Journal articles on the topic 'Television and the blind – Technological innovations'

Although it has been nearly four decades since Raymond Williams’ book Television: technology and cultural form (Williams, 2003/1975) was first published, I find it helpful to return to this seminal work with a view of reflecting on the future of public media in Canada. Television is often remembered for Williams’ critique of technological determinism in Marshall McLuhan’s theory of media. But the book should also be remembered for a number of other significant contributions, including the prescient chapter titled “Alternative technology, alternative uses?” in which Williams examined some of the innovations in broadcasting technologies being developed at the time. For Williams, these innovations represented at once a risk and an opportunity. The risk was that people in the United States and the United Kingdom who were in a position to shape the implementation of these innovations would remain complacent, allowing their deployment to be ‘sorted out as we go’ (Williams, 2003/1975, p. 140). The opportunity was that changes to broadcasting infrastructure could afford people the chance to address structural inequities and imagine alternative uses. Williams believed that the early stages in implementing new technological innovations represented an opportune moment for putting in place alternative organizational and policy arrangements for television broadcasting.

The study of the cultural effects of television is inseparable the study of cultural habits related to age, gender, and other basic parameters of the audience. Rapid technological changes in TV broadcasting lead to reconfiguration of audience and reflective attitude of the viewers to their own TV habits. Contrary to expectations, such changes, however, do not necessarily imply bringing younger audience or attraction of youth with technological innovations of television, but rather the audience remains loyal and “ages” along with the channels and programs. The article aims to explain why the viewers of major federal channels are of pre-retirement and retirement age, as well as why the number of young viewers decreases with each year, where do they go, and what do they watch. The subject of this research is the specificity of cultural habits with regards to Russian television. Research methodology employs statistical data analysis, building a functional model of media in culture, interpretation of cultural patterns of behavior and habits. The scientific novelty lies in the fact that the Russian television is examines from the perspective of correlation between technological innovations and habits of perception for the first time; this allows clarifying the sociocultural characteristics of the viewer in their dynamics, and cultural contexts of functionality of Russian TV as media. The conducted research has proven different structure of TV habits among different socio-demographic strata of the Russian audience. Within the framework this research, the author was able to determine socio-demographic groups with similar TV habits, as well as reflect the socio-demographic differentiation of the Russian TV audience.

Population movements away from large cities and congestion in urban areas create problems for the delivery of psychiatric care which are compounded by the move towards greater care in the community. These developing service patterns require adequate methods of communication between service components. There is a proliferation of new technology offering opportunities for improved national and international communication in psychiatry as in other branches of medicine. It will be important to decide which technological innovations will improve the efficiency of service delivery rather than end up as expensive ‘gadgets’, or solutions looking for problems to solve. In this paper the use of interactive television in psychiatry is reviewed and the implications for the evaluation of new communications technology are discussed.

Audio description seeks to make visual media—film, television, theater, art exhibits—accessible to blind people. In this essay I use the audio-described version of the Oscar-nominated film The Sessions as an example of the current standards. I then speculate on future innovations that could democratize the medium and make it more inclusive.

A variety of instructional and technological advances have increased the availability of graduate education to students living in remote rural areas. This article describes three innovative practices that were instituted to enhance graduate courses provided to students through interactive television. These innovations included: (1) collaborative planning and co-teaching over interactive television; (2) combining two courses with similar content into one broadcast timeslot; and (3) incorporating on-campus Saturday meetings into distance education courses. It also addresses findings and comments of the follow up with participants.

The development of radio and television is accompanied by technological innovations in the field of business, production, storage and placement of the content. This paper is focused on the application of digital technology which has brought revolutionary possibilities to the media systems in the optimization and integration of work processes, maximum use of resources, time saving, as well as easier exploitation of archived materials and the content placement on digital platforms. The basic thesis of the paper is that the application of artificial intelligence in modern radio-television systems may have positive effects on more efficient business operations, as well as product quality, integration and efficiency of employees' work with the aim of improving the quality of reporting and creating a new user experience in content consumption.

The dual sensory loss of hearing and sight results in the most isolating of handicapping conditions. Technological advances to meet this challenge have come from both the blindness and deafness fields. Provision of information in the form of paper braille slows information flow because of length of preparation time. Access to weather or daily news, for example, has required the ability to hear the broadcast. Closed-captioning for the hearing impaired population has converted sound to print within four to six seconds after the audio signal is transmitted, but the system requires that the broadcast be seen. Science Applications International Corporation (SAIC) has been awarded a grant from the U.S. Department of Education to develop and test a prototype device to make closed-captioned television available to deaf-blind people The Braille TeleCaption System, with an output available in braille and large print, is being tested at the Helen Keller National Center. Existing and new technology makes real-time viewing of news, weather, and entertainment accessible to deaf-blind persons.

System, Technology and Vernacular Innovations. Piotr Sitarski, Maria B. Garda, Krzysztof Jajko, Nowe media w PRL, Wydawnictwo Uniwersytetu Łódzkiego, Łódź 2020, ss. 250. This review concerns New Media Behind the Iron Curtain: Cultural History of Video, Microcomputers and Satellite Television in Communist Poland (original title: New Media in Polish People’s Republic), a book co-authored by Piotr Sitarski, Maria B. Garda, and Krzysztof Jajko. The publication offers a unique insight into vernacular usages of new technology (videocassette recorders, microcomputers and satellite TV) during the last decades of the Communist rule in Poland. Making the diffusion of innovations theory its basic approach to the subject, the book grounds its claims using rich data including interviews, photographs and documents from the analyzed era. New Media presents a comprehensive, case study-focused approach to the analysis of political, economic and social contexts concerning the dissemination, appropriation and application of technological innovations by individual users.

The aim of this paper is to describe innovations taking place in national nutrition surveys in the UK and the challenges of undertaking innovations in such settings. National nutrition surveys must be representative of the overall population in characteristics such as socio-economic circumstances, age, sex and region. High response rates are critical. Dietary assessment innovations must therefore be suitable for all types of individuals, from the very young to the very old, for variable literacy and/or technical skills, different ethnic backgrounds and life circumstances, such as multiple carers and frequent travel. At the same time, national surveys need details on foods consumed. Current advances in dietary assessment use either technological innovations or simplified methods; neither lend themselves to national surveys. The National Diet and Nutrition Survey (NDNS) rolling programme, and the Diet and Nutrition Survey of Infants and Young Children (DNSIYC), currently use the 4-d estimated diary, a compromise for detail and respondent burden. Collection of food packaging enables identification of specific products. Providing space for location of eating, others eating, the television being on and eating at a table, adds to eating context information. Disaggregation of mixed dishes enables determination of true intakes of meat and fruit and vegetables. Measurement of nutritional status requires blood sampling and processing in DNSIYC clinics throughout the country and mobile units were used to optimise response. Hence, innovations in national surveys can and are being made but must take into account the paramount concerns of detail and response rate.

Este artigo faz parte de uma pesquisa desenvolvida a nível de mestrado e busca apresentar propostas de atividades que promovam o aprendizado do fazer telejornalismo visto o contexto atual das inovações tecnológicas e não tecnológicas realizadas no telejornalismo brasileiro. Parte-se do pressuposto que as inovações estão ocorrendo de forma cada vez mais acelerada e que as universidades necessitam ampliar as possibilidades de ensino para que os futuros jornalistas cheguem ao mercado de trabalho com amplo conhecimento prático e teórico, não só técnico, mas dos processos de produção de imagens que são alterados constantemente por consequência das inovações. PALAVRAS-CHAVE: Telejornalismo; inovação; academia; produção; imagem. ABSTRACT This article is part of a research developed at the masters level and seeks to present proposals of activities that promote the learning of telejournalism, considering the current context of technological and non - technological innovations carried out in Brazilian television journalism. It is assumed that innovations are occurring in an increasingly accelerated way and that universities need to expand the possibilities of teaching so that future journalists reach the labor market with a broad practical and theoretical knowledge, not only technical but of the processes Images that are constantly altered as a result of innovations. KEYWORDS: Telejournalism; innovation; academia; production; image. RESUMEN Este artículo es parte de una investigación desarrollada a nivel de maestría y busca presentar propuestas de actividades que promueven el aprendizaje de las noticias de televisión ya que el contexto actual de las innovaciones tecnológicas y no tecnológicas realizadas en el periodismo de la televisión brasileña. Esto es en el supuesto de que las innovaciones se están produciendo cada vez más acelerado camino y que las universidades necesidad de ampliar las posibilidades de educación para los futuros periodistas que llegan al mercado de trabajo con un amplio conocimiento teórico y práctico, no sólo técnico, sino los procesos producción de imágenes que cambian constantemente como resultado de las innovaciones. PALABRAS CLAVE: Periodismo television; de innovación; de salud, de producción, de imagen.

