After fifteen months of development, and three months of teasing, Björk’s full Biophilia App Albumis now available in the iTunes App Store – the world’s first App Album. Enjoy the six new apps: Thunderbolt, Sacrifice, Mutual Core, Hollow, Solstice, and Dark Matter, as well as the already-released Virus, Moon, and Crystalline.

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.”

After more than a year’s stealthy work–from Iceland to Brooklyn, London, Paris, and Cupertino, not necessarily in order of glamour–it’s been exciting to see Björk’s Biophilia App Album reach the world. Today, Biophilia’s second interactive single, Virus, is available from within the Biophilia mother app. If you don’t have Biophilia, which is free, download it now from the iTunes App Storeand watch the preview below:

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.”

MICHAEL CRAGG, THE GUARDIAN, MAY 28, 2011

“Björk’s whole career has been a quest for the ultimate fusion of the organic and the electronic. With her new project Biophilia – part live show, part album, part iPad app – she might just have got there.”

It was 1989 and I was roundly ignoring a verdant spring day in the HVAC hermitage of Brown University’s Computer Science Lab, when Henry Kaufman yanked me up from my workstation to say I must see Merce Cunningham’s dance company perform. Who’s that? I blurted to my friend as he pulled me out the lab’s card-keyed door.

GARY SINGH, SAN JOSE METRO, MARCH 23, 2011

“Snibbe once asked high school students to define sculpture. One of them answered: ‘Something you could touch if the guards would let you.’”

ELIOT VAN BUSKIRK, HUFFINGTON POST, FEBRUARY 9, 2011

“Some ideas you need to bring to the public directly yourself to prove their viability…I often tell people my apps are useless programs — as useless as a song, a short story, or a painting.”