Music in the 3rd Dimension: From 'product' to 'experience'
description
Transcript of Music in the 3rd Dimension: From 'product' to 'experience'
2
Who am I?Using virtual environments since 1994
Presentation to European Commission, 1994
Expert assessor for EC-funded e-learning projects
Running a MSc programme in a MUVE 1999
Tasked with feasibility study 2007
3
Who am I?Teaching in Second Life since 2007
Working with clients (Uthango, HRP, Hao2, Stanley Picker Gallery)
Distance lecturing in other universities worldwide
Chairing online conferences
… and a former musician and father of a musician
4
5
6
OverviewMusic and technology
Looking after the fans: community
Rethinking music distribution: product vs service
What are MUVEs? ActiveWorlds? Second Life? OpenSim?
Music in virtual social worlds
Videos & Questions
7
Music and Technology
The world's best-selling CD
The computer (exact reproduction)
The Internet (distribution)
The MP3 (portability)
The iPod (ubiquity)
Goodbye, Napster; hello, Spotify
8
What are the key issues?Addressing piracy (~30% of downloads), hence …Rethinking business modelsRethinking distribution modelsUnderstanding 'community'Creating the user experience
9
==> 1887: music as performance (experience vs ‘ownership’)
Restriction: you can experience the performance only by attending the performance Hence a necessary evil: the middle man ...
1887: Emil Berliner invents the phonograph
Multiple (and thus distributable) identical copies of performance
Music can thereafter be packaged as product (but what is then ‘owned’?)
1895: the Berliner Gramophone Company
The record company needed for reproduction and distribution
10
11
The Open Music Model (MIT, 2003) the only system for the digital distribution of music that will be viable in the long-term against piracy is a subscription-based system supporting file sharing and free of digital rights management. rather than being seen as a good to be purchased from an online vendor, music is treated as a service by the industry, with firms based on the model serving as intermediaries between the music industry and its consumers.
12
A word of caution: it's a world populated by
Freaks
Losers
Social inadequates
Cheats and liars
who are forever in obsessive pursuit of perverted sex
13
But that's enough about
Real Life … now let's move on to talk about
Second Lifeand other virtual worlds
14
What are MUVEs?– Multi-User Virtual Environments: the immersive social
experience and ultimate collaboration environment Second Life (Linden Lab) Open Wonderland (Oracle, Sun Microsystems) Open Cobalt Forterra Olive Unity3D 3DXplorer ActiveWorlds
15
16
17
Social virtual worlds, such as Second Life, are multi-user virtual environments (MUVE) in
which participants, represented by motionable avatars co-present in a 3D graphical world,
interact in real time.Put differently: ...
18
[1] Second Life is a platform for (paradigmatically) synchronous computer-mediated communication
(CMC), and under this view properly falls within the class of technologies enabling synchronous
communication such as internet relay chat, instant messaging, internet chat rooms, and
videoconferencing.
19
[2] In light of the fact that Second Life supports synchronous communication between multiple
users, it is potentially a powerful medium for real-time collaboration; and in common with other such MUVEs has proven itself an effective medium for
computer-supported cooperative work (CSCW) and computer support for collaborative learning (CSCL).
20
[3] Purposeful communication and effective collaboration in the real world is often largely dependent upon (i) the co-
presence of collaborators, and (ii) shared artefacts, environmental objects, spatial deixis, tools and props.
Some forms of CMC offer poor support for object-rich and media-rich communication; multi-user virtual environments
such as Second Life, through their ability to graphically replicate real-world operable objects and scenarios, offer
far better support..
21
In other words, Second Life is more usefully understood as a medium for communication and
collaboration, a 'digital prosthetic' supporting real-life activities, rather than as a 'game' dislocated from
the real world.
22
What can you do with MUVEs?Real-time collaboration (voice, text) between geographically distributed personnel
Global real-time presentations, conferences, seminars, class teaching
3D modeling; animated business & scientific visualisations
Second Life Shared Media: web feed, productivity tools
Streamed audio and video; real-time video feeds
… the only limit is your imagination
23
Stuck at the airport? No problem—wherever you are, you are always there, right place, right time
Anytime, anywhere … SL on your mobile device
3G mobile phones, such as Apple iPhone, Samsung and all Android phones, iPod Touch, iPad, other tablets
Students never miss a lecture
24
Who is using MUVEs?Federal Consortium for Virtual Worlds (National Defense University)
Military and defence
Major corporations (IBM, Cisco, Microsoft, Nokia, ...)
100s of universities and colleges
Scientific and technology establishments (NASA, National Physical Laboratories, ...)
Fire service; bridge inspectorate; urban search & rescue; ...
25
26
27
28
29
30
31
32
33
34
From ‘product’ to 'service' to 'experience': a case study (McFly)
Subscription-based: subscribers (£40 p.a) have free access to music Community: fans have access to community areas, including free text chat 3D environment: subscribers have access to Super City, a multi-user virtual environmentAdditional benefits for fans
35
36
37
38
Music in Second LifeTeaching
Performance (streaming technologies); new audiences; global reach. Should this not be considered at least as authentic a performance as, for example, a live radio broadcast or a music video?
Collaboration in real time among geographically distributed musicians. Ninjam, Reaper (http://www.cockos.com/ninjam/). Cf.
eJamming (http://ejamming.com)
Ohm Studio (http://www.ohmstudio.com)
Kompoz (http://www.kompoz.com)
JamSpace Synergy (http://jamspace.com)
39
… as well as 'soft' opportunities:
Finding existing communities (groups, sims)
Networking: finding new opportunities for collaboration and ideas sharing
Serendipitous encounters with fellow musicians that would be unlikely to happen in the 'real world'
40
In conclusion:MUVES can re-establish the connection between performers and audiences (the fan base)
The abolition of distance: global audiences, global collaboration
The record company (the ‘middle man’) thus no longer required for reproduction and distribution
Music reverts from ‘product’ to ‘experience’
41
Thank you for listening!Questions?