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<ul><li>Who am I? </li></ul><ul><ul><li>Using virtual environments since 1994 </li></ul></ul><ul><ul><li>Presentation to E...
<ul><li>Who am I? </li></ul><ul><ul><li>Teaching in Second Life since 2007 </li></ul></ul><ul><ul><li>Working with clients...
<ul><li>Overview </li></ul><ul><ul><li>Music and technology </li></ul></ul><ul><ul><li>Looking after the fans: community <...
<ul><li>Music and Technology </li></ul><ul><ul><li>The world's best-selling CD </li></ul></ul><ul><ul><li>The computer (ex...
<ul><li>What are the key issues? </li></ul><ul><ul><li>Addressing piracy (~30% of downloads), hence … </li></ul></ul><ul><...
<ul><ul><li>==> 1887: music as  performance  (experience vs ‘ownership’) </li></ul></ul><ul><ul><li>Restriction: you can  ...
<ul><li>The Open Music Model (MIT, 2003) </li></ul><ul><ul><li>the only system for the digital distribution of music that ...
<ul><li>A word of caution : it's a world populated by </li></ul><ul><ul><li>Freaks </li></ul></ul><ul><ul><li>Losers </li>...
<ul><li>But that's enough about  </li></ul><ul><li>Real Life </li></ul><ul><li>…  now let's move on to talk about </li></u...
<ul><li>What are MUVEs? </li></ul><ul><ul><li>Multi-User Virtual Environments: the immersive social experience and ultimat...
<ul><li>Social virtual worlds, such as Second Life, are multi-user virtual environments (MUVE) in which participants, repr...
<ul><li>[1] Second Life is a platform for (paradigmatically) synchronous computer-mediated communication (CMC), and under ...
<ul><li>[2] In light of the fact that Second Life supports synchronous communication between multiple users, it is potenti...
<ul><li>[3] Purposeful communication and effective collaboration in the real world is often largely dependent upon (i) the...
<ul><li>In other words, Second Life is more usefully understood as a medium for communication and collaboration, a 'digita...
<ul><li>What can you do with MUVEs? </li></ul><ul><ul><li>Real-time collaboration (voice, text) between geographically dis...
<ul><li>Stuck at the airport? No problem—wherever you are, you are always  there , right place, right time </li></ul><ul><...
<ul><li>Who is using MUVEs? </li></ul><ul><ul><li>Federal Consortium for Virtual Worlds (National Defense University) </li...
<ul><li>From ‘product’ to 'service' to 'experience': a case study (McFly) </li></ul><ul><ul><li>Subscription-based: subscr...
<ul><li>Music in Second Life </li></ul><ul><ul><li>Teaching </li></ul></ul><ul><ul><li>Performance (streaming technologies...
<ul><li>…  as well as 'soft' opportunities: </li></ul><ul><ul><li>Finding existing communities (groups, sims) </li></ul></...
<ul><li>In conclusion: </li></ul><ul><ul><li>MUVES can re-establish the connection between performers and audiences (the f...
<ul><li>Thank you for listening! </li></ul><ul><li>Questions? </li></ul>
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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.

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

  1. 2. <ul><li>Who am I? </li></ul><ul><ul><li>Using virtual environments since 1994 </li></ul></ul><ul><ul><li>Presentation to European Commission, 1994 </li></ul></ul><ul><ul><li>Expert assessor for EC-funded e-learning projects </li></ul></ul><ul><ul><li>Running a MSc programme in a MUVE 1999 </li></ul></ul><ul><ul><li>Tasked with feasibility study 2007 </li></ul></ul>
  2. 3. <ul><li>Who am I? </li></ul><ul><ul><li>Teaching in Second Life since 2007 </li></ul></ul><ul><ul><li>Working with clients (Uthango, HRP, Hao2, Stanley Picker Gallery) </li></ul></ul><ul><ul><li>Distance lecturing in other universities worldwide </li></ul></ul><ul><ul><li>Chairing online conferences </li></ul></ul><ul><ul><li>… and a former musician and father of a musician </li></ul></ul>
  3. 4.
