valuation, Sources of Value, or Value Maps for more details.) My freelance journalism period occurred mainly from late 1994 to early 1998: 1500 hours on magazine articles ($A750 to $A1750 per article), interviews, and two book proposals. I did two editorial stints for Disinformation (November 1999-August 2002 and April 2003-February 2008) at $US100 per week salary, or $US42,000 in total. Over 8 years, I spent between 6,000 and 8,000 hours on editing the site; writing articles, news items, and a daily newsletter; responding to emails; handling site redesigns; representing the company in interviews; and from 2005, participating in weekly teleconferences. Add several thousand hours for two Masters degrees, and you get Ericcson, Gladwell, and Coyle’s 10,000 hour target to develop expertise. The per-hour salary of $A6.67 for freelance journalism or $US5.25-$US7 for Disinformation was on par with an entry-level administrative or sales job. However, the body of work produced continues to be of interest and value to others.
The downside was a lesson in offshore economics and cost reduction strategies that many white collar jobs will face in the hyper-competitive future. I left money on the table: I could have negotiated better deals; not signed away rights and potential royalty streams; used process redesign to manage time and task; and not have overestimated the length of my publishing career. Some other mistakes: The ‘standard’ magazine contracts controlled reprints, ancillary markets, and new technologies. For Disinformation, my editorial salary was fixed no matter how much content I produced whereas freelance contributors received $US50 per article or dossier. The salary also remained constant over 8 years. As an offshore contractor, I lost money on currency exchange rate fluctuations and inflation; and did not get end-of-year bonuses, salary benefits or superannuation. Disinformation’s successful expansion into book publishing and DVD distribution meant I had a continued salary but I never had an equity share in the company (so I didn’t share in its growth). I failed to translate my internet work into regular contributions to book anthologies, successful book proposals or projects with other publishers. When I became a university researcher on internet futures my bosses became anxious about Disinformation instead of leveraging this relevant industry experience.
For some of Disinformation’s core audience there was always a tension between its countercultural ideals, its marketing image, and its existence as a profit-oriented entertainment company. I got and responded to email flak about this. Today, I have taken the lessons from this period into providing research management advice; a PhD project (2011 proposal); and using event arbitrage, behavioural finance and market microstructure analysis to trade a small Australian equities portfolio. Some disgruntled Disinfonauts view this as a sell-out but it’s more an evolution from this earlier period. I changed who I collaborated with; I set writing limits; I found exemplars in academia (Alastair Iain Johnston, Jack Snyder, Marc Trachtenberg, and Robert Jervis); and investigative journalism (William D. Cohan, Steve Coll, and Lawrence Wright) to carefully study and model. You might have seen the baseball film Moneyball which is really about competitive advantage, negotiation, and valuation. Oakland A’s coach Billy Beane (Brad Pitt) turned a career arc from being a hopeful ‘star’ and then a ‘failed’ baseball player into a second act: mistakes became an invaluable learning resource.
A few months ago publisher Ashley Crawford (of 21C and World Art fame) asked me to contribute to a Photofile Magazine roundtable about a mysterious bunny image. I sent Ash a brief piece with in-joke references to the Discordianism movement, the horror author H.P. Lovecraft, Richard Adams’ novel Watership Down, intelligent design, and the 1977 hoax Alternative 3 (in Photofile #84, Summer 2008, p. 60). It was a lot of fun. The image turned out to be Polly Borland‘s Untitled III (2004-04), and private collector David Walsh now curates a billboard version in Melbourne, Australia.