Digital-Lifestyles pre-empted and reported thousands of articles on the then-coming impact that technology was to have on all forms of Media. Launched in 2001 as a research blog to aid its founder, Simon Perry, present at IBC 2002, it grew into a wide ranging, multi-author publication that was quoted in many publications globally including the BBC, was described by the Guardian as 'Informative' and also cited in a myriad of tech publications before closing in 2009

  • Sega Superstars 1st non-Sony use of EyeToy

    Sega Superstar with EyeToySega are launching a wide reaching, active and colourful campaign to trumpet in the arrival of Sega SuperStars, the first non-Sony game developed for the EyeToy. Available from October 22nd, the campaign will highlight the excitement and interactive nature of the game. 

    For those of you who may not know – and they’re might be some – the hugely innovative EyeToy is a camera that plugs into the PlayStation 2 and sits on top of the TV. An exercise in body mnemonics, it projects an image of the gamer onto the TV screen and tracks player’s movements, as they use different body parts to control characters, allowing the player to become an intrinsic part of the game.
     
    “Eye Toy is not as well known as we would like it to be”, says Sega’s Tina Hicks as she elaborated on the military precision of the campaign.  “We are targeting the games press and putting sig sheets in phone booths.  A number of roadshows will be taking place at shopping centres across the UK, as well as in-store promotions from the 28th to the 30th of October.”  Point-of-sale material will also be displayed throughout specialist gaming outlets and mainstream entertainment chains including Blockbuster and Gamestation.

    Features have also been written in those pillars of modern teenage culture – Bliss, Sugar, Smash Hits, Top of the Pops, and TV Hits, so if you are too young to be frequenting the hairdressers, perhaps your Granny might do the necessary reading.  This may be the case since the core target audience for the campaign is children aged between six and 14.

    Sega SuperStars features 12 unique mini-games, each with one of the characters, offering 12 unique interactive experiences.  It uses the in-game motion capture abilities of the EyeToy camera to allow gamers to transpose themselves into some of the most popular Sega characters — including Samba De Amigo, Sonic the Hedgehog, House of the Dead, and Virtua Fighter.

    Sega SuperStars

  • Collapse-to-Zoom Could Aid Mobile Browsing

    It’s the same old problem – a Web page is simply shrunk to fit a handheld screen and you waste time playing ‘blind man’s buff’ with the screen contents because you can’t tell the relevant from the irrelevant tiles.

    Browsing large pictures, or simply navigating the Web on a mobile device is as unsatisfactory as trying to watch “The Return of the King” on a portable TV.

    Opera have what they call Small-Screen Rendering technology to counter this but Patrick Baudisch and Xing Xie from Microsoft Research, Wei-Ying Ma from Microsoft Research Asia, and Chong Wang of Tsinghua University have provided a workaround to this limitation that will automate the scrolling and navigation of a large picture with a single pen stroke.

    It’s called Collapse-to-zoom and offers an alternative exploration strategy. In addition to enabling users to zoom into relevant areas, Collapse-to-zoom allows users to collapse areas deemed irrelevant, such as archive material, or advertising.  When you collapse the irrelevant content all remaining material expands to display more detail, thus increasing your chance of finding what you want. Collapse-to-zoom navigation, explain the researchers, is based on a hybrid between a marquee selection tool and a marking menu, that they’re naming “marquee menu”.  There are four commands for collapsing content areas at different granularities and switching to a full-size view of what’s left on screen.

    The system is controlled with pen gestures and are fully detailed in the Technology Review (linked below).  Dragging the pen diagonally downwards from right to left collapses all page content in the rectangular area covered by the pen, and replaces it with a thin placeholder that can be restored by clicking if required. Dragging the pen diagonally upwards from left to right zooms that area into a 100-percent-scale reading mode and collapses everything around the area.

    Baudisch, Xie, Ma and Wang will present their work at the ACM Symposium on User Interface Software and Technology (UIST 2004) next week.

    Microsoft Collapse To Zoom paper (PDF)

    Technology Review article

    Opera for Mobiles

  • TV-B-Gone – Rid your world of unwanted TV

    Think of all the waiting rooms where you have had to endure mindless soaps, the bars where you have been silenced into submission by a cocktail of football or MTV – depending on which end you sit.  If you have ever wished for a gizmo that would quell the cacophony then your wish has been granted.