Popular culture has critiqued ‘vertical video syndrome’, or video shot on smartphones in the portrait rather than landscape orientation, as something aesthetically unpleasing which should be avoided. But the design of smartphones seems to encourage shooting vertical video. This article examines the aesthetic desirability of vertical videos through applied media aesthetics. It traces the history of horizontal film and television orientations, as well as the image-centric orientation model found in still photography. It argues that vertical video, rather than a syndrome to be avoided, instead takes advantage of the technological innovations and embodied pleasures offered by the smartphone to rupture the visual paradigms and create a new visual aesthetic for phone-based moving images.

The impacts of digital technology on news media industry manifest itself in different parts of the world. Many big media organizations, in developed Western countries, are now using AI technology and automation in their newsrooms. This is somehow not the case in developing countries that confront multi-facet challenges to embrace AI-related technological advancements in their news ecologies. This study specifically focuses on the case of Pakistan’s mainstream news media. Despite economic and technological constraints, the country’s news media is considered as vibrant and vocal within South Asia with massive expansion in the past fifteen years. Nevertheless, it is still in nascent stage in terms of technological advancements in news media industry. Therefore, using diffusion of innovation theory, this study aims to address issues in the adoption of AI technology and automation by Pakistan’s mainstream news media. To achieve this aim, this study employs the qualitative method of in-depth interviews. Findings suggests that the adoption of AI technology and automation is not without potential challenges at various stages of the diffusion of technological innovation. The Pakistani journalists from the Urdu language’s newspapers, regardless of their age and gender, are substantially resistant to accept technological innovations as compared to their colleagues from television news channels and English-language’s newspapers. This study highlights that the Pakistani journalists’ lack of awareness and their limited interest into AI-driven transformations underpin their resistance and fear to adopt technological innovations in routine practice. Interviewed journalists, regardless of their gender and age, express their concern that the use of automated journalistic tools can result in job redundancy in local news media ecology. This study highlights other obstacles too for the adoption of AI-driven journalistic practice in Pakistan’s mainstream news media including: economic and technological constraints, a lack of journalists’ training and an absence of government’s strategies and policies to deploy AI technology in news media industry like other sectors in Pakistan, and the country’s existing digital divide.

Research background. During these days the innovations are a more and more used definition in the business, especially in the market research, human resource management, new products and service development, etc. Frequently innovations are related with the application of new technology and new ideas as well as creation of new methods. Even more, innovations are related with the development of existing processes and products (Bigliardi, Dormio, 2009). Innovations are important in the sector of tourism industry, which is expanding every time combining more and more different areas of business. According to Melnikas (2011), discontent and necessity of changes are some persuasive factors to begin an activity of innovation. Thus, it could be the reason for the application of innovations in the sector of accommodation service to become essential. Importance of innovations is discussed pretty widely in the scientific literature (Bigliardi, Dormio, 2009; Hall, Williams, 2008; Inauen, Schenker-Wicki, 2011; Notaro et al., 2012), but innovations in tourism sector have been discussed only recently (Nagy, 2012; Ravar, Iorgulescu, 2013). This article is relevant because application of innovations in the sector of accommodation service is not enough discussed in Lithuania as it is done by some foreign scientists (Sundbo et al., 2007; Hall et al., 2008; Ravar, Iorgulescu, 2013). The object of the research is innovations in the sector of accommodation service, and the aim is to determine the activeness of innovations’ application in the sector of an accommodation service. Research methods. This article deals with the application of innovations in the sector of accommodation service using the method of scientific literature analyses and quantitative empirical research – the method questionnaire survey. The research respondents were the employees of Kaunas city organizations of accommodation service. The author of this article is grateful to her student Martynas Bruzas who collected 270 filled in questionnaires. Results and discussion. Innovations are the most frequently described as an application of technologies creating new products, new services, and new processes of activity in the market. Innovations are combined with technological changes in the products, services and their creation processes. The research results revealed that services of accommodation business were restricted by just using electronic mail, the electronic page of business and electronic page of socialization. The research results revealed that services of accommodation business performed just slight changes of innovations according to some novelties in the market. On the other hand, employees of these organizations were enough sure that their organizations were applying innovations, but at the same time they thought that innovations could be more combined with the qualifications of organizations’ employees. Conclusions. According to research results, we suggest that most Kaunas city accommodation services presume that they are active in the application of innovations, but there were only some technological changes of innovations. The research results revealed that usually innovations were related to IT programs of accommodation service, wireless internet, telephone, television, touch tabs, room infrastructure and the systems of reservations. Keywords: innovations, innovations of accommodation sector, development.

The results provide evidence that COVID-19 is a significant factor influenced the consumption of two leading media in Russia - television and the Internet. Since the pandemic is a global phenomenon, the study of the Russian media usage is conducted taking into account international media trends. The research indicates that the pandemic reinforced existing media consumption patterns or reversed them. Authors argued that technological communication innovations of the last decade have played an important role in this regard. It is shown that the trend of reducing the duration of audience viewership, which was previously inherent in television, was reversed during the 2020 pandemic. The results reported that the long term trend of increasing the duration of Internet use continued. This is especially true for online video segment. The significant increase in media consumption was observed during the first wave of morbidity and the introduction of quarantine measures. The pandemic has changed the socio-psychological atmosphere in society, influenced people’s way of life, which has led to the intensification of information processes in society. Media convergence processes gained additional momentum in the year of the pandemic. Mentioned above leads to deepening of mediatization. User screens of TVs, smartphones and other devices now form a unified space of struggle for the attention of the audience. This increases competition between traditional TV companies and global technological platforms, and has significant political, economic, and socio-cultural consequences.

Novel technological interventions are increasingly used in mental health settings. In this article, we describe 3 novel technological strategies in use for management of risk and violence in 2 forensic psychiatry settings in the United Kingdom: electronic monitoring by GPS-based tracking devices of patients on leave from a medium secure service in London, and closed circuit television (CCTV) monitoring and motion sensor technology at Broadmoor high secure hospital. A common theme is the use of these technologies to improve the completeness and accuracy of data used by clinicians to make clinical decisions. Another common thread is that each of these strategies supports and improves current clinical approaches rather than drastically changing them. The technologies offer a broad range of benefits. These include less restrictive options for patients, improved accountability of both staff and patients, less invasive testing, improved automated record-keeping, and better assurance reporting. Services utilizing technologies need also be aware of limitations. Technologies may be seen as unduly restrictive by patients and advocates, and technical issues may reduce effectiveness. It is vital that the types of technological innovations described in this article should be subject to thorough evaluation that addresses cost effectiveness, qualitative analysis of patients’ attitudes, safety, and ethical considerations.

This study aims at finding out if households or organizations are faster in their acceptance of a technological innovation. The object of this study is digital terrestrial television (DTT), specifically the implementation of DTT in Denmark. The theoretical framework is diffusion of innovation theory. Three surveys were carried out for both households and organizations. Based on the surveys, the rate of adoption for households and for organizations could be established. It is clear that organizations accept new technology faster than households during the entire adoption process. An explanation may be that it is the employees in the organization who are the most open to technology innovations who set the agenda for the acceptance process. Danish culture can have had an influence on the findings. If that is the case the findings may be generalizable only to cultures that are similar to Danish culture.

Abstract Cary Campbell (ed.): This paper is one of four that were approved for publication in this journal prior to Fernández’s passing in 2017. Many of these backlogged articles did not have abstracts, so I have had to create them based on Fernández 's own in-text summary.In this brief presentation a crucial technological innovation of the early twentieth century – the invention of the triode thermionic valve – is used as a springboard for a historically informed discussion of the complex interrelations of theory and praxis in the generation of technological novelty. This episode was chosen for its critical role in triggering a whole chain of developments that culminated in the growing network of technologies and economic infrastructures that underpin our so-called “information society” and the evolving role of “technoscience.” This represents a starting point in a broadening cascade of innovations that led to the rise of television, digital computers and the expanding web of artifacts that shape our daily existence today. In the present era of technoscience, scientific and technological research are so closely entangled that it is hard to discern their respective natures and interrelations. Nevertheless, it is possible to partially distinguish both their common characteristics and their contrasting differences (i.e. in goals, cognitive styles, methods, etc.). In this context, some reflections are put forward on the activity of “tinkering” as a cognitive instrument (a form of what Peirce called Abduction) in the generation of technological novelty.

AbstrakLatar belakang: Televisi merupakan salah satu inovasi teknologi yang sering digunakan oleh setiap orang tidak terkecuali anak balita. Menghabiskan banyak waktu pada tayangan televisi membuat anak-anak kehilangan kesempatan untuk mengeksplor lingkungan dan bermain dengan teman-teman sebayanya sehingga berdampak pada kemampuan motorik anak. Tujuan: Mengetahui hubungan antara lama paparan televisi dengan perkembangan motorik halus anak usia 3-5 tahun. Metode: Penelitian analitik observasional dengan pendekatan cross sectional pada balita usia 3-5 tahun di wilayah kerja Puskesmas Kenjeran Surabaya dengan menggunakan purposive sampling. Lama paparan televisi diukur menggunakan lembar pengumpul data sedangkan perkembangan motorik halus diukur menggunakan KPSP aspek motorik halus. Analisis data menggunakan chi square (p < 0,05). Hasil: sebanyak 108 balita yang ikut serta dalam penelitian. Anak yang menonton > 2 jam/ hari sebagian besar lulus perkembangan motorik halus. Hasil uji chi-square menunjukkan adanya hubungan antara lama durasi paparan televisi dengan kemampuan motorik halus (p=0,042). Kesimpulan: menonton televisi yang tidak terkendali dapat membawa dampak buruk bagi perkembangan motorik halus, diperlukan peran orangtua dalam mengawasi dan membatasi paparan televisi pada anak. AbstractBackground: Television is one of the technological innovations that is often used by everyone is no exception for toddlers. Spending a lot of time on television shows makes children lose the opportunity to explore the environment and play with peers so as to impact the child's motor skills. Objectives: Know the relationship between prolonged television exposure with fine motor development of children aged 3-5 years. Method: Observational analytic research with cross sectional approach in toddlers aged 3-5 years in the working area of Kenjeran Surabaya by using purposive sampling. Prolonged television exposure was measured using a data collector sheet while smooth motorik developments were measured using KPSP fine motor aspects. Data analysis using Chi Square (P < 0.05). Results: As many as 108 toddlers participating in the study. Children watching > 2 hours/day mostly pass fine motor development. The chi-square test results indicate the relationship between the length of the duration of television exposure with fine motor capability (P = 0,042). Conclusion: An uncontrolled television watch can bring a bad impact to the smooth motorik developments, required parental role in supervising and restricting television exposure in children.

Learning Islamic religious education should not turn a blind eye to technological developments that are realized or not have a very large impact on life. Al-Ulum Private Elementary School Medan implements Islamic Religious Education learning innovations using and utilizing technological developments. For example, Teleconference, Google Classroom, Zoom Meeting by utilizing facilities such as e-mail (electronic mail), mobile phones, MP3 players, websites, blogging, search engines, and others. Learning models develop in the form of electronic learning (e-learning), electronic books (e-books), online classes, online discussions, computer-based learning. The use of whiteboards and markers, replaced with the use of Notebook media, LCD Projectors, and so on. Printed sourcebook materials, modules, and student worksheets are replaced with e-books, digital libraries, YouTube, and internet pages. This research is focused on qualitative research using descriptive method. This research intends to examine the natural role of Islamic Religious Education Learning Innovation in the Industrial Revolution Era 4.0 Studies at Al-Ulum Private Elementary School Medan. This research is suitable to use a qualitative research approach with a descriptive method, in revealing the facts as empirical truth in this research.

Abstract Public administration is constantly changing, with the objective of keeping up with the social, economic and technological developments of the modern world. It is opening up to modern technologies, introducing ever newer innovations and attempting to satisfy the needs of the citizens. It is no longer seen to such a large extent as an archaic structure that is blind to reforms and modernization; as a result of which, it can start to be perceived as a smart organization. New instruments are being introduced in many areas of administration, one of them being the fiscal administration. The changes related to the ability to communicate electronically with the tax authorities, submit electronic tax returns or pay stamp duty electronically are certainly aspects that have a positive impact on the whole image of administration, enabling it to be referred to as ‘smart’. The paper provides an overview on the fiscal administration system in Poland and e-services provided thereby.

It is indicated in the article that emerging information technologies influences human rights norms in any democratic society. Especially, the Internet has changed the traditional approach to methods of ensuring human rights, while adding new challenges at the same time, such as regulating cybersecurity, digital data protection, digital freedom of information, privacy, discrimination in the Internet, etc. The traditional flow of information through newspapers, radio and television is currently combined with new means of exchanging digital information, mobile and satellite communications, the Internet and other technological advances. Of course, these innovations make governments to review traditional human rights legislation to stay fit and updated. Yet, some fundamental norms of national human rights legislation should remain unchangeable. Simply put, it looks like Captain America from the movie “Avengers” – a very old guy who develops his abilities to defeat dangers, but also preserves “old school” strength and leadership skills. In the light of these issues, the present article is devoted to the analysis of the conceptual foundations of national legislation in Azerbaijan on the protection of digital rights in the Internet. The article emphasizes that digital rights themselves are one of the factors demonstrating the strong impact of communication technologies on human rights, especially information rights and freedom of expression.

This article builds further on research in gender/queer TV studies to understand how interpretive communities form around gender-diverse TV series on social media platforms, while questioning the influence a broadcaster/content provider may still have on the reception of LGBTQ characters. Since recent technological innovations have deeply upset normative definitions of television and of its ‘identity’, this article seeks to understand whether the inclusion of LGBTQ characters in TV series has a similar potential to encourage viewers to queer or challenge normative knowledges about human sexualities and identities. To this end, the article provides a qualitative analysis of discourses that have been published on the official Facebook page of two US serialised dramas: Sense8 (Netflix 2015–2018) and Billions (Showtime 2016–). This research reveals that conversations around Sense8 and Billions differ significantly, ranging from a tendency to deflect criticism and promote progressive readings of the show ( Sense8), to more aggressive debates and frequent attempts to ‘solve’ gender ambiguities ( Billions). Through a detailed analysis of comments and interactions on a popular social media platform, this article, therefore, argues that the nature of a particular content provider might still affect – though never determine – the formation of interpretive communities online, and the nature of comments published around a series featuring LGBTQ character(s).

