Vinyl Archive, Interactive Shelving System for the Diehard Record Collector.

VINYL ARCHIVE Interactive Shelving System for the Diehard Record Collector

Nicholas Restivo

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Tesi di laurea

Corso di laurea specialistica o magistrale in

Titolo tesi di laurea

Vinyl Archive, Interactive Shelving System for the Diehard Record Collector

Cognome e nome

Restivo Nicholas

Matricola n.

269570

Anno accademico

2010/2011

Relatore

Cornelia Lauf

Correlatore Sessione di laurea

Firma Firma

Aprile 2012

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VINYL ARCHIVE Interactive Shelving System for the Diehard Record Collector Nicholas Restivo, 269570

Universita` Iuav di Venezia

Sessione di Laurea

Facolta` di Design e Arti

Aprile 2012

Corso di laurea magistrale in

Relatore

Design del prodotto

Cornelia Lauf

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“There's a whole world in here, a nicer, dirtier, more violent, more colourful, sleazier, more dangerous, more loving world than the world I live in�.

- Nick Hornby (High Fidelity, Gollancz Ltd, 1995)

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Abstract

My thesis begins by exploring the world of packaging

The shelf has been designed to store 12-inch vinyl lps;

for the music industry, illustrating its evolution as an

the application allows users to interact with their

interactive art object. By presenting a series of

record collections through a series of functions: for

examples, ranging from the very first record cover all

example, to locate any particular record, a single click

the way to more contemporary phenomena, my

on the album cover will make the shelf and the

research shows that these objects today have more in

corresponding dividers (which contain it) glow,

common with artist's multiples, as opposed to

allowing the user to find exactly what he’s looking for

industrial mass produced products. The recent

within a matter of seconds. As such, this is a hybrid

resurgence of the vinyl format is also documented and

archiving system, which applies the ease and

discussed, utilizing data, interviews and quotes by

intuitiveness of file management to physical objects,

relevant personalities of this field. This research was

such as records. Therefore, Vinyl Archive aims to:

helpful to define the main features of my project as,

catalog, order and display the collection; allow users to

being designed for the same user target, should utilize

easily locate each piece; create an informational data

the same strategies employed by contemporary forms

base; be modular. Except for the hardware, the Vinyl

of design for the music industry. At this point, I

Archive Shelf is made entirely in eco-friendly materials

focused on studying my users, mostly through a recent

(acacia wood, bioplastic and steel), and its design is

series of sociological studies on the record collector.

playful and ironic. The iPhone application, on the other hand, employs simple design solutions, which

Vinyl Archive is an interactive shelving system for the

make it easy to use and navigate. This aesthetic choice

diehard record collector; it is comprised of a shelf and

was made because the user experience is based on the

an iPhone app, which communicate with one another

interactions between the user and the shelves, as

via bluetooth.

opposed to the actual application. Additionally, the user tests that I was able to conduct were successful in proving that the system is intuitive, allowing users to familiarize themselves with how it works in just minutes.

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La tesi parte dall'esplorazione del packaging per

Il ripiano è stato progettato per l'archiviazione di

l'industria musicale per illustrarne il percorso

album 12", mentre l'applicazione consente agli utenti

evolutivo in quanto opera interattiva: muovendosi

di interagire con la propria collezione di dischi,

dall'invenzione della copertina sino a fenomeni

attraverso svariate funzioni: ad esempio, per

contemporanei, la mia ricerca mostra come questi

localizzare qualunque titolo, basta un singolo click

ultimi siano più affini, sia per concezione che

sull'immagine di copertina all'interno del menu

distribuzione, al multiplo d’artista rispetto ad un

dedicato per fare si' che il ripiano ed in particolare i

prodotto industriale di massa. Viene inoltre esaminata

divisori corrispondenti al titolo in questione si

la ripresa del vinile come formato audio di riferimento

illuminino, permettendo così all'utente di trovare ciò

attraverso documenti, interviste e dichiarazioni di

che sta cercando nel giro di pochi secondi. Si tratta

personalità del settore. Questa ricerca mi e` stata utile

quindi di un sistema di archiviazione ibrido, che

per definire le caratteristiche del progetto in quanto,

applica la rapidità e la facilità di utilizzo e gestione di

essendo rivolto al medesimo target di utenti, deve

beni virtuali, all'archiviazione di beni fisici.

mostrare un'attitudine ed una sensibilità complementare al design per l'industria musicale contemporaneo.

Vinyl Archive, dunque, si propone di: catalogare,

In seguito mi sono preoccupato di studiare l'utenza, in

ordinare ed esporre la collezione; permettere agli

particolar modo grazie ad una serie di recenti studi di

utenti di localizzare velocemente ogni titolo; creare un

tipo sociologico sul collezionista di dischi.

database di informazioni; essere modulare. Ad eccezione dell'hardware, il ripiano e` realizzato

Vinyl Archive è un sistema interattivo progettato per

completamente in materiali ecologici (legno di acacia,

ordinare e preservare collezioni di dischi in vinile; è

bioplastica ed acciaio), ed e` caratterizzato da un

composto da due interfacce, comunicanti fra loro via

design ironico e giocoso. L'applicazione, al contrario,

bluetooth: la prima, fisica, consiste in un peculiare

presenta un design semplice, in modo da rendere il

ripiano, il Vinyl Archive Shelf, mentre la seconda,

sistema semplice e facile da navigare. Questa scelta

virtuale, è un'applicazione per iPhone che ne

stilistica deriva dal fatto che l'utente deve mantenere

permette la gestione.

un forte contatto visivo e spaziale con i ripiani, e lo user experience si basa sulle interazioni tra l'utente ed il ripiano, piuttosto che l'applicazione. Inoltre, gli user test che ho condotto mostrano come il layout, mantenendosi omogeneo nell'intera struttura dell'applicazione, risulta intuitivo e consente agli utenti di familiarizzarsi con il sistema in pochi minuti.

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Sommario

Vinyl Archive è un sistema interattivo progettato per

Nonostante sia sembrato scomparire per un periodo,

ordinare e preservare collezioni di dischi in vinile; è

il vinile non ha mai smesso di essere prodotto e

composto da due interfacce, comunicanti fra loro: la

distribuito: semplicemente, il suo significato ha subito

prima, fisica, consiste in un "ripiano", mentre la

variazioni nel corso del tempo, ed è stato interpretato

seconda, virtuale, è un'applicazione per iPhone.

in modo diverso a seconda delle generazioni.

Lo scaffale è stato progettato per l'archiviazione di

Oggi, questo fenomeno riguarda prevalentemente

album 12", mentre l'applicazione consente agli utenti

amanti di musica psichedelica, folk o indie rock;

di interagire con la propria collezione di dischi,

questo è il target di utenti che il mio progetto mira a

attraverso svariate funzioni: ad esempio, per favorire

coinvolgere. Per questo motivo il design del sistema

una ricerca rapida tra centinaia di dischi, è possibile

è tutt'altro che minimale, ma piuttosto irriverente e

assegnare ogni disco ad uno specifico "slot", così come

caratterizzato da un'ironia di fondo.

aggiungere informazioni personali riguardanti ogni titolo. Si tratta quindi di un sistema di archiviazione

La tesi parte dall'esplorazione del packaging per

ibrido, che applica la rapidità e la facilità di utilizzo e

l'industria musicale per illustrarne il percorso

gestione di beni virtuali, all'archiviazione di beni fisici.

evolutivo in quanto opera interattiva: dall'invenzione della prima copertina sino a fenomeni contemporanei,

La fascinazione che il vinile esercita si basa

più affini, sia per concezione che distribuzione, al

sull'inimitabile esperienza uditiva nel quale questo

multiplo d’artista rispetto ad un prodotto di massa.

formato è in grado di condurre l'ascoltatore, attraverso

Inoltre, viene esaminata la ripresa del vinile in quanto

le sue proprietà sonore, l'eloquenza dell'artwork e la

formato audio di riferimento, attraverso

partecipazione attiva richiesta.

documenti, interviste e dichiarazioni.

Uno degli obbiettivi principali di questo progetto, quindi, è stato quello di riflettere ed amplificare questo rituale dell'ascolto, permettendo agli utenti di interagire ulteriormente con la propria collezione, e con il sistema stesso.

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Uno studio sociologico dal titolo “Il collezionismo di

- ordinare la collezione: in quanto“il collezionista è

dischi come pratica sociale” definisce questa attività

colui il quale è in grado di trasformare il caos in

come un processo creativo carico di profondità e

ordine” 2;

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significato, un'immagine quindi distante dallo stereotipo comune; questa risorsa, basata su oltre 70

- esporre la collezione in modo straordinario: in

interviste, mi è stata utile per definire gli obiettivi

quanto essa stessa è "una mostra di cospicuo consumo

principali del sistema.

e capitale culturale, e definisce l'identità personale";

Vinyl Archive perciò si propone di:

- essere modulare, cosicché il sistema possa espandersi facilmente, man mano che la collezione

- catalogare la collezione: in quanto il 90% degli

cresce nel tempo.

intervistati non teneva un catalogo "per mancanza di tempo e dell'impegno necessario" (un collezionista ha

Il Vinyl Archive Shelf, realizzato completamente in

aggiunto: "questo significa che spesso non riesco a

materiali eco-friendly (ad eccezione, ovviamente

trovare quello che sto cercando");

dell'hardware), può contenere 11 Album 12" e due box set. La base del ripiano è una vera e propria sezione di

- permettere agli utenti di localizzare velocemente

tronco di acacia, tagliato a metà così da formare una

ogni titolo: la caratteristica distintiva del collezionista

simil-semicirconferenza. Uno strato di resina

di dischi è l'utilizzo che fa della propria collezione, un

fluorescente colato in superficie racchiude 12 led

enfasi che lo distanzia da altri tipi di collezionista;

(ognuno dei quali è posizionato sotto un divisorio); sia la resina che i divisori sono prodotti utilizzando un

- creare un database di informazioni, utile al

biopolimero chiamato Ingeo 3001D 3, un materiale

collezionista per auto-istruirsi: infatti l'acquisizione,

plastico completamente naturale ottenuto dalla

l'utilizzo e la dimostrazione di conoscenza sono

lavorazione del destrosio (zucchero) contenuto nel

elementi fondamentali di questa pratica;

mais comune. Il ripiano è quindi fissato ad una piastra in acciaio (anch'essa ovviamente riciclabile al 100%), che può essere ancorata su qualunque tipo di parete.

1. Shuker, Roy, Wax Trax and Vinyl Treasures: Record Collecting as a Social Practice. Ashgate Press, 2010.

2. Benjamin, Walter, Unpacking my Library: A Talk about Book Collecting. Fontana, 1982.

3. www.natureworksllc.com 14

I divisori hanno solo la funzione di conservare e

L'applicazione è caratterizzata da un design minimale,

proteggere ogni album, ma si illuminano per

composto esclusivamente da icone, in modo da

consentire all'utente di trovare qualsialsi titolo

rendere il sistema semplice e facile da utilizzare:

attraverso un semplice click: la caratteristica

questa scelta stilistica deriva dal fatto che l'utente deve

innovativa di questo progetto è il fatto che il sistema di

mantenere un forte contatto spaziale e visivo con i

archiviazione fisica (i ripiani) lavora comunicando via

ripiani piuttosto che con il proprio iPhone. Poiché il

bluetooth con un'interfaccia virtuale (l'applicazione

layout dell'applicazione viene mantenuto nella sua

per iPhone), permettendo così all'utente di interagire

intera struttura, non solo risulta intuitivo, ma consente

con la propria collezione di dischi con la facilità e la

agli utenti di familiarizzarsi con il sistema in pochi

rapidità caratteristica di un archivio digitale.

minuti.