    A gadget cunningly disguised as a car alarm remote clandestinely switches off television sets by the simple press of a button now exists.  Get your hands on one of these and going for a pint could yet again become the social event that it was fifty years ago – before the art of conversation was subsumed by wide-eyed silence punctuated by disjointed roars.

    The gadget with the moral dimension has a name with a biblical ring – TV-B-Gone, and like the parting of the Red Sea it will silence the attention sapping scourge in any public area. When activated, the universal remote control with a mission will spend about a minute flashing out 209 different codes to turn off televisions, attacking the most popular brands first. There is an American-Asian model and a European one, using different codes.

    TV-B-Gone’s inventor Mitch Altman, who was recently interviewed by Steven Bodzin for Wired, already has a pretty impressive track record.  He wrote an Apple video game in 1977, which became a military training module, worked on virtual reality systems in VPL in the 1980’s, and more recently patented hard-drive controllers developed in his Silicon Valley data-storage maker company, 3Ware.

    TV-B-Gone has just gone on sale so perhaps unwanted ambient TV may become a thing of the past, a social pariah we will tell our grandchildren about.  Question is are the TV manufacturers going to fight back?  Or, will it be the start of a whole new battle of wits like that between the computer security industry and the hackers, spammers and virus writers?

    TV-B-Gone

  • MegaSIM could give phone SIM’s a boost

    Not so much a case of minor to major but more a case of meagre to mega, M-Systems, an Israeli company have given the humble SIM card (the 128Kb card that comes with all GSM phones, holding numbers and contacts) a serious memory boost. Exchanging the SIM for the M-Systems MegaSIM, which can be used by all 2G and 3G GSM service providers for user identification and authentication, and storing phone settings and numbers, is somewhat akin to giving Popeye a can of spinach.

    MegaSIM is a fully compatible (U)SIM (Universal Subscriber Identity Module) that will give you up to 256MB extra storage space (with higher capacities to follow) by simply changing SIM cards, making things easier for users switching devices since all data can be transferred onto a new phone in a now standard way.

    It’s only in development stage right now and will not be commercially available until the second half of 2005. It’s a first in the cellular market – a SIM card that combines high-capacity flash-based storage, with densities up to 256 Megabytes, and advanced security storage capacity to enable a variety of mobile applications.

    MegaSIM will enable mobile operators to bundle software, applications, and games on one simple secure single-chip solution. Furthermore, it will free mobile network operators and handset vendors from the need to bundle the memory cards that are used in ‘many feature’ and smart phones.

    The mobile landscape is changing as mobile handsets increase their multimedia capabilities and network speeds towards broadband. Service providers will respond to the trend by providing secure, scalable and configurable high-capacity storage. The MegaSIM card module will enable SIM card vendors to provide their mobile operator customers with a (U)SIM card enabling a variety of advanced mobile services such as MMS, MP3 and video clips downloading, full PIM functionality, and high-resolution picture storage. 

    M-Systems

  • Limited Edition Black U2 iPod?

    Here’s another unconfirmed iPod story – Apple have teamed up with U2 to produce a limited edition black iPod to mark the release of the bands new album. Apple never comment on new product releases, but have announced a music event on 26th October – and it’s expected that something iPod related will be unveiled there. Bono and The Edge will be in attendance, sources say.

    The black iPod is rumoured to come preloaded with tracks from U2’s back catalogue, and may even feature How to Dismantle an Atomic Bomb, the new album not due for release for another month. U2 have long been associated with the iPod, and indeed feature in the latest advert for the music player, available as a free download from the iTunes store. Think Secret estimate that the U2pod may cost an extra US$30 (€24) more than the standard model.

    The 26th October event might even see the release of that rumoured colour screen photo iPod, with perfect timing for the run up to Christmas.

    iPod

    U2.com

  • Philips’ Connecting the Community Project

    Philips have kicked off a new project in Singapore to bring together content and service providers to equip a sample of households with broadband and connectivity products. Under the auspices of Singapore’s Infocomm Development Authority, the project will run for six months and residents will will participate in various ‘e’ services, including, Philips say, e-health, e-learning and e-security.

    Philips are particularly interested in healthcare and the company are looking at options for providing services within the consumer’s home via a broadband connection. Applications include pop-up reminders for mediation appearing on TV screens, and the company currently delivers the service through SMS.

