|Traffic | Weather | Your account||Movies | Restaurants | Today's events|
CHICAGO — Peter Hubert keeps a mirror on his desk so he can see people walking up behind him, even if he can't hear them.
Headphones clamped on, MP3 player plugged in, the 28-year-old draftsman has fashioned a virtual office using invisible walls of sound. Listening to heavy-metal rock doesn't distract him from the precise computer-based drawings he creates for Bigelow Homes in Aurora, Ill.
To the contrary, "it puts my head somewhere else so I can concentrate on what I'm doing," he said. "It helps keep me focused."
Technology makes it easy for workers such as Hubert to bring their music collections to the office and to retreat, at least some of the time, into audio worlds of their own making. Listeners say their music energizes them, tunes out distractions and makes them more productive.
But as more employees march through the day to the beats of their own drummers, personal music players are changing the ways in which workers interact and collaborate while posing challenges for bosses who consider the devices unprofessional and disruptive, employers and workplace experts say.
"Companies are struggling" with all kinds of personal technology, said Richard Chaifetz, chief executive of employee-assistance firm ComPsych. "A lot of employers just don't want to have a personal playground atmosphere in the workplace."
Not a new concept
Music at work is not new. Factories have piped in tunes for decades on the theory that music makes workers more productive. In offices, workers listened to portable cassette players or popped CDs into their computers long before the Internet expanded their choices by offering streaming radio and downloadable music files.
What is changing workplace behaviors is the popularity of devices such as iPods, which allow workers to carry around thousands of songs — Hubert brings 3,500 to work — and to surround themselves with soundtracks of their choosing.
Eighty percent of technical and creative employees — programmers, engineers and graphics designers, for instance — listen to music more than 20 percent of their working hours, said Tom Nolle of CIMI, a New Jersey-based research and consulting firm.
The technology is ushering in new social conventions at companies such as Chicago's Closerlook, a strategic communications firm where 35 employees work in loftlike spaces.
Wearing earbuds or headphones telegraphs the message, "'Unless it's urgent, please do not disturb,"' said David Ormesher, the firm's founder and chief executive. "It's almost like you're in an office and you have a closed door or an open door. There's new sensibilities around when you can interrupt and when you can't."
Rather than isolating co-workers, music offers common ground, he added. "They share playlists on the office network and everyone winds up playing each other's music — jazz, classical, hip-hop, world music. You learn a lot about each other just by checking out playlists."
But the laissez-faire approach doesn't suit every boss.
"If you essentially put yourself in an auditory cave, you're going to miss opportunities to learn by observing what others are doing, by overhearing," said Franklin Becker, a social and environmental psychologist who directs Cornell University's International Workplace Studies Program.
He advocates flexible workplaces where employees can move between private and team spaces.
"I'd be concerned about someone who puts [an iPod] on at 8 o'clock in the morning and doesn't look up, but it may be reasonable for periods of time if it's creating opportunities for choice, if it's creating micro-environments," he said.
In the "zone"
Habitual listeners say their music puts them into a "zone" that helps them focus.
"It is probably not a bad thing for somebody doing data entry, for instance, where the boredom and monotony of it takes a toll on performance," said Robert Rubin, assistant professor in the management department at DePaul University's College of Commerce.
Still, research suggests that optimal concentration and performance occur when the mind is fully engaged.
"Music is usually resorted to as a form of self-therapy when you're not involved enough in what you're doing so that part of your mind needs to be distracted from what otherwise would become boring," said Mihaly Csikszentmihalyi, who directs the Quality of Life Research Center at Claremont Graduate University's School of Management.
His 1990 bestseller, "Flow: The Psychology of Optimal Experience," and subsequent books explore peak states when people are wholly absorbed in activities that perfectly match their talents and skills.
"Listening to music is seldom 'flow,' " Csikszentmihalyi said.
Copyright © 2006 The Seattle Times Company