Poiché l'elemento principale che compone il ripiano è

Nonostante io creda che Vinyl Archive possa essere

una sezione di tronco, ogni unità è un pezzo unico.

commercializzato tradizionalmente, penso sia

Detto questo, sono state effettuate scelte progettuali

decisamente più interessante sviluppare

tali da rendere il processo di produzione il più

ulteriormente questo progetto affinché possa

dinamico possibile: i divisori, la larghezza di ogni

diffondersi in maniera più spontanea, com'è proprio

unità, la superficie in resina e lo spazio interno

della nostra contemporaneità. Sono convinto che il

destinato all'hardware sono di dimensioni fisse.

modo migliore di rendere disponibile questo sistema

Questo comporta che anche le dimensioni della

al pubblico sia la vendita online, in una varietà di

piastra in acciaio possano essere mantenute costanti

versioni: collezionisti che hanno migliaia di dischi

per l’intera serie, che il processo di fresatura del legno

potrebbero ritenere conveniente comprare numerosi

sia vagamente standardizzato, e che, per colare la

ripiani pre-assemblati, pronti ad essere allestiti;

resina, possa essere utilizzata continuamente la stessa

al contrario, persone propense al risparmio e con del

cassaforma.

tempo libero a disposizione potrebbero ritenere migliore acquistare un kit che permetta di costruire i propri ripiani; infine, per le persone attratte dal concept ma non dal prodotto fisico, sarebbe possibile semplicemente acquistare l'hardware, scaricare gratuitamente i codici e creare dei ripiani secondo le proprie preferenze estetiche.

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Contents

Abstract

IX

Sommario

XIII

1.

Introduction

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2.

2.1 2.2 2.3 2.4

Research The Album as Art Object: 1948-1980 Evolution of Album Packaging in the 2000s How the Music Industry is Being Re-invented: The Flaming Lips The Resurgence of Vinyl

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3.

3.1 3.2 3.3 3.4 3.5 3.6 3.7

Vinyl Archive Users Concept Shelving System Technology and Communication Prototype Iphone Application Context

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4. Conclusions

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Acknowledgements

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Sources Books and Papers Web

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Figures

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Colophon

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Introduction

Vinyl Archive is the result of a research which is rooted

2011 Top 10 Vinyl Artists:

in my lifelong passion for music, record collecting and design.

1. Radiohead (64'000) 2. The Black Keys (58'200)

The way music is packaged and distributed has

3. Bon Iver (47'100)

continually evolved throughout the years; however,

4. The Beatles (43'300)

it's not my intention to discuss this process here, as

5. Fleet Foxes (42'600)

there are many specific publications on the subject .

6. Tom Waits (30'200)

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7. Wilco (30'100) Vinyl has constantly been able to capture new adepts,

8. Jimi Hendrix (29'700)

and has virtually never been discontinued: without

9. Bob Dylan (27'400)

really completely disappearing, it has simply meant

10. Nirvana (27'000)

different things to different generations. As the following charts 2 (published by Nielsen Soundscan)

Regardless of the format, when listeners purchase

show, today this means mostly fans of psychedelia,

music they are aware that the price they're paying is in

folk and indie rock.

no way a reflection of the cost of the physical (or digital) product, but that it's more likely related to

2011 Top 10 Vinyl Albums:

the production cost of the music. This is what makes design for the music industry so unique: the

1. The Beatles, Abbey Road (41'000)

visualization of music, through its packaging, is now

2. Fleet Foxes, Helplessness Blues (29'700)

completely identified with music itself, and in today's

3. Bon Iver, Bon Iver (27'200)

society, is one of the very few examples of packaging

4. Mumford & Sons, Sigh No More (26'800)

that will never be discarded. Furthermore, the recent

5. Radiohead, The King of Limbs (20'800)

resurgence of vinyl (and physical packages in general),

6. Adele, 21 (16'500)

shows that interest in this art form is continuing to

7. Bon Iver, For Emma Forever Ago (16'200)

grow, despite (or, as I will discuss later, even due to)

8. Wilco, The Whole Love (14'900)

the digital revolution.

9. The Black Keys, Brothers (14'200) 10. The Black Keys, El Camino (13'800) 1. See: "Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means" by Siegfried Zielinski (MIT Press, 2008), or "The Audible Past: Cultural Origins of Sound Reproduction" by Jonathan Sterne, Duke University Press (2003).

2. finance.yahoo.com/news/nielsen-companybillboard-2011-music-130500756.html

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1.

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1. A Timeline of Audio Formats, infograph showing when each format was introduced, and how long it stayed on the market.

2. Photograph published by Life magazine.

2.

One of the reasons why vinyl has outlived nearly every

The shelf has been designed to store 12-inch vinyl lps;

other audio format, and continues to have a dedicated

the application allows users to interact with their

audience, is that the listening process it involves

record collections in a number of ways: for example,

provides a complete experience in itself: it allows the

to easily find what they're looking for they can assign

listener to be fully immersed in the music, and

each album to a specific slot, as well as add personal

requires active participation and care. For people who

information regarding each record.

are interested in "sonic experience", the act of listening to vinyl is one of the most enjoyable rituals life can

The first chapter, Research, chronicles the evolution

provide.

of album art from the birth of the album jacket in the early 1930's to contemporary interactive packages;

One of the main problems that come with a collection

it also examines the resurgence of the vinyl format,

of any kind is storage; I chose to design a shelving

in order to contextualize the subject and give the

system for vinyl records as, surprisingly, I discovered

reader helpful information to understand the

no such thing existed .

following chapters.

Because much of the appeal of vinyl is based on the

The second chapter, Vinyl Archive, describes the

unique "sonic experience" it is able to convey through

system in detail: having defined the needs of my users

sound, artwork and participation, one of the aims of

and the main aims of this project, it discusses how

this project was to reflect and amplify the listening

both the shelves and app are designed, and how they

ritual, allowing users to interact with their record

work together. It also mentions how the prototype was

collection and with the shelf itself through an iPhone

built, and how it would be developed technically.

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app.

The final chapter, Conclusions, reassesses the design Vinyl Archive is an interactive shelving system for the

of this system, offers a general description of what I've

diehard record collector; it is comprised of a shelf and

learned in the process of designing it, and examines

an iPhone application.

how it could be further developed in the future.

3. The only exception is Ikea's "Expedit" library which, perhaps by coincidence, is able to house 12-inch records.

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2. Research

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2.1 The album as art object: 1939 - 1980

My research starts from the realization that the vinyl

By the late 1960's album artwork had become a stale

medium, and how it is packaged, is a powerful

and uninteresting cliche`; however, it doesn't come as

statement: just like any other product, the listener's

a surprise that the most important figures in music

perception of the music is directly influenced by how it

and art at the time (such as The Beatles, The Rolling

is presented. The assumption that album covers could

Stones and Andy Warhol) would be the first to

be an artistic statement just as the music they

embrace the full potential that lay within the 12"

contained, became clear only many years later, when

album jacket, and the first to create album packages

musicians and designers both became aware of the

which were artistic statements in their own right.

strong emotional effect that the visualization of music could have on their audience.

Here I will try to give a brief chronology of this process, illustrating the creation of the most innovative album

After the album cover was invented in 1948 by Alex

artwork up until the punk movement, in the late '70's.

Steinweiss, the next step was the development of a unified visual language, a 'brand identity' focused on specific artists or labels; this happened, for the first time, when Reid Miles began working for Blue Note Records. The album art he produced was so unique, and had such a strong impact, that it was soon identified not only with the label, but with an entire New York jazz scene.

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Alex Steinweiss and the invention of the album cover

In 1939, the way music was packaged and marketed

His first cover, for a collection of Rodgers and Hart

was revolutionized by a 23 year old graphic designer:

music (which featured a theatre marquee with the

Alex Steinweiss. When he was hired by Columbia

album's title appearing in lights), caused sales of the

Records to be their first art director, he immediately

already popular album to skyrocket; Newsweek

saw a creative potential in the company's packaging

reported that sales of Bruno Walter's recording of

for its 78 rpm Shellac records.

Beethoven's "Eroica" symphony "increased 895% with its new Steinweiss cover�. This idea was soon adopted

All through the 1930s, and up to that point, records

by every record company.

were being issued in plain brown paper wrappers (occasionally featuring record shop advertisements);

Steinweiss, as art director and graphic designer at

the idea of having something visual to lure the

Columbia Records, experimented freely and was able

customer revolutionized the record business, and

to evolve his unique style which mingled together

created an entire new visual language, which is now

eye-catching graphics, distinctive colors and

completely identified with the music it holds.

handwritten typography (the "Steinweiss Scrawl").

Around 1945 he started designing album covers and

In 1947, Steinweiss was asked by the president of

labels for other record companies as well: Remington,

Columbia Records, Ted Wallerstein, to design a sleeve

Decca, RCA, Everest and London.

for a new format they were about to unveil: the 33 1/3

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rpm vinyl lp. Standard Kraft paper sleeves, which were

By his own admission, he designed roughly 2500

fine for shellac records, "fortunately" left marks on the

album covers over the course of 35 years. His artwork

microgrooves when these new vinyl records were

still remains an icon of the genre today and is

stacked; so, with some help from his brother in law,

completely intertwined with the classical, jazz and folk

Steinweiss found a manufacturer willing to invest

music that was being released at the time.

$250'000 in equipment, and came up with the "album

It's interesting to note how influential his graphic style

cover jacket". Steinweiss had the original patent for

still is, especially amongst young graphic designers (in

what became the industry standard (still in use today),

fact, Brian Wilson's album "Brian Wilson reimagines

but because he was under contract with Columbia,

Gershwin", released by Walt Disney Records in August

had to waive all rights to any inventions he made while

2010, features artwork clearly inspired by Steinweiss'

working there.

designs).

1.

1. Clockwise from top: Rodgers & Hart, "Smash Song Hits” (1940); Bruno Walter, “Eroica” (1943); Andre Kostelanetz, “Exotic Music” (1945); George Gershwin, "Rhapsody in Blue" (1941); Claude Debussy, “La Mer” (1941); Lecuona Cuban Boys, “Congas y Rumbas” (1941); Desi Arnaz, "Dance La Conga" (1940); Charles Magnante “Accordiana” (1940); Rudolf Serkin with Bruno Walter, Beethoven's "Piano Concerto No. 5", (1941).

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Reid Miles and Blue Note Records: the birth of brand identity for record labels

Reid Miles started his career in 1952, working for John

Although clearly influenced by artist Josef

Hermansader and Esquire Magazine; at

Muller-Brockmann, he put his own twist on the Swiss

Hermansader's Studio, his first assignment was to

modernist aesthetic and created a distinct personality:

design album covers for Blue Note Records, as the

by employing geometric designs and cropping each

label was going to start releasing their recordings on

photograph in an unusual way, he was able to

12" Lps. He left in 1954, and took his client with him,

demonstrate the ability of graphic design to articulate

developing a relationship which would last 12 years

the syncopated abstractness of the music, and act as a

and produce nearly 500 pieces of album art.

visual companion that greatly improved the overall listening experience.

