Pocket Operator [is] a device released four years ago by a Swedish company called Teenage Engineering. To date, the company has made nine different models of the same basic design, and it has sold more than 350,000 of them worldwide, making the Pocket Operator one of the most popular synthesizers in history. The Korg M1 — famous for producing the sound of Seinfeld’s slap bass and Madonna’s “Vogue,” and one of the best-selling and most influential synths of all time — is estimated to have sold 100,000 fewer units over nearly twice as much time. The “portable” version of one of the Pocket Operator’s earliest forebears — the telharmonium, constructed more than a hundred years ago — cost more than $5 million to build in today’s dollars, weighed 200 tons and required a team of specialists to achieve peak performance. A Pocket Operator costs about $60 and fits in the palm of your hand.
All of our screens are now TVs, and there is more TV to watch on them than ever. More dramas, more comedies, more thrillers, more fantasy-adventure series, more dating shows, more game shows, more cooking shows, more travel shows, more talk shows, more raunchy comedies, more experimental comedies, more family comedies, more comedy specials, more children’s cartoons, more adult cartoons, more limited series, more documentary series, more prestige dramas, more young-adult dramas, more prestige young-adult dramas — more, more, more.
It’s no wonder that the phrase “everyone has a podcast” has become a Twitter punch line. Like the blogs of yore, podcasts — with their combination of sleek high tech and cozy, retro low — are today’s de rigueur medium, seemingly adopted by every entrepreneur, freelancer, self-proclaimed marketing guru and even corporation. (Who doesn’t want branded content by Home Depot and Goldman Sachs piped into their ears on the morning commute?) There are now upward of 700,000 podcasts, according to the podcast production and hosting service Blubrry, with between 2,000 and 3,000 new shows launching each month. In August William Morrow will publish a book by Kristen Meinzer, a co-host of the popular “By the Book” podcast. Its title: “So You Want to Start a Podcast.”
And yet the frequency with which podcasts start (and then end, or “podfade,” as it’s coming to be known in the trade) has produced a degree of cultural exhaustion. We’re not necessarily sick of listening to interesting programs; but we’re definitely tired of hearing from every friend, relative and co-worker who thinks they’re just an iPhone recording away from creating the next “Serial.”
Emma Chamberlain dropped out of school and changed the world of online video. Chamberlain invented the way people talk on YouTube now, particularly the way they communicate authenticity. Her editing tricks and her mannerisms are ubiquitous. There is an entire subgenre of videos that mimic her style, and a host of YouTubers who talk, or edit, just like her. The Atlantic recently noted this and declared she is “the most important YouTuber” working today.
Chamberlain edits each video she makes for between 20 and 30 hours, often at stretches of 10 or 15 hours at a time. Her goal is to be funny, to keep people watching. It’s as if the comic value of each video is inversely proportional to how little humor she experiences while making it. During her marathon editing sessions, she said, she laughs for “maybe, maybe 10 seconds max.”
Parents around the country, alarmed by the steady patter of studies around screen time, are trying to turn back time to the era before smartphones. But it’s not easy to remember what exactly things were like before smartphones. So they’re hiring professionals. A new screen-free parenting coach economy has sprung up to serve the demand. Screen consultants come into homes, schools, churches and synagogues to remind parents how people parented before.
Google employees are systematically listening to audio files recorded by Google Home smart speakers and the Google Assistant smartphone app. Throughout the world – so also in Belgium and the Netherlands – people at Google listen to these audio files to improve Google’s search engine. VRT NWS was able to listen to more than a thousand recordings. Most of these recordings were made consciously, but Google also listens to conversations that should never have been recorded, some of which contain sensitive information.
Black women are among the least represented demographic in the $135 billion global gaming industry. They suffer from a double disadvantage — of race and gender. Only 1 percent of gaming industry professionals identify as African or African American, according to the latest International Game Developers Association Satisfaction Survey. Women of any race make up only 27 percent of the industry. It’s little surprise, then, that none of the world’s 20 top-earning female gamers are Black. But an emerging generation of millennial women of color is now beginning to carve out space for others like themselves. They’re building a network of support organizations that never existed before, aimed at facilitating, encouraging and training aspiring female gamers of color to reach new heights in the industry.
Every major tech company, from Apple to Amazon to Google, is trying to create a “Netflix of gaming” service. The idea is simple: Stream high-quality games to any device, regardless of how much processing power that device has. The potential for such a service is massive, but there are major technical hurdles to overcome — from latency to bandwidth caps to slow internet speeds. The CEO in charge of Take-Two Interactive, the publisher of “Grand Theft Auto” and “NBA 2K,” spoke to those hurdles and his own skepticism with video game streaming in an interview with Business Insider earlier this month.
There are many streaming services in the world, but none of them can compare to the size and influence of Spotify. With more than one-hundred million subscribers, the Swedish based company has nearly double the audience of its closest competitor (Apple Music). The company has grown so popular, in fact, that it has become a kind of shorthand for streaming music. People say, “Do you use Spotify,” instead of, “do you subscribe to a streaming music platform?”
Spotify has revolutionized how artists make money from their music. The company pays, on average, between $0.006 and $0.0084 per song stream. A single stream is counted when the listener has played thirty-seconds of the track. If the listener finishes the song, that’s great, but it doesn’t change the amount of money the stream earns for the artist. With this in mind, it’s easy to understand why many industry experts claim Spotify has changed the sound of music. The ‘Spotify Sound,’ as it has been dubbed, refers to artists who waste no time getting to the heart of their song. The days of lengthy introductions or slow-burning tracks has been replaced by immediate choruses or other attention-grabbing tactics.