Petar Mandić is one of the most outstanding educators of the 20th century, not only in Bosnia and Herzegovina but also further. In the focus of Mandić's pedagogical work were many questions and answers related to improving school work and teaching. The theoretical study aimed to analyze and present the value of Petar Mandić's pedagogical and didactic ideas for improving educational work in school and the teaching process. Petar Mandić's scientific research covered various fields of pedagogy, psychology, and other related sciences. Mandić's pedagogical ideas shed light on family pedagogy, the history of pedagogy, methods of educational work, preschool pedagogy, home pedagogy, comparative pedagogy, pedagogical psychology, andragogy, teaching methods, pedagogical methodology, and other scientific disciplines. Contemporary didacticians find Petar Mandić's ideas theoretically and methodologically grounded, thematically and structurally articulate, and characterize them as a courageous scientific endeavor accompanied by a critical and creative attitude towards theoretical sources and technical and technological novelties in teaching. The value of Petar Mandić's didactic ideas refers to the orientation towards new, modern and productive solutions (team teaching, dual progress plan, school without classes, flexible class schedule, micro-teaching, individually planned instruction), instructions on the application of innovations (use of computers and educational television in teaching process) and knowledge about the electronic classroom and individualized instruction.

In this study, the relation between innovation capabilities and product identity integrity is investigated through a theoretical frame, which is briefly tested through Turkish television industry.There are many studies in literature that discuss design’s role in innovation. The differentiation of product design activities from technological improvements was also discussed before; however more recent studies conducted by Dell’Era and Verganti also discuss the visual language aspect and its contribution to product innovation. Even if many aspects of visual elements and their effect on perceived novelty are discussed, the overall outcomes of design-driven innovation on product identity and brand identity still need to be discussed. There is a prior study conducted by Dell’Era and Vergani (2007) that provide quantitative clues on the subject, but theoretical explanations and their evaluations on fieldworks are still needed.This study aims to provide theoretical explanations to product identity outcomes of certain innovation types. Literatures on innovation, organizational creativity, and comparative studies on radical and incremental innovations are studied together with studies on product identity strategies to provide a relation between innovation types and product identity outcomes.The results support prior studies that claim companies with radical innovation capabilities have more homogenous product identity. Also, the provided theoretical relations are identified to a degree in the study. The outcomes can be suggested and developed further for developing product identity strategies in organizations.

The world of business has evolved from the 19th century (steam, rail and electricity) to the 20th century (telephone, radio, television and, especially, the computer as the greatest information technology that converts analogue signals into a digital form including binary digits), and the 21st century (the fourth industrial revolution (4th IR) – described as the advent of “cyber-physical systems” involving entirely new capabilities for people and machines). Digital entrepreneurship is an emergent phenomenon in which new digital artefacts, platforms and infrastructure are used to pursue innovative and entrepreneurial opportunities, which, to a certain extent calls into questions the relevance and applicability of traditional understandings of entrepreneurship. The study on which this article is based investigated digital entrepreneurship’s impact on the dynamic social networking market in light of the infusion of disruptive and innovative technology. It aimed to determine the entrepreneurship capability and competence that impact on digital music change management; and to examine the extent to which digital music distribution balances the driving forces of digitisation and the restraining forces from disruptive technology. An exploratory research design was adopted using univariate, bivariate and multivariate statistical analysis techniques to analyse the data collected from 217 musicians. The study found that the Internet is capable of reliable delivery of music processes, products and services, thereby enhancing supply chain distribution competence and capability. Digital entrepreneurial innovations enable independent artists to create music according to their tastes and customer demand. Independent music production and creation drive the economic entrepreneurial dimension while technological advancements encourage digital independent music distribution.

Abstract Recent surges and advances in the popular use of electronic technology such as Internet, email, iPad, iPhone, and touch-screens in Africa have opened up great communicative possibilities among ordinary people whose voices were previously marginalized in traditional elitist media. People far apart geographically and living in different times can communicate rapidly and with great ease. This technological revolution has challenged and broken down boundaries of dependence on television, newspapers, and novels, the traditional forms of communication. It is now possible to upload a novel onto an iPad and read it as one moves from place to place. The burden of carrying hard copies is relieved but not eradicated; in most African countries, including Zimbabwe (the centre of focus in the present article), the creative work of art or hard copy of a novel is still relied upon as source of information. There are creative, experimental innovations in the novel form in Zimbabwe which to some extent can justify one’s speaking of a hypertextual novel. This new type of novel incorporates multiple narratives, and sometimes deliberately uses genres such as the email form as a constitutive narrative style that confirms as well as destabilizes previous assumptions of single coherent stories told from one point of view. Using the concepts of hypertextuality, intertextuality, and Bakhtin’s notions of carnivalesque and heteroglossia in speech and written utterances, this article reconsiders the implications of the presence of ideologies of hypertextuality in one novel from Zimbabwe, Nyaradzo Mtizira’s The Chimurenga Protocol (2008). The article argues that the multiplicity of narratives constitutes the hypertextual dimension of the novelistic form.

Participation of Leningrad scientists, industrial workers and representatives of other institutions of this city in creation of various components of machines and technical products which assisted in realization of historical space flight of the first manned spacecraft ―Vostok‖ with the citizen of the USSR, major Yury Alekseevich Gagarin has been analyzed in the article. Leningrad citizens – representatives of different professions and specialties, such as opticians, biophysicists, specialties of radio and telecommunication engineering, mathematicians and scientists of gas dynamics, chemistry, digital machinery and others participated in preparation of the first space flight. The author of the article mentions such Leningrad enterprises, scientific establishments and higher institutions as Leningrad metal plant, M.I. Kalinin’s plant, mathematical institute named after V.A. Steklov AS USSR, physical-technological institute named after A.F. Yoffe AS USSR, State optical institute named after S.I. Vavilov, SRI-195, now the Institute of radio navigation and time, State institute of applied chemistr y, AUSRI of Television, special design offices (OKB-448, STKB ―Biophyspribor‖). The role of Leningrad higher institutions, namely Petr Velikyi Polytechnic University, Leningrad University named after A.A. Zhdanov; Leningrad holding the Order of the Red Banner Air Force Academy named after A.F. Mozhaisky has also been emphasized in the considered processes. It has been analyzed technological innovations, technical devices and techn ological decisions of Leningrad citizens participated in preparation and reali zation of the first manned space flight. It is named those scientists and industrial workers who partic ipated in their production as well as those who were awarded State Prizes according to the results of Yu. A. Gagarin’s space flight. It has been mentioned that in definite cases necessary for the flight technics or technical devices were manufactured at the enterprises of the city and tested at the plants ground. Such specific form of Leningrad citizens’ participation in preparing the first manned space flight as the work of one of the teachers from the Air Force Academy aimed at the radio techniques training the Orenburg flight school cadets in the second half 0f 1950s has also been described in the article. Just at that time Yury Gagarin studied in this school.

Significance: Several educational technological innovations are developed with the purpose of contributing to the training of future optometrists and ophthalmologists. However, very little is available for teaching refractometry. EYE REFRACTION is a simulator mobile applications (App) that works as a fast, straightforward and interactive interface tool for teaching refractometry. Purpose: Develop novel mobile application software (EYE REFRACTION) as a tool for teaching refractometry in medical schools. Methods: EYE REFRACTION software was developed by the emerging company “Ciência Ilustrada studio” incubated at “INOVA Metrópole” of the Digital Metropolis Institute of the Universidade Federal do Rio Grande do Norte, Brazil (IMD-UFRN), using the XCode 4.6.2. program (Apple Computer, Inc. Cupertino, CA, USA). This application software (App) was created for Tablets and has a fully interactive workspace, where after inserting the refraction data of the patient, the user can observe points or focal lines of the refractive errors and all the arrangements resulting from the various possible corrections. Results: After 90 days of blind and random simulations of the EYE REFRACTION App performed by volunteered ophthalmologists, six failures were detected and promptly corrected. Two were detected when refractive errors were simulated (simple myopic astigmatism), two during simulations of hypermetropic astigmatism, being one simple and the other compound, and two others during the simulation of mixed astigmatism. Conclusion: A novel App for teaching refractometry was successfully developed, where it enabled a real-time observation of refractive errors and their arrangements. The EYE REFRACTION App is currently available at Apple App Store.