    “We believe e-health services over broadband is one of the driving forces for establishing connected communities where patients are empowered to manage their health more effectively, and in the process help healthcare providers control costs,” said Andreas Wente, President and CEO of Philips Electronics Asia. “These personalized healthcare services would not only aim to help people with chronic conditions such as congestive heart failure manage their health more effectively, but ultimately help in maintaining a healthy digital lifestyle – for example, delivering weight management or employer health programs via a broadband enabled TV.”

    The Connecting Community project is supported by Philips’ own InnoHub test bed facility, which crates a linked environment of communication and home entertainment devices that speak to one another. The InnoHub also will function as an ‘idea management facility’ for exploring the feasibility and commercial potential of innovations.

    “This collaboration in Singapore embodies our vision of an emerging Connected Planet since it observes the daily habits and routines of normal families and, more importantly, identifies how their natural behavior responds to the latest state-of-the-art connectivity solutions,” said Cesar Vohringer, Chief Technology Officer, Philips Consumer Electronics. “Through an understanding of how these families interact not only virtually within the home but now through their communities, Philips can further realize its new brand promise by applying these discoveries in the creation of products that are advanced, easy to experience and designed around these consumers.”

    Singapore’s IDA

  • Black Duck’s protexIP – Safer Open Source Code Usage

    Open source can immediately prompt the words ‘law suit’ in some peoples’ minds, but Black Duck have introduced a software platform that helps developers catch and resolve potential intellectual property disputes.

    A large software project may involve code and components from many sources – increasingly parts of a project may have open source origins. It’s highly likely that there will be some software on the computer that you’re using to read this now that will depend on open source components – and indeed the core of the internet depends on open source applications such as Apache.

    Recently, some high profile conflicts between source code owners and developers has led to some very expensive and high profile legal challenges. The number of licenses, projects and obligations that a company needs to be aware of when looking to make a product that may involve open source code is immense – and checking and analysing what needs to be done, or what may happen if there is a conflict, is expensive and time-consuming.

    Black Duck’s protexIP suite informs developers of code origins, license obligations and potential violations by producing a check list of items for them to resolve. Users can even run ‘whatif’ queries on code combinations.

    The product is based around Black Duck’s 50gb knowledge base with information on more than 225 licenses. The company also uses spiders to monitor some 250 key open source projects to keep protexIP up to date.

    “As open source and third party components proliferate and become nested in increasingly complex applications, the challenge of assuring compliance with licensing obligations becomes overwhelming without a comprehensive compliance platform,” said Karen Copenhaver, executive vice president and general counsel of Black Duck. “protexIP/license management empowers the lawyer’s oversight of the development process, from helping define and implement open source policy to approval of software release.”

    Annual subscription packages start at US$9,500 (€7,595) for up to 2 seats. protexIP/license management customers must also subscribe to a protexIP/development package, which start at $12,500 (€9,993) for up to 5 seats.

    protexIP

  • Robbie William’s Flash New Album

    Robbie William’s new Greatest Hits album will be available on MMC memory card, the first major album ever to be sold on the format. Designed for use in PDAs and mobile phones, the cards will be available from Carphone Warehouse stores next month for UK£29.99 (€43.14).

    The publisher, EMI Music, are in talks with Carphone Warehouse to bring out more albums on MMC before Christmas, under CW’s ‘playmobile’ brand. Isn’t that a range of plastic figures? Oh, I see the connection.

    EMI claim that the sound quality will be comparable to a CD – though as the album also features video, the content is sure to be heavily compressed. Since mobile phones and PDAs are far from high fidelity devices, I suspect it doesn’t matter to most of the people who will buy the card anyway – though I predict that 25% of sales will be to nosy music execs from other labels.

    Carphone Warehouse are modestly saying that the introduction of Robbie’s new MMC is the beginning of a new music era, and that it will ‘delight the iPod generation.’

    I seriously doubt it will delight people with iPods – no technical details are available on the file encoding scheme, but I doubt if they’ll be compatible. In fact, I will give the first person who manages to get the tracks from the MMC to play, natively, on an iPod an original, vinyl, 12” of Joy Division’s ‘Transmission’, the track that Williams shamelessly ripped-off for his new single Radio. No transcoding allowed, and using kit available to your average Robbie William’s fan.

