Interview

Article – Interview – Talks With Sam Rose and Friends #1

I have a good friend called Sam Rose. You may have heard of him. Amongst other things he is a rising star in the fields of computer science and programming. For one who is relatively young he is hugely accomplished and he’s also extremely good at what he does. I can’t really praise him enough so if you want more information on what he is up to, you can check his site out at : Lbak

We decided to have a discussion drawing on his understanding of computer science, and my unhealthy tendency to turn every discussion into a discussion om the nature of conciousness and perception. The debate has been recorded for your interest, and is written as an interview, below.

He also invited Jake Wellings, a chiropractic student and Luke Gardner, a fellow computer science student.

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This is Sam. He will be part of this discussion.

Discussion #1 –  Life/codes: Computer Language Vs. Human Language

Here we’ve got the first of a series of interviews/discussions I’ve done with him. My questions are in bold.

This article is a discussion into the nature of language and information processing in both the mind and the computer

We are planning to do more of these discussions as time goes by.

J: How does the logic structure of computer language (such as PHP) differ from the structure of dialectic language, (such as English or French)?

S: One of the first things that comes to mind is that the logical structure of a computer program is very strict and direct. You are writing the program for a purpose and the usual aim is to achieve that purpose in the fewest steps or the least time possible. If you compare this to spoken language where we have “small talk” and conversations often go on tangents it’s pretty obvious that computer languages and spoken languages have very few similarities.

I think that computer languages are more akin to stage directions in a script for a play: “Person 1 moves to stage left, spotlight on stage right”. Very clear, very hard to misinterpret.

It’s difficult to compare computer language to spoken language because they’re both trying to accomplish different things. Spoken language is trying to convey thoughts, feelings and ideas more often than get to the conclusion of a calculation or an algorithm.

Another comparison to be made about the differences between the two types of language is that a computer program will already know every step of code before execution starts, that’s the point. The program is usually entirely finished before you execute it (unless you’re a developer testing your program). Conversation is different, you rarely wake up in the morning and plan out all of the conversations you’re going to have, you just do it on the fly.

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Mathematical language: hard to take a conversational tone..

What exactly is logic in the sense of programming? How would you say that a computer language is more logical the dialectic language (if it is at all)?

A computer language has to be built entirely on a set of logical steps to accomplish a task. If there are any illogical or arbitrary steps, the program isn’t doing what it is meant to do as efficiently as it could be. Logic in the sense of programs would probably be decisions made in the code (if, else statements) and using these decisions to eventually reach an answer or accomplish a task. You could also argue that your choice of language in programming is logical. Some languages are suited to doing things better than others.

There is a theory by Alan Turing called “Turing Completeness”. It describes what a machine needs to be capable of before it is labeled as “Turing Complete”. All that Turing Complete means is that a machine can simulate a universal Turing machine and subsequently calculate any computational problem that is thrown at it. On a theoretical level, no computer is currently capable of this and they never really will be. They would need an unlimited amount of memory, for example. However, the unlimited memory caveat is often ignored and every modern day computer is said to be Turing Complete minus the unlimited memory.

Computer languages can be labeled either Turing complete or Turing incomplete. If they are Turing complete it means that any computational problem could be solved in them (no promises on how easy, hard, slow or fast it is going to be) and Turing incomplete languages usually only deal with representing data structures, examples being XML, SQL, HTML and so on.

I believe that the point of modern spoken and written languages is to convey and communicate ideas. I don’t think that these languages are standardised or compared against any benchmarks and it’s hard to gauge which languages are “better” at doing certain things. For example, with computing if you want pretty low level access to hardware you’ll probably be writing in C, C++ or Assembly. If you want really good string manipulation I imagine you would use Python. If you want to get data from a database you use SQL (MySQL, MSSQL or whatever). With written and spoken languages, a lot of people will only speak one language and that will be the language they are brought up around (although some light Googling tells me that a majority of the world’s population is bi/multilingual).