British television has recently acquired a reputation for producing challenging dystopian visions of the future. While Black Mirror casts a disenchanted look on our experiences, Years and Years lacks cynicism and, in that regard, holds interesting lessons for designers. While the issues commented on by the British fictional series are also global in scale and scope (nuclear bombing, political tensions in the EU, energy crisis), the series displays a rare creativity in its depiction of future objects and innovations. The inventions depicted can be truly groundbreaking, long awaited or dysfunctional. While the series examines these objects and dispositifs, it never leans towards a set position, be it discouraged Luddism or happy-go-lucky celebration. Because it refuses to embrace or reject technology, it gives space to a rich examination of the possible design products of the future. This essay examines three selected objects (a meal tray, a vocal AI and a drone) which potentially condense a great deal of the current criticism of technology. None of the analysed objects are incredible in form or function; in fact, they have all been the subject of previous fiction matter. These objects will be analysed in terms of dispositifs and usage, but also as temporal devices whose functionality and aesthetics change with or against the tide. The concept of disappearance will be key as all three objects purport to replace jobs and the workers who hold such positions. These technological products all enact an erasure of work and of the working-class body, if they are understood as potential products available in a near future. As narrative devices, however, they also function as potent critical agents, underlying potential modes of resistance in our present.

The contribution of extension and the use of innovation in agriculture, especially red chili, is needed by farmers to improve agricultural development. Agricultural extension to the red chili farming community in Tamansari Village, Wuluhan District, Jember Regency, East Java, to improve farmers' knowledge and skills regarding an innovation and help increase production. The application of extension methods to red chili farmers has different responses in accepting an innovation or technology. The purpose of this study was to find out how the use of extension methods through individual, group and mass methods in the innovation adoption process by red chili farmers. This research is qualitative by presenting a complete picture of the social condition of the phenomenon and analyzed by Miles and Hubberman. Determination of informants in this study was carried out using purposive sampling method, this study had 1 key informant namely the head of the farmer group and 10 supporting informants in this study which was carried out using the snowball sampling method, namely extension workers, formulators and farmers who were active in extension activities. The results showed that counseling was carried out using 3 methods, namely individual methods with home visits, land visits, informal contacts and inquiry. Group method with lecture, discussion, demonstration and field school techniques. Mass method with campaign technique, internet, radio and television. After counseling with 3 methods and each technique, farmers can accept and apply a technological innovation, namely: a) organic pesticides, b) the use of Plant Growth Promoting Rhyzobacteria (PGPR), c) tractors, d) diesel engines, e) charcoal husks, f) water pumping machines, g) demonstration plots of fertilizers and pesticides, h) superior seeds, i) partners with Bank Mandiri & BNI, j) cooperation with PT Dirga Guna Wibawa (DGW), PT Advanta and PT Arista, k) use of internet media. Keyword: Extension, Extension Methods, Red Chili, Adoption of Innovations, Farmer Groups

The article analyzes three media technologies for creating an immersive polysensory environment, developed back in 1940–1960s by the Spanish film director and engineer Jose Val del Omar. The technologies are considered in the context of the director’s key concept, which he called “mechanical mysticism”. It was aimed at creating a cinematic analogy of mystical experience by transforming the mysticism of Spanish culture into cinematic technologies. The author reveals how the conversion of the suggestive artistic potential of Spanish mysticism into the immersiveness of film technologies allowed J. Val del Omar to create art spaces that took the system of illusions beyond the visual into special modes of psychological experiences. On the example of his films (Water- Mirror of Granada, 1955, and Fire in Castile, 1961), the author analyzes the originality of the engineering solutions of J. Val del Omar’s technologies, defines the strategies of immersiveness and their rootedness in Spanish mysticism, qualifies the aesthetic impact of these media technologies on viewers. The article demonstrates that immersiveness is achieved by using a shock strategy of interlacing the effects of suggestiveness and defamiliarization (“ostranenie”), as well as through the expansion of the range of the viewer’s sensory perception and the effect of synesthesia. The suggestive impression effect is enhanced by visual poetic metaphors that reveal to the viewers the historically formed sensual imagery of Spanish mysticism. With the help of optical and light technologies, the semantic field of a film is not only visualized, but also illusively materialized as a three-dimensional image. НАУКА ТЕЛЕВИДЕНИЯ № 17.1, 2021 54 THE ART AND SCIENCE OF TELEVISION In general, the strategies reproduce the sensual immersiveness, which is inherent in the Spanish Catholic cultural experience. Such strategies block the viewers’ psychological distancing mechanisms and cause affective states and emotional involvement in the art spaces. Such technological innovations for creation of immersive spectacular audio-visual environments brought the J. Val del Omar’s cinema into the field of multi-media, and therefore he could rightfully be considered the forerunner of media art, the creator of art spaces, which later became known as sound and video installations.

Introduction. The technological development of media has a growing impact on various spheres of life, including education. New technologies enhance access to information and could affect the quality of training. The term “media education” was developed. Media education implies the study of impact and the use of media (press, television, radio broadcasting, advertising, the Internet with all its applications) not only by specialists in this field, but also by ordinary consumers of information for critical perception and good application. These media tools make the static and passive learning process more dynamic and interactive inside and outside the school. In specific education (musical, theatrical, sports, etc.), educational media combined with traditional techniques also begin to be involved as the tools, which motivate students for studies. Above all, educational media provide greater opportunities to identify students’ talents, to develop their abilities and skills (e.g., language, vocal, designer, household, etc.).The aim of the present analytical study is to diagnose the problems of carrying out professional activities and to study the needs of teachers, specialising in educational media and working in specific pre-university education systems in Egypt and Saudi Arabia.Methodology and research methods. Data collection was carried out by means of a survey questionnaire that was administered to a sample consisting of 100 teachers (50 from Egypt and 50 from KSA) working at various pre-university education levels in both countries.Results and scientific novelty. The results revealed that the major obstacles facing Egyptian teachers lied in budgetary and facilities shortage. Saudi teachers, however, were hindered by the administrative deficiency, lack of competencies in the use of the latest, constantly improving educational media and lack of in-service professional development. Moreover, all the participants reported the pivotal need to offer continuing professional in-service training opportunities for educational media and educational technology specialists. For experts in the field of educational media technologies, the advantages and benefits of this tool are obvious when conducting extra-curricular classes and activities, which allow providing more intensive intellectual development of students, as well as strengthening discipline and improving children behaviour.Practical significance. The authors formulated the recommendations on reforming the system of specific educational services, improving their quality due to the fastest, synchronous promotion of technological innovations, implementation of modern equipment and support of teachers’ competencies at the proper level. The importance of media education development actualises the creation of academic programmes at universities for the training of qualified teachers in the field of specific education, especially for countries, which do not have the same experience of training, since media education is becoming compulsory in the contemporary world, increasingly affecting the formation of individuals, culture and society. A number of proposals have been made to continue research in this direction.

Background The prevalence of Autism Spectrum Disorder (ASD) appears to be increasing globally due to the complex interaction of multiple biopsychosocial and environmental factors. Mobile phones, tablets, and other electronic gadgets have transformed our means of communication, and have also changed both healthcare and how we learn. These technological enhancements may have a positive impact on the lives of children, but there is currently a global scarcity of information on how information technology influences the education of children with ASD. Objective This study was conducted in Rwandan schools and communities, and aimed to understand the perceptions of students with ASD, their parents, and their teachers, on the use of Information and Communication Technology (ICT) in the education of those with ASD. Methods This qualitative descriptive study was conducted from December 2017 to July 2018. Researchers conducted four focus group discussions (FGDs) with 54 participants from different backgrounds: teachers, parents, and students with ASD. Each of the FGDs took approximately two and a half hours. A predefined set of open-ended questions were selected to discover people’s perceptions regarding assistive technologies used in ASD, their effectiveness, the scope of using them in their context, and upcoming challenges during implementation. The interviews were recorded, transcribed, and analyzed. Results The findings of the study revealed seven key themes: (1) the use of ICT for the education of children with ASD; (2) existing augmentative facilities for learning; (3) current patterns of use of ICT in education; (4) preferred areas of learning for ASD students; (5) integration of ICT into educational programs; (6) areas of interest outside the classroom; and (7) future opportunities and challenges in Rwanda. We found most of the study participants assumed that appropriate technology and related innovations might solve the challenges faced by learners with ASD in classrooms. Moreover, they thought that children with ASD more so enjoyed watching television, playing digital games, and drawing objects using gadgets than interacting with people or playing with other children. Conclusions The use of various low-cost technical devices can aid with teaching and the education of children with autism in Rwanda. However, this area requires further research to discover the impact ICT can have on the education of children with ASD, so this study may become a starting point for further research in the area.

