by another_jim on Mon Jul 27, 2009 4:56 pm
I disagree on one point, agree on the other.
I think progress is a series of stair steps. A few innovations come down the pike, and that raises the level. But after a while it becomes nothing but fine tuning. But then a new innovation hits, and that creates the next stair step. The PIDed double boiler, pressure and temperature profiler innovations are probably hitting the point of diminishing returns. The most recent set of innovations: SO espresso, dosing variations as an SOP, and high end grinders, is just making its way into the mix, and I don't think we are anywhere close to having exhausted this vein. For instance, I expect that Andy and Terroir, etc, will perfect fast routinized extraction and concentration measures on espresso, and that we'll see this used to make shots over much wider ranges of grind settings, pressure settings and shot times. I'm also hoping to see this knowledge exploited by creating espresso bars (so far there's only one in Trieste) where you can order one of four to eight different SOs or blends, and they will be so obviously distinct that even a person who never drank coffee will be able to compare and contrast them.
But I agree on audiences, despite being temperamentally an elitist myself.
Having a wider popular, mass audience is crucial. For instance, the techniques of classical music composition have been rising steadily for the past 100 hundred years, and any active music professor could produce a creditable knockoff of large scale Bach, Mozart, Beethoven or Mahler pieces in a few weeks. But the mass audience for modern classical music has disappeared, and there are maybe on the order of ten thousand people world wide who could appreciate a music piece using the latest techniques (they are certainly beyond me, despite my loving older classical music). The successors to all the 18th and 19th century high arts have suffered the same debacle, for the simple reason that for 50 years it was de rigeur for artists to have contempt for their audiences, and to be as incomprehensible as possible. The result is simple: anyone with obvious musical talents becomes a rocker, musical or film composer, since that is where the money, and more important, the audiences are. There have been no really great classical composers for a while; and the symphony and opera seasons have become the musical equivalents of an antique fair. (This is a mass audience for classical performers, who continue to shine)
The sociology of "worlds," such as the art world, fashion world, etc is well understood. In a simple craft world, there's a core group of high end producers and dedicated audiences, along with widening circles of less celebrated producers and less savvy and deep pocketed consumers. In mass consumptioon worlds, the craft world gets coopted and short circuited by mass production channels of distribution. In the best of all possible worlds, the mass and craft ends feed off each other. Rock has stayed vital, as has fashion and movies, because there are craft enclaves and subcultures that keep forming, getting discovered, and selling out to the masses. If the craft side gets completely wiped out, as happened to coffee in the 1930s to 1950s, the quality goes to hell. And the arcane ghettos of modern classical music and now jazz show what happens when the mass market side disappears.
I'm not sure if the internet will let crafts declare their independence from mass marketing. I hope so, but if not, then all the outreach to regular consumers, from in-cafe tastings to Schultz putting an SB on every corner, are necessary.