Page 35 - AC/E Digital Culture Annual Report

band released the code for the visual data on the Google Code site under the Creative Commons BY-NC-SA license.Providing access to the open source code yielded unexpected results. Tiago Serra, a Portuguese interaction designer, took it and created a set of coordinates using Blender to print a sculpture of Thom Yorke’s head out of ABS plastic with a 3D printer.Serra – who co-founded a Hackerspace in the town of Coimbra, Portugal, and is a fan of both Radiohead and Koblin – uploaded photos anda video of the manufacturing process onto Flickr and Vimeo. He posted the 3D design onto Thingiverse, a website where users share digital designs for physical objects. Because the code for the original visual data was licensed under CC BY-NC-SA, so was Serra’s derivative work.The battle for streaming: music is not just listened to, it is also viewedSubscription models in music, like so manyother things we believe the digital revolutionhas brought, are not new. They are transforming the sector owing to the speed of adaptationand technological disruption, undoubtedly, and above all owing to the speed at which theyare changing how people discover, access and consume the content they want and experience it as a service and not as a product. The rst known music library dates from the eighteenth century and was created in Paris by the Belgian painter Antoine de Peters and the Italian violinist Jean-Baptiste Miroglio. Their project, called “Bureau d’abonnement musical”, was published in L’Avant-coureur on 22 July 1765 (Music Circu- lating Libraries in France: An Overview and a Preliminary List, http://digitalcommons.unl.edu/ libraryscience/179).Moving forward from this historical example, today there are some 60 million streaming musicsubscribers worldwide. 2015 saw the collapse of song downloads via platforms like iTunes and the consolidation of streaming, which recorded growth of 93% and 85% respectively in the United Kingdom and the United States, two of the main music markets which generate 40% of the music industry’s pro ts.2015 was also the year that sales of digital musical overtook physical in Spain, as had previously occurred in the United States and the United Kingdom in 2011. Streaming has brought hope to music, especially in recent times. For the rst time in Spain, as already occurred world- wide, in the rst half of 2015 digital music sales outnumbered physical sales – 38 million euros compared to 32.5 million – according to a report by Promusicae, the Spanish recording artists’ association. The change is due above all toAC/E DIGITAL CULTURE ANNUAL REPORT 201735Smart culture. Analysis of digital trends