This site was created for the "Cross-Media/Interactive Media" theme for the Interaction Design Masters program at Malmö University, Malmö, Sweden. It was used specifically for the Musikhjalpen event to raise money and awareness of refugees in the world.

Creators: Åste Laberg, Rob Nero, Anders PJ

PingPong Remix is a cross cultural music marathon that mainly went on during the week of Musikhjälpen, December 2008. The concept is centered around the website www.pingpongremix.com, where all up- and download of sounds and remixes happens. “Sounds” are everything which has not been edited or mixed yet - basic sound bites from all over the world that can be used when making a song. Sounds can for instance be beats, ambience, city sounds, spoken word or a single instrument track. “Remixes” are everything that has been edited, remixed and refined to make it more suited for listening. If a song needs a little extra to be just right, just download it and add some extra layers to it, then upload it as a new version.

 

It became clear quickly through our discussions that we wanted to create something that would not only be understood by designers and artists, but something that would engage a broader audience.

This meant that we focused on ideas that utilized collaboration and true involvement of people, and not just isolated installations. An example of this is an idea dubbed “The Birds”, essentially consisting of artificial birds in Malmöʼs trees, which people then could talk record a message on to, and they would then speak out the message in other locations of the city. Although interactive and user involving, challenging the idea proved that it would maybe not make much sense to the average person passing by.

Another pitfall for us to avoid, was being cute or tacky. An example of this was an idea of doing workshops on Gustav Adolfs Torg, to involve the public in solving the issue that we ourselves dealt with - “how to create awareness around the issue of refugees?”. Although involving and engaging, the idea was just to easy and could easily turn into superfluous eyecandy for the TV without no meaningful outcome.

Avoiding Pitfalls
PingPong Remix stood out as the idea that not only involved people through various media, but also did so in an experimental way, relying hevily on the actions of the users choosing to get involved.

It also builds on the idea of equal exchange between people from all over the world, to get away from the typical “us and them” perspective of helping refugees.

During the development process, many discussions were made about which occuring opportunities to pursue, and which leave out to maintain focus.

An example of this is weather we should be present on the main square of the Musikhjälpen event or not. Being present, doing live mixing, could potentially create good TV, ensuring us air time and crucial attention. But ultimately we wanted to do it for the right reason. If we did it just for the sake of the attention, it would seem false and the concept could loose its underground appeal. Ultimately, resource considerations made us stay out of the square.

Development
Limited resources provided us the positive challenge of cutting to the core. We had to ask “what are the essential elements of the concept?”, and then make sure they work. Up until the coding of the website began, more sophisticated solutions were considered, such as online in-browser editing and recording, and utilizing existing systems such as U-Myx.com and SoundCloud.com. Ultimately it was chosen not to be too depending on othersʼ systems. Also, making the system so that it would require some skills and software to make sounds and mixes, would encourage a more skilled type of users to contribute and take it seriously.

 

The Website
PingPong Remixʼs beating heart is the website www.pingpongremix.com, acquired and built specially for this project. Core automated features on the website are:

• Sounds - Up/Download
• Remixes - Up/Download
• Sign up of new users, with ability to upload profile image and add personal details.
• Constant overview over number of uploaded sounds and remixes.
• Full length preview of all uploaded files.
• Overview over artists involved in each remix.

The website was coded from scratch in a couple of weeks, a very impressive accomplishment given the framework of the project.

The website was created in two steps for quick results. The first version, done in Apple iWeb without any coding, went online December 5. On December 9, we launced the new website, at first only with sound upload functioning.

Spreading the Word
In order to get enough people to participate, we had to spread the word. This was done via personal contacts and online networking.

Networking:
We utilized our own personal networks, trying to get them to further spread the news of the event. In addition, we held meetings with people from the radio, a few artists and companies.

We also used the radio:

• Live radio and web broadcasted interview in the studio of Musikhjälpen, December 17.
• Presence on Musikhjälpenʼs website with several graphics, and eventually two centrally placed stories on the main page.
• Live reveal of the juryʼs top 3 picks, including live play of approx. 1 min. from each song.

Online networking:

• Facebook page (9 fans, 1 comment)
• Facebook event page (35 confirmed participants, 27 maybe, 84 declined, 97 waiting answer).
• Myspace profile (77 friends) and event
• Underskog event post
• Blog posts by people in our network on interactivesound.org and a Cape Town blog: http://knowtoneed.blogspot.com/2008/12/calling-continentalcontributions.html
• Twitter feed (1 follower)

Legal Aspects:
Another aspect to consider when doing a project relating to music, is the legal rights. We quickly saw that trying to limit the use of material contributed to the project would be futile. Therefore we used disclaimers instead, and appealed to users that they did not themselves violate existing copyright laws, and not use the created material for commercial gains in a way that would not help refugees. We used text inspired by the Creative Commons license.

 

 

 

At deadline the website had:

• 149 sounds
• 29 remixes
• 99 profiles

The numbers above include a few dublicate files and accounts, but the effect of this is marginal.

• 54 of the profiles actually contributed, 25 of them with remixes.
• Throughout the two weeks (Dec 5 - 19) people from 26 countries visited the site. Out of the people who created profiles, 13 countries were represented. The people who actually uploaded anything represent 9 countries.\
• 87 % of the contributors are from Sweden. 58 % of the people who visited the website during the two main weeks (Dec 5-19), only did so once.
• 52 % of visitors came from the Radioʼs website. 26 % typed it in directly.
• During the main two weeks the site had 2307 visits, meaning 153,8 a day.
• The main motivation for people to participate was that it seemed good fun and the radio. Few mention the topic of the refugees.

 

When looking at the flow of visitors, it is evident that radio exposure dramatically increased visits to the website but not necessarily participation in the site.

• Word of mouth worked.
• Radio and fun attracted.
• Less refugees.
• Mostly via existing connections.
• Clear spikes when present on radio. Find key people with vast networks, and get them to boost the message.

Facebook and MySpace was not integrated enough and thought in as a part of the whole concept. It more became an “add-on” vehicle for spamming and pushing a message. This is maybe the wrong way to use these channels, as online news travel via references between people and less as pushed through messages. In retrospect, we could have used MySpace to for instance put up the 5 best songs selected by judges, and let the community decide on the winner. In conclusion, online communities only work if we really utilize them. Donʼt just do it for shallow attention.