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


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

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

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  • 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?