By incorporating session photographs by label co-founder Francis Wolff and using the stories session

Oddly enough, Miles wasn't interested in jazz at all:

producer Alfred Lion told him, he was able to visualize

often he would receive multiple copies of each of the

the abstract music he was to package.

albums he designed, but would either give them to

As a result of the visual impact of his work, Blue Note

friends or trade them in for classical records;

became known for the uniqueness of its cover art.

perhaps, as Dutch designers "Experimental Jetset" have suggested: "distance, not engagement, makes the

His playful arrangement of dynamic typography

designer"1.

(which was almost always sans serif ), tinted black and white photographs, and white space, combined with the use of a limited color palette (usually only one additional color), created clean and vibrant visual companions to the music, which told the world about a certain "crisp" New York style associated with bebop and avant garde jazz artists.

1. www.experimentaljetset.nl/archive/bassline3

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2.

2. Clockwise from top: Art Blakey and the Jazz Messengers, “The Freedom Rider” (1962); Grachan Moncur, “Some Other Stuff” (1964); John Coltrane, “Blue Train” (1957); Jimmy Smith, “At the Organ” (1957); Art Blakey, “Indestructable” (1964); Andrew Hill, “Point of Departure” (1964); Wayne Shorter, “Night Dreamer” (1964); Andrew Hill, “Smokestack” (1963); Kenny Dorham, “Una Mas” (1963).

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Sgt. Pepper's Lonely Hearts Club Band

When the Beatles released "Sgt. Pepper's Lonely

The grammy-award winning package was art-directed

Hearts Club Band" on June 1, 1967, it not only

by London art dealer Robert Fraser and designed by

changed how albums were recorded, but it also

pop artist Peter Blake and his wife Jann Haworth, while

completely changed the way albums were packaged:

the cover itself was photographed by Michael Cooper.

up until that point album covers had become

Although Blake has said that he only received a one-off

"standard" (meaning there usually was either an

fee of £ 200 (with no subsequent royalties), the final

illustration, or a picture of the artist on the front, and

cost for the design of this package was a staggering

the back featured record company ads).

£ 2'868 (£ 38,823 today): an outrageous amount, about

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100 times the average cost for an album cover in those This package was truly groundbreaking because,

days.

as Gary Freiberg (record collector, and founder of VinylRecordDay.org) points out:

After the outstanding reception received by "Sgt. Pepper's", design started to play a major role in

“The Beatles did something with the Sgt. Pepper album

the world of record sales, and both labels and

that had never been done before. This was the first

musicians became much more liberal when creating

packaged vinyl to create a feel: it came complete with

album cover art. Labels began to include lyrics, band

inserts and a never seen before designed album cover.

pictures and production notes; they also started to

Who and why were these pictures of other famous

market to specific demographics and groups.

people included on the cover? It just didn’t make sense.

Up until then it was logical: here’s the music, here’s the

From this point on, the potential of the album cover as

artist. The Beatles also included paper cut-outs, so there

an artistic statement and marketing tool became clear,

were elements about the entire album package that

and many controversial and innovative packages were

gave people a purpose to sit down with it…[With Sgt.

produced.

Pepper's] The Beatles broke all ground […] ” .

2

The record came with a cardboard insert 4 featuring a fake mustache, the Sgt.’s stripes and some buttons, which could all be cut out: for the first time, the listener was invited to participate and phisically manipulate the artwork of an album.

30

2. www.rockartpictureshow.com

3.

4.

Artist: The Beatles Album: Sgt. Pepper's Lonely Hearts Club Band Release Date: June 1, 1967 Label: EMI, Parlophone Art Direction: Robert Fraser Package Design: Peter Blake, Jann Haworth Photography: Michael Cooper

31

5.

Milton Glaser and the Bob Dylan poster

Following a mysterious motorcycle accident in

The convention of Dylan’s hair really emerged from

Woodstock, NY in 1966, Bob Dylan announced that he

certain forms that intrigued me in Islamic painting.

would no longer perform, and with no plans for any

The union of those two very disparate stylistic

new recordings, Columbia needed a new product to

phenomena produced something that you called

continue capitalizing on Dylan's commercial success:

'uniquely American', right? So it’s funny....What we’re

a "Greatest Hits" album was scheduled for release on

talking about here is believability. What is believable is

March 27, 1967.

related to a cultural moment".

It was decided by Columbia's executives that this

The contrast of vivid colors with Dylan's dark

collection would retail for $ 5.98 (one dollar more than

silhouette reflects Glaser’s response to the Modernist

standard releases) and, in order to justify the

“Less is more”, defined by the phrase: “Just enough is

additional mark up, Columbia art director John Berg

more” 4. For the single word “Dylan”, Glaser also

asked emerging graphic designer Milton Glaser to

designed a typeface (which he would later use again,

create a poster 5 to be folded and packaged with the LP.

on a Mahalia Jackson at Lincoln Center concert poster).

Although the poster depicting Dylan with technicolor hair has become a staple of the psychedelic

The poster, which was printed in an edition of about 6

movement, it was actually inspired by a 1957

million, today has become highly collectable: as a

self-portrait by Marcel Duchamp.

matter of fact, a mint first edition copy, bearing the folds, is valued at about 500.00 $. It is featured in the

In the introduction to his book "Graphic Design",

permanent collections of New York City's MoMa and

Glaser in fact says:

The Smithsonian's Cooper-Hewitt National Design Museum, and has been defined a "key item in any

" […] The Dylan emerged from two very different

poster collection" 5 by Gail Davidson, head of the

conventions: one is the memory echo I had of a

museum's department of graphic design.

silhouette self-portrait that Marcel Duchamp cut out of paper; I remember it very clearly, a simple black and white profile.

4. www.miltonglaser.com 5. www.smithsonianmag.com/arts-culture/ Sign-of-the-Times-Bob-Dylan.html

32

33

Andy Warhol and The Velvet Underground & Nico

In the mid-sixties Andy Warhol announced that he was going to retire from painting in order to focus on film, music and performance art.

After he became The Velvet Underground's manager, and launched their career with the "Exploding Plastic Inevitable" show, he designed what many believe to be the most iconic and recognizable album art in the history of recorded music.

The artwork for "The Velvet Underground & Nico" features a Warhol print of a banana on the cover 6; first press copies of the album invited the listener to "Peel slowly and see": upon peeling back the banana skin sticker a pink banana was revealed 7.

Although a special process was used to manufacture these covers (causing the album's delayed release), MGM paid for costs without a blink, figuring that any ties to Warhol would boost sales of the album.

Artist: The Velvet Underground Album: The Velvet Underground & Nico Release Date: March 12, 1967 Label: Verve Records, MGM Art Direction and Concept: Andy Warhol

34

6.

7.

35

Andy Warhol and Sticky Fingers

"Sticky Fingers" was The Rolling Stones' first album

(which were seemingly rubber stamped in gold with

released on their own record label, after having

the name Andy Warhol, and "THIS PHOTOGRAPH

recorded for Decca and London Records since 1963:

MAY NOT BE -- ETC" 10).

with the band and their management in total control of their music and its packaging, the resulting product

Many fans (including designer Stefan Sagmeister)

featured extraordinary efforts in both music and art.

assumed the cover image to be of Mick Jagger; however the people actually involved in the photo

At a party in New York City in 1969, Andy Warhol

shoot claim that Warhol and Billy Name had several

casually mentioned to Mick Jagger that it would be

different men photographed (Jagger was not among

"amusing" to have a real zipper on an album cover;

them) and never revealed which shots they used

and just a little over a year later, Jagger proposed the

(actor/ Warhol superstar Joe D'alessandro, Braun's

idea for Sticky Fingers. Packaging designer Craig Braun

assistant Jed Johnson, and Factory designer Corey

had also suggested releasing the album in a clear

Tippin are all likely candidates).

plastic jacket with heat-sensitive liquid crystals inside ( "so you could make your own little Joshua Light

The zipper was another example of how, according to

Show" ), with a mammoth foldout cover of Jagger's

Warhol, "artwork for music" should be participative:

castle in the sound of France; but Jagger was deter-

just as was the case for the Velvet Underground's

mined to push further the band's "bad boy" reputa-

debut album artwork, the consumer/fan had to

tion. The packaging of Sticky Fingers perfectly

actively become part of the art-work, 'unbuckling' the

expressed the provocative edge of the band, while also

cover to see the inlays and get to the music.

6

allowing Warhol to further explore one of his favorite themes: fame; opening a record is like entering a

In 2003, music television network VH1 named Sticky

band's privacy, which must be sacrificed in order to

Fingers the "No. 1 Greatest Album Cover" of all time.

sell a product.

The cover 8 displays a close up shot of a man from the waist down in tight blue jeans, featuring a working zipper; when the jeans were unbuckled, the gatefold cover 9 revealed another image of a man in white briefs 6. www.craigbraun.com/aboutme/press_rel1.html 7. www.publicbroadcasting.net/wamc/.artsmain/ article/11/1312/1894834/Radio/Sticky.Fingers

36

In an interview with WNYC7, here's how graphic

By that time Andy had done a great number of covers,

designer Stefan Sagmeister described his favorite

he'd for sure done the famous banana cover for the

album cover:

Velevet underground and had a tight connection with the Stones. They went through quite some difficulties to

"I think I first came across the Sticky Fingers album

get this thing done: album cover plants in the 70's were

cover when I was 17; it has the top part of Mick Jagger's

not accustomed to handwork, so this was a major

Jeans on it, it'a a black and white silkscreen, and it was

expense and a major difficulty; and they also have

designed by Andy Warhol, so it has that "warholian"

always kept it throughout the life of the record, which is

feel to it. It has a real zipper inserted, so that you have

why it's not really a collectable, there's millions and

to actually open it in order to get the record out. I was

millions of these around. I actually bought one recently

very impressed with the zipper, and all the questions

for 16 dollars at a used record store. Like all iconic

that it raised: was the fact that it really destroyed the

album covers, it helps that the music was great; if the

album cover next to in your collection it a designed

music is bad, the best album cover won't save it ".

feature? Because it was a very sharp square zipper so it always scratched the one next to it. I never found out if that was done on purpose, but it was '71 and the Rolling Stones were still a fairly wild band so I could see them not wanting anybody to remain untouched next to them.

From the perspective of the designer, album covers have many advantages: for one thing, it's a packaging that never gets thrown away, so when you put a lot of love and attention, sweat and hard work into this, you know that it's going to live in somebody's living room for years. The reason it ever came into existence was the fact that vinyl was scratchable. If vinyl hadn't been scratchable, it wouldn't have needed to be protected by a cardboard sleeve, and there never would have been any visualization of music.

8.

9.

Artist: The Rolling Stones Album: Sticky FIngers Release Date: April 23, 1971 Label: Rolling Stones Records Art Direction: Andy Warhol Package Design: Craig Braun Photography: Billy Name

10.