  4. 5.
  5. 6. <ul><li>Overview </li></ul><ul><ul><li>Music and technology </li></ul></ul><ul><ul><li>Looking after the fans: community </li></ul></ul><ul><ul><li>Rethinking music distribution: product vs service </li></ul></ul><ul><ul><li>What are MUVEs? ActiveWorlds? Second Life? OpenSim? </li></ul></ul><ul><ul><li>Music in virtual social worlds </li></ul></ul><ul><ul><li>Videos & Questions </li></ul></ul>
  6. 7. <ul><li>Music and Technology </li></ul><ul><ul><li>The world's best-selling CD </li></ul></ul><ul><ul><li>The computer (exact reproduction) </li></ul></ul><ul><ul><li>The Internet (distribution) </li></ul></ul><ul><ul><li>The MP3 (portability) </li></ul></ul><ul><ul><li>The iPod (ubiquity) </li></ul></ul><ul><ul><li>Goodbye, Napster; hello, Spotify </li></ul></ul>
  7. 8. <ul><li>What are the key issues? </li></ul><ul><ul><li>Addressing piracy (~30% of downloads), hence … </li></ul></ul><ul><ul><li>Rethinking business models </li></ul></ul><ul><ul><li>Rethinking distribution models </li></ul></ul><ul><ul><li>Understanding 'community' </li></ul></ul><ul><ul><li>Creating the user experience </li></ul></ul>
  8. 9. <ul><ul><li>==> 1887: music as performance (experience vs ‘ownership’) </li></ul></ul><ul><ul><li>Restriction: you can experience the performance only by attending the performance Hence a necessary evil: the middle man ... </li></ul></ul><ul><ul><li>1887: Emil Berliner invents the phonograph </li></ul></ul><ul><ul><li>Multiple (and thus distributable) identical copies of performance </li></ul></ul><ul><ul><li>Music can thereafter be packaged as product (but what is then ‘owned’?) </li></ul></ul><ul><ul><li>1895: the Berliner Gramophone Company </li></ul></ul><ul><ul><li>The record company needed for reproduction and distribution </li></ul></ul>
  9. 10.
  10. 11. <ul><li>The Open Music Model (MIT, 2003) </li></ul><ul><ul><li>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. </li></ul></ul><ul><ul><li>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. </li></ul></ul>
  11. 12. <ul><li>A word of caution : it's a world populated by </li></ul><ul><ul><li>Freaks </li></ul></ul><ul><ul><li>Losers </li></ul></ul><ul><ul><li>Social inadequates </li></ul></ul><ul><ul><li>Cheats and liars </li></ul></ul><ul><ul><li>who are forever in obsessive pursuit of perverted sex </li></ul></ul>
  12. 13. <ul><li>But that's enough about </li></ul><ul><li>Real Life </li></ul><ul><li>… now let's move on to talk about </li></ul><ul><li>Second Life </li></ul><ul><li>and other virtual worlds </li></ul>
  13. 14. <ul><li>What are MUVEs? </li></ul><ul><ul><li>Multi-User Virtual Environments: the immersive social experience and ultimate collaboration environment </li></ul></ul><ul><ul><ul><li>Second Life (Linden Lab) </li></ul></ul></ul><ul><ul><ul><li>Open Wonderland (Oracle, Sun Microsystems) </li></ul></ul></ul><ul><ul><ul><li>Open Cobalt </li></ul></ul></ul><ul><ul><ul><li>Forterra Olive </li></ul></ul></ul><ul><ul><ul><li>Unity3D </li></ul></ul></ul><ul><ul><ul><li>3DXplorer </li></ul></ul></ul><ul><ul><ul><li>ActiveWorlds </li></ul></ul></ul>
  14. 15.
  15. 16.
