Thematische Bibliographien / Streaming wars

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Auswahl der wissenschaftlichen Literatur zum Thema „Streaming wars“

Autor: Grafiati

Veröffentlicht am 30. Juni 2021

Zuletzt aktualisiert am 12. Februar 2022

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Zeitschriftenartikel zum Thema "Streaming wars"

Higuera Rubio, Liza Adriana. „Neira, E. (2020). Streaming wars. La nueva televisión“. Revista de Comunicación 20, Nr. 2 (15.09.2021): 393–94. http://dx.doi.org/10.26441/rc20.2-2021-r2.

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El sector del entretenimiento que estuvo basado en el uso de la televisión como el eje de la vida cotidiana de las familias en entornos gregarios, se ha trasladado a la elección individual y al hiperconsumo desde las plataformas con contenidos, cuya diversidad crea estímulos constantes en un escenario de ubicuidad e hiperconexión. “Streaming wars. La nueva Televisión” es un libro escrito por Elena Neira, que aborda conceptualmente la evolución, presente y futuro del streaming de cara al cambio de paradigma, las transformaciones, las transiciones y las crisis que han revolucionado la industria cultural del cine y la televisión.

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Ellis, Katie, Mike Kent, Kathryn Locke und Ceridwen Clocherty. „Access for everyone? Australia’s ‘streaming wars’ and consumers with disabilities“. Continuum 31, Nr. 6 (04.09.2017): 881–91. http://dx.doi.org/10.1080/10304312.2017.1370076.

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Barannik, Vladimir, Bogdan Gorodetsky und Natalia Barannik. „STEGANOGRAPHY – THEORY AND PRACTICE“. Informatyka Automatyka Pomiary w Gospodarce i Ochronie Środowiska 9, Nr. 1 (03.03.2019): 45–48. http://dx.doi.org/10.5604/01.3001.0013.0910.

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Analysis of modern interstate conflicts, trends in the development of forms of warfare. It is shown that confrontation is characterized by various forms, is hidden in nature and is carried out mainly in the political, economic, informational and other spheres. It is proved that a significant part of hybrid wars are information operations used for the destructive impact on society, commercial activities, politics and economics using information and communication space and technologies. The article expresses the need to create a theoretical basis for combating cyber attacks in special telecommunication systems as an integral part of the national security of the state. The development of methods for hiding information as well as providing information during video streaming and images in networks is underway. The basic calculations are given at the initial stages of information hiding and methods for ensuring the latent transfer of data in telecommunication systems.

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Slater, Benjamin Alexander. „Back to the Future“. IMOVICCON Conference Proceeding 2, Nr. 1 (06.07.2021): 1–6. http://dx.doi.org/10.37312/imoviccon.v2i1.73.

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When speculating about the state of moving image in 2021, it might be instructive to explore the ‘pre-history’ of the current streaming era – and therefore this paper will initially focus on a particular cultural/historical moment, the year 2000 (and the very early 2000s); the start of a new millennium and the peak of the ‘dot com era’. This period was characterized by a huge burst of creative and technological energy related to moving image on the web, manifested in the emergence of specialised web portals such as Atomfilms, Shockwave, Heavy, Brickflims; independent creators such as Evan Mather and hi.res; a global plethora of Fanfilms (particularly based around Star Wars); as well as digital moving image festivals such as One Dot Zero (UK) and Res.Fest (US), which purported to be a window into the future, or at least the ‘bleeding edge’ of new media aesthetics intersecting with cinema. In this pre-Broadband and pre-YouTube period, the web was a ‘clunky’ and unreliable platform for a variety of technically complicated moving image files. However, it is possible to look back on the early 2000s as a liminal moment between the celluloid/video/physical media era and our remotely hosted, high-definition present. This paper will describe it as a fertile and open space, where artists and curators had the opportunity to dream of what the future might become, grappling with how moving image on the web (and their narrative language and aesthetics) could be envisioned differently from what had come before. If the Internet was a ‘site’, what types of moving image work could be ‘site-specific’? The paper will offer up key examples from that period and then jump forward in time to apply a similar framework of speculation to moving image online in the year 2021, and in the latter stages will explore what if any radical new ways of storytelling might arise as we move forward into an uncertain ‘future’.

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Dey, M., U. N. Das, K. S. Goswami und S. Bujarbarua. „Effect of warm beam electrons on electrostatic-shock solutions“. Journal of Plasma Physics 48, Nr. 1 (August 1992): 159–66. http://dx.doi.org/10.1017/s0022377800016445.

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We use a one-dimensional quasi-neutral fluid model to study the formation of an electrostatic shock associated with the lower-hybrid mode propagating almost perpendicularly to the magnetic field that exists in the auroral zone of the magnetosphere containing cold downward-streaming electrons, cold upward-streaming ions and beam electrons. We examine the effects of finite electron-beam temperature by describing the beam electrons with fluid equations. We then show how exact time-stationary shock solutions may be found when quasi-neutrality is considered.

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Zhi, Xi Hu, und Ai Di Zhi. „Coordination Algorithm Design of the Load Sharing Proxy Servers for Streaming Media“. Applied Mechanics and Materials 344 (Juli 2013): 265–69. http://dx.doi.org/10.4028/www.scientific.net/amm.344.265.