My point is that people don’t choose their spoken language on how well it does in certain social situations, their language is chosen for them because that’s the language that the people around them are speaking. Later on in life they could learn new languages so that they can communicate with people in other countries but I think the popularity of English is growing and the need to be bi/multilingual is dying.

To conclude, there doesn’t seem to be much logic in spoken language choice other than the fact that everyone else around you is speaking it whereas you choose to use a certain computer language because it is more suited to the problem you want to solve.

Does grasping the syntax of computer language allow one to better pick up other computer languages, how about spoken languages?

I will be honest and say that I was always terrible with spoken languages. I never seemed to be able to get the grasp of them and I have no idea why. Fortunately, I never had to be able to speak another language.

With computer languages, when you get a strong grasp of your first language it makes learning new languages really really easy. The way that computer languages have progressed is by basing the new ones off the old ones but correct the mistakes of the old language in your new language.

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Like conventional language, computer languages have evolved and changed with use.

There are a few really popular “styles” or “syntaxes” with computer languages. There’s the C syntax, followed by C, C++, PHP, Java, JavaScript, C#, and probably a lot more. The C syntax opens and closes code blocks with curly braces {}, ends lines with semi-colons ; and comments are written with // or /* */.

There’s the Visual Basic or Python style syntax. Code blocks are denoted by their indentation level, code blocks get started with a colon : , lines are ended by creating a new line. There are other styles of programming apart from these two, for example LISP: LISP encases everything with parenthesis (), basic calculations are done with the operator first like so: (+ 1 2 3 4) would evaluate to 10 as opposed to C syntax (and most other syntaxes) which do calculations as you would expect: 1 + 2 + 3 + 4 = 10.

The thing that transcends how you write a computer language is how you think about it. There are a variety of programming paradigms that are very well known and languages tend to be written to follow a certain paradigm, sometimes a number of paradigms.

LISP follows a functional paradigm which means you rely almost exclusively on the return values of functions and your functions don’t have side effects. C and Assembly languages follow a procedural or “imperative” paradigm which means all of the instructions get executed one after another until an answer is found. C++, Java, PHP, Python and pretty much every new language follows the “object oriented” paradigm (along with other paradigms at the same time) which is the idea that you create large data structures called objects and do manipulations on an object basis.

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LISP - so good that it was made by aliens...

 

An easy way to explain the object oriented vs procedural paradigm is like this: The procedural paradigm uses the verb first, e.g. do this to that. Object orientation is the other way around, the data you are working with comes first, e.g. to this, do that. In code it looks something like this: “calculateSqrt(someData)” for procedural and “data.calculateSqrt()” for object oriented.

So once you know the paradigms behind languages, the list of which is quite long for both paradigms and languages, it becomes a lot easier to learn new paradigms and languages.

Luke is currently learning Japanese and he says that learning a new language is all about the immersion. He disagrees with the claim from adults “I’m too old to learn a new language, I’m past the spongy learning age of a child”, he believes that what it takes is the drive to do it, an incentive maybe. Currently he has everything in his life that he can in Japanese: operating system, games, books, computer programs. It’s back to his point about immersion.

When you’re born, you’re surrounded by your primary language and you eventually get used to it. Parents will worry that their children aren’t talking but you don’t get many adults that can’t talk for no reason, so learning a language just takes time and that time will be less the more you are around it.

As for learning new spoken languages, there are similarities between some languages. The alphabet we use, for example, is the Roman alphabet. English, French, German, these use the Roman alphabet and by knowing English you can at least have a go at saying French and German words. Then you have languages that follow entirely different ideas such as Japanese. Trying to learn the English pronunciation of Japanese words will get you nowhere. So it seems similar to how different languages will relate to each other but there are a lot more languages and styles.

How does the syntax of computer language differ from pure mathematical language (for example, Euclidean geometry, but not QED)?

It’s arguable that maths is the universal language. In every country in the world, most people will have a basic understanding of maths and the notation is the same everywhere.

