Your SlideShare is downloading. ×
Music in the 3rd Dimension: From 'product' to 'experience'
Upcoming SlideShare
Loading in...5

Thanks for flagging this SlideShare!

Oops! An error has occurred.


Saving this for later?

Get the SlideShare app to save on your phone or tablet. Read anywhere, anytime - even offline.

Text the download link to your phone

Standard text messaging rates apply

Music in the 3rd Dimension: From 'product' to 'experience'


Published on

Presentation given at the Escuela de Musica Creativa, Madrid, 2nd November 2011.

Presentation given at the Escuela de Musica Creativa, Madrid, 2nd November 2011.

  • Be the first to comment

  • Be the first to like this

No Downloads
Total Views
On Slideshare
From Embeds
Number of Embeds
Embeds 0
No embeds

Report content
Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

No notes for slide


  • 1.  
  • 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.
    • Overview
      • Music 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 models
      • Rethinking distribution models
      • Understanding '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 Life
    • and 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 environment
      • Additional benefits for fans
  • 35.
  • 36.
  • 37.
  • 38.
    • Music in Second Life
      • Teaching
      • 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 ( Cf.
        • eJamming ( )
        • Ohm Studio ( )
        • Kompoz ( )
        • JamSpace Synergy (
  • 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?