Jakob Trollback: Rethinking the music video

What would a music video look like if it were purely directed by the music? Not driven by a concept, nor by a desire to build an image, but purely as an expression of a great song? Designer Jakob Trollback shares the results of his experiment in the form. The song is “Moonlight in Glory,” from David Byrne and Brian Eno’s classic album My Life in the Bush of Ghosts, remastered in 2006.



Filed under: films, new media, technology

SCR#002:Drop Clock

DROPCLOCK” is an aesthetically intriguing motion clock screensaver. Every minute of real time is numerically expressed with heavy Helvetica dropping into water in super slow-motion. Be captivated as the contrasting elements of organic water and solid typography infinitely morph and mix.

[ text.img via SCR ]

Filed under: art, design, graphics, new media, technology


i love it.

Filed under: films, new media, technology

Facebook skit

Filed under: culture, films, new media, people, social, space/place, technology

Adobe Media player

( text excerpt ,image source: read/write web )


” Today Adobe announced the launch of the Adobe Media Player, a desktop app that enables consumers to view high quality video whether they are online or offline. It is also designed for content owners to distribute, track and monetize their video. Built on their Apollo framework, the Adobe Media Player is cross-platform and based on open standards. The Adobe Media Player leverages other Adobe tools such as the Adobe Flash Player, Adobe Flash CS3 Professional, Adobe Flash Media Server 2, and the Adobe Media Encoder. For the end user, the video player can be used to create media channels via RSS, as well as for video downloads and streaming. Adobe is previewing the player at the National Association of Broadcasters trade show today and it will be available in the Fall of 2007.”

More news here > and here >

Filed under: applications, new media, technology

The Future of Music: Manifesto for the Digital Music Revolution

( via mediateletipos )


The Future of Music: Manifesto for the Digital Music Revolution
Kusek, Dave
Leonhard, Gerd
Berklee Press Publications, Oxford (2005)
ISBN 0-87639-059-9

+info sobre el libro, noticias relacioandas y otros materiales de los autores en:


Table of Contents

1. Music Like Water
2. Our Top-10 Truths of the Music Business
3. Futurizing some Popular Music Industry Myths
4. The Future of Music Marketing and Promotion
5. The Future of Music Distribution and Acquisition
6. The Digital Kids and the Changing Marketplace
7. A New Music Economy
8. How Technology Will Rewire the Music Business
9. Megatrends that Will Impact the Future of Music
10. Onto the Future

The record industry as we know it is dying. But the music industry is healthier and more vibrant than ever with limitless possibilities for change and growth due to the Internet and the digitization of music. The Future of Music will show you cool new ways to find music and connect with your favorite artists. Discover the top-10 truths about the music business of the future and how you can benefit from the explosion in digital music, today and tomorrow.

From free music and mp3 music downloads on Kazaa to legal music downloads from iTunes, Napster and Rhapsody to other forms of free music online, The Future of Music charts a music industry destined to embrace digital music, or so it seems. What will become of the music business, the music store, the independent and major record label, artists, writers, publishers, managers and others in the age of free music downloads and the ubiquitous mp3 file? Is there a better way for the industry to proceed?

The Future of Music punches gaping holes through the foundation of a record industry that refuses to adapt. If you love music, have discovered digital music and download or rip MP3 files on your computer, or download ring tones to your cell phone – then this book is for you.

This is a book about music and the music business in the twenty-first century. Imagine a world where music flows all around us, like water, or like electricity, and where access to music becomes a kind of “utility.” Not for free, per se, but certainly for what feels like free.

In this world, we share, contribute, collaborate, and trade music amid a constant flow of new songs that suit our tastes and preferences, without any palpable constraints or limitations. Music is ubiquitous and served up in easy, friendly formats. Like water, it is simply present just about everywhere, anytime.

Artists, writers, composers, and producers all prosper, both creatively and financially. The music industry is redefined from A to Z, as fairer, bigger, and better. Fans, artists, and all kinds of music communities drive the business, rather than being driven by corporate powers.


Ever since the invention of electricity, music and technology have worked hand-in-hand, and technology continues to catapult music to unprecedented heights. Today, because of the Internet and other digital networks, and despite all the legal wrangling, music is bigger than ever before. Within ten to fifteen years, the “Music Like Water” business model that we will outline in this book will make the industry two or three times larger than it is today.

Right now, the music industry is viewed as being in great turmoil. Technology has brought powerful and disruptive changes to the ruling incumbents. The best-selling CD in the U.S. is a blank, recordable one. Profits at the big record labels have dwindled and the markets for recorded music have virtually collapsed in many other parts of the world.

Will record companies go the way of horse-drawn carts? How will music companies make money in the future? Who will buy that is, pay for music, for how much, and on what terms? How do music fans feel about these developments, and how will the artists deal with this? How is it all going to shake out? Is the music industry just the first of the so-called “creative industries” to be sold out for free via the digital networks, or will everyone be better off in a world of ubiquitous media? Whose views will prove to be more correct: the recording industry’s legal sharks or burn-crazy downloading teenagers?

