Vegaschleife is an installation that evloved out of the work I was doing with Acid Pauli for RjDj. It is shown from  04.05.-31.05.2012 at Analoge Ansichten II (in the entrance hall of the Department of Sociology at the University of Vienna). Vegaschleife listens to percussive sounds in the environment, records them, and plays them back in rhythmic patterns

I took part in the PhD-Colloquium at the The 21st European Meeting on Cybernetics and Systems Research, Vienna,  10–13 April 2012. I presented the the agent-based simulation model of markets  for digital cultural goods I am working on.

Abstract. The internet, peer-to-peer technology and mobile devices are radically changing markets for digital cultural goods (e.g. music, moving images, and video games). Incumbent companies in these industries have severe difficulties in reacting to these changes and finding effective business models. Markets for digital cultural goods are markets that coordinate as complex social networks where consumption and production decisions are influenced by information feedback over social networks. The agent-based model under development is intended to give support in creating and justifying alternative business models for these markets. Questions addressed are: What characterizes digital cultural goods? How do markets for such goods look like? How to model consumption decisions in social network markets? What implications does the digitalization have for business models operating in those markets?

In February I participated at the Third International Conference on Service Sciences in Geneva, Switzerland. In our contribution we were analyzing business models of recently founded music startups. Here’s the list of music startups (including links) founded between 2005 and 2011 that we have been looking at.

Abstract. The recorded music industry faces serious challenges. Well- established companies so far did not manage to react adequately to changes in consumers needs and technological improvements. CD unit sales are down substantially from five years ago, while digital distribution became more important. Until now it is not clear, how suitable business models for these circumstances will look like. Thus, experiments with alternative business models are essential. One identifiable trend in product based companies is that they are seeking to improve their competitiveness by moving towards service-based business models. But incumbent firms face severe barriers to conduct business model experiments with such service-based offers. This is why startup companies are the leading forces in innovating business models towards a service dominant perspective. In this article we will analyze and categorize service based business models of recently founded music startups to identify some generic characteristics of innovative business models for the recorded music industry. The models will be discussed in detail in a multiple case study.

Key words: business model, innovation, music industry, service trans- formation, startups

Published in: Waldner, F., Zsifkovits, M., Heidenberger, K. (2012) Emerging Service-Based Business Models in the Music Industry: An Exploratory Survey. In: International Conference on Exploring Service Science, pp. 321-330, Springer, Berlin Heidelberg (2012)

We contributed to the The 2-nd International Conference on on Emerging Intelligent Data and Web Technologies (EIDWT-2011) in Tirana, Albania. How does one capture value from delivering digital music files which users expect to download for free? Well, one source for inspiration to solve that problem could be the video game industry. There might be some promising solutions copy.

Abstract—How does one capture value from delivering digital music files which users expect to download for free? This is the fundamental challenge the music industry currently faces. Therefore, new service-based business models are required that incorporate the increased consumption of music on mobile devices, pervasive social networks, peer-to-peer technology, and the internet as the main distribution channel. Compared to the music industry, the video game industry was more successful in adapting its business models and therefore is a vital source from which to draw analogies for the music industry. In this article we propose a cross-industry innovation on the basis of a business model taken from the video game industry adapted to the needs of the market for digital music. This is illustrated with a case-study of the UK music-technology startup RjDj.

Published in: Proceedings of the 2011 International Conference on Emerging Intelligent Data and Web Technologies, IEEE Computer Society Washington, DC, USA , ISBN: 978-0-7695-4456-4 doi>10.1109/EIDWT.2011.30

http://ieeexplore.ieee.org/xpls/abs_all.jsp?arnumber=6076434&tag=1

]]> http://13bit.at/2011/11/19/cross-industry-innovation-the-transfer-of-a-service-based-business-model-from-the-video-game-industry-to-the-music-industry/feed/ http://13bit.at/2011/02/27/radiodrama-by-velo/ http://13bit.at/2011/02/27/radiodrama-by-velo/#comments Sun, 27 Feb 2011 21:10:17 +0000 florian http://13bit.at/?p=305
A series of three short radiodramas (in German), each about a special holiday (World Savings Day, Valentine’s Day, World Day of Socially Insured Artists). Originally released in December 2010 on Festtagsaufschnitt by Landjäger magazine.