    The MMC format will be fraught with problems – not all phones or PDAs use MMC cards and consumers may avoid it when they realise that they won’t be able to use the music on other devices like their home or car stereo. At two or three times the cost of a CD. The value added features will have to be compelling.

    The Carphone Warehouse’s Director of Group Business Development Kevin Gillan said in a statement: “2004 has undeniably seen a massive, and very mainstream, shift towards digital music. We see pre-loaded music memory cards as the next step and part of a general consumer hunger for more mobile content. playmobile will go beyond this and provide our customers with a quality experience at real value for money.”

    CW intend to introduce many other types of content on the playmobile brand, including games, ringtones, wallpaper and video.

    Robbie Williams


  • StreamMan – Music Beyond the iPod

    Sony’s Walkman forever changed the way that people consume music by allowing them to listen to their favourite music, privately, wherever they chose, even in crowds. The portable music player remained fairly static for ten years or so until CD came along, bringing higher fidelity and more convenience. Aside from a small flurry of activity around the time MiniDisc appeared, it took the introduction of personal digital music players to reignite consumer interest in mobile music and show them what really is possible.

    With a fall in memory prices, portable MP3 players started appearing and users could wander around listening to around 16mb of tunes compressed so heavily they sounded like they were recorded in a diving bell. Then suddenly, hard drives were small and cheap enough to store 5GB of music on, and the world hasn’t looked back since. Sony have lost some of their dominance over the portable audio market as companies like Apple and Creative enjoy huge market share with players like the iPod and

    Formats and colour displays aside, there isn’t much to separate digital music players apart from the amount of tunes they can store. How can Sony, the company who invented personal portable music and traditional dominator of the field revolutionise it once more by introducing something that really is different?

    The answer might well be StreamMan – and the surprising thing is that it’s not really about a gadget at all.

    As Simon Perry is always fond of reminding me, when consumers have access to thousands of pieces of media, how do they decide what you want to listen to or watch?

    StreamMan’s current incarnation is as a stream music service to Symbian mobile phones – though its potential goes far beyond that. Independent of what ever hardware Sony may choose to deploy it on, StreamMan is really about finding music and creating intelligent channels, but more about that later. Its applications go beyond just music and phones, but to films and other digital entertainment and other platforms – such as suggesting what you want to watch tonight on television.

    In short, StreamMan is all about metadata – information about the media contained in the system. Tracks are categorised and described with fifty fields of information. If a user says she likes a particular track, then StreamMan can create a whole channel based on similar tracks – and the more data it captures from the user, the more accurate the results are.

    I spoke to Robert Ashcroft, Senior Vice President, Sony Network Services about the StreamMan concept, and what it means for the future of music and media discovery.


    Tell me how the StreamMan concept came about?

    We’ve seen portable audio devices coming up with more and more capacity, where you can just put enormous collections of music on them. This begs the question of whether people actually want to pay for all of that content because you might be walking around with, in the case of our own NW-HD1, [Sony Style] 13,000 songs or somewhere in the region of €13,000 worth of music in your pocket.

    What’s been happening is that people are getting their music from a variety of sources. Some of it from paid downloads, some is captured in the wild, some is ripped from CDs – but you start getting to a point where people have access to an enormous music collection. The question arises, if you really push this to the limit is – ‘If you have every piece of music that had ever been written on your hard drive, which is not inconceivable, how would you decide what to listen to?’

    This is really the original motivation for StreamMan – if you have an intelligent personalisation engine which becomes your personal DJ, it can play you music and you can react to that music, saying that you like or dislike it. You can train it to send you music you like and you can save lots of different channels that correspond to different moods, different contexts and different types of music – then you can pick amongst your personalised channels and discover music, and make up playlists if that’s what you want to do. Or you can just let the service suggest stuff to you!

    You can do that with any large collection of music, whether you owned it all on your hard drive or you were streaming it from a central server.

    So StreamMan is separate from its hardware presentation, it’s not about a device – it’s about intelligently finding music that you like?

    Yes. Ultimately if you crystallise it down to the absolute essence of it, that’s what it’s about. It’s liberating in that sense. With that thought, you can then go into lots of devices and applications – obviously the one that springs to mind and is the first implementation of it is streaming music to mobile phones.

