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.”


Creator’s Project, February, 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.”


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.”