This book will examine the issues important to the future of music. We will uncover opportunities, plunge into challenges, serve up wildcards, and revel in utopia. We will move from mere facts through dazzling stories to far-out visions and fantasies. Our views, along with those of other artists, writers, and industry insiders, attempt to give some insight into what is really happening, and what it will mean for the people who love music and for the people who make music.

We see ourselves not as predicting the future by any scientific means, but as providing inspiration, in order to jumpstart your imagination and get you juiced up about the future of music. A brave new world is waiting for those who can handle it– a world that very likely holds fantastic business opportunities for creative thinkers. Enjoy!

Filed under: music, new media, technology

Mapping Festival 2007 documentary on Swiss TV

( via mapping festival blog )

Let’s go straight to the hype! Interviews with a select group of the participants and the festival organizers. Overall it does a pretty good job of covering what this stuff is all about. If I can I’ll make a version with subtitles.

Filed under: art, festival, hack, music, new media, social, space/place, technology

Arm band allowing women to track their fertility in an easy and stylish way

( via twent1f by regine)


The Ovü, developed by Kathryn Bauer, is made up of a lace arm band, with a highly sensitive thermistor attached on the inside that picks up changes in the Basal Body Temperature (BBT) of a woman.This method of tracking fertility allows a dataset to be gathered of the woman’s cycle (which can be quite allusive at times.) This dataset, collected using actual sensors, allows women the tools to have more control over their bodies. There is no need to think and worry about babies all day long. Women go about their life as the temperature is tracked and uploaded to their online database.

The Ovü frees those women trying to become pregnant from having to be so focused on their cycle. The partner is involved in some way and the accuracy of the readings improves the chance of finding the right time to have a child.statistics and more research can be found in the PDF.

How it works:
1. Wear the Ovü on your upper arm.
2. The thermometer constantly takes in temperature in the underarm & tracks changes.
3. When the change is significant enough to imply a hormonal change (typically during ovulation), the device sends a txt message to your partner’s mobile phone.

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More on the trials and tribulations of the thesis process can be accessed on the artist’s blog.

Filed under: art, design, new media, physical computing, technology, thesis


( via networked_performance )

Cool media hot talk show : D.I.Y. talk show on art & media ::

TOPIC: New Media Art Mythologies ::

SPEAKERS: Geert Lovink and Armin Medosch :: QUESTIONS: ask-it-yourself now and during the show here :: June 5, 20.30 CET :: Video stream and interface for online participation :: Location: De Balie, Amsterdam (bring your laptops and mobiles)

New Media Art Mythologies…to be questioned… :: Recent discussions about (new) media art concerned a wide range of issues: starting from the validity of the term itself and ending with questioning the very premises of the modes of distinction through which the (new) media art field constitutes itself as a form of art, cultural practice, social context, institutional domain, and discourse. The feeling of a certain Rubicon, provoking self-introspective reflections, was expressed by many.

The coming edition of Cool Media Hot Talk Show on the topic “New Media Art Mythologies” will welcome persistent critical voices of the media art scene – Geert Lovink and Armin Medosch. They will present their judgements and arguments regarding the current critical stage in the development of new media art. The debates will address socio-cultural position of new media art in a historical perspective, which both speakers are discussing extensively in their writings. Preliminary suggested focal points are:

– The marginalised position of new media art within the broader cultural context.
– New media art vis-`-vis changing trends of cultural policies.
– Discursive troubles: in search for mediatory theories and media art criticism.
– New media between aesthetics and politics.

Continue reading >

Filed under: art, design, DIY, films, new media, social, space/place, technology

Medical Tablet Using E-Ink Display

( via they should do that )



Just a few weeks ago Motion Computing and Intel announced their C5 medical tablet, which had some great features but the $2999 price tag may render it a non-starter. Now another medical tablet, from Emano Tec has emerged. The MedTab is small (5.5″ x 7.5″), weighs 1lb, has a 12hr battery, and, most notably, uses an E-ink display. E-ink is a black and white display technology that is extremely low power and requires no backlight. Like the C5 it’s washable, offers Bluetooth and WIFI connectivity, and is drop proof (probably even more so than the C5, since it doesn’t have a hard drive). Interestingly enough it does run Windows CE, as I proposed, in my entry on the M5. However, the price is still sky high, $4,995 for orders under 50 units and $1,999 for orders over 50. While the form factory and battery life are are definitely a big step in the right direction for a medical tablet, the price is still way to high. White frankly I don’t understand why it’s so expensive, a Sony E-book reader using a comparable screen costs about $500 and a PDA with comparable specs costs about the same. Given that this is such a new company, I’d imagine the volume they’re producing these things at is so low, that it’s difficult for them to achieve any substantive price reductions due to volume. After all if ordering just 50 units cuts the price by over 50%, imagine what an order of a few thousand units would do.