As the United States begins the transition to a carbon neutral economy, it’s vital that the biggest technology companies—Apple, Google, Amazon, Facebook, and Microsoft—lead the way. The “big five” of tech command a significant portion of the economy. The International Monetary Fund estimates their collective worth at $3.5 trillion, more than the GDP of the United Kingdom. What’s more: Their products, hardware, cloud networks, and internet infrastructure touch nearly every industry and every individual. Of all the industries in the U.S., tech’s reach is perhaps the more difficult to conceptualize, but also the broadest. What happens in the technology industry today radiates out into nearly every corner of the economy. Which is why, for the Green New Deal to take root in the U.S., Big Tech needs to be involved. These major companies have both the capacity for innovation, the economic resources, and the political clout to precipitate the shifts laid out in the Green New Deal framework. Will they decide to take the lead?
The product designer and mechanical engineer Tamiko Thiel was working for the Cambridge, Massachusetts, company Thinking Machines. She and her colleagues were building a supercomputer that proposed a radical new concept. Instead of using one giant processor to crunch large amounts of data, they were going to use thousands of processors that would tackle little parts of the data-crunching one by one. It was the early 1980s, and Thinking Machines was trying to build an artificially intelligent machine based on the human brain. As the project’s lead designer, Thiel was charged with the question: What should this new kind of technology look like?
The work designers make is inspired by taste, and taste is often derived from what we’re exposed to during our upbringing. But design values and history is taught through a canon; that accepted pantheon of work by predominantly European and American male designers that sets the basis for what is deemed “good” or “bad.” The authority of the canon has undermined the work produced by non-Western cultures and those from poorer backgrounds so that Ghanaian textiles, for example, get cast as craft rather than design. Classifying traditional craft as different from modern design deems the histories and practices of design from many cultures inferior. We should aim to eliminate the false distinctions between craft and design, in order to recognize all culturally important forms of making. Design thinking rhetoric is similarly exclusive: To frame design thinking as a progressive narrative of global salvation ignores alternative ways of knowing.
Imagine you are shopping in your favorite grocery store. As you approach the dairy aisle, you are sent a push notification in your phone: “10 percent off your favorite yogurt! Click here to redeem your coupon.” You considered buying yogurt on your last trip to the store, but you decided against it. How did your phone know? Your smartphone was tracking you. The grocery store got your location data and paid a shadowy group of marketers to use that information to target you with ads. Recent reports have noted how companies use data gathered from cell towers, ambient Wi-Fi, and GPS. But the location data industry has a much more precise, and unobtrusive, tool: Bluetooth beacons.
Wade in the Water is a 26-part series, originally released in 1994, that celebrates African American sacred music and traditions. When it first aired on NPR member stations, the world was different. Many of the voices featured in the series were alive, and were generous with their support. Today, some of those voices have been stilled. But this series, documenting African American sacred music traditions spanning more than 200 years, remains vital because of them.
Video games and social media require human users to enter into a procedural loop known as flow
While there are no universals in media culture today, there are many qualities worth exploring, because they are shared by many communities or because they are compelling remediations of the age of modernism. One of these is procedurality. Popular modernist writers today claim that this is the essence of the computer: its procedures (algorithms, programs) allow it to interact with other machines and human users in increasingly complex and creative ways. Video games and social media are procedural: they require human users to enter into a procedural loop that both constrains and empowers them. Procedurality is itself the latest version of mechanization, which has been a key condition of society and the economy since the Industrial Revolution. While modernism was vitally concerned with the cultural meaning of mechanical and power technologies in the 20th century, today’s media culture is exploring how far procedurality and simulation can penetrate into and redefine creative expression as well as our politics and everyday lives.
Think you know Generation Z? We wanted to set aside trite stereotypes about the streaming generation—yes, plenty of them have in fact seen or even own a record player—and truly get to know them on a global scale. So we commissioned our Culture Next Trends report, in partnership with research agency Culture Co-Op. We found an empowered, multinational, cross-cultural, socially aware, and informed group of 15- to 24-year-olds who speak their minds.
Synthesized voices like those used by Siri and Alexa are fine for telling us the day’s weather forecast or how many minutes remain on a cooking timer, but would you really want their flat, monotonous tones reading you audiobooks? Probably not, which is why most of us turn to human-voiced services like Audible to get our audiobook fix. Human voice actors might not get the nod for too much longer, however, due to to the pioneering work of a London-based startup called DeepZen.
Facebook has finally revealed the details of its cryptocurrency, Libra, which will let you buy things or send money to people with nearly zero fees. You’ll pseudonymously buy or cash out your Libra online or at local exchange points like grocery stores, and spend it using interoperable third-party wallet apps or Facebook’s own Calibra wallet that will be built into WhatsApp, Messenger and its own app. Today Facebook released its white paper explaining Libra and its testnet for working out the kinks of its blockchain system before a public launch in the first half of 2020.
Since officially launching in 2016, Anchor has become the number-one podcast platform in the world. The company’s mission to “democratize audio” has led it to powering more than 15% of all podcasts on the market, according to podcast analytics company Chartable. Anchor has also tripled the number of podcasts that make money through advertising since it launched Anchor Sponsorships last year. So it’s little wonder how Anchor caught Spotify’s eye.
