THITH, 2012

"When I saw an Apple II computer when I was ten years old running Apple Logo, I knew that I wanted to spend my life making interactive graphics and sound."

JULIA KAGANSKIY, THE CREATORS PROJECT, FEBRUARY 21, 2012

“It’s possible to create any form of reality from a combination of visuals, sound and other senses. That’s why we love movies. Interactivity is even further along the spectrum from cinema towards the way our perception works because we can actually change and affect it rather than just sit back and watch it.”

CNN THE NEXT LIST, DECEMBER, 2011

“The mobile app gives us the chance to return to falling in love with music. Because an app fills our visual and tactile senses in a way that goes far beyond a cardboard sleeve, we’re able to give it our undivided attention.”

THE GUARDIAN, OCTOBER 21, 2011

“An app can demand all of your senses and attention at once. That’s something exciting for musicians. A lot of them lament the demise of the album experience due to digital distribution. But one thing about the app-album is it reclaims people’s attention for an entire album.”

SCOTT SNIBBE, CNN THE NEXT LIST BLOG, DECEMBER, 2011

“Apps are not just a return to our interactive past. They also represent something fundamentally new. With the ability to create an experience that is neither as open-ended as an instrument, nor as closed as a music video, apps let us play in a customized, highly designed world created by a musician that never existed before. Like the birth of cinema or opera, musical apps represent a synthesis of formerly separate media—videos, instruments, interactivity, and performance—into a seamless whole.”

SETH SCHIESEL, THE NEW YORK TIMES, OCTOBER 24, 2011

“’Biophilia’ is among the most creative, innovative and important new projects in popular culture. ‘Biophilia’ essentially turns an album into a sort of audiovisual game, delivering a miniature production studio into the world’s willing hands.”

NPR MORNING EDITION, OCTOBER 10, 2011

"Scott Snibbe says he and Bjork communicated regularly, sometimes exchanging dozens of emails a day. They also worked with scientists to make the apps as scientifically accurate as they could. "

M MAGAZINE, OCTOBER, 2011

“Interactivity is something new. Games aren’t something new, they’ve been around for a long time and there is a certain language and goal-orientated logic to them. But games are a subset of interactivity. Interactivity itself is a new medium. It’s a way of incorporating a person’s movements, gestures, choices into any type of experience, not just something where you are driven forward relentlessly, short term goal after short term goal.”

JASON TREUEN, THE VINE, AUGUST, 2011

“Scott Snibbe is Biophilia’s executive producer, but not the usual studio knob-twiddling type. The award-winning interactive artist, who’s produced music apps like Bubble Harp and OscilloScoop and worked with art galleries, the Beijing Olympics and James Cameron in the past, spent 14 months working with Bjork, Apple and various app designers.”

DIE ZEIT, JULY, 2011

“Björns Biophilia Projekt ist jetzt das erste von mir, das eine popkulturelle Masse anspricht. Und Björks Fans haben sehr wohl verstanden, dass Technologie ein Kanal für Emotionen und Inhalte ist.”

OLEG STAVITSKY, F5, SEPTEMBER, 2011

“Музыка всегда развивалась по алгоритму, у нее всегда была четкая математическая структура, даже тысячи лет назад. У гармонии есть формула, понимаете? Но сейчас, с появлением iPad, сама идея интерактивной композиции вышла на новый уровень.”

TYLER FLYNN DORHOLT, THE A.N.D. PROJECT, SEPTEMBER, 2011

“There’s an ulterior motive with these apps: to create certain positive states of mind in people like concentration, and contentment; states where one is not regretting the past or anticipating the future, but just seeing one’s mind’s reflection. These apps are kind of a form of meditation, to see the gentler, contented part of the mind reflected on the screen.”

ELECTRIC PLAYGROUND, SEPTEMBER, 2011

“Björk wanted to make an intimate, interactive experience with the whole universe.”

CHRIS CHANG-YEN PHILLIPS, CBC NEWS, AUGUST 9, 2011

“What was the app of the 19th century? It was sheet music. People would take it home, they could play it on their piano, could play it on the violin. They could make a song 10 minutes or two minutes long. They could change the words, sing with their family. That’s the way music’s meant to be.”

FILIP VISNJIC, CREATIVEAPPLICATIONS.NET, AUGUST, 2011

“Physics engines are a bit like poetry engines – to really get the precise behavior you want, you need to implement from scratch.”

JOHN PAVLUS, FAST COMPANY DESIGN, AUGUST, 2011

“Biophilia places interactivity on equal footing with music, not merely an illustration of the music, and also not purely an instrument, but a highly curated, crafted experience where you can have a unique, personal, creative audiovisual experience.”

STEPHEN WHELAN, DAZED AND CONFUSED, AUGUST, 2011

“One way to define Biophilia is a love of nature. More accurately, I think it’s about the infinity of nature in all its scales, and how music relates to that. People forget that math is a way of modeling nature, and they overlook the beauty and joy of that.”

ELIOT VAN BUSKIRK, WIRED NEWS, JULY 26, 2011

“You can think of the app as, finally, that chance to unwrap the box and have a personal, intimate experience again with music.”

JASON LIPSHUTZ, BILLBOARD MAGAZINE, JULY 22, 2011

“This is like the birth of cinema. It’s an extremely exciting moment for musicians, for artists, and I think this project is a nice step towards fully leveraging the medium with one of the world’s great artists to see what you can pull off when you get one of the world’s greatest musicians and some of the world’s top developers in interactivity to work together.”

JON PARELES, NEW YORK TIMES, JULY 1, 2011

“We’re entering the age of interactivity. Passive, one-way media will become a blip in human history. Bjork had a complete, unified concept where everything was interconnected. The music wasn’t dominant, the image wasn’t dominant, the interactivity wasn’t dominant. Everything worked together the way a movie or an opera does.”