1. Participants
1.1. Martin Zimper
1.1.1. Head of CAST
1.2. Douglas Arellanes
1.2.1. Moderator at Radio 1 in Prag
1.2.2. Radio habits
1.2.2.1. Radio listening in the bathtub
1.2.2.2. with laptop
1.2.2.3. listening to streams (BBC World serice or one
1.2.2.4. Podcasts (This american life, Planet money (economics & pop culture),
1.3. Paul Baranowski
1.3.1. CTO of Sourcefabric, registered NGO in Prag
1.3.1.1. develop software for developing countries
1.3.2. Leader of technology team
1.3.3. Listening habits
1.3.3.1. BBC2
1.3.3.2. Toronto Radio
1.4. Philip Bürkler
1.4.1. working as radio announcer for news programs at Swiss national radio
1.4.2. working from Berne
1.4.3. Listening habits
1.4.3.1. DRS3 to listen to the news in the morning for 5 minutes
1.4.3.2. Listens to FM4, Austria during the day
1.4.3.3. is basically overinformed due to his profession
1.4.3.4. doesn't like commercials on FM4
1.5. Thomas Gilgen
1.5.1. founder of open broadcast
1.5.2. is working together with Sourcefabric
1.5.3. 5000-30000 listeners
1.5.4. Radio habits
1.5.4.1. listens a lot to DRS4 because doesn't have time to read newspapers
1.5.4.2. listens to music on the web
1.5.4.3. also creates radio programs on open broadcast
1.5.4.4. sees FM4 as a proof of concept for a successful alternative music program
1.5.4.5. Soundpark as
1.6. Mathias Coinchon
1.6.1. swiss, lives in Lausanne works in Geneva
1.6.2. works for EBU, biggest representer of broadcasters in the world
1.6.3. is a technician for digital radio
1.6.4. involved in Radio DNS
1.6.5. tech.ebu.ch
1.6.6. helping student radio station: frequence banane
1.6.6.1. doesn't have a regular license
1.6.7. opendigitalradio.org
1.6.7.1. digital radio transmission
1.6.8. Radio habits
1.6.8.1. Couleur 3
1.6.8.2. FM, DAB, Internet Radios
1.6.8.3. in the car while driving to work
1.6.8.4. during work also a lot of music over radio
1.6.8.5. listening to niche radio in the office
1.6.8.6. radio nova from paris
1.6.8.7. doesn't use internet radio a lot
1.6.9. works on the harmonization of technology
1.6.9.1. between organisations
1.6.9.2. common approach for promotion
1.6.9.3. different standards for different areas (DAB, DRM, etc.)
1.6.9.4. so has quite an difficult job
1.7. Pete Downton
1.7.1. works at imagination technologies
1.7.2. 10 years in old media
1.7.3. technology is changing the business models (as in music industry)
1.7.4. Pure business & core technology business
1.7.5. Pure decided to create DAB radios since nobody else was creating them
1.7.6. packaging IP and DAB Radio
1.7.7. consumers decide on standards
1.7.8. put new experiences in consumers hands
1.7.9. Radio habits
1.7.9.1. listening to last.fm, sky radio, IP radio
1.7.9.2. wife doesn't listen to linear radio or tv but special interest program
1.7.10. People should stop thinking about how radio is distributed and more about the content
1.8. Leo Niesser
1.8.1. John Peel of Switzerland
1.8.2. is not making a living out of radio
1.8.3. working for a local newspaper
1.8.4. radio infected him at 12 years old
1.8.5. radio was there to get to know music
1.8.6. DRS1
1.8.7. bored very quickly with commercial radio
1.8.8. radio habits
1.8.8.1. news on DRS
1.8.8.2. Echo der Zeit
1.8.8.3. listened a lot to John Peel
1.8.8.4. Music: FM4, also talk shows
1.8.8.5. XFM London
1.8.8.6. Internet radio stations
1.8.8.7. Vox noctem (gothic)
1.8.8.8. Rockabilly radio
1.8.8.9. BBC radios
1.8.8.10. lying in bed
1.8.9. works at the biggest local radio station: Kanal K
1.8.10. Musician: Spencer
1.8.11. works also at RaSa and LoRa
1.8.12. struggles against big radio companies
1.8.12.1. they don't want to send their promos anymore to independent radios
1.8.12.2. independent radio stations are boycotting big music distributors
1.9. Christian Schorno
1.9.1. works for university in zurich
1.9.2. phd in philosophy
1.9.3. created archive of modern music, musikzimmer.ch
1.9.4. radio habits
1.9.4.1. none at all
1.9.4.2. to much music in his archive
1.9.4.3. good example of what radio can be: Ocean Club Radio
1.9.4.4. was making kunstradio in the 90ies
1.9.4.4.1. no talking to the audience
1.9.4.4.2. radio as something you can dive in
1.9.4.4.3. radio should be completely immersive
1.9.5. musikzimmer is mainly information
1.10. Pit Schultz
1.10.1. internet culture pioneer and broadcaster
1.10.2. living in berlin since 1986
1.10.3. radio habits
1.10.3.1. BBC World in Berlin
1.10.3.2. Backyard radio
1.10.3.3. netradios on kitchen radio
1.10.3.4. rinse.fm, resonance, wfmu, ...
1.10.4. Radia.fm
1.10.4.1. national network for program exchange
1.10.4.2. hosted in Lissabon
1.10.4.3. round robin scheme
1.10.5. herbstradio.org, hausradio.de
1.10.6. 88.4
1.10.6.1. started a month ago
1.10.6.2. applied for a license for a container model
1.10.6.2.1. 8 different radios sharing one frequency
1.10.6.2.2. time sharing a frequency
1.10.6.2.3. reboot.FM has a program window
1.10.7. todays culture production is 90% unpaid
1.10.8. highly diversified scenes in big cities
1.10.9. money: every new applications needs a new name
1.10.10. streams are not radio
1.10.11. radio is local and fm
1.11. Peter Troxler
1.11.1. squareone
1.11.2. make money with free
1.11.3. gets news directly from the sources
2. Question
2.1. Personal use of radio? Radio habits
2.2. Does technology change listener habits
2.3. How to transfer this medium into the future
2.4. Will technology change the medium?
2.5. Which senses would be extended by this medium?
2.6. Do we need a political decision for standardisation?
2.6.1. Coinchon: market decides
2.6.2. guidelines for formats are necessary
2.6.3. HD radio is not compatible with ...
2.6.4. car industry wants unique system for radio
2.6.4.1. are not ready to put lot of investment
2.6.5. Switch of analog system?
2.6.6. There are a lot of devices which have to be exchanged (kitchen radios, car, alarm clocks, mobiles...)
2.6.7. switch off small fm transmitters?
2.6.8. norway plans to switch off fm radio
3. 2nd part
3.1. Martin Zimper shows pure sensia consumer review: http://www.youtube.com/watch?v=HXTxury70xc
3.1.1. DAB, FM, IP, Media Player + Aux Input Radio
3.1.2. includes touch screen
3.1.3. "touch screen is a little bit flaky"
3.1.4. improvements by software updates
3.1.5. Twitter, weather, facebook applications
3.1.6. general impression: "awesome and innovative product"
3.1.7. 250£, 450$
3.2. What should the kitchen radio look like?
3.2.1. is the kitchen radio dead?
3.2.2. thought of interaction doesn't flow into product design
3.2.2.1. radio is hands free
3.2.2.2. possibility to interact suits not to every form of program
3.2.3. study by "global"
3.2.3.1. people do not want to type
3.2.3.2. visual branding is important
3.2.3.3. private broadcasters could sell adds
3.2.3.4. tagging feature (information via email about program)
3.2.4. people can also use other devices to give feedback
3.2.5. people decide how they will use a device
3.2.6. Pete Downton talks about http://audioboo.fm/
3.2.6.1. you can use your phone to create your own audio reports
3.2.7. Schultz: if you add a small change to something as formatted as radio (add interaction, visual radio), it's not radio anymore
3.2.8. Schultz: user culture will come out of mobile devices
3.2.9. Doug: "People will update to better"
3.2.10. Radio is a homebase, sense of belonging is very important in radios
3.2.11. Coinchon: visual radio shouldn't become bad tv
3.2.12. Downton: uses Sensia to display pictures of his son
3.2.13. Downton: Audio is a very personal and powerful form of delivery
3.2.14. Use case for kitchen radio: listening while cooking, you hear a track and can tag it for download
3.2.15. Downton: it's the content that matters
3.3. What is the nature of content
3.3.1. realtime
3.3.2. local
3.3.3. personal
3.3.4. life(style) of listeners
3.3.5. habitual medium
3.3.6. all mediums converge in the internet, it's a new world
3.3.7. convergency changes the medium
3.3.8. time magazine on the ipad is not the time magazine anymore
3.4. what content will we listen to in the future and how will this content be created?
3.4.1. interactive community
3.4.2. quality journalists
3.4.3. regional content, local news
3.4.4. when you start unpackaging traditional media you learn what's important
3.4.5. Doug: cultural glue: citizen fm in sierra leone: every car, every store was tuned to this station. you could hear it everywhere
3.4.6. radio can produce a cultural glue
3.4.7. credibility of content is important
3.4.8. context matters when presenting music
3.5. what are the formats?
3.5.1. we don't talk about records anymore, we talk about music
3.5.2. almost no music in the form of albums anymore
3.5.3. london pirate radio developped new music styles
3.5.4. enable platforms where people are free to develop new formats
3.5.5. allow listeners to become producers
3.5.6. fm station with 20000 listeners are still more than the most popular netradios
3.6. what content?
3.6.1. Bürkler: news, technology, uncut interviews – music i can get everywhere
3.6.2. Troxler: open source radio could be understood to get access to the whole uncut interview
3.6.3. Schorno: two mysthiques about radio: cultural glue & choice. what if there was a jukebox of your favourite content
3.6.4. Doug: homophilia "if i like country music all which will be on my jukebox is country music".
3.6.5. Doug: Trust you have into the radio dj
3.6.6. Doug: curation is a very important part of radio
3.6.7. linear vs. on demand
3.6.8. live aspect of linear medium like world cup is still important
3.6.9. Schultz: DJ is the master of the archive
3.6.10. Niesser: news from the city, local music wtih local moderators
3.7. will we need professionals or "users" to create quality content?
3.7.1. Bürkler: we need both
3.7.2. Community can say what is good and what should be broadcasted
3.7.3. Schultz: radio is an old and conservative medium
3.7.4. Schultz: Show called Talking point on BBC world service. people can phone in from the whole world. moderator has to find a flow in the show
3.7.5. Radio can facilitate the content that gets produced by users
3.7.6. Doug: no devision between users and professionals
3.7.7. Doug: cult of professionalism often prevents content to be shown.
3.7.8. Doug: often tools don't allow for innovation
3.7.9. Downton: getty images is crowdsourcing image production
3.7.10. Downton: new business models are necessary
3.7.11. Gilgen: research and truthchecking is expensive
4. Conclusions
4.1. Zimper
4.1.1. new age of empathy begins
4.1.2. radio is about people showing empathy to other people
4.1.3. it's about people showing empathy to other people and to their lifes
4.1.4. it's not only about music or formats
4.1.5. showing people empathy from different lifestyles and different cultures
4.1.6. the new radio maybe has to find its new meaning (also paraphrasing McLuhan)
4.2. Coinchon
4.2.1. it must stay simple and free to air
4.2.2. you don't need a subscription, you can get it for free
4.2.3. internet streaming is good, but it's not free
4.2.4. content is king
4.2.5. radio broadcasting won't disappear completeley
4.3. Bürkler
4.3.1. quality content
4.3.2. radio is an emotional thing and should stay that way
4.3.3. computers playing music is not emotional
4.4. Troxler
4.4.1. broader spectrum of formats
4.4.2. radio presenters should be stewards to content and community
4.4.3. radio should be in the role of facilitating discussions between experts and people who are fascinated by a topic
4.4.4. sources of content should be linked
4.5. Baranowski
4.5.1. independent radio content
4.6. Gilgen
4.6.1. just creativty
4.7. Niesser
4.7.1. invest in people
4.7.2. go out and interview people
4.7.3. enable the listeners to be active
4.8. Arellanes
4.8.1. every new medium developped makes old mediums become artforms (paraphrases McLuhan
4.8.2. we shape the tools then the tools shape us
4.9. Schultz
4.9.1. wants to get a fm license in berlin
4.10. Schorno
4.10.1. human expression shouldn't die out
4.11. Downton
4.11.1. discuss more about content and not about distribution