    Will it be implemented in mobile jukeboxes later on to help users find the right track amongst their 13,000 tunes?

    It’s a possibility – but you have to understand how it works first, to see that we’re a little way off from being able to do that. You have to start off with a fully normalised [Hyperdictionary] database of music. The whole music industry is album-centric in its organisation. Imagine how many albums, including compilation albums, have the same recording of Candle in the Wind, from Elton John? If you normalise it, you may, say end up with five or six major versions of it.

    You will still have a substantial music catalogue, but it’s somewhat shrunken from the numbers that are bandied around by some online services with regards to the number of songs that they offer.

    You move into a song structure rather than an album structure, and you know how many albums a song is represented on. If you then then go further, which is what we’ve done with the music on the StreamMan service, you then characterise each song with, on average, around fifty objective and subjective characteristics that then describe it. That then forms the basis of your intelligence engine. When you say that you like or dislike a song as you listen to it, the server looks up the fifty or so characteristics of the song to understand why. It might be something to do with beats, or cadence, or instrumentation or pace.

    In order to bring that intelligence, you would have to have a database on your hard drive that held all that information about the songs or at least be able to look it up with such accuracy that you knew exactly which song you were looking at.

    That’s an incredible amount of metadata to compile.

    It is – and this is why the StreamMan personalisation engine is so powerful. We’re probably some way from this sort of high-value music database being available in any format other than on our servers – and if it’s the source of our intelligence, then we’ll probably keep it on our servers for quite a while!

    It’s an incredible piece of intellectual property that you could probably license and turn into a revenue stream on its own.

    There are many things we could do with it – right now it’s powering the StreamMan service. On top of this very rich database we have our own personalisation intelligence which powers the StreamMan Player. It’s not just the database, it’s what use you then make of that database.

    So we started from the vision of ‘If you have access to everything, how do you decide what to listen to?’. And then we had a lot of hard work to do to turn it into a practical, easy to use product.

    It’s now available on Symbian smartphones working under GPRS, and serves a 16 kilobit AAC mono bitrate because all of these practical elements bring it to market in today’s network environment.

    This doesn’t mean that we can’t see it evolve in the future because the essential vision is for an intelligent interface for music.

    My job is to run Network Services – in our own minds, the question was ‘Is this network intelligence? Is this a virtual product? Is it a service?’ Whatever it is, we think that’s it’s very powerful.

    We’ve just launched the second version of StreamMan, in Finland. It had a soft launch in June, which was literally just for mobile streaming. Teliasonera have seen it as a convergent product where you can listen on your mobile phone, you can interact and you can train your stations until they really give you the music you want and you can listen to them on your PC. It’s a passive player, it just plays the personal stations that you’ve created – but there we’re able to do 96kbs stereo, which is really high quality sound.

    It goes well beyond the current personalised web radio stations because they still come from a search- and genre-based mentality. If you imagine this was voice recognition, you could have a computer on the wall and say to it ‘Play me some music for a party.’ Pick your genre – then do you want happy, powerful, relaxed, romantic? Is it action, chill-out, driving, party? It’s a completely different way of getting to different types of music. What’s your context? What’s your emotional landscape? What type of music do you like generally? Then you can choose roughly what decade – then it starts firing music at you.

    If you ask StreamMan to come up with a suggested list, in each case when you’ve defined the parameters come up with fifteen songs. If you enter the same parameters over and over again, it will generate different lists each time, by saying ‘Well, we’ve looked in our database and we’d like to suggest these.’ If you see a song you like or recognise, you can start a channel based on that song – then you can train it until it’s the sort of music that you like.

    StreamMan has 40,000 normalised tracks on it and it’s heavily influenced by Finnish content because that’s the market. It covers more than 90% of the available Finnish catalogue. It would take a huge amount of effort for an individual to acquire that content on their own, so it’s a very convenient service with a very powerful suggestion engine.

    What we’ve found so far is that it very much appeals to 30 to 50 year olds, because we all know the music we like, but don’t all have the time we used to have to devote to getting it. But that’s just today’s picture – who knows where it’ll get to when we’re able to bring it to mass-market phones.

    What about other markets? Will you be rolling it out to other European or American markets soon? What’s next?

