Art & Beauty

Blåmba! ☎️ Behind the scenes of a 2000s-style ringtone provider

Saal GLITCH
Manawyrm
A Deep Dive into WAP, SMS, monophonic ringtones and 1-bit graphics.
A key part of early 2000s advertisements were hyperactive frogs and annoying crocodiles trying to lure people into subscribing to overpriced ringtones and silly graphics for their mobile phones. Apart from shady business practices -- how exactly do you send pictures and ringtones to vintage GSM mobile phones (most of which don't even support TCP/IP)? In our quest to learn more, we stumbled across WAP-Push, User Data Headers, Concatenated SMS, SMPP, User Agent Profiles and many more forgotten technologies. To put all this knowledge to good use, we built Blåmba -- a Chaos ringtone provider, clearly inspired by the (now long defunct) historic ones. Then at Chaos Communication Camp 2023 with the C3GSM network, we had the first public instalment of Blåmba. The Chaos community uploaded lovely artwork and new ringtones, sent patches for the software, and had a fun time reviving their old Nokia phones. This talk will tell the story behind Blåmba, explain how ringtones (and more) made their way onto your phone, what a WAP gateway did, and what other cool tricks mobile phones could do (if you had the money to pay for GPRS traffic 20 years ago).

Additional information

Live Stream https://streaming.media.ccc.de/38c3/glitch
Type Talk
Language English

More sessions

12/27/24
Art & Beauty
Daichi Shimabukuro
Saal ZIGZAG
In a world dominated by digital communication and the drive toward linguistic unification, the simple act of 'typing' varies significantly across languages and writing systems. For European languages like English and German, typing typically involves a set of about 100 letters and symbols. In contrast, Japanese—and by extension, Okinawan—requires three distinct scripts: hiragana, katakana, and kanji. Each of these adds layers of complexity and cultural depth to written expression. This ...
12/27/24
Art & Beauty
Saal ZIGZAG
We built an Ethical Hardware Kit with a PCB microcontroller made of wild clay retrieved from the forest in Austria and fired on a bonfire. Our conductive tracks use urban-mined silver and all components are re-used from old electronic devices. The microcontroller can compute different inputs and outputs and is totally open source.
12/27/24
Art & Beauty
Saal 1
UBERMORGEN infiltriert Kunst, Medien und digitale Monokulturen mit subversiver Affirmation. Wie Donald Trump auch, zerstören sie täglich ihr Geschäftsmodell, um daraus radikal neue Lösungen zu schaffen. Anhand von Projekten wie Vote-Auction, Google Will Eat Itself und PMC Wagner Arts dokumentieren sie ihre künstlerische Evolution im Never-Ending Now. Chaos ist ihre Methode, Kunst ihre Neue Ehrlichkeit, Klarheit ihre Waffe.
12/27/24
Art & Beauty
Saal GLITCH
Artist Andrei Molodkin held $45million of art hostage to free Julian Assange. He vowed to dissolve Picasso, Rembrandt, Warhol and other masterpieces in acid using a dead man’s switch device inside a 29-tonne Grade 5 Safe Room if Julian Assange was to die in prison. The talk will explain the process and methodology.
12/27/24
Art & Beauty
Artur Neufeld
Saal ZIGZAG
Modern 3D capture through Gaussian Splatting and human memory reveal parallel landscapes – where precise centers fade into probabilistic smears at the edges, and gaps hold as much meaning as detail. This is about the preservation of an ephemeral present in digital amber, an interrogation of how we reconstruct both digital and remembered spaces.
12/27/24
Art & Beauty
Joschua Knüppe
Saal GLITCH
The public image of dinosaurs is largely shaped by art. While paleontology is a dynamic and productive science, it is primarily through paleoart that our perception of prehistoric life takes form. By combining informed speculation with a deep understanding of anatomy, ecology, and geology, paleoartists continuously reimagine extinct organisms in innovative ways.
12/27/24
Art & Beauty
kathia
Saal ZIGZAG
Welchen Einfluss hat die Form der Dinge? Wie wirken wir durch die Gestaltung unseren kulturellen Praxen, Architekturen, Sprachen und Strukturen auf uns und die uns umgebende Zukunft ein? Und warum findet sich in zeitgenössischer Design Theorie ein Verb wie *Futuring*?