  16. 17. <ul><li>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. </li></ul><ul><li>Put differently: ... </li></ul>
  17. 18. <ul><li>[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. </li></ul>
  18. 19. <ul><li>[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). </li></ul>
  19. 20. <ul><li>[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.. </li></ul>
  20. 21. <ul><li>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. </li></ul>
  21. 22. <ul><li>What can you do with MUVEs? </li></ul><ul><ul><li>Real-time collaboration (voice, text) between geographically distributed personnel </li></ul></ul><ul><ul><li>Global real-time presentations, conferences, seminars, class teaching </li></ul></ul><ul><ul><li>3D modeling; animated business & scientific visualisations </li></ul></ul><ul><ul><li>Second Life Shared Media: web feed, productivity tools </li></ul></ul><ul><ul><li>Streamed audio and video; real-time video feeds </li></ul></ul><ul><ul><li>… the only limit is your imagination </li></ul></ul>
  22. 23. <ul><li>Stuck at the airport? No problem—wherever you are, you are always there , right place, right time </li></ul><ul><li>Anytime, anywhere … SL on your mobile device </li></ul><ul><li>3G mobile phones, such as Apple iPhone, Samsung and all Android phones, iPod Touch, iPad, other tablets </li></ul><ul><li>Students never miss a lecture </li></ul>
  23. 24. <ul><li>Who is using MUVEs? </li></ul><ul><ul><li>Federal Consortium for Virtual Worlds (National Defense University) </li></ul></ul><ul><ul><li>Military and defence </li></ul></ul><ul><ul><li>Major corporations (IBM, Cisco, Microsoft, Nokia, ...) </li></ul></ul><ul><ul><li>100s of universities and colleges </li></ul></ul><ul><ul><li>Scientific and technology establishments (NASA, National Physical Laboratories, ...) </li></ul></ul><ul><ul><li>Fire service; bridge inspectorate; urban search & rescue; ... </li></ul></ul>
  24. 25.
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  28. 29.
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  30. 31.
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  32. 33.
  33. 34. <ul><li>From ‘product’ to 'service' to 'experience': a case study (McFly) </li></ul><ul><ul><li>Subscription-based: subscribers (£40 p.a) have free access to music </li></ul></ul><ul><ul><li>Community: fans have access to community areas, including free text chat </li></ul></ul><ul><ul><li>3D environment: subscribers have access to Super City, a multi-user virtual environment </li></ul></ul><ul><ul><li>Additional benefits for fans </li></ul></ul>
  34. 35.
  35. 36.
  36. 37.
  37. 38. <ul><li>Music in Second Life </li></ul><ul><ul><li>Teaching </li></ul></ul><ul><ul><li>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? </li></ul></ul><ul><ul><li>Collaboration in real time among geographically distributed musicians. Ninjam, Reaper (http://www.cockos.com/ninjam/). Cf. </li></ul></ul><ul><ul><ul><li>eJamming ( http://ejamming.com ) </li></ul></ul></ul><ul><ul><ul><li>Ohm Studio ( http://www.ohmstudio.com ) </li></ul></ul></ul><ul><ul><ul><li>Kompoz ( http://www.kompoz.com ) </li></ul></ul></ul><ul><ul><ul><li>JamSpace Synergy (http://jamspace.com) </li></ul></ul></ul>
  38. 39. <ul><li>… as well as 'soft' opportunities: </li></ul><ul><ul><li>Finding existing communities (groups, sims) </li></ul></ul><ul><ul><li>Networking: finding new opportunities for collaboration and ideas sharing </li></ul></ul><ul><ul><li>Serendipitous encounters with fellow musicians that would be unlikely to happen in the 'real world' </li></ul></ul>
  39. 40. <ul><li>In conclusion: </li></ul><ul><ul><li>MUVES can re-establish the connection between performers and audiences (the fan base) </li></ul></ul><ul><ul><li>The abolition of distance: global audiences, global collaboration </li></ul></ul><ul><ul><li>The record company (the ‘middle man’) thus no longer required for reproduction and distribution </li></ul></ul><ul><ul><li>Music reverts from ‘product’ to ‘experience’ </li></ul></ul>
  40. 41. <ul><li>Thank you for listening! </li></ul><ul><li>Questions? </li></ul>
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