There is also a need to understand at least the basics of maths. There’s not much you can do without an understanding of, for example, numbers. They aren’t difficult to understand and it’s easy to display how numbers apply in real life. When you go shopping you need to be able to compare prices, get the right amount of an item that you need and so on.

The concept of algebra is also really simple. You can apply it to real life situations by using ideas instead of numbers e.g. It’s raining, I don’t want to get wet, what’s the missing variable here? An umbrella. That’s essentially what algebra is at the most basic level, you’re looking for the missing variables and there are methods of finding them, that’s perhaps where it gets a little more difficult for people. I know that a lot of people find it difficult to rearrange equations that use a lot of different mathematical concepts such as indices, logarithms, fractions, pi and so on.

This doesn’t really compare much to computer languages. No one really has a need to learn a computer language as much as they do mathematics and computer languages aren’t universal by any stretch of the imagination. I guess that in conclusion we can say that maths is “better” than computer languages in the way that it is far more widely used, understood and universal.

How does information processing in a computer differ from how information is processed in the brain? Linear vs. lateral perhaps? Neural networks vs. the Turning machine?

This is a topic I have considered in the past. I don’t know enough about the brain to be able to give a conclusive answer but I can certainly theorise.

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The Brain – the original hard drive

Take a hard drive for example. Most modern file systems keep an index of all of your files to increase search speeds. They have journals so they can make sure every transaction happened as it should have done. They are quite fragile and they wear considerably over time (I am talking about spindle hard drives, not solid state). Compare all of these qualities to the human brain.

Our brain can take some time to find things. We don’t remember everything we’ve ever done all at the same time, it takes some thinking to recall a memory which can be made to take less time if someone mentions a keyword that relates to the memory. This is similar to hard drive indexing, hard drives would take a very long time (relatively speaking) to find a file if they didn’t have indexes to speed up the processes. They also don’t remember everything at the same time, they load what they need on short notice into the RAM, which is usually significantly smaller than the hard drive and can perhaps be thought of as “short term memory”.

Hard drive journals are a list of everything they had planned to do and an indicator as to whether or not they completed them. This is useful in case the computer crashes, the hard drive can check on next start-up as to which parts of the journal actually got executed, which didn’t and which got interrupted so it can complete or rollback what it was doing appropriately. Humans have a conscience. We often review what we have done against our morals and other such criteria to determine if it was a good idea and if it wasn’t, we will try and make amends (I admit that this comparison is a little flaky but similar nonetheless).

Hard drives being fragile and wearing over the time is an easy comparison to make. The likelihood of dementia in the human brain significantly increases the older you get and things such as amnesia, which can happen in so many different ways, are akin to a hard drive failing (as insensitive as I made that sound, it still stands).

However, there are differences of course. The human memory works very differently to computer memory. When a computer is told to remember something, that’s what it will do. This is not the case in the brain, it takes a fair amount of learning to commit something to your long term memory. Luke had an example from when he learnt about long term memory in high school: “Imagine long term memory as a field of tall grass. When you walk through the first time, you might not be able to see your tracks. The more you walk through, though, the more clear and defined your path becomes”.

Linking memories and thoughts to other ones are another feature of the human brain that computers aren’t that capable of. The Google search engine is a nice example of a system that does try and remember what you’ve done and adjust to your personality. When you make searches for car rental, for example, Google will try and localise the search to present you with car rental stores that are close to you and subsequently more relevant. Google will also try and look at the links you have clicked in the past and find similar links and put them higher up in your search results. The brain does this really really well, better than any current computer. We are able to make connections between thoughts that are similar.

Since the brain and the computer are (at risk of gross simplification here) both electrical systems, could mental activity be mapped at a base level as binary in the on off function of an electric waveform?

It kind of already has. With brain scans you can see what parts of the brain are active at any time. We understand a lot of parts of the brain, sleep for example. We can tell when someone is asleep just by looking at a real time scan of their brain.