Perfect vision for the path ahead? As I write this editorial it seems that once again, we stand on the threshold of yet another significant date. The fortieth anniversary of ISCPES and also that of this journal, that has been the voice of the society’s contribution over that period, has been and gone. This time it is 2020 that looms on the near horizon. It is a date that has long been synonymous with perfect vision. Many may perhaps see this as somewhat ironic, given the themes surrounding change and the directions it has taken, that have been addressed previously in these pages. Perfect vision and the clarity it can bring seem a far cry away from the turbulent world to which we seem to be becoming accustomed. So many of the divisions that we are facing today seem to be internal in nature and far different from the largely: nation against nation; system against system strife, we can remember from the cold war era. The US, for example, seems to be a nation perpetually at war with itself. Democrats v Republicans, deplorables v elites - however you want to label the warring sides - we can construct a number of divisions which seem to put 50% of Americans implacably opposed to the other 50%. In the UK, it has been the divide around the referendum to leave the European Union – the so-called Brexit debate. Nationally the division was 52% to 48% in favour of leaving. Yet the data can be reanalysed in, it seems, countless ways to show the splits within a supposedly ‘United’ Kingdom. Scotland v England, London and the South East v the English regions, young v old are just some of the examples. Similar splits seem to be increasing within many societies. Hong Kong has recently been the focus of world interest We have watched this erstwhile model of an apparently successful and dynamic compromise between two ‘diverse’ systems, appear to tear itself apart on our television screens. Iran, Brazil, Venezuela are just three further examples of longstanding national communities where internal divisions have bubbled to the surface in recent times. These internal divisions frequently have no simple and single fault line. In bygone times, social class, poverty, religion and ethnicity were simple universal indicators of division. Today ways of dividing people have become far more complex and often multi-dimensional. Social media has become a means to amplify and repeat messages that have originated from those who have a ‘gripe’ based in identity politics or who wish to signal to all and sundry how extremely ‘virtuous’ and progressive they are. The new technologies have proved effective for the distribution of information but remarkably unsuccessful in the promotion of communication. This has been exemplified by the emergence and exploitation of Greta Thunberg a sixteen-year-old from Sweden as a spokesperson for the ‘Extinction Rebellion’ climate change lobby. It is a movement that has consciously eschewed debate and discussion in favour of action. Consequently, by excluding learning from its operation, it is cutting itself off from the possibility of finding out what beneficial change will look like and therefore finding a way by which to achieve it. Put simply, it has predetermined its desired goal and defined the problem in inflexible terms. It has ignored a basic tenet of effective problem solving, namely that the key lies in the way you actually frame the problem. Unfortunately, the movement has adopted the polarised labelling strategies that place all humans into the category of either ‘believers’ or ‘deniers’. This fails to acknowledge and deal with the depth and complexity of the problem and the range of our possible responses to it. We are all the losers when problems, particularly given their potential significance, become addressed in such a way. How and where can human behaviour learn to rise above the limits of the processes we see being followed all around us? If leadership is to come, it must surely come from and through a process of education. All of us must assume some responsibility here – and certainly not abdicate it to elite and powerful groups. In other words, we all have a moral duty to educate ourselves to the best of our ability. An important part of the process we follow should be to remain sceptical of the limits of human knowledge. In addition, we need to be committed to applying tests of truth and integrity to the information we access and manage. This is why we form and support learned societies such as ISCPES. Their duty is to test, debate and promote ideas and concepts so that truth and understanding might emerge from sharing and exploring information, while at the same time applying the criteria developed by the wisdom and experience of those who have gone before. And so, we come to the processes of change and disruption as we are currently experiencing them at International Sports Studies. Throughout our history we have followed the traditional model of a scholarly journal. That is, our reason for existence is to provide a scholarly forum for colleagues who wish to contribute to and develop understanding within the professional and academic field of Comparative Physical Education and Sport. As the means of doing this, we encourage academics and professionals in our field to submit articles which are blind reviewed by experts. They then advise the editor on their quality and suitability for publication. As part of our responsibility we particularly encourage qualified authors from non-English speaking backgrounds to publish with us, as a means of providing a truly international forum for ideas and development. Where possible the editorial team works with contributors to assist them with this process. We have now taken a step further by publishing the abstracts in Portuguese, Spanish and Chinese on the website, in order to spread the work of our contributors more widely. Consistent with international changes in labelling and focus over the years, the title of the society’s journal was changed from the Journal of Comparative Physical Education and Sport to International Sports Studies in 1989. However, our aim has remained to advance understanding and communication between members of the global community who share a professional, personal or scholarly interest in the state and development of physical education and sport around the world. In line with the traditional model, the services of our editorial and reviewing teams are provided ex gratia and the costs of publication are met by reader and library subscriptions. We have always offered a traditional printed version but have, in recent years, developed an online version - also as a subscription. Over the last few years we have moved to online editorial support. From 2020 will be adopting the practice of making articles available online immediately following their acceptance. This will reduce the wait time experienced by authors in their work becoming generally available to the academic community. Readers will no doubt be aware of the current and recent turbulence within academic publishing generally. There has been a massive increase in the university sector globally. As a result, there has been an increasing number of academics who both want to and need to publish, for the sake of advancement in their careers. A number of organisations have seen this as providing a business opportunity. Consequently, many academics now receive daily emails soliciting their contributions to various journals and books. University libraries are finding their budgets stretched and while they have been, up until now, the major funders of scholarly journals through their subscriptions, they have been forced to limit their lists and become much more selective in their choices. For these reasons, open access has provided a different and attractive funding model. In this model, the costs of publication are effectively transferred to the authors rather than the readers. This works well for those authors who may have the financial support to pursue this option, as well as for readers. However, it does raise a question as to the processes of quality control. The question arises because when the writer becomes the paying customer in the transaction, then the interests of the merchant (the publisher) can become more aligned to ensuring the author gets published rather than guaranteeing the reader some degree of quality control over the product they are receiving. A further confounding factor in the scenario we face, is the issue of how quality is judged. Universities have today become businesses and are being run with philosophies similar to those of any business in the commercial world. Thus, they have ‘bought into’ a series of key performance indicators which are used to compare institutions one with another. These are then added up together to produce summative scores by which universities can be compared and ranked. There are those of us that believe that such a process belittles and diminishes the institutions and the role they play in our societies. Nonetheless it has become a game with which the majority appear to have fallen in line, seeing it as a necessary part of the need to market themselves. As a result, very many institutions now pay their chief executives (formerly Vice-Chancellors) very highly, in order to for them to optimise the chosen metrics. It is a similar process of course with academic journals. So it is, that various measures are used to categorise and rank journals and provide some simplistic measure of ‘quality’. Certain fields and methodologies are inherently privileged in these processes, for example the medical and natural sciences. As far as we are concerned, we address a very significant element in our society – physical education and sport - and we address it from a critical but eclectic perspective. We believe that this provides a significant service to our global community. However, we need to be realistic in acknowledging the limited and restricted nature of that community. Sport Science has become dominated by physiology, data analytics, injury and rehabilitation. Courses and staff studying the phenomenon of sport and physical education through the humanities and social sciences, seem to be rarer and rarer. This is to the great detriment of the wellbeing and development of the phenomenon itself. We would like to believe that we can make an important difference in this space. So how do we address the question of quality? Primarily through following our advertised processes and the integrity and competence of those involved. We believe in these and will stick with them. However, we appreciate that burying our heads in the sand and remaining ‘king of the dinosaurs’ does not provide a viable way forward. Therefore, in our search for continuing strategy and clear vision in 2020, we will be exploring ways of signalling our quality better, while at the same time remaining true to our principles and beliefs. In conclusion we are advising you, as our readers, that changes may be expected as we, of necessity, adapt to our changing environment while seeking sustainability. Exactly what they will be, we are not certain at the time of going to press. We believe that there is a place, even a demand for our contribution and we are committed to both maintaining its standard and improving its accessibility. Comments and advice from within and outside of our community are welcome and we remain appreciative, as always, of the immense contribution of our international review board members and our supportive and innovative publisher. So, to the contributors to our current volume. Once again, we would point with some pride to the range of articles and topics provided. Together, they provide an interesting and relevant overview of some pertinent current issues in sport and physical education, addressed from the perspectives of different areas across the globe. Firstly, Pill and Agnew provide an update to current pedagogical practices in physical education and sport, through their scoping review of findings related to the use of small-sided games in teaching and coaching. They provide an overview of the empirical research, available between 2006 and 2016, and conclude that the strategy provides a useful means of achieving a number of specific objectives. From Belgium, Van Gestel explores the recent development of elite Thai boxing in that country. He draws on Elias’ (1986) notion of ‘sportization’ which describes the processes by which various play like activities have become transformed into modern sport. Thai boxing provides an interesting example as one of a number of high-risk combat sports, which inhabit an ambiguous area between the international sports community and more marginalised combat activities which can be brutal in nature. Van Gestel expertly draws out some of the complexities involved in concluding that the sport has experienced some of the processes of sportization, but in this particular case they have been ‘slight’ in impact rather than full-blown. Abdolmaleki, Heidari, Zakizadeh XXABSTRACT De Bosscher look at a topic of considerable contemporary interest – the management of a high-performance sport system. In this case their example is the Iranian national system and their focus is on the management of some of the resources involved. Given that the key to success in high performance sport systems would appear to lie in the ability to access and implement some of the latest and most effective technological information intellectual capital would seem to be a critical component of the total value of a competitive high performance sport system Using a model developed by a Swedish capital services company Skandia to model intangible assets in a service based organisation, Abdolmaleki and his associates have argued for the contribution of human, relational and structural capital to provide an understanding of the current place of intellectual capital in the operations of the Iranian Ministry of Sport and Youth. An understanding of the factors contributing to the development of these assets, contributes to the successful operation of any organisation in such a highly competitive and fast changing environment. Finally, from Singapore, Chung, Sufri and Wang report on some of the exciting developments in school based physical education that have occurred over the last decade. In particular they identify the increase in the placement of qualified physical education teachers as indicative of the progress that has been made. They draw on Foucault’s strategy of ‘archaeological analysis’ for an explanation of how these developments came to be successfully put in place. Their arguments strongly reinforce the importance of understanding the social and political context in order to achieve successful innovation and development. May I commend the work of our colleagues to you and wish you all the best in the attempt to achieve greater clarity of vision for 2020!

The year 2020, verging to a close, is one of the most difficult and hardest years in the life of mankind over the last century. Unfortunately, it is in the 20th year of each century for the last several hundred years that human civilization has been suffering from another global pandemic (to say nothing of local and regional pandemics)… Several pandemics of plague killed at least 300 million people, and the highest incidence in Europe occurred in 1720‒1722. In 1817‒1824, the First Cholera Pandemic spread across the world. One hundred years later, in 1918‒1920, fifty million lives worldwide were claimed by the Spanish flu (H1N1). For a year now, starting in December 2019 and throughout 2020, the entire world is fighting the 21st century pandemic – the global COVID-19 outbreak caused by the SARS-CoV-2 coronavirus. Despite all the difficulties that humanity faces today, life goes on, and the world scientific community is persistently looking for ways to get out of the latest pandemic trap. The world has learned the lessons of pandemics and learned to use the acquired knowledge and scientific legacy of past generations. This led to a quick response to the challenges that life presents us. In December 2020, at this writing, several pharmaceutical companies have already announced the invention of vaccines and the final stages of their trials. We hope that our esteemed authors and readership will witness yet another victory of science over the world's evil. 10 years ago to the day, creation of the History of Science and Technology journal began. Therefore, we would like to summarize some of the work undertaken over the years. The first issue of History of Science and Technology was published in 2011. The founder of the journal was the State Economy and Technology University of Transport. State Economy and Technology University of Transport was one of the three universities in Ukraine that mainly trained specialists for the railway industry. It is the teachers, students and staff of the State Economy and Technology University of Transport who became the primary authors of the first journal issues. Therefore, in the first years after the journal was created, its focus on the study of the history of the development of railway transport and related areas was apparent. Back then the journal was titled History of Science and Technology: Collection of scientific papers of the State Economic and Technological University of Transport. Printed versions of the journal were regularly distributed in libraries of higher educational institutions and research institutions of Ukraine. The electronic version of the full-text issue of the journal (without division into separate articles) was posted on the University library website. Gradually, the journal began to gain popularity, and as far back as in 2013‒2015 it received a large audience of readers and authors across regions and organizations from all over Ukraine. Accordingly, the themes of the articles changed, being no longer limited to rail transport, but extended to the study of the history of all branches of science and various technologies instead. In 2016, the journal History of Science and Technology replaced its founder. It was the State University of Infrastructure and Technologies which was established through the decree of Ukrainian government dated February 29, 2016 by way of merger of two metropolitan higher educational institutions – Kyiv State Maritime Academy named after hetman Petro Konashevych-Sahaidachnyi and State Economy and Technology University of Transport. Accordingly, the name of the journal has changed into History of Science and Technology: Collection of scientific papers of State University of Infrastructure and Technologies. The next stage in the life of the journal was the creation of its separate website in March 2018. Since then, work has begun on a deeper reform of the journal, which continues to this day. History of Science and Technology journal is constantly changing. Thus, steps have been taken to improve the design of the journal and bring it into line with internationally recognized standards. The composition of the journal's editorial board has undergone significant personnel changes. In April 2019, it underwent state re-registration of the print media and acquired its current name – History of Science and Technology journal. However, fundamental steps have been taken towards filling the journal with original and high-qualty scientific content that would be of interest not only to the Ukrainian reader but also to foreign reader. Strict analysis in the selection of articles, strict plagiarism policy, independent double-blind peer review, as well as numerous other steps and innovations, have affected the number of published articles. If in 2019 approximately 25% of submitted articles were rejected, in 2020 this figure reaches almost 60%. Although hopefully, a change in quality of articles for the better followed the change in their number. They have really become interesting to the international world community, as evidenced by statistics on daily visits to the journal's website by representatives from around the world. The journal generated interest among authors from different countries and continents. In the first issue of History of Science and Technology for the year 2020, articles by authors representing universities and research organizations from Ghana, Canada, USA, Spain, Russia and Ukraine were published. Thus, in the second issue of 2020, History of Science and Technology journal introduces its readers to articles by authors from around the world, namely Azerbaijan, India, Indonesia, Italy, Spain and Ukraine. While summing up our 10 years’ work, we would like not to be limited to bare figures. Thus, History of Science and Technology has published 10 volumes and 17 issues over the years, which include more than 400 articles by various authors. And of course, each of these published articles has undergone a great deal of work by authors, editors, reviewers, proof-readers, print workers, etc. All these people primarily have always been trying to make History of Science and Technology journal interesting for you, our Readers! Our team will keep working enthusiastically and persistently on it!