37

Metal Box

"Metal Box" 11 is the second album by Public Image

was only made to boost the levels of bass and drums).

Ltd, released in 1979 on Virgin Records.

Additionally, track listings and lyrics weren't included

After the demise of the Sex Pistols, John "Johnny

with the record (and were printed as a magazine ad

Rotten" Lydon formed Public Image Ltd, a band which

instead 12).

moved beyond the horizons of punk, merging rock, reggae, dub and world music to create a complex

Although only 60,000 (50,000 UK, & 10,000 import)

(although not very accessible) sound.

were pressed, 'Metal Box' was never intended to be limited edition: due to costs, Virgin Records decided

The packaging for this release was designed by

they didn't want to press any more; in 1980 the album

photographer Dennis Morris (who would be hired

was re-issued as "Second Edition", packaged in a

shortly after as art director for Island Records): it

standard gatefold sleeve.

consisted in a metal film canister with an embossed logo of the band, containing a set of three 45 rpm 12" vinyl singles. Innovative and surprisingly inexpensive, this packaging costed little more to the label than the cost of standard printed sleeves (Virgin Records, however, did ask for a refund of 1/3 of the band's advance due to the cost).

"Metal Box" was conceived as a metaphor for the band's blatant disregard towards the accessibility of their music: the records were packed tightly inside the canister (separated by nothing more than paper sheets); they were difficult to remove and prone to taking nicks and scratches in the process. The single hour long record was also split into 3 12� singles that played approximately 10 minutes per side, forcing the listener to switch the records 6 times to hear the entire album (the band officially claimed that this decision

38

"Metal Box was hard work. First, Virgin weren't very

"We all came up with the concept of the Metal Box. The

sure about the metal package, you know, cost, blah blah

way it came together was that we got it made at this

blah. So we offered to pay for some of it by reducing our

factory called "The Metal Box Company". It was just the

advance from them. Obviously the idea of putting a

logistics between the idea and how we could get it made

record in a metal box was a bit unusual. The idea came

up, which made it look the way it did and made us put

from film canisters. We all thought video and film was

three pieces of vinyl in it. It cost us ÂŁ35,000 of our

the future. Besides, I've always collected vinyl and this

advance back to get it out. It ran at 45rpm so you could

was a really good way of stopping it from getting

get the best response on your sound system. We thought

damaged".

45's were cool. They were like almost pre-releases".

- John Lydon, Plastic Box Sleevenotes, 1999.

- Keith Levene, Perfect Sound Forever, 2001.

11.

12.

Artist: Public Image Ltd Album: Metal Box Release Date: November 23, 1979 Label: Virgin Records (UK), Warner (US) Package Design Concept: PiL & Dennis Morris Art Director: Charles Dimont Packaging: The Metal Box Company Edition: 60'000

39

The Return of The Durutti Column

In 1979 Manchester's Factory Records released the Durutti Column's debut album, "The Return of the Durutti Column" 13, as Fact14.

Inspired by French situationist philosopher Guy Debord 8, the band's guitarist, Dave Rowbotham, designed a sleeve which was a punk act in itself: the record was inserted in a sandpaper jacket so that, when it was stored next to other records, the very act of taking it out and putting it back would gradually ruin all other records next to it. According to a press release by the band, this idea illustrated perfectly the aggressiveness of the punk attitude, even though it was totally opposed to the delicate nature of their music.

The sleeves were assembled by people from Factory Records, and most notably, by members of the band Joy Division; it has since become a very rare item (as only 2'000 copies were pressed, and there are three different variations of spray-paint on the sleeve).

8. Guy Debord wrapped his "Memoires" (1959) in sandpaper in order to destroy adjacent books.

40

13.

Artist: The Durutti Column Album: The Return of the Durutti Column (FACT14) Release Date: November 23, 1979 Label: Factory Records Package Design Concept: Dave Rowbotham Edition: 2'000

2.2 Album packaging in the 2000s:

physical editions and interactive experiences

At this point in time it's safe to assume that the digital

During the past few years, many bands as well as

revolution has completely changed how the music

labels have been working closely with designers and

business works: thanks to the worldwide distribution

artists to create innovative and interesting forms of

of cheap recording equipment and to the quasi free

packaging.

cost of music distribution via the internet, there has been an explosion of bands.

Physical music packaging can be essentially divided in two major categories:

As Chris Singleton points out, this new distribution 9

model however hasn't provided bands with the

- editions that, following the traditional 12" vinyl

marketing budget that would have accompanied a

format package, have evolved into a format not

traditional release:

dissimilar from that of artist's books;

"The upshot is that the industry has arguably changed

- and editions that are not so closely linked to the

from being one where there is a tiny number of bands

traditional music package, and that offer some kind of

with huge followings to one where there is a huge

interactive experience.

number of bands with tiny followings. […] By tiny, I mean that perhaps bands now have a few hundred

In this chapter I will present the most interesting

dedicated fans rather than a few hundred thousand.

results from the past few years, starting with two labels

But the key word here is ‘dedicated’: the aforementioned

which have excelled in this art form: Washington’s

group may be prepared to pay a premium for music,

P.W. Elverum and Sun, and Nashville’s Third Man

but given how easy it is for them to listen to it for free,

Records. I will then continue with other individual

only if you make it really worth their while […] Indeed,

releases.

a cool physical product that fans might even view as an investment may make the difference between them parting with cash at all or just hitting play on Spotify or clicking on that torrent link".

9. Chris Singleton, digital consultant at UK music pr agency Prescription PR, in an article published by Hypebot (www.hypebot.com).

41

P.W. Elverum and Sun

Phil Elvrum is a musician/ painter/ designer based in

His first major release was the first album he recorded

the small town of Anacortes, Washington; for nearly a

under the name "Mount Eerie", "No Flashlight",

decade, he has been releasing music under his own

released in 2005; it was packaged in a giant fold out

label, "P.W. Elverum and Sun". The artwork he creates

poster, and to this day, holds the record for "world's

for each of his albums has slowly evolved from

largest record cover":

hand-silkscreened to letter-pressed covers to stunning photographic art books.

"For some reason I am always drawn to the most over the top epic thing. […] I love the idea of having footnotes

In an interview published by print magazine

and images and reference points. […] So I did a whole

BangBack 10, he discussed his passion for album

bunch of research on large format offset printing.

artwork, and how it's changed through the years.

[…] I ended up finding a large format printer in D.C. that usually works with the Department of Defense

When he started his label in 2004, the majority of

printing strategic maps and getting a price quote that I

artwork accompanying his releases was silkscreened

could make work. It wasn’t the world’s largest press but

on recycled record covers 14:

it was pretty big. I made big artwork, scanned it in a million pieces, pieced it together here on the computer

"The packaging happened because my friend Bret

and ordered thousands of huge huge posters folded into

Lunsford owned a record store in town, The Business,

a 12” thing".

and was drowning in old unsellable records, and was happy to have me haul them away and give them a new life. So, silkscreening on inside out old LP jackets was an economic decision (free) and also an aesthetic one.

[We] really liked the gnarly old decaying cardboard with tears and chunks coming off and rat bites and mold. I did a couple more releases in this style, but there is also a limitation to this aesthetic and sometimes a beautifully printed photo or drawing is necessary to make the package work. Plus we were running out of old records to cannibalize“.

10. www.bangback.com/print-crush/ phil-elvrum-print-pioneer-of-thepacific-northwest/

42

In 2007 he released "Mount Eerie Pts. 6 & 7" 15, an epic

His following projects, the albums "Wind's Poem" 16

four song 10" picture disc packaged within a photo

and "Song Islands, Vol. 2", both released in 2010, mark

book which represents "the visual counterpart to

a turning point in Elverum's style, showcasing a more

pretty much the entire catalog of the Microphones and

professional and refined approach to packaging. He

Mount Eerie". Here's how Elverum described the

also started utilizing "tip-on" jackets and foil stamping:

project: " [..] There’s this type of LP jackets called “old style” or "I had all these photos that I’d taken over that previous

“tip-on” which is where they print on a thin piece of

10 years or so, and just had tacked to my walls, treated

paper and glue it to the cardboard jacket assembly

as inspiration, but never had the opportunity to show

(as opposed to printing directly on the cardstock and

off on their own except for the occasional record jacket

folding that into the jacket). It’s twice as expensive but it

art. The idea to make an expensive fancy art book

feels much more substantial, and the quality of the

started as a joke. It just seemed hilarious and absurd to

image seems so much better. Deep colors, heavy

have an expensive thing on the merch table right next to

construction, crisp corners. I totally fell in love with this

a $3 single. The joke started to become really interesting.

style and so I’ve been pretty into printing color photos

I made phone calls, I got different quotes and debated

on them. Plus I recently got really into foil stamping,

the various pros and cons of printing in Canada vs.

which makes everything seem a million times fancier.

Asia. Actually I never really considered printing in Asia

[…] But I am still always brainstorming about a way to

even though I knew it would be like 1/4 the price.

reinvent the package".

It just seemed like a line I didn’t want to cross. The debate was more between the super fancy Canadian printer and the regular Canadian printer. I ended up going with the fancy one, Hemlock Printers, so the book has to cost $60.They have a reputation as being really high quality and also really environmentally sound.

Building up to this project when I was thinking about book design and different ways of printing high resolution photographic art I was totally obsessing.

When I’d look at books I would forget to even look at the image. I would just put my face like 1 inch from the paper and examine the moire pattern, the ink coverage, the depth of the blacks, the paper stock, the binding… forgetting the actual content. I still look at books this way often. I have some art books in my collection that I own mostly for the way the book is put together, not because I like the art. I still think books are the most exciting thing to make. I wish they were easier to sell and less expensive. I wouldn’t mind making tons more books".

43

14.

4

44

15.

Previous page, clockwise from top: “Drums from Mount Eerie” (2003); “Singing from Mount Eerie” (2003);“Seven new songs of Mount Eerie” (2004); “The Drums from No Flashlight by Mount Eerie” (2005).

This page, top to bottom: “Mount Eerie Pts. 6 & 7” (2007); “Wind’s Poem” (2010).

16.

45

Third Man Records

Third Man Records is an independent record label founded by Jack White, in Nashville, Tennessee in 2009; the label's headquarters includes a record store, a production office, a recording studio, a rehearsal space, a photo studio and a darkroom.

Although Third Man does release some of its recordings on CD and iTunes, the vast majority of its catalog (which has reached about 140 titles to date) is available solely on vinyl.

Beginning with their very first release, the label also began producing extremely limited runs (usually 100 copies or less) of hand-made try-color or glow-in-thedark vinyl 17, sold exclusively at Third Man's Nashville location.

In March 2010, during Austin's three day SXSW festival, Third Man Records opened a pop-up store which sold "Texas-sized" 8" 45s and 13" Lps. In September, Jack White announced the release of a “Triple-Decker-Record”, a 12” which listeners had to split open in order to get an additonal 7”.

In March 2011, Third Man debuted the "Third Man Rolling Record Store", a van which travelled across the country at various music festivals, packed with special editions of Third Man inventory.

46

17.

Warp 20

In late 2008 London design firm Yes was asked by Warp Records to create the identity for their 20th anniversary celebrations: Warp20.