    Yes we are, but I haven’t got anything to announce – but we expect to have some announcements soon. It’s a business to business, server-based system so we can roll it out very quickly – but we have to interface with the phone operators’ billing systems and customer registration systems, and then it will appear throughout an operator’s network.

    It seems absolutely ideal tool use with for Sony’s Connect music store.

    It’s funny you should mention that. The one thing the music store doesn’t have is a web radio service – it doesn’t take much imagination to see that we’ll have one in a forthcoming release. We’re going to watch them both evolve and we’re going to combine StreamMan’s intelligence as we see an opportunity to do so.

    Personal devices are converging, and handset manufactures are pushing phones as games consoles, music players and cameras. If there’s a decent phone out there that plays music at an acceptable quality level and has StreamMan integrated, might it not cannibalise Sony’s own Walkman business?

    It’s always been true that you get multifunctional devices and you get dedicated devices – and StreamMan can appear on a moderately priced smartphone or on a dedicated device. It’s all engineering in the end.

    What about applications other than music?

    The work on the categorisation of the entire popular music catalogue, which has been proceeding apace, has been under way for the last nine years. We’re a couple of years away from having a complete set, before we move onto Jazz and Classical. It’s a very laborious task, as you can imagine, having experts do this value-add on the entire music catalogue. The music catalogue is a much more laborious task than the video catalogue, because there is just more music out there, it’s been going on for longer.

    We think this is a very fruitful direction in terms of giving people intelligent access to entertainment content. I don’t want to get ahead of myself, because today we’re launching it with StreamMan as it is – I’m just sharing a vision with you. In the end, it’s not about the technology, it’s not about someone coming up and saying ‘We’ve got a 40gig device with a sim card.’ That’s not the point. The point is, the intelligent content management interface.

    A lot of the devices that are being launched now will be entirely out of date in a year – but this project won’t date. After all, you started work on this nine years ago when you started applying metadata to you music catalogue, and it’ll still be valid ten years from now.

    We’ll continue to calibrate it and improve the user experience, but we think it’s a very powerful idea. The evidence we have, because we’ve been live since June, is that the average length of time a song played on the service starts off at between 40 to 50 seconds, and that’s a combination of songs that are listened to throughout and songs that people skip within five seconds. Over a period of about three or four weeks, we see that every user follows a pattern, that they start out listening to only a few seconds and it rapidly increases to where they’re listening to 70 to 80 seconds. What that means is that they are training their channels and we’re delivering increasingly the music that they want to listen to from beginning to end. Ultimately, that will reach an asymptote of around 2.5 minutes, as the average song is three minutes – so essentially they are listening to everything and just occasionally skipping or whatever.

    You’ll be capturing that user data and using it to improve the service in the future?

    Absolutely – and the other thing we’re able to do is to share that information, on an aggregate level, with the content owners – so it becomes a very powerful feedback mechanism. There is enormous interest from music labels in getting direct, accurate feedback on new content, it gives easy access to back catalogue, for the mobile operators it’s a compelling data service, and for us, it’s a very interesting entertainment product – we think of it as ‘music beyond the iPod.’

    The people who are doing portable audio really have to think what’s new and what’s next – what’s the leapfrog concept? And we think that StreamMan is a new concept.

    Sony Network Services

  • Motorola to Try Out PassPay

    Digital wallets have come a step closer with the news that Motorola will be trialling Mastercard’s PassPay service in some areas of the US by the end of the year.

    The trial will involve two new Motorola handsets, but the company has not yet announced which ones they will be. The phones will use Near Field Communications technology to enable contactless purchases with new Motorola handsets.

    Electronic purchases typically enhanced by NFC include buying travel tickets, a service already enjoyed by users in Hong Kong, Japan and Singapore.

    McDonalds and Loews Cinemas are amongst businesses that already offer PayPass services, in this case in Orlando, but the Motorola trial is expected to reach to states beyond Florida.

    Ron Hamma, vice president and director of enterprise business development at Motorola said ian a statement: “Motorola is excited to be working with MasterCard to create a phone that has the potential to be lifestyle changing, and offers a convenient, fast, and secure method of payment. In essence your phone will become your wallet, key chain and your ID. Fully integrating MasterCard PayPass technology in our phones is a natural fit and major benefit to the consumer.”

    PayPass