Mapping it is different from simulating it, though. We’re still a long way off fully understanding the brain to the point we can simulate one, which relates very nicely to the next question:

Do you think that self awareness could be coded into a computer? would it require a large body of text, or could you create efficient code that was self aware?

If we did manage to create artificial intelligence, I think it would be monolithic. I don’t think it’s our understanding of computers that is holding us back here, it’s our lack of understanding of the brain. I personally don’t think you would be able to code self awareness but if it were going to be possible, I think it would require a very complete understanding of how the brain works which is something we don’t have.

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The main villain in the Terminator franchise was a neural network that in becoming self aware, rebelled against humanity

I highly doubt that the way the brain learns and stores new things is a simple process. I am more willing to believe that it’s a very complex process and the brain is extremely fast. Thus we would currently be limited by computer processing power even if we did figure out how the brain works and tried to simulate it.

… Self aware code? is it possible to create code that could replicate itself? in a nutshell how would it work?

Viruses. Some viruses can be very simple and others can be very complex. One of the most destructive viruses in the entire world was the Slammer worm and that was only 376bytes. Consider that 1 byte is a single ASCII character, that was almost definitely less than 30 lines of code (the source code for the Slammer virus is available online, you should be able to find it with a Google search).

As for code that can write code, I’m not sure… I don’t think that you could write a programmer program that would write whatever it wanted to. That’s going back to the realm of self awareness.

How self replicating code works is interesting. The most popular way of spreading a virus is by making it email or instant message your contact lists and tricking them to click on a link that will install the virus on their system and then repeat that process on everyone it infects. Social engineering, so to speak. Worms work a little differently, they count on network vulnerabilities to almost silently infect computers without any warning or way of defending against it. I believe these are becoming less and less the more that anti-virus and network software is progressing, though.

Conversely, do you believe that this kind of code could arise on its own? Could there be a ‘ghost in the machine?’

I don’t think so. I think if you left all of the code in the world currently written to run forever you would not get any sentience from it. It’s more likely that it all either ends or crashes due to hardware failure.

I just don’t think that’s how it works. I like to think I have quite an intimate understanding of how computers operate (for someone my age at any rate) and I can’t see any possibilities of code arbitrarily doing something it shouldn’t and turning into artificial intelligence.

In your boat, is ‘artificial’ consciousness artificial? What would the difference between a thinking machine and a human mind be?

The term “thinking machine” seems, to me, a contradiction of terms. Machines can’t really think in the same way that humans do so I think the latter part of the question is null. Humans have the ability to think, feel, theorise, make connections and these are all things that aren’t really fully understood enough to simulate. I think we have a good understanding of emotions and feelings but not quite enough to simulate them in a machine. The idea that a machine could have a sense of feeling is, in my opinion, really strange. How would it work? What would the outcome be? Would it get tired or bored and start refusing to do what you ask it to?

Even if we did manage to create an artificial consciousness, I do believe it would be artificial and totally different to what humans feel and experience. I don’t think we would get taken over by artificial intelligence if it were to arise because I don’t think we would be stupid enough to create such a thing without a backup plan or a backdoor or something. It is true that a lot of programmers leave themselves backdoors into systems or ways to control the outcome of something if they had to. Why would it be different with AI?

The next interview will deal with the nature of DNA as self replicating code and will explore it from a computer science perspective.

 

Interview – Art Photography – Mark Varley

This is one of the first in what is to be a series of ongoing interviews with artists, visionaries, philosophers, thought leaders and other people who I feel have something valuable to show my readers and myself.

In this interview I would like to introduce you to Mark Varley and his stark, sometimes turblent images.

Mark Varley is a British photographer living and working in London. Starting out while still at school it became a profession for him in around 1999, covering most genres including Wildlife, Landscape, Portraiture, & specialising in Fine-Art Nude, Fetish and Bondage.

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Mark Varley's logo is the Ouroborus. Instant kudos.

Mark is Driven  by a perpetual search for Beauty in all things and a love of interesting and unusual images that show the world from a unique perspective. He is currently living and working in London, England.