Written and produced by Velo (Sven Matt, Robert Rüf , Florian Waldner).
Voices: Stefan Pohl, Michaela Bilgeri, Robert Rüf (on Weltspartag)
Voice Recording: Heike Kaltenbrunner

To listen press

Weltspartag - Kurzhörspiel von Velo by 13bitstring
Samenkoller - Kurzhörspiel von Velo by 13bitstring

Welttag der Künstlersozialversicherten - Kurzhörspiel von Velo by 13bitstring

I am currently working on an new RjDj scene called “Eden”, inspired by Stansliaw Lem’s great science fiction novel Eden. What I am trying to create is a hybrid between a game soundtrack and reactive music. You can navigate a starship around and discover some extra musical content. But be careful, gravity pulls you towards an alien world called Eden!

While reading Bregman’s book Auditory Scene Analysis I made a couple of Pure data patches to demonstrate auditory illusions mentioned in the book.  All patches are done in Pd vanilla and include short descriptions and a reference to the publication the illusion was reported in.  Until now there are patches for:

• stream segregation in a cycle of 6 tones (Bregman/Rudnicky)
• masking / mental synthesis (Dannenbring)
• loss of rhythm in an ABA sequence (Van Noorden)
• high and low tones on left and right ear mixed up (Deutsch)

Download the patches (ZIP) here.

“The Birds according to Oskar Sala” is a radioplay by Ammer & Console. The play was staged live at the German Museum in Munich 16th and 18th July 2010. I equiped the plastic crow in the picture above with a G-force sensor using a wireless eowave sensor box. The bird screamed and fluttered depending on how it was moved and was used on stage by the actor playing Hitchcock’s part.

Oskar Sala is a german composer and pioneer of electronic music who created the soundtrack for Hitchcock’s The Birds using his custom built instrument the Trautonium.

German text:

Does It Sound Like I Was Here? ist eine private Klanginstallation die den Hörer auf seinem Alltag begleiten kann. Musik wird immer mehr auf portablen Engeräten konsumiert. Die neueren Generationen dieser Endgeräte verfügen über Möglichkeiten die weit über das einfache Abspielen von Musik hinausgehen. Diese Arbeit bedient sich dieser neuen Generation an portablen Musikabspielgeräten um ein musikalisches Erlebnis zu gestalten das eng mit dem Hörer verbunden ist und auf diesen reagieren kann.

Does It Sound Like I Was Here? besteht aus einer Umhängetasche, einem mobilen Musikabspielgerät, diversen Kabeln und einem Kopfhörer an dem ein kleines Ansteckmikrofon befestigt ist. Das Mikrofonsignal wird von der Software in Echtzeit bearbeitet und wieder abgespielt. Die Software definiert wie das Mikrofonsignal bearbeitet wird und bestimmt Aufbau und Form dessen was über den Kophförer abgespielt wird. Die Software ist ein Stück Musik welches erst zum Zeitpunkt des Hörens realisiert wird. Die grobe Struktur der Musik ist vorgegeben und wird zur Laufzeit mit den übers Mikrofon aufgezeichneten Geräuschen umgesetzt. Das Stück hört sich dementsprechend bei jedem mal Hören anders an. Die Arbeit ist für einen Fussweg von knapp 15 Minuten in urbanem Umfeld konzipiert. Der Hörer soll diesen Weg mit aufgesetztem Kopfhörer abgehen. Mithilfe des Mikrofons wird das jeweilige Umfeld des Hörers Teil der Arbeit. Für den Hörer ensteht so eine erweiterte Realität auf akustischer Ebene.

]]> http://13bit.at/2010/06/17/does-it-sound-like-i-was-here/feed/ http://13bit.at/2010/06/01/wave-lands-ii/ http://13bit.at/2010/06/01/wave-lands-ii/#comments Tue, 01 Jun 2010 14:35:37 +0000 florian http://blog.13bit.at/2008/06/01/wave-lands-ii/

This sound installation is based on eight high-frequency speakers hanging from the ceiling and floating free 1cm above the floor. Each speaker plays back filtered sea wave sounds I recorded with different microphone placements on an area similar to that of the installation. Visitors are free to swing the speakers and therefore shape the sounds with varying reflexions from the floor and Doppler effect.

Wave Lands II was exibited at the Mobile Music Workshop 2008 in Vienna and The Essence 08 (annual exhibition of the University of Applied Arts Vienna).

Special thanks to Martin and Thomas at Protozone who did great help in building the speaker cases.

Video: