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British soldiers a decade ago. You are fully up`to`date with the front | :00:00. | :00:00. | |
pages of the morning papers. More on the website. We will have a full | :00:00. | :00:00. | |
bulletin at two o'clock. Now on BBC News, it's time for Click. | :00:00. | :00:33. | |
This week 's Click will be music to your ears, hopefully, as we play the | :00:34. | :00:39. | |
technology that can make a fortune out of energy falls `` anything. We | :00:40. | :00:45. | |
will meet the hackers creating music for everyone's tastes. And we will | :00:46. | :00:50. | |
meet the man who made it his mission to digitise a real classic. All of | :00:51. | :00:54. | |
that, plus the latest technology news, and something fresh. | :00:55. | :01:04. | |
Welcome to Click, I am Spencer Kelly. This week 's programme has a | :01:05. | :01:08. | |
musical motive, so I came to the home of the Proms, the Royal Albert | :01:09. | :01:16. | |
Hall. Since the hall opened in 1871, a white writing of different | :01:17. | :01:20. | |
acts has graced the stage, from classical orchestras to electron at | :01:21. | :01:28. | |
her `` electronic. Excuse the rehearsals, I have a show to put on | :01:29. | :01:33. | |
tonight. The Albert Hall does not only play host to musicians and | :01:34. | :01:37. | |
performers, but a digital classroom will open for the public which aims | :01:38. | :01:42. | |
to explore and teach more about the links between music technology and | :01:43. | :01:51. | |
science. In an attempt to make this venue relevant, the halls education | :01:52. | :01:56. | |
team has created special applications which demonstrate the | :01:57. | :01:59. | |
importance of maths to music. Within the tablets themselves, the kids can | :02:00. | :02:03. | |
use applications we have created where we can get them to tap into, | :02:04. | :02:09. | |
using their pens, music notes. Then they can create fractions, and then | :02:10. | :02:14. | |
they can create beats. Then, we can record those beats with the sound, | :02:15. | :02:19. | |
and they will have a brilliant piece of music to take home. The | :02:20. | :02:23. | |
satisfaction of doing that and creating music digitally, they | :02:24. | :02:27. | |
should be impressed! Tablets, one way to inspire the new generation of | :02:28. | :02:32. | |
maestros that could one day take to the stage. In fact, technology is | :02:33. | :02:36. | |
being used to help them collaborate on all sorts of bizarre | :02:37. | :02:49. | |
compositions. Hacker`thon. The concept is simple, when we went to | :02:50. | :02:54. | |
Boston recently, we visited a special one. One dedicated to music | :02:55. | :02:58. | |
technology. And, they did not do too badly. This is MJ, a pan piping | :02:59. | :03:08. | |
beatbox. He has popped him to see how things are going at the music | :03:09. | :03:15. | |
Tech Fest Hackerthon. It is a convention that rings together the | :03:16. | :03:20. | |
most creative and eccentric music technologists on the planet, and is | :03:21. | :03:24. | |
famous for its 24 hour session which I am going to enter. Last year 's | :03:25. | :03:29. | |
winner made this. Adam John Williams had a guitar make a whole new noise | :03:30. | :03:36. | |
by adding an accessory. My mission is to hack something musically | :03:37. | :03:40. | |
awesome and make it through 24 hours of hard`core coding. Along with the | :03:41. | :03:43. | |
obligatory pizza. Some people have come here with ideas in mind, like | :03:44. | :03:51. | |
Sean, he is a gifted musician, biomedical researcher, Coda, and | :03:52. | :03:57. | |
fire dancer. That is a dragon staff. I want to put rotational sensors on | :03:58. | :04:01. | |
it. To make that work, this designer will help him to 3`D print a micro` | :04:02. | :04:11. | |
sensor. It sounds like fun but I do not have ideas yet. Ten hours in, we | :04:12. | :04:16. | |
move to a TV studio up the road for the overnight segment. It is a cool | :04:17. | :04:21. | |
venue with a stage, musicians, and a roomful of kit to stream content to | :04:22. | :04:28. | |
live on the web. Tonight, it is rammed with Brit controllers, | :04:29. | :04:33. | |
computers, and hackers, wherever we can fit. In the back room, James is | :04:34. | :04:37. | |
making a guitar controller with nifty coding, and he is making a | :04:38. | :04:39. | |
guitar controller with nifty coding, and Houston to plate. He is using a | :04:40. | :04:45. | |
programme which is used a lot in media applications. `` and is using | :04:46. | :04:52. | |
a paper plate. It is passed our bedtime, so to keep up our energy, | :04:53. | :04:56. | |
we take to the stage for loud brainstorming. (FUNKY MUSIC) back to | :04:57. | :05:07. | |
work, one of my stage cohorts was this man, a hacker specialising in | :05:08. | :05:11. | |
machine generated music and the user could therapy. He is working on a 16 | :05:12. | :05:17. | |
legged music controller, made from a painting. `` musical therapy. I want | :05:18. | :05:25. | |
this to be my instrument. It is 4am. I compose music for it, it has | :05:26. | :05:32. | |
16 legs, and a head. It is fun collaborating! If you come to the | :05:33. | :05:36. | |
festival, and collaborate with another wonderful mind, who has been | :05:37. | :05:45. | |
researching something different, some in magical can happen. The 3`D | :05:46. | :05:49. | |
printer is printing the Microsoft is a holder, and CJ has been covering | :05:50. | :05:54. | |
everything in sight with paint and crocodile clips. He is using a | :05:55. | :06:00. | |
controller to conduct the paint segments and connect them to a | :06:01. | :06:03. | |
computer. I am working out whether standing up all night is putting up | :06:04. | :06:09. | |
barriers to creativity or making us crazy. It could be both! Finally, | :06:10. | :06:15. | |
inspiration struck over breakfast, when I said a doughnut tasted like D | :06:16. | :06:19. | |
Major. For the first time in my life, people heard it, and thought" | :06:20. | :06:25. | |
dataset" . They asked me more questions and I ate donors! `` eight | :06:26. | :06:35. | |
more doughnuts. My senses are mixed together a bit, I hear music when I | :06:36. | :06:43. | |
eat things. Yes, really! The developers liked this idea, and | :06:44. | :06:47. | |
together, we made an application which pairs food and music. We are | :06:48. | :06:53. | |
going to build it. Alex is using a programme which is like a sketch pad | :06:54. | :06:56. | |
for working out what an apt mallet to look like, and helps us imagine | :06:57. | :07:01. | |
the layout and what we would like to do `` an application. I am working | :07:02. | :07:09. | |
on which data is requested and how the application and user will | :07:10. | :07:12. | |
interact. I am finally hacking at Hackerthon! It feels so good. We are | :07:13. | :07:26. | |
nearing the 24`hour mark. And... We have an application! We finished the | :07:27. | :07:31. | |
first draft in time. We went back to Microsoft research to present our | :07:32. | :07:39. | |
idea. SoundBites. Three, two, one, eat! (PIANO MUSIC PLAYS) now you | :07:40. | :07:54. | |
have that spiciness. After 24 hours of being awake, I am not tired but | :07:55. | :07:57. | |
excited to see whatever one else has come up with. Sean's dragon staff | :07:58. | :08:02. | |
works a treat, and the faster he spins it, the faster the music | :08:03. | :08:11. | |
plays. CJ's controller is a triumph. My team won one of the top prizes | :08:12. | :08:16. | |
for our application. We are continuing to work on it together, | :08:17. | :08:19. | |
making me a fully fledged music hacker. Watch this space! | :08:20. | :08:26. | |
I wonder what the BBC canteen food sounds like to her! Talking of | :08:27. | :08:30. | |
which, we know what a trumpet sounds like, right? And the guitar? But, | :08:31. | :08:35. | |
what about, the Royal Albert Hall handrails? Or the glass doors? Or | :08:36. | :09:04. | |
the railings? It is called Moji. The dongle can be attached to anything. | :09:05. | :09:09. | |
As long as it is not too solid and can fire braked a bit, the Moji can | :09:10. | :09:13. | |
detect vibrations and the application will turn them into | :09:14. | :09:16. | |
sound so the whole world can become your orchestra. `` can vibrate. The | :09:17. | :09:23. | |
designer has added a mode for those who are less musically minded, which | :09:24. | :09:27. | |
will play a predefined tune, as you tap out the rhythm. Because I am not | :09:28. | :09:35. | |
the best drummer in the world, or in this shot, we thought we would let | :09:36. | :09:38. | |
Bruneau play us all the way to the next technology news. ``Bruno. | :09:39. | :09:51. | |
Levenson has lost the next fight against the FBI. He was appealing a | :09:52. | :09:55. | |
ruling that said he had refused to hand over Impey `` construction keys | :09:56. | :10:02. | |
over to the site. He said by handing over the keys, it would grant the | :10:03. | :10:05. | |
government access to 400,000 strong users. Once the biggest bitch queen | :10:06. | :10:14. | |
exchange has been placed into administration by a Japanese court. | :10:15. | :10:19. | |
It was announced in February that hundreds of thousands of coins were | :10:20. | :10:23. | |
stolen, worth ?100 million `` ``Bitcoins. As of yet, no timeframe | :10:24. | :10:31. | |
has been set for the process. Prepare to make those annoying TV | :10:32. | :10:35. | |
spoilers a thing of the past. At least if you are using this browser. | :10:36. | :10:39. | |
A new extension, called silencer, allows users to add phrases which | :10:40. | :10:44. | |
will be blanked out Facebook and Twitter updates. There is a wedding | :10:45. | :10:49. | |
in game of thrones, you can be of spoiler free surfing until you catch | :10:50. | :10:55. | |
up. The heartbeat bug is causing problems on the Internet. And | :10:56. | :10:59. | |
website for parents in the UK announced this week that they had | :11:00. | :11:03. | |
data stolen by hackers exploiting the bug. They have obtained | :11:04. | :11:13. | |
passwords before the website picked up on it. If you are concerned about | :11:14. | :11:17. | |
your security, we have handy advice about it right now. A quick word on | :11:18. | :11:25. | |
how to protect yourself from this Heartbleed bug that we have been | :11:26. | :11:28. | |
mentioning. Not all websites have been affected, | :11:29. | :11:34. | |
but for each of the affected services you use, the current advice | :11:35. | :11:38. | |
is to change your password, but only after that service has fixed the | :11:39. | :11:45. | |
problem at its end. How will you know when this is? Here are some of | :11:46. | :11:51. | |
the larger services that said they were not affected at all so no | :11:52. | :11:54. | |
action is required. These are some of the services that have already | :11:55. | :11:56. | |
patched the bug and recommend changing your password. You will | :11:57. | :12:01. | |
find a link on the website to a moored detailed list of affected | :12:02. | :12:06. | |
services. `` a more detailed. There are more services and sites which | :12:07. | :12:10. | |
have yet to fix the problem. Our advice is to check in with the home | :12:11. | :12:14. | |
page of each of those services and contact them, and change your | :12:15. | :12:18. | |
password when it is safe to do so. Back to the Royal Albert Hall. | :12:19. | :12:27. | |
Plenty of musicians these days use tablets in their setup, I thought I | :12:28. | :12:31. | |
would show you this. A neat little application. You draw your picture | :12:32. | :12:36. | |
and record your voice at the same time, like this. " la la la la la la | :12:37. | :12:50. | |
la la la la close quotes. Brilliant, I know. I'm sure we can all see the | :12:51. | :13:04. | |
point of that. Now, we are getting to grips with some other technology | :13:05. | :13:11. | |
that uses the human voice. If you always wanted to master the | :13:12. | :13:16. | |
violin, but could never get your head around learning to play, there | :13:17. | :13:23. | |
could be hoped for you. This application allows you to shoot like | :13:24. | :13:31. | |
a trumpet or low like a base by using your voice. This is to allow | :13:32. | :13:38. | |
for people to get ideas out of their head, without needing the dexterity | :13:39. | :13:45. | |
to play an instrument. It sounds great, but to put it to the test, we | :13:46. | :13:50. | |
invited singers from a range of genres to take part in an improvised | :13:51. | :13:53. | |
live performance in the BBC's Live Lounge. From Kelly, hard`core scream | :13:54. | :14:09. | |
and, Joe, folk artist Elle, and death metal rocker Alex. I decided | :14:10. | :14:24. | |
to join in as my operatic alter ego, Madame Eleanora Genara. Without | :14:25. | :14:31. | |
microphones connected to a laptop and the application fired up, let | :14:32. | :14:45. | |
the vocal harmony commence. OK, if you are not wearing headphones, it | :14:46. | :14:50. | |
is hardly a modern`day masterpiece, at hearing the complete composition | :14:51. | :14:53. | |
through the software sounds infinitely more impressive. The | :14:54. | :15:12. | |
magic of the application is that it works by using a microphone as | :15:13. | :15:15. | |
immediate input, and an algorithm identifies the pitch at superspeed | :15:16. | :15:22. | |
and assigns a note to your voice. This note can be played out as any | :15:23. | :15:28. | |
digital instrument with no latency, meaning you can get almost immediate | :15:29. | :15:32. | |
feedback while you perform. I see it as something that could be a tool | :15:33. | :15:39. | |
for learning and raw creativity. There are still a few things to iron | :15:40. | :15:43. | |
out in this version, namely, how to tweak the settings to deal with | :15:44. | :15:48. | |
screaming death metal musicians and percussion sounds. They are harder | :15:49. | :15:52. | |
for machines to pitch. But it is easy to get carried away. Times up! | :15:53. | :16:00. | |
Out! Even the rehearsals are pretty mind | :16:01. | :16:14. | |
blowing, let me tell you. For years, technology has really struggled to | :16:15. | :16:21. | |
reproduce those. Real instruments. One of the most challenging has | :16:22. | :16:27. | |
always been the piano. With more powerful machines these days, it has | :16:28. | :16:30. | |
become possible to fall out human ears. That is, it has become | :16:31. | :16:33. | |
possible to fall out human ears. That has come at a cost, human | :16:34. | :16:36. | |
effort. From Boston, Joe explains his musical journey. | :16:37. | :16:52. | |
This is the main page of Ivory, and we have a range of features where | :16:53. | :16:55. | |
you can select the kind of piano you want. You can hear the pedal noise, | :16:56. | :17:01. | |
so we can turn pedal noise off or on. The sound quality is another | :17:02. | :17:08. | |
level beyond conventional digital keyboards, because we take advantage | :17:09. | :17:14. | |
of the faster processor speed, and the larger memory. And larger sample | :17:15. | :17:22. | |
sizes, and those sorts of things. I had worked for a hardware | :17:23. | :17:25. | |
synthesising manufacturer for almost 20 years, so I made digital | :17:26. | :17:35. | |
keyboards and digital pianos, as did my partner in crime. We were | :17:36. | :17:39. | |
constrained by the limitations that the instruments have. We didn't have | :17:40. | :17:44. | |
a lot of memory, and one instrument I did for them, which was very | :17:45. | :17:49. | |
successful, had a 1 megabyte piano. Our latest piano is 49 GB. It | :17:50. | :17:58. | |
basically goes like this. Play a note... And let it became to | :17:59. | :18:08. | |
silence. And there is no talking like I'm doing now. There is no | :18:09. | :18:15. | |
moving, there is no breathing. It is about as tedious and boring as it | :18:16. | :18:19. | |
looks, because you have to do this multiple times for every key, at | :18:20. | :18:24. | |
every conceivable velocity level. The softest, the loudest. Other | :18:25. | :18:33. | |
musicians think I must be crazy, it must be torture. And they are right, | :18:34. | :18:37. | |
it is taught. Some people think it might be interesting, I would like | :18:38. | :18:40. | |
to go to wait sampling session sometime, sometimes they say. | :18:41. | :18:44. | |
Usually, an hour later they want to leave. I am willing to say, never | :18:45. | :18:55. | |
weaken quite literally replicate the experience of sitting behind a | :18:56. | :18:58. | |
physical instrument, but this physical instrument will never be | :18:59. | :19:05. | |
able to quite do what Ivory can do, which is to put several instruments | :19:06. | :19:09. | |
at our fingertips. A man on a musical mission. Time for Webscape. | :19:10. | :19:15. | |
Did you know that Google handles and around 12.5 billion search request | :19:16. | :19:22. | |
every month? It is not the only service to offer to uncover those | :19:23. | :19:26. | |