1.  what makes for a piece of ‘fine art’ photography?zen
That is always hard to define, the best definition I have seen is that it’s an image you’d want to hang on your wall.

2.  how does it relate to other photographic disciplines?
There are so many photographic disciplines and each is as valuable and valid as the next, for me fine art photography stands out by it’s focus on a single image that is so interesting and/or aesthetically pleasing that you want to see it every day.

3.  how did you get started in photography?
When I was at school I loved art class, but i was rubbish at it, i tried everything from clay to oil paints to batik’s and nothing was much good, then my art teacher suggested trying to take some photos, she gave me a couple of rolls of B&W 35mm film which I put in a borrowed compact camera and off i went photographing anything that appealed, that was mostly landscapes and they were mostly pretty good!
Years later when I left the Army I bought an old Zenit 35mm SLR and started taking it a little more seriously, it all grew from there.

4.  what are your tools of the trade? whats the studio look like?

99% of my photography is done with an Olympus dSLR’s, as well as the standard 14-45mm I also have a selection of manual lenses, my favourate of which is a 50mm f1.4. I also have a couple of 35mm SLR’s (Pentax and Zenit), and a variety of flashes and other bits and pieces.

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I shoot mostly on-location but also hire studios when I need them, I love the variety from this, it’s easy to get stale when you work in the same location too much. I love rural locations & urban such as abandoned buildings as well as the pure black or white in a studio, I tend to shoot at the former as much as possible from late spring until early autumn, retreating into the studio for winter projects.

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5.  what are the elements that make for a good shot?
Firstly something about it has to hold your attention for more than a second, if your image cant do that for a large % of people then it’s going to be largely ignored. It should also be aesthetically or visually very pleasing or very interesting. What someone thinks and feels about an image says as much about them as it says about me/the model/ the image itself, so every image is going to be a little different for every viewer.

6.  when you are putting together a shoot, is there much of a plan involved?
Sometimes the image or images are individually very clear in my mind and we will compose every detail exactly. At the other end of the scale, when working with someone I know well such as my very talented muse Pinkerbell, we will discuss the look/style we are liking in this location, with these props etc. and she will just roll with that and I’ll push the button whenever anything good appears (or in Pinkerbell’s case, just hold the button down!).

7.  what do you believe is the purpose of photography?
Photography is a way of capturing what is around you, your way, as you see it, and sharing that with the world. Anyone can do this to some degree, those with more ability can do this to a greater extent. Everyone benefits from seeinf things from another perspective, it’s enriching.

8.  what is ‘art’ to you? Do photography competitions have any value for the art photographer looking to establish their name?

Art is a creative process of creation, anything that is pleasing or interesting to look at, that was created at least partly with that intention, is Art.
Photography competitions are a way for artistic photographers to get their work seen, the more people see it the better, and competitions certainly have their place, though I’ve rarely taken part myself.

9.  how do you market yourself and your work? is it possible to be financially successful yet still retain one’s artistic integrity?
My website(s) is my main marketing tool, so many people use the internet now to look for anything, my own and other websites are very valuable for marketing. Also word of mouth, people who see and like my work tend to tell people, especially if they are happy customers, always look after your customers.
I feel that you should always remain within the boundaries of what is artistically ‘right’ to you personally. I shoot alot of different things in alot of different circumstances but people want me because they like what I do, if I did it differently they’d be disappointed.

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10. how is the industry and practice of photography changing? are the effects of new technological advancement in the last 10 years noticable to you? any emerging technologies or opportunities you are looking forward to?
Photography has changed alot in the last decade, digital photography has become viable for professional use and it’s also now available to the public, more people are taking better photos with little or no experience or training as their cameras can fix many mistakes on-the-fly. The old rules about composition and indeed translation of ideas into images are still reserved for the few but the market is saturated by camera owners, true photographers are still in the minority which few people realise, we are a little lost in the crowd sometimes.
Personally the technical area that interests me most is higher sensitivity sensors allowing much higher ISO’s with much less noise. I work alot in low-light environments and at 1600 it gets noisy, Often I want to capture what I see as it is infront of me but the low level of ambient light can require a shutter speed of seconds, even at f1.4, that is a restriction that technology is reducing.
Also 3D interests me greatly, it’s been around for a long long time in photography but we are now seeing dedicated digital 3D cameras coming onto the market and it’s something I’ve been wanting to play with for about 5 years now.

11. when you shoot – what is your overall intention? of all your shots, which is your favourite?

My intention is to create an image I find visually interesting or pleasing. As mentioned before it can be planned to the last detail or I can tell my model to get up there and dance around a bit (it’s a bit more involved with discussion of style, intention, light and angles but thats the essence of it, and a model who can understand and interpret that is worth her weight in lenses). I want my images to affect people inside, I want it to answer questions, ask questions, or just create a pleasant warm feeling in the heart and a smile on the face.

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My favourate shot, such a changeable thing, but ‘Zen of Anger 2‘ has been a favourate for a while now. It’s an idea I had about 5 years ago and shot with my main model at the time Marie, but we were never happy with it and she long-since moved away. When I found my Muse Pinkerbell I felt it was time to reshoot it, after chatting about it a little we nailed it on the first shot, she got it exactly right. It says alot of different things to alot of different people, and thats quite some variety for a single image, very proud of it.

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12. what inspires you and keeps the images coming?
My inspiration comes from anything and everything I see and experience every day, and my own imagination. I often take ideas from images from other mediums or genres and I keep an eye on the work other people are doing, though I don’t copy something someone has done I will often be inspired by it. My perpetual fixation on beauty keeps me motivated, I like to fill my life and my time with beautiful images, the best way to do that is to create my own, and share them with the world.

13. any passing words of wisdom or anything else you’d like to say to those wishing to establish careers in fine art photography?
Believe in what you are doing, never quit. Listen to the feedback and advice from anyone who gives it, no matter how harsh. no-ones opinion is law, no-ones opinion should be ignored. Perfect and hone what you do well and always try something new.
When in doubt, push the button.

Additional Bondage Questions
Because I don’t often get the chance to talk to someone who takes such a niche style of photography, he let me ask a few extra questions on his particular specialty.

1. of all the subjects that are possible to shoot – what brought you to bondage photography?
I started incorporating my interest in rope bondage as an art into my photography to introduce some variation in the textures and lines of my art nudes work, this still remains in it’s purest form along with a much more raw look at people in bondage.

2. how does the edgy style of the subject matter effect the perceived artistic value of what you do?

‘Art’ is very much in the eye of the beholder icon surprised Interview   Art Photography   Mark Varley ) some very raw photography of bondage such as my ‘Bound’ Series’ shows real people really in their own homes challenging their own ideas and preconceptions of bondage, many of them were being tied for a first time and the recording of this tells their story, which answers many of the viewers questions as well as asks more and the reactions from viewers gives alot away about them, I consider that a major achievement artistically.

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3. anything that you have learnt specifically from working in this genre, does it have any carry over into your other photographic work? are there any specific photo techniques unique to the field of bondage or fetish photography.

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This genre has taught me more about people as individuals rather than people as a physicality, for me the art nudes are all about the body, portraiture is all about the person, and bondage photography (and also fetish photography more generally) sits right between the two.
There are lighting and processing techniques which make the most of the lines shapes and textures brought by a person in rope as well as compositions which can be much more complex, borrowing elements particularly from Landscape work and classic informal portraiture.

The biggest thing I learnt from Mark is that the importance of the photographer’s choice in how to represent the subject. To ‘Re-present’ means  to present something again, perhaps differently. Much like the media can take any neutral information and give it a positive or a negative spin in a story, the photographer can cast a different light (literally) on a subject. He can do this by manipulating the illumination of his studio and choosing what colours, hues and parts of the form to emphasise in later photo processing, such as in Photoshop.