One of the key elements of this project was the "Special Edition" box set 18: presented in a 10" square slipcase (wrapped in charcoal Buckram embossed paper with tipped-on gloss-laminated cover photograph), it includes 5 CDs packaged in casebound 10" folders, a 5 vinyl set (housed in uncoated card sleeves with debossed and foiled typography), and a book, Warp20 (1989–2009) which contains the artwork of every Warp release.

The design is articulated around a photo-realistic 3D Moebius strip, suggesting the on-going adventure of the British electronica label.

Artist: Various Artists Album: Warp 20 Released: September 25, 2009 Label: Warp Records Package Design: YES (London) Photography: Dan Holdsworth Edition: 2’000 (Sold out)

18.

47

20.

Small Craft On A Milk Sea

British ambient composer Brian Eno released his debut album for Warp Records, "Small Craft On A Milk Sea" on November 15th, 2010. The "Limited Edition Box Set" included pressings of the album on CD and vinyl, the audiophile 24-bit WAV files, and a 12" x 12" lithographic print of Eno artwork, printed on 352 gsm Mohawk Superfine stock paper.

The "Collectors' Edition Box Set" 19 includes a one-off, entirely unique 305 x 305mm square silkscreen print, printed on 330 gsm Somerset Radiant White stock paper, numbered and signed in pencil by Brian Eno. Brian Eno spent two days at K2 Screen Studio (London) with Nick Robertson, overseeing the creation of the 250 prints for this edition 20: the work is a print application of the generative art that he has been developing throughout his career, and each print is created from an individual arrangement and combination of screen-printed layers. The images, alignment and colors were changed systematically through the printing process to produce the 250 unique copies.

48

19.

Artist: Brian Eno Album: Small Craft On A Milk Sea Released: November 15, 2010 Label: Warp Records Package Design: Brian Eno Edition: 250 (Sold out)

49

Watch The Throne

"Watch the Throne" is a collaborative album by American rappers Jay-Z and Kanye West, released on August 8, 2011, by Roc-A-Fella Records, Roc Nation, and Def Jam Recordings.

The album was already generating hype and making headlines long before any physical edition had even been released, due to its impactful artwork: the vinyl edition comes in a gold-embossed, cross shaped jacket 21, and includes a 24" x 24" poster.

The package 22 and artwork was conceived by Italian designer Riccardo Tisci, creative director of Givenchy; here he used his trademark combination of geometric patterns and religious iconography to reflect "symmetry, lightness, darkness, sharpness and 3D", explaining that "the bold colors and angular lines are symbols for the masculinity of two of the most iconic rap figures of our time". According to a press release by Givenchy, the involvement of Tisci reflects the company's recent large scale involvement with the hip hop universe, and is a "matter of marketing and communication strategy".

50

22.

21.

Artist: Jay Z and Kanye West Album: Watch the Throne Released: August 8, 2011 Label: Roc-A-Fella Records, Roc Nation, and Def Jam Recordings Package Design: Riccardo Tisci Edition: Unavailable (Sold out)

51

Mute Synth

In the spring of 2011, iconic British label Mute Recods

The following is an excerpt from the included

teamed up with synth manufacturers Dirty Electronics

documentation which accompanied the instrument:

to produce the Mute Synth 23, a small handheld analog synthesizer, exclusively available at the Mute Records

"The Mute Synth is a hand-held touch and tilt

Short Circuit electronic music festival held at The

instrument with copper etched artwork and contoured

Roundhouse, London in May.

printed circuit board that was designed in collabora-

Dirty Electronics, headed up by John Richards who

tion with Mute and designer Adrian Shaughnessy.

designs experimental sound installations and

It brings together many Dirty Electronics aesthetics and

interactive electroacoustic instruments, is a large

instrument designs into one device, […] creating an

group founded in 2003 which specializes in gesture,

instrument ‘of the hand’ (in terms of both playing and

touch and social interaction process and performance.

building), a noise-based device that utilises feedback, and exploring the relationship between artwork and circuit board. It combines sound synthesis with a sequencer/pulser, and it is ‘knobless’. The Mute Synth is controlled by using the conductivity of the human body to complete the instrument’s circuit when the copper etching is touched. There are touch ‘points’ on both sides of the circuit board, and the instrument is designed to be played with thumbs and fingers.

Two tilt switches on different planes allow for gestural control of the sequencer".

23.

Artist: Mute Records Album: Mute Synth Released: May 13/14, 2011 Label: Mute Records Package Design: Adrian Shaughnessy Manufacturing: Dirty Electronics Edition: 50 (Sold out) 52

Era Extrana, PAL 198X

24.

IAlan Palomo, mastermind behind the electro psychedelic band Neon Indian, released his latest album "Era Extrana" as a custom synthesizer called the PAL 198X 24. It was created with Bleep Labs, a small synth manufacturer in Austin, TX; essentially, it's a pocketable three-oscillator synth (all triangle oscillators) that, in addition to three knobs and light sensors, lets you plug in control voltage or other devices and sensors in order to modulate its sound.

Here's what Palomo has said about this release: "We teamed up with our brethren homies in Austin, Bleep Labs, to proudly bring you the PAL 198X. It's a triple triangle-wave oscillator noisemaking device with interchangeable controls for maximal sonic contortion.

You can attach knobs, light-reactive photocells, and a variety of other devices for semi-modular capabilities. It can interact with a variety of objects around your house whether electronic in nature or not. It can even interact with your pet. It does not make the same sound twice.

Basically, I want you to hack this fucking thing."

Era Extrana and the PA 198X were released exclusively through the official Neon Indian website, and sold out within a matter of days.

Artist: Neon Indian Album: Era Extrana - PAL 198X Released: September 13, 2011 Label: Static Tongues Package Design: Bleep Labs (Austin) Edition: 300 (Sold out) 53

Biophilia

In September 2011 Icelandic musician Björk, who's no

"Biophilia" for iPad 28 is the world's "first app album" in

stranger to experimentation, unveiled "Biophilia": a

collaboration with Apple, and includes 10 separate

complex multimedia project about "love of life or

apps housed within one "mother" app. Each of the

living systems" released on a variety of formats, from a

smaller apps relates to a different track from the

series of iPad apps (one for each song), to standard

album, allowing people to explore and interact with

CD edition to the "Ultimate Edition".

the song's themes or even make a completely new version.

The entire experience, described by Björk as "encompassing music, apps, Internet, installations,

Scott Snibbe, an interactive artist who was

and live shows", was designed by Björk in

commissioned by Björk to produce the app

collaboration with Paris design firm M/M,

(as well as the images for her live performances),

photographers Will Thom and Inez Van

describes how his client saw the possibilities of using

Lamsweerde/Vinoodh Matadin, and longtime

apps as a vital component of the whole project :

collaborator Michel Gondry.

"The app is an expression of the music, the story and the The "Ultimate Edition" is presented in a lacquered

idea […] Biophilia is an evolving entity that will grow

and silkscreened oak hinged-lid case, and contains the

as and when the album's release schedule dictates, with

"Biophilia Manual" along with 10 chrome-plated

new elements added" 11.

25

tuning forks 26. Each fork is silkscreened on one face in 10 different colors, and adjusted to the tone of a Biophilia track, covering a complete octave in a non-conventional scale (there are two forks which produce the same note and another one which is silent). Each case comes with an individual numbered certificate and detailed information regarding the use of the tuning forks.

The main "Biophilia" artwork 27 is based on a photo

Artist: Björk Album: Biophilia Released: October 10, 2011 Label: One Little Indian, Nonesuch Package Design and drawings: M/M (Paris).

Photography by Inez van Lamsweerde & Vinoodh Matadin and M/M (Paris).

Production: Daniel Mason Manufacturing: Something Else.

Edition: 200 (Sold out - made to order)

session by M/M Paris and Inez & Vinoodh.

11. www.guardian.co.uk/culture/2011/may/28/ bj-rks-biophilia

54

27.

25.

55

25.

26.

56

28.

57

2.3 How The Flaming Lips

are re-inventing the music industry

Over the last three decades, Oklahoma psychedelic

Perhaps the most amusing fact of all is that, although

freakout band The Flaming Lips have not only

the band has asked fans to share all their new music

created a vast body of work that includes classics such

online for free 12, every release sells out within a matter

as "The Soft Bulletin" and "Embryonic", but have also

of hours or days nonetheless.

29

experimented by pushing the boundaries of concert and album experiences.

The band also purchased an old warehouse in downtown Oklahoma City, renovated it, and

In the age of the digital download, and free from their

converted it into their own art gallery called "The

record contract for the first time since the 1980s, the

Womb"; curated by Wayne Coyne and collaborator

Flaming Lips have decided to devote 2011/12 to

Rick Sinnet, "The Womb" hosts an exhibition by a

reinventing how they record, market and distribute

different psychedelic artist each month.

their music. Coyne's unique approach of distributing music, utilizing social platforms like Twitter and

In January 2011 masterminds Wayne Coyne and

Facebook, has generated the kind of hype and

Steven Drozd, in a sit-down with Rolling Stone, vowed

mystique around each of their releases that music fans

to release new music on a monthly basis, "as quickly as

had forgotten for the past 15 years: in fact, thanks to

it is recorded", be it "on vinyl, cereal boxes or some of it

iTunes and Amazon most albums are available in

on toys that we make" 13. Coyne said the Flaming Lips'

unlimited quantities at any moment in time.

ideas for getting out new music in unconventional

The Flaming Lips have been able to find new ways of

formats are a result of the crumbling major label

engaging their audience: every time new music is

model, although Warner Bros. has been supportive of

released it becomes an event, and if fans really want to

their ideas: "I feel like Warner Bros. really has believed

purchase physical copies, they have to participate in a

in us…Everything is changing for everyone. But our deal

"treasure hunt" of sorts (emailing record stores, asking

with Warner Bros. isn’t something we’re waiting to get

other fans to purchase extra copies at the release

out of, we’re not waiting to show them who’s boss.

parties, etc).

Everybody's in the same quagmire now: how do you release new music? What would be interesting?" he says, "It's just by luck that we run into people that are willing to help us and... want to do something radical with us".