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With the rapid development of streaming media applications, clustered streaming media proxy servers have become the mainstream of high-end streaming media proxy. To increase the IO throughput capacity of streaming media proxy servers, the most effective method is middle-ware technology in which several servers are bridged together to form a proxy cache server cluster, and the key is the coordination of individual proxy servers. The decision problem of the user request dispatch actually belongs to NP-complete. This article proposes an online coordination algorithm for the load sharing streaming media proxy servers, and discusses the relative deviation of the online algorithm from the optimal solution, to serve as a reference to the specific applications of clustered streaming media proxy servers.

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ROSENBERG, M. „On ion-dust streaming instability in a collisional magnetized plasma with warm dust“. Journal of Plasma Physics 77, Nr. 2 (26.02.2010): 265–70. http://dx.doi.org/10.1017/s0022377810000048.

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AbstractThis brief communication discusses theoretically a resistive ion-dust streaming instability in a collisional dusty plasma, where the ions and electrons are magnetized, and the dust is unmagnetized. The instability is driven by ions streaming along the magnetic field. The emphasis is on the case where the dust has large thermal speed, and where the ion drift speed is ≲ the ion thermal speed. Application to possible laboratory experimental parameters is considered.

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Nekrasov, A. K. „Compressible streaming instabilities of warm multicomponent collisional magnetized astrophysical disks“. Physics of Plasmas 15, Nr. 3 (März 2008): 032907. http://dx.doi.org/10.1063/1.2894561.

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Ward, Tim. „Streamline Your Cell Line Screening: With the Automated, Microscale, Stirred Tank, Single-Use Bioreactor“. BioProcessing Journal 13, Nr. 4 (16.01.2015): 60–61. http://dx.doi.org/10.12665/j134.ward.

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CHO, Y. M., und Y. Y. KEUM. „DILATONIC DARK MATTER — A NEW PARADIGM“. Modern Physics Letters A 13, Nr. 02 (20.01.1998): 109–17. http://dx.doi.org/10.1142/s0217732398000152.

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We study the possibility that the dilaton plays the role of the dark matter of the universe. We find that the condition for the dilaton to be the dark matter of the universe strongly restricts its mass to be around 0.5 keV or 270 MeV. For the other mass ranges, the dilaton either undercloses or overcloses the universe. The 0.5 keV dilaton has the free-streaming distance of about 1.4 Mpc and becomes and excellent candidate of a warm dark matter, while the 270 MeV one has the free-streaming distance of about 7.4 pc and becomes a cold dark matter. We discuss the possible ways to detect the dilaton experimentally.

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Mehr Quellen

Dissertationen zum Thema "Streaming wars"

Lindblom, Julia. „”This isn’t a gold rush, it’s an arms race" : A critical discourse analysis of 2019’s “streaming war(s)” discourse in television trade press“. Thesis, Stockholms universitet, JMK, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-194395.

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Streaming services such as Netflix have changed how television is produced and consumed. In 2019, the online video on demand market was topical, with big launches such as Disney+ and Apple TV+. This period in the streaming market was popularized in the press as the “streaming war(s).” Previous research on the streaming market has aimed at understanding the industry, often with a focus on innovative features. Some studies have articulated a need to look beyond the current narrative used to describe the market. This study examines this very discourse, as no studies have concentrated on the discourse surrounding the streaming market or the relationship between the streaming industry and television trade press. Such a study object may illustrate how market discourse is currently formed and understood under neoliberalism, as well as create an understanding of how the streaming industry is understood and functions. This study aims to examine the reporting on the streaming market in television trade press in 2019, with special interest to ideological biases and the portrayed power geometry between actors within the industry. It approaches the subject with a political economy perspective and conducts a critical discourse analysis on articles from The Hollywood Reporter, Variety, Deadline Hollywood, Indiewire, and Financial Times. The sample contains only articles using the phrase “streaming war(s)”. The data is approached by asking questions about how the phrase is used, how the power relations of the streaming market are portrayed, and what ideological implications can be found in the texts. The results find that the phrase “streaming war(s)” is widely used, although no agreed meaning exists. The phrase works as a conceptual metaphor, shaping a discourse where the streaming market is viewed as a war. This portrayal of the market as harsh conflict and competition is motivated by economic interests, which the television trade press helps reproduce. The “streaming war(s)” fetishizes the streaming market and conceals the responsibility held by large media conglomerates. The actors on the streaming market are found to be positioned against each other, further portraying the market as a war. Netflix and Disney are represented as the most powerful participants because of their relations to flows of capital, content, and users. The streaming service audiences are given no agency, while the market is portrayed as having an agency of its own.

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Fredsson, Dennis. „SpotiVis - Finding new ways of visualizing the spread of popular music“. Thesis, Linnéuniversitetet, Institutionen för datavetenskap och medieteknik (DM), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-104968.

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Simply by reading data and statistics of the charting positions of popular songs on global and national music charts, it is hard to understand how the popularity of songs, albums, or artists within pop music truly behave over time. However, analyzing the data using visualizations as means of communication might provide us with new points of view and new insights into how the popularity of contemporary popular music behaves over a longer period. This is the hypothesis that we intend to investigate in this thesis. An interactive visualization application (presented as a website) has been developed based on data from “Daily Top 200” lists provided by Spotify. A survey was then used to evaluate the application, with the results suggesting that new and interesting insights into the trends in the popularity of music can be gained from the proposed prototype.

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Castronovo, Domenico. „Equity research report: Netflix“. Master's thesis, 2020. http://hdl.handle.net/10362/111615.

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This thesis seeks to provide a detailed analysis of Netflix, Inc.(NASDAQ: NFLX)and a recommendation on whether to buy, hold or sell its equity. For this purpose, a discounted cash flow model was built, which reflects information obtained from an in-depth research of the company’s business, streaming video on demand industry and rapidly growing competition known as “Streaming Wars”. Since this paper was written during the COVID-19 crisis, it also studies the impact of the pandemic on the company and its share price.

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Bücher zum Thema "Streaming wars"

Elkins, Evan. Locked Out. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9781479830572.001.0001.

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“This content is not available in your country.” Media consumers around the world regularly run into this reminder of geography’s imprint on digital culture. Despite utopian hopes of a borderless digital society in an era of globalization, DVDs, video games, and streaming platforms include digital rights management mechanisms like region codes and IP address detection systems that block media access within certain territories. Although propped up by national and transnational intellectual property regulation, these technologies of “regional lockout” are designed primarily to keep the entertainment industries’ global markets distinct. Beyond this, they frustrate consumers around the world and place certain territories on a hierarchy of global media access. Drawing on extensive research of media-industry strategies, consumer and retailer practices, and media regulation, Locked Out explores regional lockout in DVDs, console video games, and streaming video and music platforms. The book argues that regional lockout has shaped global media culture over the past few decades in three interrelated ways: as technological regulation, media distribution, and geocultural discrimination. As a form of digital rights management, regional lockout builds in limitations on the affordances of digital software and hardware. As distribution, it seeks to ensure that digital technologies accommodate media industries’ traditional segmentation of markets. Finally, as a cultural system, regional lockout shapes and reflects long-standing global hierarchies of power and discrimination.

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Ross, Stephen J. The Delta of Living into Everything. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198798385.003.0002.

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This chapter examines key junctures in Ashbery’s career when he literalizes the stream-of-consciousness metaphor. For Ashbery, forms of liquid motion—waving, undulation, flux, flow, streaming—fuse into poetic matter and manner in a series of increasingly self-reflexive experiments over many decades. From the early dysraphic poem “Into the Dusk-Charged Air” and the formalist masterpiece “Clepsydra” to the prose poetry of Three Poems, the antiphonal wavering of “A Wave,” and the undifferentiated flow of Flow Chart, Ashbery seeks new ways to “dissolve” his style and “put it in solution.” The fantasy that art can become nature takes on special significance in this line of poems that encompass transparency and formal dissolution.

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Stole, Inger L. The Increasing Role of the War Advertising Council. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037122.003.0007.

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This chapter details the Council’s activities throughout 1944. It studies how individual advertisers were coached to stay on course, sacrificing money, resources, and some of their creative independence to streamline the government’s campaigns and make the Council a success. Most of the government’s requests were for help with noncontroversial campaigns, which meant there was little chance that participating advertisers might arouse public resentment. But this was not always easy, especially when commercial concerns clashed with patriotic goals—a fact driven home by a highly controversial anti-venereal disease campaign. With this campaign, the Council found itself awkwardly in the middle of its obligations to the Office of War Information and the need to protect individual advertisers’ self-interest.

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Schiller, Dan. Taking Care of Business. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038761.003.0012.

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This chapter examines the Commerce Department's free-flow policy as part of its power over internet policy. It first provides an overview of U.S.–centric internet and Commerce's Internet Policy Task Force, established to launch an inquiry into “the global free flow of information on the Internet.” The inquiry's purpose was “to identify and examine the impact that restrictions on the flow of information over the Internet have on American businesses and global commerce.” The chapter also considers Commerce's commodification strategies based in part on data centers and the place of cloud computing services in the department's free-flow inquiry. It shows that the Commerce Department's free-flow policy was a major component of the federal government's overall efforts to keep corporate data flows streaming without restriction as new profit sites emerged around an extraterritorial internet managed by the United States.

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Aebischer, Pascale. Technology and the Ethics of Spectatorship. Herausgegeben von James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.4.

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This chapter revisits debates regarding the use of technology to enhance or remediate performances in the light of Emmanuel Levinas’s understanding of the ethical encounter as a face-to-face encounter between a subject and her/his other. Building on these debates and Robert Weimann’s distinction between locus and platea, it suggests that performance theory’s emphasis on the physical co-presence of spectator and performer undervalues the experience of the spectator. Using three productions that use digital media as examples, the chapter demonstrates how online live streaming (in Cheek by Jowl’s Measure for Measure), digital hologram projection (in the McGuires’ Ophelia’s Ghost), and the use of an online stage (in the RSC’s collaboration with Google+ on #dream40) each harness the affordances of digital media to create conceptual spaces in which spectators can experience ethical encounters. Digital media thus open up distinct ways of experiencing dilemmas explored by Shakespeare’s plays.

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Michael, Moser, und Bao Chiann. 10 Complex Arbitrations (Articles 27–29). Oxford University Press, 2017. http://dx.doi.org/10.1093/law/9780198712251.003.0010.

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This chapter considers three of HKIAC’s mechanisms for dealing with complex arbitrations: the joinder of additional parties, the consolidation of two or more arbitrations, and the commencement of a single arbitration under multiple contracts. It emphasizes the need for institutional rules to include mechanisms for administering multi-party and multi-contract cases. Indeed, the desire to streamline procedure in multi-party/multi-contract situations was recognized as a priority during the revisions to the 2008 HKIAC Rules. HKIAC was keen to ensure that it had appropriate powers to supervise and progress such proceedings and to reduce the scope for parties to use these—now common—complexities to delay or obstruct the arbitral process. The resulting provisions are key features of the HKIAC Rules and a principal reason for parties to select the HKIAC Rules in their agreements.

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Hart, Adam Charles. Monstrous Forms. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190916237.001.0001.

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It makes us jump. It makes us scream. It haunts our nightmares. So why do we watch horror? Why do we play it? What could possibly be appealing about a genre that tries to terrify us? Why would we subject ourselves to shriek-inducing shocks, or spend dozens of hours watching a television show about grotesque flesh-eating monsters? Horror offers us a connection to fears that are otherwise unspeakable, even inconceivable, so why do we seek it out? Monstrous Forms offers a theory of horror that works through the genre across a broad range of contemporary moving-image media: film, television, videogames, YouTube, gifs, streaming, virtual reality. This book analyzes our experience of and engagement with horror by focusing on its form, paying special attention to the common ground, the styles, and forms that move between mediums. It looks at the ways that moving-image horror addresses its audiences; the ways that it elicits, or demands, responses from its viewers, players, browsers. Camera movement (or “camera” movement), jump scares, offscreen monsters—horror innovates and perfects styles that directly provoke and stimulate the bodies in front of the screen. Analyzing films including Paranormal Activity, It Follows, and Get Out; videogames including Amnesia: The Dark Descent, Layers of Fear, and Until Dawn; and TV shows including The Walking Dead and American Horror Story, Monstrous Forms argues for understanding horror through its sensational address and dissects the forms that make that address so effective.

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Porter, Mark. Ecologies of Resonance in Christian Musicking. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197534106.001.0001.

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Ecologies of Resonance in Christian Musicking explores a diverse range of Christian musical activity through the conceptual lens of resonance, a concept rooted in the physical, vibrational, and sonic realm that carries with it an expansive ability to simultaneously describe personal, social, and spiritual realities. In this book, Mark Porter proposes that attention to patterns of back-and-forth interaction that exist in and alongside sonic activity can help to understand the dynamics of religious musicking in new ways and, at the same time, can provide a means for bringing diverse traditions into conversation. The book focuses on different questions arising out of human experience in the moment of worship. What happens if the entry point of a human being experiencing certain patterns of (more than) sonic interaction with the world around them is taken as a focus for exploration? What different ecologies of interaction can be encountered? What kinds of patterns can be traced through different Christian worshiping environments? And how do these operate across multiple dimensions of experience? Chapters covering ascetic sounding, noisy congregations, and Internet live-streaming, among others, serve to highlight the diverse ecologies of resonance that surround Christian musicking, suggesting the potential to develop new perspectives on devotional musical activity that focus not primarily on compositions or theological ideals but on changing patterns of interaction across multiple dimensions between individuals, spaces, communities, and God.

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Richardson, John, Claudia Gorbman und Carol Vernallis, Hrsg. The Oxford Handbook of New Audiovisual Aesthetics. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.001.0001.

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This volume offers new ways to read the audiovisual. In the media landscapes of today, conglomerates jockey for primacy and the Internet increasingly places media in the hands of individuals-producing the range of phenomena from movie blockbuster to YouTube aesthetics. Media forms and genres are proliferating and interpenetrating, from movies, music, and other entertainments streaming on computers and iPods to video games and wireless phones. The audiovisual environment of everyday life, too-from street to stadium to classroom-would at times be hardly recognizable to the mid-twentieth-century subject. The Oxford Handbook of New Audiovisual Aesthetics provides powerful ways to understand these changes. Earlier approaches tended to consider sound and music as secondary to image and narrative. These remained popular even as practices from theater, cinema, and television migrated across media. However, the traversal, or “remediation,” from one medium to another has also provided practitioners and audiences the chance to rewrite the rules of the audiovisual contract. Whether viewed from the vantage of televised mainstream culture, the Hollywood film industry, the cinematic avant-garde, or the participatory discourses of “cyberspace,” audiovisual expression has changed dramatically. The book provides a definitive cross-section of current ways of thinking about sound and image. Its authors-leading scholars and promising younger ones, audiovisual practitioners and nonacademic writers (both mainstream and independent)-open the discussion on audiovisual aesthetics in new directions. Our contributors come from fields including film, visual arts, new media, cultural theory, and sound and music studies, and they draw variously from economic, political, institutional, psychoanalytic, genre-based, auteurist, internationalist, reception-focused, technological, and cultural approaches to questions concerning today’s sound and image. All consider the aural dimension, and what Michel Chion calls “audio-vision:” the sensory and semiotic result of sound placed with vision, an encounter greater than their sum.

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Müßig, Ulrike. Jurisdiction, Political Authority, and Territory. Herausgegeben von Heikki Pihlajamäki, Markus D. Dubber und Mark Godfrey. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780198785521.013.29.

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The rise of royal power coincided with the emergence of supreme courts throughout Europe from the thirteenth century onwards. The differentiation of legal business and the institutionalization of a judicial section concerned the interface of jurisdiction, political authority, and territory. The commitment to streamline the administration of justice and to provide access to courts was the major catalyst for pre-state unification, and legal theorists advocated limits on the extent of a legal purview. These limits resolved themselves into ordinary competences and jurisdictions or, in other words, what constitutes a court as a court of law. The attempts to resolve these issues had a common forebear in the canon law of the Church, exemplified by the legal discourses of the Roman-canonical process, the so-called ordines iudiciarii. However, European court systems developed along divergent paths concerning jurisdiction, political authority, and territory, as each sought to balance sovereignty and the legal order.

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Buchteile zum Thema "Streaming wars"

Patrikakis, Charalampos, Nikos Papaoulakis, Chryssanthi Stefanoudaki und Mário Nunes. „Streaming Content Wars: Download and Play Strikes Back“. In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 218–26. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-12630-7_26.

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Witt, Earl, und Mary Hudson. „Effects of Warm Streaming Electrons on Electrostatic Shock Solutions“. In Geophysical Monograph Series, 334–39. Washington, D. C.: American Geophysical Union, 2013. http://dx.doi.org/10.1029/gm038p0334.

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Kelsch, Jakob. „Resümee und Ausblick: Serien der Zukunft – Familien der Zukunft“. In Binging Family, 247–55. Wiesbaden: Springer Fachmedien Wiesbaden, 2021. http://dx.doi.org/10.1007/978-3-658-34766-6_5.

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ZusammenfassungIm abschließenden fünften Kapitel wird einen Ausblick auf die mögliche Anschlussfähigkeit der Studie gegeben. Zudem wird die Frage gestellt, inwieweit die Ergebnisse auf gesellschaftlicher Ebene aussagekräftig sind. In Zeiten einer zunehmenden Globalisierung und Digitalisierung erscheint der geschlossene Raum der Kernfamilie als überschaubarer und begreifbarer Ausgleich zu einer zunehmend als unübersichtlich und chaotisch wahrgenommenen Welt. Trotz Konflikten mir der Realität wird sich dieses tief im populärkulturellen Bewusstsein verankerte Idealbild nicht ohne weiteres auflösen. Wenn also eine Entwicklung stattfindet, so geschieht dies langsam und sukzessive. Kann die Video-on-Demand Serie auch als impulsgebend in der aktuellen Serienlandschaft gelten, so wäre es doch vorschnell und naiv hinter jedem neuen Medium zugleich auch eine inhaltliche Revolution zu erwarten. Was die Zukunft der Video-on-Demand-Serie bringt und welchen Einfluss Streaming Dienste auf die Medienproduktion haben ist zum aktuellen Zeitpunkt nur vage zu erahnen. Hier bestehen zahlreiche Anknüpfungspunkte für weitere Forschung.

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Dixon, Wheeler Winston. „Content Wars“. In Streaming, 71–100. University Press of Kentucky, 2013. http://dx.doi.org/10.5810/kentucky/9780813142173.003.0003.

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Szczepanik, Petr. „HBO Europe’s original programming in the era of streaming wars“. In A European Television Fiction Renaissance, 243–61. Routledge, 2020. http://dx.doi.org/10.4324/9780429326486-23.

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Mysoor, Poorna. „Browsing and Streaming“. In Implied Licences in Copyright Law, 243–54. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198858195.003.0011.

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This chapter explores the application of implied licences to browsing as an activity on the internet. In this process, in addition to temporary copies of the content made on screen and in transmission, copies are made in the buffer of the computer in order to facilitate uninterrupted access, even if the content is not downloaded. If each copy made in this process needs permission from the copyright owner, then it would significantly impede the functioning of the internet. If browsing is not authorised, it would make infringers out of millions of users for simply viewing websites. The UK’s response has been to subsume this process into the statutory exception under section 28A of the Copyright, Designs and Patents Act 1988, which was transposed from Article 5(1) of the EU Infosoc Directive. This provision, however, suffers from inadequacies owing to certain inherent inflexibilities particularly apparent in relation to browsing of infringing content. This chaper argues that implied licence can offer a more flexible and dependable avenue to resolve the temporary copying issue, rather than the statutory exeption.

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Hardy, Thomas. „II“. In The Mayor of Casterbridge. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199537037.003.0003.

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The morning sun was streaming through the crevices of the canvas when the man awoke. A warm glow pervaded the whole atmosphere of the marquee, and a single big blue fly buzzed musically round and round in it. Besides the buzz of the fly...

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„Streamline and Simplify: Counteracting Complications“. In ADD-Friendly Ways to Organize Your Life, 49–60. Routledge, 2016. http://dx.doi.org/10.4324/9781315640679-15.

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„Streamline and Simplify: Counteracting Complications“. In ADD-Friendly Ways to Organize Your Life, 48–58. Routledge, 2012. http://dx.doi.org/10.4324/9780203890233-12.

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Liu, Zixi, Jian Yang und Lin Ling. „Exploring the Influence of Live Streaming in Mobile Commerce on Adoption Intention From a Social Presence Perspective“. In Research Anthology on E-Commerce Adoption, Models, and Applications for Modern Business, 1115–35. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-8957-1.ch056.

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With the rise of live streaming, many internet companies began to carry out the live streaming business, and this system was applied in various fields. Due to the emergence of e-commerce live streaming in recent years, the studies on it are not comprehensive. And for the construction of live streaming of mobile e-commerce, it is rarely considered from the perspective of users' hedonic needs. This study combined with the social presence theory to build a conceptual model explored the impact of this system on users' intention to adopt from the perspective of enjoyment feeling. The results show visual scene positively affects users' perceived enjoyment, visual scene and communication function have positive effect on social presence, social presence has positive effect on perceived enjoyment, and perceived enjoyment positively affects users' adoption intention. Finally, the authors provide practical suggestions and strategies for platform operators and sellers.

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Konferenzberichte zum Thema "Streaming wars"

Gorder, Don. „Streaming Mechanicals and the War on Spotify“. In MEIEA Educators Summit 2019. Music and Entertainment Industry Educators Association, 2019. http://dx.doi.org/10.25101/19.20.

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Ellawindy, Ibtihal, und Shahram Shah Heydari. „QoE-Aware Real-Time Multimedia Streaming in SD-WANs“. In 2019 IEEE Conference on Network Softwarization (NetSoft). IEEE, 2019. http://dx.doi.org/10.1109/netsoft.2019.8806622.

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Chakravorty, R., S. Banerjee und S. Ganguly. „MobiStream: Error-Resilient Video Streaming in Wireless WANs Using Virtual Channels“. In Proceedings IEEE INFOCOM 2006. 25TH IEEE International Conference on Computer Communications. IEEE, 2006. http://dx.doi.org/10.1109/infocom.2006.242.

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Babaei, Hadi, und Kamran Siddiqui. „Investigation of Streaming Flow Patterns in a Thermoacoustic Device Using PIV“. In ASME 2010 3rd Joint US-European Fluids Engineering Summer Meeting collocated with 8th International Conference on Nanochannels, Microchannels, and Minichannels. ASMEDC, 2010. http://dx.doi.org/10.1115/fedsm-icnmm2010-30798.

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We report on an experimental study conducted to study the streaming velocity fields in the vicinity of the stack in a thermoacoustic device. Synchronized Particle Image Velocimetry (PIV) technique was used to measure the two-dimensional streaming velocity fields. The streaming velocity fields were measured at both sides of the porous stack over a range of pressure amplitudes (drive ratios). The results show that the streaming flow structure is significantly different on hot and cold sides of the stack. The hot side of the stack experienced higher magnitudes and higher spatial variability of the streaming velocities compared to the cold side. The difference in the velocity magnitude between the hot and cold sides of the stack showed a significant increase with an increase in the drive ratio.

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Panchapakesan, Rajagopal, und Kwang W. Oh. „Streaming Potential Measurement in Live Plants for Energy Harvesting Applications“. In ASME 2009 International Mechanical Engineering Congress and Exposition. ASMEDC, 2009. http://dx.doi.org/10.1115/imece2009-11562.

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We propose a convenient and easy method to harvest electric potential from plants based on streaming energy. Streaming potential and streaming current are well known phenomenon in the field of microfluidics. Plants also possess micron sized negatively charged xylem and phloem conduits where ionic sap fluid move by virtue of plant pressure. We predict that the movement of ionic sap could cause a streaming potential difference between the upper and lower portions of the stem. Two 400 μm thick Ag/AgCl electrodes probes were implanted (one at near the root and the other near the shoot) and sealed with PDMS resin. A multichannel multimeter was employed to continuously monitor and record the potential difference across the two probes. Thus a clear understanding of the streaming potential in plant system can be obtained.

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Hariharan, Prasanna, Ronald A. Robinson, Matthew R. Myers und Rupak K. Banerjee. „High Intensity Focused Ultrasound (HIFU) Transducer Characterization Using Acoustic Streaming“. In ASME 2007 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2007. http://dx.doi.org/10.1115/sbc2007-176653.

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A new, non-perturbing optical measurement technique was developed to characterize medical ultrasound fields generated by High Intensity Focused Ultrasound (HIFU) transducers using a phenomenon called ‘acoustic streaming’. The acoustic streaming velocity generated by HIFU transducers was measured experimentally using Digital Particle Image Velocimetry (DPIV). The streaming velocity was then calculated numerically using the finite-element method. An optimization algorithm was developed to back-calculate acoustic power and intensity field by minimizing the difference between experimental and numerical streaming velocities. The intensity field and acoustic power calculated using this approach was validated with standard measurement techniques. Results showed that the inverse method was able to predict acoustic power and intensity fields within 10% of the actual value measured using standard techniques, at the low powers where standard methods can be safely applied. This technique is also potentially useful for evaluating medical ultrasound transducers at the higher power levels used in clinical practice.

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„Usage Habits in Music Streaming Applications and Their Influence on Privacy Related Issues [Research in Progress]“. In InSITE 2019: Informing Science + IT Education Conferences: Jerusalem. Informing Science Institute, 2019. http://dx.doi.org/10.28945/4272.

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Aim/Purpose: In this exploratory study we examine personal information management within music streaming applications. Also, we investigate the sense of ownership over songs being played on music streaming applications and whether the use of these services may be considered a social activity. In a later stage, we intend to test privacy related issues in music streaming applications and the factors that influence privacy concerns when using these services. Methodology: This is examined by using a mixed methodology and consists of two phases: qualitative and quantitative. The qualitative stage includes semi-structured interviews with 10 music streaming application users in order to explore the possible change in personal information management, following the emergence of these applications (e.g. change in classification methods and song retrieval methods). The quantitative phase includes the distribution of closed ended questionnaires among 200-250 users of music streaming applications, aiming to explore personal information management issues and privacy related issues that emerge while using these applications (e.g. privacy concerns). Currently, a pilot of the qualitative stage was issued. Findings: We found that users still rely on traditional methods of personal information management, rather than making use of the newer features available by the innovative music streaming applications. The same applies to the use of these applications as part of a social activity. In addition, it seems that the emergence of music streaming applications influenced the sense of ownership over songs in personal music libraries and made it ambiguous among music consumers. Contribution: As far as we know, this is the first academic research to investigate the issue of personal music management among music streaming applications and the also the first to use a mixed methods approach to examine digital music consumption. In addition, it is the first study that takes into account privacy related issues among the users of music streaming applications.

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Phakathi, Thulani, Bukohwo Michael Esiefarienrhe und Francis Lugayizi. „Comparative Analysis of Quality of Service Scheduling Classes in Mobile Ad-Hoc Networks“. In 11th International Conference on Computer Science and Information Technology (CCSIT 2021). AIRCC Publishing Corporation, 2021. http://dx.doi.org/10.5121/csit.2021.110717.

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Quality of Service (QoS) is now regarded as a requirement for all networks in managing resources like bandwidth and avoidance of network impairments like packet loss, jitter, and delay. Media transfer or streaming would be virtually impossible if QoS parameters were not used even if the streaming protocols were perfectly designed. QoS Scheduling classes help in network traffic optimization and the priority management of packets. This paper presents an analysis of QoS scheduling classes using video traffic in a MANET. The main objective was to identify a scheduling class that provides better QoS for video streaming. A simulation was conducted using NetSim and results were analyzed according to throughput, jitter, and delay. The overall results showed that extended real-time Polling Service (ertPS) outperformed the other classes. ertPS has hybrid features of both real-time Polling Service (rtPS) and Unsolicited Grant Service(UGS) hence the enhanced performance. It is recommended that ertPS scheduling class should be used in MANET where QoS consideration is utmost particularly in multimedia streaming applications.

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Hsu, C. T., und Yan Su. „Effects of Endplates on Secondary Streaming of Oscillating Flows Past a Circular Cylinder“. In ASME 2008 Fluids Engineering Division Summer Meeting collocated with the Heat Transfer, Energy Sustainability, and 3rd Energy Nanotechnology Conferences. ASMEDC, 2008. http://dx.doi.org/10.1115/fedsm2008-55057.

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The effects of parallel endplates on the secondary streaming of oscillating flows past a circular cylinder are studied by solving the Navier-Stokes equations numerically with Direct Numerical Simulation (DNS) method. A fractional-step scheme was implemented with the incorporation of the spectral method applied along the circumferential direction in solving a set of 2-D Poisson equations. The structure of the secondary streaming flows is presented with three-dimensional fluid particle traces (streak lines) and vorticity distributions. Unlike the traditional secondary streaming of two dimensional oscillating flows that exhibits 8 closed re-circulation zones (two in each quadrant), the mean secondary streaming flows in this study are three-dimensional without closed recirculation. The fluid particle traces show that there are three-dimensional spirals in each quadrant. Fluid particles near the endplates are attracted into the spirals toward the mid-plane of the two endplates. The trace trajectories in the flow domains never interest except at the stagnation points. The effects of cylinder aspect ratio, Keulegan-Carpenter number, and Stokes number on the secondary streaming patterns are also studied. The oscillatory drag and lift coefficients are also computed and discussed. The comparison of flow patterns obtained from this study with the results of experimental visualization shows qualitative agreement.

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Watanabe, Tatsuya, Hironobu Iwanami, Tomoharu Hashimoto und Ryuichi Tayama. „Development of an Efficient Tool for Evaluating Dose at Through-Holes“. In 2020 International Conference on Nuclear Engineering collocated with the ASME 2020 Power Conference. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/icone2020-16931.

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Abstract In the design of nuclear power plants, it is demanded to quickly and calculate gamma ray scattering line (streaming) from the penetrating portion provided in the shielding such as electrical cables and ducts. However, when conducting gamma-ray streaming calculations from multiple penetrations, MCNP, a detailed calculation code, requires a long calculation time. This is due to the nature of MCNP, where many particles must reach the evaluation point when calculating in order for the results to be within an acceptable accuracy. To shorten the computation time, an analysis code utilizing a simple calculation method is necessary. Thus, we have developed a new method and a simple calculation tool (SVD-Dorc) for streaming computation. This method combines dose rate at an evaluation point with point kernel integration method and a simple streaming calculation formula for straight cylindrical ducts. Properties of SVD-Dorc are as follows: • Point kernel integration method • Simple streaming calculation formula for straight cylindrical ducts • Manual and automatic meshing of rectangular and cylindrical sources • Differentiation between direct line and non-direct sources • 3D drawing of input data • File output The validity of SVD-Dorc was confirmed by comparison with MCNP calculations and measured values from benchmark tests [2].

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Berichte der Organisationen zum Thema "Streaming wars"

Paynter, Robin A., Celia Fiordalisi, Elizabeth Stoeger, Eileen Erinoff, Robin Featherstone, Christiane Voisin und Gaelen P. Adam. A Prospective Comparison of Evidence Synthesis Search Strategies Developed With and Without Text-Mining Tools. Agency for Healthcare Research and Quality (AHRQ), März 2021. http://dx.doi.org/10.23970/ahrqepcmethodsprospectivecomparison.

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Background: In an era of explosive growth in biomedical evidence, improving systematic review (SR) search processes is increasingly critical. Text-mining tools (TMTs) are a potentially powerful resource to improve and streamline search strategy development. Two types of TMTs are especially of interest to searchers: word frequency (useful for identifying most used keyword terms, e.g., PubReminer) and clustering (visualizing common themes, e.g., Carrot2). Objectives: The objectives of this study were to compare the benefits and trade-offs of searches with and without the use of TMTs for evidence synthesis products in real world settings. Specific questions included: (1) Do TMTs decrease the time spent developing search strategies? (2) How do TMTs affect the sensitivity and yield of searches? (3) Do TMTs identify groups of records that can be safely excluded in the search evaluation step? (4) Does the complexity of a systematic review topic affect TMT performance? In addition to quantitative data, we collected librarians' comments on their experiences using TMTs to explore when and how these new tools may be useful in systematic review search¬¬ creation. Methods: In this prospective comparative study, we included seven SR projects, and classified them into simple or complex topics. The project librarian used conventional “usual practice” (UP) methods to create the MEDLINE search strategy, while a paired TMT librarian simultaneously and independently created a search strategy using a variety of TMTs. TMT librarians could choose one or more freely available TMTs per category from a pre-selected list in each of three categories: (1) keyword/phrase tools: AntConc, PubReMiner; (2) subject term tools: MeSH on Demand, PubReMiner, Yale MeSH Analyzer; and (3) strategy evaluation tools: Carrot2, VOSviewer. We collected results from both MEDLINE searches (with and without TMTs), coded every citation’s origin (UP or TMT respectively), deduplicated them, and then sent the citation library to the review team for screening. When the draft report was submitted, we used the final list of included citations to calculate the sensitivity, precision, and number-needed-to-read for each search (with and without TMTs). Separately, we tracked the time spent on various aspects of search creation by each librarian. Simple and complex topics were analyzed separately to provide insight into whether TMTs could be more useful for one type of topic or another. Results: Across all reviews, UP searches seemed to perform better than TMT, but because of the small sample size, none of these differences was statistically significant. UP searches were slightly more sensitive (92% [95% confidence intervals (CI) 85–99%]) than TMT searches (84.9% [95% CI 74.4–95.4%]). The mean number-needed-to-read was 83 (SD 34) for UP and 90 (SD 68) for TMT. Keyword and subject term development using TMTs generally took less time than those developed using UP alone. The average total time was 12 hours (SD 8) to create a complete search strategy by UP librarians, and 5 hours (SD 2) for the TMT librarians. TMTs neither affected search evaluation time nor improved identification of exclusion concepts (irrelevant records) that can be safely removed from the search set. Conclusion: Across all reviews but one, TMT searches were less sensitive than UP searches. For simple SR topics (i.e., single indication–single drug), TMT searches were slightly less sensitive, but reduced time spent in search design. For complex SR topics (e.g., multicomponent interventions), TMT searches were less sensitive than UP searches; nevertheless, in complex reviews, they identified unique eligible citations not found by the UP searches. TMT searches also reduced time spent in search strategy development. For all evidence synthesis types, TMT searches may be more efficient in reviews where comprehensiveness is not paramount, or as an adjunct to UP for evidence syntheses, because they can identify unique includable citations. If TMTs were easier to learn and use, their utility would be increased.

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