Shoot fearlessly and see opportunities in every image your eyes give.

*xij

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" When in doubt, push the button" - Mark Varley

Mark’s main model and Muse is Pinkerbell  - http://pinkerbell2.deviantart.com/
More of Mark’s work can be found at  -
www.MarkVarleyPhoto.co.uk and www.BeautifulBondage.net



Article – Music Business – Interview with David Newman at Audiobulb Records

Though not all independent musicians plan for a record deal, many of us are looking to sign to a label that shares our approach. If your approach is innovative, experimental and technologically fearless, then Audiobulb could be a label for you to consider. That is of course, if your music is of the high quality and deviceful style that they are known for putting out. Audiobulb are a UK based musical collective with a strong emphasis on placing artistic integrity before commercial appeal.

I enjoyed writing about the label as they often do things which are quite hard for me to describe. These include maintaining open submission endless ambient spaces, in which artists are invited to submit two minutes to the ever growing soundscape. They have released their own virtual instruments (VSTs), reference detailed scientific treatises on the nature of the sine wave, and have a wonderful visual appeal which blends a harsh mechanical backdrop with colourful scurrying, insect-like figures.

Though perhaps too cerebral to have any real ‘commercial appeal’ (and I think that’s how Audiobulb likes it), they truly are a wonderful and unique example of how the internet can be used to spread the word and connect with our market, no matter how niche.

I was fortunate enough to have the chance to put some questions to David Newman, the owner at Audiobulb records.

This interview provides some insight into the workings behind the label and what David looks for from potential new signings. It is also an interesting perspective into a business that may be seen to have more focus on the artistic than commercial, but does just fine for itself all the same.

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What do you look for in an artist when thinking of signing?

In a word, I look for “quality”. For me quality in music encompasses a wide range of attributes, including the aesthetic beauty of their sound, their craft and vision as a composer. I’m also interested in their enthusiasm for their work and their motivation to have it heard. It’s easier to succeed in terms of promotion if an artist is prepared to graft – communicating their work across the web, live events and through personal networks. I am also looking for artists who have found a way to encompass and express themselves and who have been innovative in the manner in which they have approached and executed their work. I like to work with people who are on a journey.2

Do you actively scout talent? How do you get your tips?

I am naturally interested in sound and music. It is second nature for me to be open to new sounds and to explore what is out there. Demos, live gigs, word of mouth and internet sites all bring my attention to artists who might be looking for a label.

What way do you prefer to receive new material to listen to?

I prefer a short introduction, a website link and link to a single track that I can listen to. If these three nuggets of information grab my attention – then I will be looking to start a dialogue with the artist and to hear more about them.

What don’t you like to deal with from potential label artists?

I like to be open to new people and new ideas. However, all label managers inevitably endure a number of persistent frustrations. The usual gripes include people sending huge mp3 files direct to my inbox and people who have obviously not ever listened to our music or taken the time to find out about Audiobulb. We do have a demo policy online and

jack xij oughton poem article david at audiobulb 300x229 Article   Music Business   Interview with David Newman at Audiobulb Records

The mastermind himself..

it should be clear that Euro Trance is not our area of interest. [Ed: oorah!]

When you sign someone new, what sort of things can they expect from you, and you from them?

Audiobulb is a home for artists. A place to have their work manufactured, promoted, distributed and accounted for. All ask is that we set up clear channels of communication and work productively together. Often this is about addressing expectations and seeing whether we are a good fit for each other. Audiobulb tries to foster a symbiotic/mutually beneficial relationship.

How does what you do relate to the way the major labels operate?

All the same functions are there – A&R, marketing, promotion, publicity, support and financial backing. But is all at a smaller scale and conducted mostly by myself with the aid of friends and partners who help me with design and web technicalities.

What is your perspective on their methods? What do you make of the amount of labels underneath ‘the big 3’?