Filed under: applications, design, new media, technology

Fijuu, 3D Synaesthesia and the Loungeroom

( via teeeming void )
Game/art notable Julian Oliver (aka delire) has been using game engines for audiovisual performance since way back. In 2001 I saw him play a Quake mod that had been rigged with audio samples and proximity triggers to create an immersive first-person performance tool; a digital hardcore jumping castle (I think the system was related to the later q3apd). In conversation at the same event, he argued for the potential of this approach. I saw the Quake mod as an ingenious sample trigger interface – a kind of 3D drum machine – but Oliver was looking ahead to realtime manipulation and deformation of geometry and sound. In retrospect he was evoking a form of synaesthetic media, where spatial and sonic attributes are fused and cross-mapped, so that the form is the sound. Gesture is significant here too – in performance practice gesture is at the interface of space, motion and sound. Oliver was imagining dynamic form as an articulation of sonic gesture, but also the prospect of folding back 3D form into sound; procedural texture-mapped geometry as a sonic provocation. What does this sound like?

This conversation came back to me vividly when I ran into fijuu2, a project by Oliver and Steven Pickles. Fijuu comes close to realising what Oliver imagined in 2001: a plastic, gestural, realtime audiovisual 3d environment. Forms twist, shatter and rotate, hovering inside cylindrical arcs of a gesture sequencer. Sound and form transform in unison, evoking a third, more abstract thing, the map or pattern that links them. Global filters influence sound and image, making another (logical) map between pixel shaders and audio effects. It’s great to see lush, gaming-grade 3d graphics diverted towards a more abstract aesthetics of play.

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Filed under: art, new media, opensource, technology

Music Vortex, Water Speaker

( via yanko design )

Bronze prize winner of the Chinese design competition Soundbox held by speaker manufacturer 3Nod, designer Eric Zheng created the Music Vortex. A speaker system that produces vehement vibration of water via resonance. It works by having a built-in metronome, which enlarges music rhythm to stable vibration and producing pretty ripples through the vibrating perch in the middle. Volume is adjusted by turning the 3nod switch located in the middle as well.

Designer: Eric Zheng

Filed under: design, music, new media, technology

Networked bodies: art, culture, environment and sustainment in cyberculture

( via networked_performance )


Lucia Leão

:: jun 14.2007 :: 7:30 pm @ i-People: Av Vergueiro 727, next to the Vergueiro Subway Station.

The relationships between art and nature have always been present in the human history. Since pre-historic times, draws of animals in caves reveal the aspiration to represent and/or control nature. Enigmatic pre-historic monuments and planetary observatories are also amazing samples of man interventions in order to understand the surrounding environment and its movements. From the Egyptian frescos, passing through moments of the Renaissance and 18th century art, the landscape becomes the environment for building narratives and, often, it takes an ornamental or symbolic character. The landscape paintings, not by chance, are very frequent and popular in the colonialist expansion periods and show very clear relationships between the territorial conquest and the aspiration of representation.

In the 20th century, starting in the 60’s, a radical transformation happens: the art stop seeing the nature only like an object for representation and the artists start interacting directly in natural spaces. In that period, artworks emerge pointing to several readings of the environment, among them: nature and space problems (Richard Serra); light transformations, time effect and visitor’s interaction (Robert Morris and Nancy Holt); environment and consumption (Christo); actions and incisions in the environment (Michael Heizer and Alberto Burri), among others.

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Lucia Leão is interdisciplinary artist, PHD in comunication and semiotics from PUC-SP and post-PHD in arts from UNICAMP. Author of several articles about art and new media and of the books “The Labyrinth of Hipermedia: architecture and navigation in cyberspace” (1999) and “The Aesthetics of the Labyrinth” (2002). She organized the Interlab collections, with international papers: Labyrinths of the Contemporary Thinking (2002), with nomination for the Jabuti Award; Cybercultura 2.0 (2003); e Derivas: cartography of the cyberspace (2004). Lucia is professor at PUC-SP and SENAC. As artist, she has exhibited, among other places, at ISEA 200, Paris; Museu de Arte Contemporânea de Campinas (MACC); XV Biennial of Sao Paulo; II International Biennial of Buenos Aires; ArtMedia, Paris; FILE -SP (2002); Arte Digital Rosario 2003; Cinético Digital, Itaú Cultural (2005); Mostra SESC de Artes (2005) e FILE Rio 2006.

Filed under: architecture, art, consciousness, design, fashion, films, locative, new media, physical computing, research, social, space/place, technology

Nokia Trends Lab

( via notcot )

Virtual hub of mobility experiences on Nokia Trends Lab Beta.

Filed under: art, design, fashion, films, graphics, mobility, music, new media, social, space/place, technology

Walking City: Pneumatic Dress

( via networked_performance )

By Ying Gao, part of “Indice de l’indiférence: Walking City” at Galerie Diagonale, 5455, de Gaspé street, space 203 :: May 29 to June 9.

Filed under: art, design, fashion, new media, space/place, technology