hidden online gems, as Kate Russell has been finding out. | :19:27. | :19:33. | |
Web search queries tend to work best if they are very little. But if you | :19:34. | :19:39. | |
take the genre and give it a metaphorical twist, you can uncover | :19:40. | :19:44. | |
some very interesting things. Yossarian Lives is an experimental | :19:45. | :19:48. | |
search tool, allowing you to search for things metaphorically. That | :19:49. | :19:53. | |
means you can find the conceptual distance that the results should be | :19:54. | :19:58. | |
from your query term. You can save your result and add your | :19:59. | :20:07. | |
interpretation of the metaphor. There is no disputing Google's are | :20:08. | :20:11. | |
to dominance in the search sector. It handled over 2 trillion search | :20:12. | :20:17. | |
queries last year, and over a billion people use it to search | :20:18. | :20:21. | |
every month. You will get a lot of results if you query Google. But, | :20:22. | :20:25. | |
perhaps not the most interesting results. Another alternative search | :20:26. | :20:34. | |
tool is Blippex, which instead of ranking results with an algorithm no | :20:35. | :20:37. | |
one understands, many because it is a closely guarded secret at Google, | :20:38. | :20:42. | |
it is powered by data collected about real people's browsing | :20:43. | :20:48. | |
behaviour. One of the browsers that lingers on a page, the more interest | :20:49. | :20:55. | |
that is deemed to be. That makes perfect sense to me. You can | :20:56. | :20:58. | |
contribute by installing the extension, which anonymously tracks | :20:59. | :21:08. | |
your page reviews. To a different kind of gaming experience, and one | :21:09. | :21:13. | |
that takes me back to the good old days when gameplay was king over | :21:14. | :21:20. | |
special effects and graphical acrobatics. The demo levels of | :21:21. | :21:29. | |
Thomas was Alone, can be downloaded. As the water began to rise, Clare | :21:30. | :21:35. | |
have vowed to save this little rectangle in as many restarts as it | :21:36. | :21:40. | |
took. The mysterious thing about this game is how attached even get | :21:41. | :21:47. | |
to a bunch of geometric shapes. No faces, Linz, or fashion | :21:48. | :21:50. | |
accessories, just blocks of colour. But they all have their own | :21:51. | :21:53. | |
personalities. In a world where graphical bells and whistles has | :21:54. | :21:56. | |
become such an big part of gaming, it makes a refreshing change. The | :21:57. | :22:00. | |
action is brilliantly narrated by Danny Wallace, ringing the whole | :22:01. | :22:05. | |
package together with a slick and professional finish, despite the | :22:06. | :22:11. | |
minimalist styling. Chocoholics will be looking forward to Easter. This | :22:12. | :22:24. | |
has plenty of at home activities to burn off some of the access cal and | :22:25. | :22:28. | |
entertain the kids. In the UK, it will guide you to one of 250 | :22:29. | :22:36. | |
National Trust organised event days. `` . Those links are available at | :22:37. | :22:47. | |
our website. That is a with a link to our sister programme on BBC World | :22:48. | :22:54. | |
Service radio. Just as these musical number draws to a close, I thought I | :22:55. | :22:59. | |
would show you a website for anyone who has a song they love so much, | :23:00. | :23:05. | |
they never want it to end. Choose a track from the list, or upload your | :23:06. | :23:08. | |
own, and the infinite jukebox will analyse it, looking for points where | :23:09. | :23:13. | |
the song could be looped or jumped on to other parts of itself. By | :23:14. | :23:18. | |
tapping the resulting circular representation in the track, you can | :23:19. | :23:22. | |
jump around and remix it to your heart's content. And maybe best of | :23:23. | :23:31. | |
all, as it approaches the end, it jumps seamlessly to a much earlier | :23:32. | :23:35. | |
part, so that the song goes on forever. Music to my years, well, | :23:36. | :23:45. | |
someone's years. That is it. If we have inspired you to take up a | :23:46. | :23:49. | |
musical instrument, please do. If you just fancy tweaking, we live at | :23:50. | :23:50. | |
BBC click. | :23:51. | :23:59. |