I’m not sure who the big 3 labels are – but I’m sure they work to maximise profit and efficiency. There is nothing wrong with that so long as they behave in an ethical manner. The big 3 function within a capitalist framework which invariably distributes wealth towards the sectors of the market that can effectively capture mass appeal. The smaller labels operate so that niche genres, smaller artists and non-mainstream works can also be supported and made available. The motivation behind the release of the music changes across labels. Some are working solely for love, sharing music via the creative commons model rather than a commercial business model.

What are the most effective ways you have found to promote your artists online, and offline?

The distinction between on and offline is blurring with every real space having its virtual internet mirror space. Press releases, website and magazine reviews, radio play, videos (e.g., youtube, vimeo etc), myspace, virb, facebook, twitter, web forums, mailing lists, digital download stores, physical CD stores, playing live and word of mouth all are important. The label and the artist need to spread the word across as many of these for as long as possible. Ultimately it is important to go where the interested people are likely to be and say “hello!”

Ultimately there is no single most effective promotion strategy. It is about really believing in what you are doing and telling people. This is usually a joy to do – but there is an element of graft, persistence and dedication. I believe you make your own luck. Sometimes many little actions come together and create a tipping point and magic consequences occur! For example, our next release “The Nest & The Skull” by Ultre is to be featured on the front page of iTunes. This will be great publicity and seems to have come about because people have talked to people and a buzz has built up around the album. I’m so please for Finn (Ultre) as he is a great artist and someone who I am sure a wider audience will appreciate.

What about the easiest and cheapest distribution channels?

Digital download is becoming more and more popular and is easier to administer. Once you have a digital distribution network set up the music enters each outlet and the revenue is collected.  However,  you can not take it for granted. Without a lot of work releases can become invisible to the public and literally get lost amongst the over whelming amount of output out there. It is possible to have an album in iTunes that sells 10 copies per year! The important thing is to make the album visible by supporting it and promoting it and helping people to access the work. On the audiobulb web-site we put buttons/links to the big digital stores next to each of our releases. CD distribution is harder work and we therefore greatly value our distribution partners, Cargo Records, Art Union Corporation, A-Musik, Adnoisem, Ear/Rational & n5MD.

How do you work with your artists to make things happen? Who gets to decide?

It’s a mutual partnership – we decide together.

jack xij oughton poem article audiobulb 002 300x210 Article   Music Business   Interview with David Newman at Audiobulb RecordsIs some amount of live performance mandatory?

It really helps, in so many ways. It helps the artist to grow as an artist and to get out and meet people. To network with people who are interested in the music and let them see there is a real person behind the sound. To connect.

What does being independent as label mean to you?

It means I am doing what I love to do and working with people who I respect and admire.

What is the most important thing for someone thinking of starting an indie label to know? What does it take to run an indie label?

It is hard work and there may be little financial reward. However if you graft hard enough and team up with motivated artists the label can develop. Your fanbase is so important so do get a mailing list started and keep people interested. The big challenges are sorting out distribution channels and spreading the word. If you can devote time every day for several years to such a venture then you are at a good starting place. A label is more than artists and music, it is design, branding, artwork, web-presence and it needs to be dynamic and relevant to keep people’s attention. At Audiobulb I have been lucky to work with great designers such as Cüret at http://www.agraphie.com/ whose design defines the look of the audiobulb website and compilations. It is the bringing together of sound and image that helps people connect with the personality of the label. If the connection is a good one – if there is a personal resonance then a relationship begins.

Do you see the interesting future affecting the way small labels do business in the next 5 years? What steps will you take?

The growth of the web and mobile phone technology means that people want to be able to interact with artist across new media outlets. I have total respect for audiophiles who value CD/vinyl quality recordings and it is important to offer these formats where they can be financially viable. It is also important to make the music available across as many digital platforms as possible and offer compelling information about the labels and artists so that people can feel connected to the ethos of the work. Our output will always be about quality. We do not function to be mass produced, mass consumed and mass deleted. Regardless of the outlet – it should always come across that we do what we do because we are real people who care.

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