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Alternating on the piano, the Wurlitzer organ and various synths, Coltrane shows a unique expressiveness that she didn't seem to have before. Her numerous influences, which often made her performances fragile and unstable, seem to really flow together on this album and produce a cohesive whole, resulting in an album that is thoughtful and emotionally balanced without ever sounding esoteric. It's firmly rooted in the present time and on this planet, has a raw, at times even earthy feel to it and sounds as up-to-date as can be. Excellent support is given by Charlie Haden on bass and Jack DeJohnette on drums on several of the tracks. Prestige didn't bother with anything that would cause extra costs. There were no rehearsals, usually the first complete take was used, and as many tracks as possible were recorded per session, which were then released on different albums over an extended period of time (this album, for example, comes from three sessions in 1957 and 58 and was released in 1961). Once completed, the musicians would receive a handful of dollar bills, and the label would receive all rights for the recordings and the compositions -- which is why John Coltrane recorded next to no original compositions during his Prestige contract. The quick cash policy earned Prestige the dubious reputation of being a junkie label, and while it did release some truly great albums, it also produced a fair share of mediocre ones. At the first session (tracks 1-3), the pianist didn't show up. Alfred Lion would have called in a replacement, Bob Thiele would have asked somebody hanging around in the building to step in, but Bob Weinstock didn't want to waste precious studio time and simply told Coltrane, Art Taylor and Earl May to play as a trio. Coltrane's solos are somewhere between inspired noodling and just noodling, but there's no real sense of direction, and he fails to really engage the listener; all three tracks feel as undeveloped as they were in the recording context. The remaining tracks are from two sessions in late 1957 and 1958 respectively, and they work much better. Everything clicks into place here, and these are fine performances indeed. A different record company might not have released much of this material at all (just think of the numerous great Blue Note albums that waited 20 or more years in the vaults because Alfred Lion set such high standards), yet still this album is not a total loss. However, Lush Life falls short of not only Coltrane's work with Atlantic and Impulse! but also of Coltrane's best albums for Prestige. I mean, the famous Coltrane group interacts beautifully even on auto-pilot, but this one has more auto than I like on a Trane record. When A Love Supreme was released, it soon took precedence as the defining work of Coltrane, and is seen as the halfway point between his earlier works and his later explorations into free jazz.

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But they come from the early 1970s, when a lot of things had gone wrong. The art posters, usually advertisements for local rock concerts, had an old-timey feel too. The first rock advertisements to appear in the Haight looked like fight cards for a boxing match: crude block lettering, red or black on a white background, a solitary picture of the performer. Later, elements were incorporated from the “Wild West” wanted posters — familiar to a generation reared on TV shows like Have Gun, Will Travel and Gunsmoke. Most of the poster artists had no formal training, but when they discovered offset printing, they quickly pushed the range of its possibilities. The unthought-of juxtaposition of amoeba-like blobs in lurid colors — canary yellow lettering over a whorehouse red background — created the vibrating effect the posters are now famous for. The letters themselves were of a typeface not previously seen on our planet. The lettering does take some getting used to — it is, in a word, illegible. In any other era, visual advertising that customers cannot read would be considered not such a great idea. The posters were understood to be advertising not merely upcoming individual concerts but the subversive adventure of concertgoing, a kind of romanticized endorsement of the Haight experience itself — and this too could be good for business. No sooner would the posters go up than they were snatched away by passersby, to reappear as wall hangings in tumbledown walk-ups badly in need of decoration. Hippies could (allegedly) decrypt them, especially when stoned, and the rest of us couldn’ t. In an essay in the show’s companion book, Terry quotes one of the most celebrated poster artists, Victor Moscoso: “The goal of my posters was, ideally, if somebody was across the street, they’ d see the vibrating colors and say, What’s that. They cross the street and spend a half hour or a week trying to read it. Having prowled the poster displays as sober as a judge, I can report that the obscurantism is part of their enduring charm. You can’ t mistake the inventiveness that went into their design and execution, and they retain the power to lighten and lift the spirit. They are humorous, original, unpretentious, and wildly allusive — popular art of a heightened kind. Christmas in the Summer of Love On one of my visits to the “Summer of Love Experience” I fell in with an elderly woman, Susan (not her real name), a lifelong San Franciscan who was being steered through the exhibit in a wheelchair pushed by her middle-aged daughter.

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She is head of social design at the Young Foundation in London and associate fellow at Said Business School, University of Oxford. What she does these days does not look that different. I have been able to move fairly fluidly between what might seem quite distinct fields, at a time when innovation and creativity are supposedly what’s needed to address global, community and organisational challenges but when artists, designers and others are not necessarily good at explaining how or why what they do might be relevant or productive, and the effects of their work are as varied as anything else. My brief is to build up the Young Foundation’s capability, rather than building a design team. There are lots of other examples of this shift both at government level (like Mindlab in Denmark or TACSI in Australia), and other activities initiated by consultancies and by universities and corporates. The latter has dwindled although my Physical Bar Charts have been shown a few times in the past year including at TEDGlobal in Edinburgh and a show at Palazzo Strozzi in Florence. It’s not a thing, it’s not other, but rather is part of being human. We’re not human without the things we currently call technologies, whether these are Google, or management fads, or pencils. But they are not just results; they also shape how things are and how they could be. More or less the same but perhaps with higher levels of anxiety. Then there are the narratives that are often outside of corporate culture, of resistance, and alternatives, and questioning of assumptions. I suppose what I see is narratives about technology being mobilised for quite distinct purposes and there are probably examples of everything. These vested interests and ways of thinking about what “technology” can do, whether they are professional or corporate or in the realm of public policy, have a big role in shaping what technology research programmes take shape. And material and digital techniques, tools and artefacts are part of this but so are the way people use them, adapt to them, break them or improvise in relation to them. So I would say that what it is to consume or rather be constituted as a consumer in relation to possible practices of consuming changes. My consuming as an affluent London resident living within a straight family involved in a global elite of educators and design innovators is different to other consuming I was involved in when I was younger, single, not a parent, less affluent and so on. To be a teacher or student, to be a parent, to be someone who works in a supermarket, to be a bus driver, to be to be a person who goes out in the evening, to be a person who has a garden in a city, to be a person operating in the art world, all of these involve technologically-mediated practices. We sourced many of the buliding materials as well as furniture and fittings via eBay and Freecyle.

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