58

12. Every 2011/12 release has been uploaded by fans on the band’s un-official forum: www.slow-nerve-action.com 13. www.rollingstone.com/music/news/ exclusive-new-flaming-lips-material-coming-latejanuary-20101223

29. The Flaming Lips photographed by George Salisbury, 2011.

59

In March 2011, The Flaming Lips released their

Talking to The Los Angeles Times, Coyne explained the

collaborative EP with Neon Indian 30 in eight different

genesis of the idea:

record stores , scattered throughout the United 14

States; limited to 1,000 copies, the 12” features four

"In the beginning, the possibilities are endless, but then,

tracks and is pressed on special colored vinyl so that

little by little, you stumble across these ideas and you

no two copies look alike. Daniel Huffman (aka New

hope that they could work. In the beginning we were

Fumes) pressed each copy by hand at A+R in Dallas,

going to make the skull out of bubble gum — a skull

TX (one of the best record plants in the world).

that you chewed into to get the USB out, but we couldn't find a bubble gum place to do it. And looking for one,

Talking about this release to Pop Matters, Coyne said:

[we] stumbled upon this place where they make giant

"We recorded it and in six days actually had a record in

gummy bears, and worms, and they actually had a

our hands. When I asked Warner Brothers how long it

brain. We called him up and said, 'Hey, would you

would take, they were like, ‘Well, if you can get the

want to do this?' We told him we’re the group the

music to us, we can get you maybe a demo, a master

Flaming Lips, and that changed everything. He was

that you can listen to in six weeks,’ and I can’t take six

like, 'I love you guys. I'd love to be involved doing

weeks. I just started to say, ‘Well, I’m going to find

something absurd with you.’ Within a couple days of

somebody who can help me do it quicker and better

speaking to him, we had a prototype already made,

and not so much bureaucracy.’ And so I found places

because he had the factory there, and we sent them a

that can do what we want them to do quicker, and they

mold that we made in my own shop right here. We

wanted us to find ways to be more immediate and to be

knew that it would work. He messed around with it to

more current and to be more spontaneous.

get the brain in there, to find a way to put the USB in

But it’s difficult for them, because they’ve got thousands

there without it cooking too hot — a lot of technical

of people that have to sign off on shit, for better or

things you've gotta sort out. We designed the boxes —

worse" 15.

they're made here just about a mile away from my house — went up to the printing place to design the

On April 16th, the Flaming Lips released a

boxes, and we picked the cardboard. […] Everything

seven-pound edible life-size human gummy skull ;

about these things is made as if I'm doing a painting or

inside the gummy brain is a portable USB drive

something just here in my house. But they're these

containing four new songs, so that fans wanting to

strange limited-edition objects that also hold this brand

hear the music have to eat their way to it.

new music that we're making at the same time" 16.

31

He personally delivered the "Gummy Song Skull", at record stores such as Guest Room in Oklahoma, and

“To me everything is an opportunity, from the size of the

Waterloo in Austin. Production was extremely limited,

box that it’s going to be in to the way it’s going to smell,”

but the music leaked on the internet shortly after its

Coyne said. “It’s not just, ‘What is the music going to

release.

be?’ All dimensions of things are an opportunity for you to say, ‘Here’s what it could be.’ Part of it, too, is aesthetic. […] There’s a lot of things it could be. But you kind of want it to be, not an obvious experience, but to play along with it. So, I don’t know. All that stuff to me is another opportunity to insert your will of the world on it”.

60

14. Guestroom Records, Oklahoma City; Waterloo Records, Austin; Luna Music, Indianapolis; Fetus, Minneapolis; Origami Vinyl, Echo Park; Dwelling Spaces, Tulsa; Grimey's, Nashville; Other Music, New York City.

15. popmatters.com/pm/feature/151445- differentflavored-skulls-intimate-chat-wayne-coyne

16. latimesblogs.latimes.com/music_blog/2011/06/ the-flaming-lips-latest-comes-embedded-in-agummy-skull-how-does-that-happen.html

30.

Artist: The Flaming Lips Album: The Flaming Lips with Neon Indian Released: March 2011 Label: Lovely Sorts of Death Music, Warner Bros.

Package Design: George Salisbury, Delo Creative Manufacturing: Daniel Huffman (New Fumes) Edition: 1’000 (Sold out)

61

31.

Artist: The Flaming Lips Album: Gummy Song Skull Released: April 2011 Label: Lovely Sorts of Death Music, Warner Bros.

Package Design: George Salisbury, Delo Creative Manufacturing: Derek Lawson Edition: 250 (Sold out)

62

32.

Artist: The Flaming Lips Album: The Flaming Lips with Prefuse 73 Released: May 2011 Label: Lovely Sorts of Death Music, Warner Bros.

Package Design: George Salisbury, Delo Creative Manufacturing: Daniel Huffman (New Fumes) Edition: 1’000 (Sold out).

63

In May the band released its second collaboration EP

Tony Gradischnig, manager of Portland's Jackpot

entitled "The Flaming Lips with Prefuse 73" 32. It was

Records’ talked to Paste Magazine about the Strobo

released in a very limited run of randomly colored,

Trip' s release :

one-of-a-kind discs on the band's official website 17, but sold out shortly after it was put up for sale.

"(The Flaming Lips) were actually putting together the toy and uploading the USBs with the six-hour song that

The second June release was the "Gummy Song

go in it on their way into Portland. It was actually being

Fetus" 33, which consisted of three songs on a

constructed as they were driving in to the last second

flashdrive embedded in a bubblegum-flavored fetus

when they were driving up” 20.

made of gummy bear material. Coyne personally delivered the first 10 copies of this release to Kansas

Gradishnig said the band was able to put together 11

Art Gallery Love Garden. Discussing their new

of the packages before they arrived at the show, and

business model in relation to their fans, Coyne has

the toys and packages were shipped to the Flaming

said: " […] [Continually evolving, trying to do new

Lips while they were on the road. He also said that fans

things] is what I like, but it’s not for everybody. A lot of

that were waiting in line that didn’t get to buy a copy of

people just want music to be a small part of their life,

the Strobo Trip were put on a list for the band to

and they want to know the songs and sing along and

contact when they produce more, but so far the item

whatever. But a lot of people don’t. A lot of people are

was exclusive to Jackpot Records customers.

open for new things to happen to them" .

18

In July they released their third collaborative EP, this time with Providence, RI experimental noise duo Lightning Bolt 34; this release was pressed on randomly colored vinyl and distributed as the previous two collaborative EPs. In September the "6 Hour Song (I Found a Star on the Ground)", along with two other songs, was released as the "Strobo Trip" 35: a box containing a flash drive and a set of spinning discs which produce psychedelic animations. At a website set up by the band 19, interested parties could donate $100 to the Oklahoma Humane Society and the University of Central Oklahoma's Academy of Contemporary Music, to have their name read by Sean Ono Lennon during the song (and guaranteeing themselves a tiny footnote in music history - the band raised $20,000).

64

17. www.flaminglips.com 18. www.thevine.com.au/music/interviews/ flaming lips-_-interview20111121.aspx?ctpage=1 19. flaminglipssixhoursong.com 20. pastemagazine.com/articles/2011/09/portlandrecord-store-manager-talks-flaming-lips-s.html

32.

Artist: The Flaming Lips Album: Gummy Song Fetus Released: May 2011 Label: Lovely Sorts of Death Music, Warner Bros.

Package Design: George Salisbury, Delo Creative Manufacturing: Daniel Lawson Edition: 250 (Sold out)

65

34.

Artist: The Flaming Lips Album: The Flaming Lips with Lightning Bolt Released: July 2011 Label: Lovely Sorts of Death Music, Warner Bros.

Package Design: George Salisbury, Delo Creative Manufacturing: Daniel Huffman (New Fumes) Edition: 1’000 (Sold out)

66

35.

Artist: The Flaming Lips Album: Strobo Trip Released: September 2011 Label: Lovely Sorts of Death Music, Warner Bros.

Package Design: George Salisbury, Delo Creative Edition: 250 (Sold out)

67

At midnight on October 31st 2011, a 24-hour song

The band's latest release is a 12" EP collaboration with

entitled "7 Skies H3" 36 was released. The song is still

Yoko Ono/Plastic Ono Band 38, which was sold only at

currently playing live on a never-ending audio stream

the band's annual New Year's Eve two day event in

on a web site set up by the band 21 37, and was made

Oklahoma City. It was pressed in two editions, bearing

available for purchase as a hard drive encased in an

different artwork: 400 glow-in-the-dark copies and

actual human skull with chrome drips.

1'600 randomly colored copies. A few hundred copies,

It was designed by Coyne, in an edition of 13.

leftover from the event, were listed for sale on the band's website on January 31st 2012; they sold out in

Talking about this release, Coyne said:

less than one hour.

"Well, we started to stream it on Halloween – You didn’t have to buy the song to be able to hear it, and that’s a great thing for me because I’m always aware of our fans, you know? It’s hard to get the physical copies, because we don’t make very many of them. I want to include everybody; I don’t like it just being about collectors. But it is what it is" 22.

37.

68

21. flaminglipstwentyfourhoursong.com 22. www.thevine.com.au/music/interviews/ flaming-lips-_-interview20111121.aspx 36.

36.

Artist: The Flaming Lips Album: 24-Hr Song Skull Released: October 31, 2011 Label: Lovely Sorts of Death Music, Warner Bros.

Package Design: Wayne Coyne, Delo Creative Edition: 13 (Sold out)

69

Artist: The Flaming Lips Album: The Flaming Lips with Yoko Ono Released: December 31, 2011 Label: Lovely Sorts of Death Music, Warner Bros.

Package Design: George Salisbury, Delo Creative Manufacturing: Daniel Huffman (New Fumes) Edition: 1’600 (Sold out).

70

38.

Artist: The Flaming Lips Album: The Flaming Lips with Yoko Ono (GITD Version) Released: December 31, 2011 Label: Lovely Sorts of Death Music, Warner Bros.

Package Design: George Salisbury, Delo Creative Manufacturing: Daniel Huffman (New Fumes) Edition: 400 (Sold out).

71

39. Highlights from The Flaming Lips vinyl pressing sessions, A+R record plant, Dallas, TX (images by Daniel Huffman).

72

73

2.4 The Resurgence of Vinyl

The way people buy and experience music has

On top of this, Soundscan and ERA are only able to

dramatically changed over the course of the past

track sales of new music regarding major retail outlets,

century: 45's, Walkmans, and CD players were all at

and vinyl is mostly sold at shows, via web or at

the top of the recording industry at some point.

independent music shops. If Sluzarz's estimate is

Although it's true that the majority of music today is

even remotely accurate, vinyl sales may have reached

listened to via iPods or computers, the industry has

20 million this year.

acknowledged a resurgence of the vinyl format since 2007: that year, the American music industry saw a

In an interview published by Billboard, Kim Bailey,

46.2 % revenue increase for vinyl sales (records ales

director general of ERA, stated that: "Vinyl may still be

jumped from 988,000 to 1.88 million); by comparison,

a niche format, but it is growing fast. […] Whether it is

CD revenue sales dropped 20.5 % in the same period.

the warmer sound many music fans appreciate, the large-scale artwork of a 12-inch sleeve or its sheer retro

According to the stats released by Nielsen Soundscan

appeal, vinyl seems to be capturing the imagination of

at the beginning of 2012, vinyl sales in the US have

buyers, despite the fact it typically costs twice as much

increased by 39.3 % over 2010; and according to the

as a CD containing exactly the same music 24 .

Entertainment Retailers Association (ERA), vinyl sales

[…] Much of the focus in the music industry has been on

in the UK climbed by 55 % in 2011.

cutting prices, partly in response to the rise of internet piracy; the success of vinyl shows music buyers will pay

This trend, however, may be far bigger than the

a premium if we deliver them a package they really

industry perceives: Vince Slusarz, owner of Gotta

love" 25.

Groove (one of the major vinyl pressing plants in the US), told the New York Times that he believes sales could be about 40 % higher: "Soundscan uses bar codes to track sales, and the majority of the stuff we press doesn’t even have a bar code!" 23.

23. www.hypebot.com/hypebot/2011/10/ us-vinyl-record-sales-may-be-6x-higher-thansoundscan-reports.html?utm_source=feedburner &utm_medium=feed&utm_campaign=Feed%3A+ typepad%2FDqMf+%28hypebot%29 74

24. According to the ERA, the average price for a vinyl album in the United Kingdom is £16.30, compared to £7.82 for CD albums and £6.80 for digital albums.

25. www.billboard.biz/bbbiz/industry/retail/radiohead -drive-55-rise-in-u-k-vinyl-sales-1005295802.story

38.

Listening to music used to be a complete experience in

In an article titled “Vinyl may be the final nail in the

itself; today, especially in the mainstream, it's treated

Cd’s coffin”, published by Wired Magazine, Matador

as a mostly passive background activity.

Records' Patrick Amory said: "For many of us, and

In the digital age music has become cheap,

certainly for many of our artists, the vinyl is the true

convenient, and portable; consumers have, time and

version of the release. The size and presence of the

time again, chosen quantity and convenience over

artwork, the division into sides, the better sound

quality. However, the distribution of millions of

quality, above all the involvement and work the listener

terrible sounding recordings, available in unlimited

has to put in, all make it the format of choice for people

quantities anywhere at any time, has lead digital music

who really care about music" 27.

to become a worthless product. Many people in the business believe the resurgence of vinyl has to do with

Spence Hickman, manager of Rough Trade East

the ability of this format to foster a much deeper

London Shop, says that the experience of listening to

connection between the listener and the music,

vinyl challenges the modern conception that music

elevating the experience back to the art form it once

must be portable: "There's a real ritual with vinyl:

was.

you've got to take the time to immerse yourself and appreciate it. […] The reason vinyl is still so attractive is

Andres Santo Domingo, co-founder of the Mexican

because it's a piece of art, it's the full physical package:

Summer label, talking to npr, said: "Vinyl is attractive

you are buying a piece of artwork that will stay with

on a subliminal level for consumers because it's really

you forever and often increase in value" 28.

physical, maybe archaic in a way, but the complete antithesis of what the speed of consuming music on the Internet is" 26.

26. www.npr.org/blogs/therecord/2011/03/03/ 134204727/slow-and-steady-vinyl-survives 27. www.wired.com/entertainment/music/ commentary/listeningpost/2007/10/ listeningpost_1029 28. eandt.theiet.org/magazine/2011/11/ back-in-the-groove.cfm

75

Interviewed by Engineering and Technology maga-

The IFPI report actually breaks the total physical spend

zine, Adam Teskey, director of London-based Vinyl

down into six different categories: physical fanatics,

Factory Group, says: "Vinyl provides a unique listening

traditional physicals, digital dabblers, budget

and physical experience, it's a wondrous object that also

conscious, and generation free; each category exhibits

provides a distinct way to listen to music. In an age of

a different blend of music-purchasing habits.

mass consumption, it allows you to get closer to the

Mark Uttley, Sony Music Entertainment's head of

music and the artist who made it, […] and a whole new

insight, said: "Physical fanatics represent about 11% of

audience is discovering this. For collectors, vinyl has

the [U.K. music-buying] population and about 11% of

always been prized but never more so than now, in an

the total music spend […] They have been buying

age of limited edition runs and bespoke artwork" .

physical recordings all their lives, […] and the industry

6

is unlikely to get them to start downloading unless At a recent panel discussion called "Never Mind the

digital begins to have the trusted voice of old record

Box Set: The Album Post-iTunes" 7, held in London on

stores". Paul Conroy, the former Virgin Records U.K.

May 20th 2011 (organized by the University of

managing director, said: "We have cheapened music so

Westminster), speakers concluded that the demise of

badly, […] It was greed and short-termism because we

physical packages in the digital age has been truly

wanted gratification today and we screwed up". He also

exaggerated. The most interesting information came

added that: " We've seen a gap for high-end collectibles

from a report described as "the first ever industry-wide

from a company that has the biggest collection of

segmentation of the British music-buying public" by

repertoire, […] I am talking about beyond the box set".

London-based IFPI; it concluded that revenue from music sales was not behaving the way the industry and analysts were predicting it should. In 2009 73 % of music sales in the UK were from physical formats (particularly vinyl), with only 19% digital (and the remaining 8% consisting of performance rights).

29. www.billboard.biz/bbbiz/content_display/industry/ news e3idbde8a913c8837424816a0c0479c92d9

76

At a conference called "D: Dive Into Media" 8, held on

Nearly everyone agrees that vinyl probably won't

January 30th and 31st 2011 in Southern California,

replace digital music, or become the main format of

Neil Young said: "My goal is to try and rescue the art

choice for the mainstream; however, it's fascinating to

form that I've been practicing for the past 50 years. […]

see how both artists and the industry are, once again,

We live in the digital age and, unfortunately, it's

understanding the potential of this format, and

degrading our music, not improving it. Right now, the

reacting to the niche of devoted music fans who seek

quality of music released digitally is about 5% of the

a deeper connection to the music they love.

original master recording, 5 % of the quality we used to have in the '70s. […] Steve Jobs was a pioneer of digital music, and his legacy is tremendous, but when he went home, he listened to vinyl. […] It's not that digital is bad, it's that the way it's being used isn't doing justice to the art. The convenience of the digital age has forced people to choose between quality and convenience, but they shouldn't have to make that choice".

30. allthingsd.com/category/dive-into-media/ 31. allthingsd.com/20120207/neil-young-the-donkeyand-digital-music-the-full-dive-into-media -interview-video 77

78

3. Vinyl Archive

79

80

3.1 Users

"Wax Trax and Vinyl Treasures: Record Collecting as a

No matter the object of desire, "collecting is a

Social Practice" (Roy Shuker, Ashgate Press, 2010),

significant part of identity construction, and an

a recent study of the record collector based on 70

important dimension of collectors' lives", Shucker

extensive interviews, was instrumental in helping me

continues: "[…] acquiring popular music cultural

understand the process of record collecting, the issues

capital involves developing a knowledge of selected

associated with this practice, and thus, identifying the

musical traditions, their history and their associated

needs of my ideal users.

performers. With this background an individual can

1

knowledgeably discuss such details as styles, trends, Shuker's study begins with asserting that record

record companies and the biographies of artists, and

collecting is a "highly involved passionate

even nuances such as record producers and session

consumption" rather than a "standard form of

musicians used on recordings. Acquiring, utilizing and

consumption such as buying household food staples",

demonstrating such knowledge is an integral part of

which has "strong associations with being a

record

connoisseur, following the historical tradition of

collecting".

collectors playing a significant role as cultural preservers: […] record collecting provides knowledge,

"The process of collecting can take on the nature of a

intellectual/aesthetic nourishment and resources, social

ritual. Many collectors refer to the thrill of the chase;

identity and status".

once items are acquired, they must then be ordered, classified, and stored. Then there are the pleasures of displaying the collection, and showing and playing records to others".

1. "Wax Trax and Vinyl Treasures: Record Collecting as a Social Practice" by Roy Shuker (Ashgate Press, 2010).

81

1. Photograph published by Life magazine.

Because "collecting functions as the unofficial relocation of objects from the public commercial realm into the domestic environment", Shucker also states that a key aspect in collection management is display: "As with cataloguing, varying practices of collection storage and use reflect different degrees of investment, emotionally and financially, in the collection. The associated reconfiguration of domestic space creates a private haven for the collector: an expression of personal identity and the assertion of cultural power.

The record collector has traditionally used the domestic space to make a statement about their passion. Smaller collections will take up a prominent space in the lounge or the study; larger collections will have their own dedicated room. At its most extreme, special provision will be made, such as remodeling a basement, or even building a shed".

82

3.2 Concept

Shuker's study, which essentially defines record

- order the collection:

collecting as a creative process filled with depth and

many of Shuker's interviewees mentioned various

meaning, far removed from the common stereotype,

aspects of personal identity formation, most notably

has been an incredibly useful resource to help me

Walter Benjamin's characterization of a collector as

identify the main aims of Vinyl Archive.

one who turns chaos into order; one collector said: " I find the world very chaotic […] and I think collectors

Therefore, my system aims to:

are in the business of trying to impose order on little bits of that chaos".

- catalog the collection: 90% percent of the collectors interviewed by Shuker

- display the collection in an outstanding way,

didn't keep a catalog, citing "lack of time and the effort

as (the collection itself ) is a "display of conspicuous

required" for not doing so; one collector also added

consumption and cultural capital, and asserts personal

that: "[…] this means I often can't find what I'm looking

identity".

for".

- be modular, - allow users to easily locate each piece,

so that it can easily expand, as the collection continues

as "the distinctive characteristic of record collectors is

to grow in time.

the use value they make of the collection, an emphasis that sets them apart from most other collecting constituencies".

- create an informational data base, useful to the collector for self-education: "acquiring, utilizing and demonstrating knowledge is an integral part of record collecting […] obviously, it accompanies an interest in details surrounding the music: who performed the song; who wrote it; who produced it; when it was released, and on what label".

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3.3 Shelving System

Vinyl Archive is a modular shelving system, made

The dividers not only help store and protect each

entirely in eco-friendly materials (the sole exception

record: they light up to show your exactly where it is!

being the electronics involved). Each unit is capable of

The innovative feature of this system is the fact that,

storing 11 standard 12" Lps (3-5 mm wide) and two

because the physical archiving system (shelf ) is paired

box sets (up to 14 mm wide).

with a digital interface (application), it allows users to find, archive and interact with their vinyl records, just

The base of the shelf is an actual tree trunk section,

as easily as they would with any digital file on their

cut in half as to form a semi-circle. Over its surface a

computer: through a simple click.

thin layer of fluorescent resin was poured, encasing a series of 12 led lights (each positioned underneath a

Due to the nature of this shelf's core element, the

divider). Both the resin and the dividers are

wood “slice�, no two units are alike. However, design

manufactured utilizing a biopolymer called Ingeo

choices have been made in order to ease the

3001D 2, a completely natural material created by

manufacturing process as much as possible: the size of

transforming dextrose (sugar) derived from field corn.

the dividers, the width of each unit, and the depth of

The wood shelf is fastened to a steel plate (also 100%

the layer of resin, as well as the internal space required

recycable), which can be screwed virtually anywhere.

for hardware, is fixed. This allows the dimensions of the steel plate to be maintained throughout production, and the wood carving process to be roughly standardized, so that the same mould can be continually re-used.

2. For more information on Ingeo see: www.natureworksllc.com

84

2. Axonometric drawing of a single unit.

85

3. Front view of a single unit.

86

4. Section of a single unit.

87

A series of Vinyl Archive shelves, set up in a collector’s listening room.

88

Eight units, various sizes and colors.

89

Although the records are only 0.3 mm apart from one another, the shelf has been designed so that they can be easily removed by applying a small amount of pressure on the bottom corner of the album jacket, so that the top part will rotate.

90

5

4

1

2

3

Exploded axonometric view of a unit.

List of components: 1 - Album dividers (12), 2 - Resin layer, 3 -Wood base 4 - Steel plate, 5- Screws (8).

91

140 mm

14 cm

150 mm

150 mm

285 mm 255 mm

30 mm 5 mm 160 mm 10 mm

100 mm

40 mm

165 mm

30 mm

10 mm 40 mm

25 mm

10 mm 25 mm

2,5 cm 5 mm 3 mm

92

150 mm

5 mm

100 mm 16,5 cm

20 mm

150 mm

55 mm

3 mm

225 mm

Technical drawings.

93

94

95

3.4 Technology and Communication

The units can be controlled through an iPhone

Because the entire hardware doesn’t require a lot of

application, as they are able to communicate between

power to function, each unit can run on a single 9V

each other via bluetooth. This is made possible by the

battery.

main hardware: a simple arduino bluetooth.

The arduino can then either be connected to a strip of led lights, or to 12 single leds; this choice largely depends on how the user plans to utilize the system: - a single strip of leds is much easier to install, but cannot be separated in programming: this means that, when triggered, all the leds will light up, causing the entire shelf to glow; - by installing 12 different led lights, each one is independent and can be programmed individually: this means that each individual divider can be programmed to light up when triggered, allowing the user to locate each record within the system.

9. List of components:

96

1 - Led strip, 2 - Single leds, 3 - Breadboard, 4 - Arduino bluetooth, 5- 9V battery.

1 2

3

5 4

97

3.5 Prototype

98

99

3.6 Iphone Application

Vinyl Archive app is the iPhone application designed to control the system. The design of this application is very minimal, simple and easy to use and navigate; this aesthetic choice was made because the user should feel as though he’s interacting with the shelves, as opposed to the actual application.

VINYL ARCHIVE

The main menu is divided in two sections: the first one, which allows the user to interact with the record collection, corresponds to the Records icon, while the second, identefied by the Gears icon, allows the user to manage the system.

The Records Menu allows three different actions: Search, Browse or Add; the System Menu enables the user to view each shelf individually, see a personal chart (Top Records, based on the number of searches), and delete unwanted records or shelves from the system.

10. Main screenshot.

100

2

Records Menu VINYL ARCHIVE

1

Main Menu VINYL ARCHIVE

3

System Menu VINYL ARCHIVE

11. Main Menu, Records Menu, System Menu.

101

4

Search Archive VINYL ARCHIVE

2

5

Records Menu VINYL ARCHIVE

VINYL ARCHIVE

6

Add New Record VINYL ARCHIVE

12. Records Menu: Search, Browse and Add.

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Album Menu

By clicking on the magnifyng glass users will be able to search through their collection, not only by artist or album title, but (because the application enables each record to be “tagged”) by any term associated with each record. By creating different tags, later it will be possible to view the albums according to a specific group or search term: for example, “Albums bought in 2008”, “Georgia’s Favevourites”, etc.

By clicking on the eye, users will be able to randomly browse through their collection.

By clicking on the plus sign, users can add a new record to their collection: it is sufficient to place the actual album underneath the iPhone, as the app will automatically collect all the information regarding this release by connecting to a main database.

This technology has already been successfully employed by several iPhone applications, including Google’s recently launched Goggles.

13. Add New Record Screenshot.

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7

View Record VINYL ARCHIVE

5

Album Menu

i

VINYL ARCHIVE

8

9

Info

Personal Notes

VINYL ARCHIVE

VINYL ARCHIVE

Neil Young – Harvest

Neil Young – Harvest

Label: Reprise Records Country: US Released: 01 Feb. 1972 Genre: Folk Rock

I bought this Lp in 1973, at Grimey’s Music Shop, in Nashville, Tennessee.

Saw Neil perform in Austin, Texas in 1974; fantastic show!

Recorded at Quadrafonic Studios, Nashville; Barking Town Hall, London, and Broken Arrow Studio #2, Woodside, CA, Jan.-Sept.

1971.

i

i

10 Tags

11 Record Store

VINYL ARCHIVE

VINYL ARCHIVE Neil Young – Harvest

Neil Young

Harvest

Crazy Horse

1972

Grimey's Music 1604 8th Avenue South, Nashville, TN

Country Rock Folk Rock

(615) 254-4801 · grimeys.com

Meg

Grimey’s Music

i 14. Album Menu, View Record: Info, Personal Notes, Tags and Record Store.

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i

To locate any particular record, a single click on the

Users can then choose to add:

album cover will cause the shelf and the corresponding dividers (which contain it) to glow,

- Personal Notes regarding each record

-allowing the user to find exactly what he’s looking for

(such as memories linked to the album, when it was

within a matter of seconds.

purchased, etc.); - Tags, which by creating groups of records, facilitate

A double click on the cover will lead users to the View Record page, where they will be able to view and edit

the search process; - Record Store Info, which essentially is a virtual

the information regarding each release; for starters,

businness card of the record store where the album

the main info regarding the album (such as recording

in question was purchased.

credits, etc.) is automatically retrieved by the application.

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6

Add New Record

12 Confirm Album Info

13 View Available Slots

VINYL ARCHIVE

VINYL ARCHIVE

VINYL ARCHIVE

Neil Young – Harvest (Reprise Records, 1972)

5

View Record VINYL ARCHIVE

i

15. Add New Record.

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13 Select Slot VINYL ARCHIVE

Once the app has identified the album , users must then confirm, indicating that the release has indeed been correctly determined. At this point the app will show users all the available slots (a single click will cause the leds underneath the corresponding slot to light up), so that they can select where they would like to place the new record. After assigning the record to a slot, it will have been successfully archived.

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14

Shelves VINYL ARCHIVE

3

System Menu VINYL ARCHIVE

15 Top Records VINYL ARCHIVE

2

16 Delete Records VINYL ARCHIVE

16. System Menu: Shelves, Top Records, Delete Records.

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VINYL ARCHIVE

The System Menu allows users to: - view/edit single shelves; - view their top records (a chart based on thow many times each record has been looked up); - delete unwanted records from the system.

Because the basic layout of the app is maintained throughout its entire structure, it’s intuitive and very easy to navigate, allowing users to familiarize themselves with the system in just minutes.

Whenever the user is interacting with the system, visual feedback is always present, but reduced to a minimum.

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3.7 Context

Vinyl Archive is designed for a very specific user target; here is a selection of collectors who also happen to be artists or designers. I believe a glimpse inside the homes of these “possible users� might be helpful in further identifying my user target.

These images are all by The Selby 4.

2. www.theselby.com

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14. Michael Hainey (writer, artist and editor) and Brooke Cundiff (director of merchandise for Park and Bond), NYC

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15. Top Left: Jeff Halmos and Sam Shipley (designers), Ne York City.

16. Bottom Left: Abigail Ahern (designer), London 17. This page: Yasumichi Morita-san (artist), Tokio 113

18. Stephan Landwehr (collector), Berlin

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115

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4. Conclusions

The process that brought me to the final prototype of

I feel that, although Vinyl Archive could be sold

Vinyl Archive has been very challenging at times,

through traditional retail outlets, it would be best and

but also very rewarding (and a lot of fun!): coming up

certainly more interesting to further develop this

with an idea that I thought was unconventional, weird

project so that it could be distributed utilizing more

and worth persueing, took a lot of time and energy.

contemporary strategies. For example, I would like to

I would like to say that this is the first proper project I

make this product available for purchase online, in a

have worked on essentially on my own, from concept

variety of ways: collectors who have thousands of

generation to prototyping; in fact, during the course of

records, might find it more convenient to purchase a

my studies I’ve always been fortunate enough to work

number of pre-assembled, ready-to-go shelves;

in a team, which, from my experience, is usually much

on the other hand, people who are inclined to save

more productive and leads to better examples of

considerable amounts of money, might find

design.

purchasing a kit to build their own shelves better suited to their needs; people who are interested in the

In the end, I’m happy with the final result I was able to

concept, but dislike the physical product I’ve designed

result, although I’m convinced that with a little more

can just buy the hardware, dowload the codes

time at my disposal, and with some help from other

(free of charge) and create their own shelf.

professionals, my system could be improved.

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118

Acknowledgements

I would like to thank and express my gratitude to: my family, for their constant support and encouragement; my thesis supervisor Cornelia Lauf, whose knowledge, energy and sense of humor helped me throughout the development project; Philip Tabor and Gillian Crampton Smith, whose valuable advice was instrumental in making this a better project: their unstoppable passion for interaction design, fueled by the desire to teach with both love and humor, has taught me a great deal about this profession; Isabella Balzano, for enthusiastically supporting and helping me on this project from day one. I would also like to thank my thesis colleagues and friends: Gianni Cardone, Alberto Elizondo, Alice Mortaro, Arianna Picco, Matteo Stocco.

119

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125

Figures All images, photographs and diagrams are by the author except where noted below:

p. 21 - http://1.bp.blogspot.com/-d3W_9tZu2C4/

p. 50 - http://www.vman.com/wp-content/

TubRBVx3H8I/AAAAAAAAm-E/D8aPqdqKpRo/

uploads/50537-hi-thronesoftpak-outside.jpg

s1600/Vinyl+in+Life+Magazine+%25281%2529.JPG http://www.vman.com/wp-content/ p. 27 - www.alexsteinweiss.com

uploads/50537-hi-throne-softpak-inside1.jpg

p. 29 - www.birkajazz.com/archive/blueNote4000.htm

p. 51 - http://www.vman.com/wp-content/ uploads/watchthethronepreorder1.jpg

p. 35 - http://pds23.egloos.com/pds/201202 /17/54/a0104054_4f3ddfa03e1cc.jpg

p. 52 - http://images.junostatic.com/full/ IS445826-01-01-BIG.jpg

p. 39 - http://1.bp.blogspot.com/-u7lNiRaHo2s/ Tc3hr7yzsZI/AAAAAAAAAn0/3uqDDR0vahg/s1600/B

p. 53 - http://2.bp.blogspot.com/-XstB8Gpia6k/

ox.jpg

TjmmtHyCT-I/AAAAAAACyzk/wi9wn6hBN-s/ s1600/6006381910_7ca5d12b14_b.jpg

http://www.philjens.plus.com/pistols/pistols/ MetalBoxTour/MetalBoxLyricaa.jpg

p. 55, 56, 57 - http://bjork.com/

p. 40 - http://sleevage.com/wp-content/uploads/

p. 59 - http://www.musicemissions.com/blog/

2008/11/durutti-column_cover.jpg

wp-content/uploads/2011/11/lips.jpg

p. 45 - http://www.pwelverumandsun.com/

p. 62 - www.flaminglips.com

p. 46 - http://www.thirdmanrecords.com/catalog/

p. 65 - http://deathandtaxesmag.wpengine. netdna-cdn.com/wp content/uploads/2011/07/

p. 47 - http://warp.net/records/warp20/

flaming-lips-fetus.jpg

warp20-box-set p. 67 - http://delocreative.com/the-flaming-lipsp. 48, 49 - http://brian-eno.net/small-craft-on-amilk-sea/

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strobotrip-release/

p. 68 - Screenshot by the author taken from http://flaminglipstwentyfourhoursong.com/ www.flaminglips.com p. 69 - http://cdn.stereogum.com/files/2011/10/ lipsskull.jpg p. 72, 73 - Images by Daniel Huffman, reproduced by kind permission. p. 82 - http://2.bp.blogspot.com/-UpGYjUcn2_I/ TubRxqX-MmI/AAAAAAAAm-k/t4uVM_7iq9o/ s1600/Vinyl+in+Life+Magazine+%25285%2529.jpg p. 103-107 - www.theselby.com

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Colophon

Typeface titles Eames Century Modern (Black) Typeface text Utopia Std (regular, semibold, bold and italics) Software Adobe Creative Suite CS5

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