IntroductionIn a 2013 press release issued by Blind Citizens Australia, the advocacy group announced they were lodging a human rights complaint against the Australian government and the ABC over the lack of audio description available on the public broadcaster. Audio description is a track of narration included between the lines of dialogue which describes important visual elements of a television show, movie or performance. Audio description is broadly recognised as an essential feature to make television accessible to audiences who are blind or vision impaired (Utray et al.). Indeed, Blind Citizens Australia maintained that audio description was as important as captioning on Australian television:people who are blind have waited too long and are frustrated that audio description on television remains indefinitely beyond our reach. Our Deaf or hearing impaired peers have always seen great commitment from the ABC, but we continue to feel like second class citizens.While audio description as a technology was developed in the 1960s—around the same time as captions (Ellis, “Netflix Closed Captions”)—it is not as widely available on television and access is therefore often considered to be out of reach for this group. As a further comparison, in Australia, while the provision of captions was mandated in the Broadcasting Services Act (BSA) 1992 and television sets had clear Australian standards regarding their capability to display captions, there is no legislation for audio description and no consistency regarding the ability of television sets sold in Australia to display them (Ellis, “Television’s Transition”). While as a technology, audio description is as old as captioning it is not as widely available on television. This is despite the promise of technological advancements to facilitate its availability. For example, Cronin and King predicted that technological change such as the introduction of stereo sound on television would facilitate a more widespread availability of audio description; however, this has not eventuated. Similarly, in the lead up to the transition from analogue to digital broadcasting in Australia, government policy documents predicted a more widespread availability of audio description as a result of increased bandwidth available via digital television (Ellis, “Television’s Transition”). While these predictions paved way for an audio description trial, there has been no amendment to the BSA to mandate its provision.Audio description has been experienced on Australian broadcast television in 2012, but only for a 14-week trial on ABC1. The trial report, and feedback from disability groups, identified several technical impediments and limitations which effected the experience of audio described content during this trial, including: the timing of the trial during a period in which the transition from analogue to digital television was still occurring (creating hardware compatibility issues for some consumers); the limitations of the “ad hoc” approach undertaken by the ABC and manual implementation of audio description; and the need for upgraded digital receivers (ABC “Trial of Audio Description”, 2). While advocacy groups acknowledged the technical complexities involved, the expected stakeholder discussions that were due to be held post-trial, in part to attempt to resolve the issues experienced, were never undertaken. As a result of the lack of subsequent commitments to providing audio description, in 2013 advocacy group Blind Citizens Australia lodged their formal complaints of disability discrimination against the ABC and the Federal Government. Since the 2012 trial on ABC1, the ABC’s catch-up portal iView instigated another audio description trial in 2015. Through the iView trial it was further confirmed that audio description held considerable benefits for people with a vision impairment. They also demonstrated that audio description was technically feasible, with far less ‘technical difficulties’ than the experience of the 2012 broadcast-based trial. Over the 15 month trial on ABC iView 1,305 hours of audio described content was provided and played 158, 277 times across multiple platforms, including iOS, Android, the Freeview app and desktop computers (ABC, “ABC iView Audio Description Trial”).Yet despite repeated audio description trials and the lodgement of discrimination complaints, there remains no audio description on Australian broadcast television. Similarly, whereas 55 per cent of DVDs released in Australia have captions, only 25 per cent include an audio description track (Media Access Australia). At the time of writing, the only audio description available on Australian television is on Netflix Australia, a subscription video on demand provider.This article seeks to highlight the importance of television access for people with disability, with a specific focus on the provision of audio description for people with vision impairments. Research consistently shows that despite being a visual medium, people with vision impairments watch television at least once a day (Cronin and King; Ellis, “Netflix Closed Captions”). However, while television access has been a priority for advocates for people who are Deaf and hard of hearing (Downey), audiences advocating audio description are only recently making gains (Ellis, “Netflix Closed Captions”; Ellis and Kent). These gains are frequently attributed to technological change, particularly the digitisation of television and the introduction of subscription video on demand where users access television content online and are not constrained by broadcast schedules. This transformation of how we access television is also considered in the article, again with a focus on the provision–or lack thereof—of audio description.This article also reports findings of research conducted with Australians with disabilities accessing the emerging video on demand environment in 2016. The survey was run online from January to February 2016. Survey respondents included people with disability, their families, and carers, and were sourced through disability organisations and community groups as well as via disability-focused social media. A total of 145 people completed the survey and 12 people participated in follow-up interviews. Insights were gained into both how people with disability are currently using video on demand and their anticipated usage of services. Of note is that most subscription video on demand services (Netflix Australia, Stan, and Presto) had only been introduced in Australia in the year before the survey being carried out, with only Foxtel Play and Quickflix having been in operation for some time prior to that.Finally, the article ends by looking at past and current advocacy in this area, including a discussion on existing—albeit, to date, limited—political will.Access to Television for People with DisabilitiesTelevision can be disabling in different ways for people with impairments, yet several accessibility features exist to translate information. For example, people who are D/deaf or hard of hearing may require captions, while people with vision impairments prefer to make use of audio description (Alper et al.). Similarly, people with mobility and dexterity impairments found the transition to digital broadcasting difficult, particularly with relation to set top box set up (Carmichael et al.). As Joshua Robare has highlighted, even legislation has generally favoured the inclusion of audiences with hearing impairments, while disregarding those with vision impairments. Similarly, much of the literature in this area focuses on the provision of captions—a vital accessibility feature for people who are D/deaf or hard of hearing. Consequently, research into accessibility to television for a diversity of impairments, going beyond hearing impairments, remains deficient.In a study of Australian audiences with disability conducted between September and November 2013—during the final months of the analogue to digital simulcast period of Australian broadcast television—closed captions, clean audio, and large/colour-coded remote control keys emerged as the most desired access features (see Ellis, “Digital Television Flexibility”). Audio description barely registered in the top five. In a different study conducted two years ago/later, when disabled Australian audiences of video on demand were asked the same question, captions continued to dominate at 63.4 per cent; however, audio description was also seen to be a necessary feature for almost one third of respondents (see Ellis et al., Accessing Subcription Video).Robert Kingett, founder of the Accessible Netflix Project, participated in our research and told us in an interview that video on demand providers treat accessibility as an “afterthought”, particularly for blind people whom most don’t think of as watching television. Yet research dating back to the 1990s shows almost 100 per cent of people with vision impairments watch television at least once a day (Cronin & King). Statistically, the number of Australians who identify as blind or vision impaired is not insignificant. Vision Australia estimates that over 357,000 Australians have a vision impairment, while one in five Australians have a disability of some form. With an ageing population, this number is expected to grow exponentially in the next ten years (Australian Network on Disability). Kingett therefore describes this lack of accessibility as evidence video on demand is “stuck in the dark ages”, and advocates that people with vision impairments do use video on demand and therefore continue to have unmet access needs.Video on Demand—Transforming TelevisionSubscription video on demand services have caused a major shift in the way television is used and consumed in Australia. Prior to 2015, there was a small subscription video on demand industry in this country. However, in 2015, following the launch of Netflix Australia, Stan, and Presto, Australia was described as having entered the “streaming wars” (Tucker) where consumers would benefit from the increased competition. As Netflix gained dominance in the video on demand market internationally, people with disability began to recognise the potential this service could have in transforming their access to television.For example, the growing availability of video on demand services continues to provide disruptive change to the way in which consumers enjoy information and entertainment. While traditional broadcast television has provided great opportunities for participation in news, events, and popular culture, both socially and in the workplace, the move towards video on demand services has seen a notable decline in traditional television viewing habits, with online continuing to increase at the expense of Australian free-to-air programming (C-Scott).For the general population, this always-on, always-available, and always-shareable nature of video on demand means that the experience is both convenient and instant. If a television show is of interest to friends and family, it can be quickly shared through popular social media with others, allowing everyone to join in the experience. For people with disability, the ability to both share and personalise the experience of television is critical to the popularity of video on demand services for this group. This gives them not only the same benefits as others but also ensures that people with disability are not unintentionally excluded from participation—it allows people with disability the choice as to whether or not to join in. However, exclusion from video on demand is a significant concern for people with disability due to the lack of accessibility features in popular subscription services. The lack of captions, audio description, and interfaces that do not comply with international Web accessibility standards are resulting in many people with disability being unable to fully participate in the preferred viewing platforms of family and friends.The impact of this expands beyond the consumption patterns of audiences, shifting the way the audience is defined and conceptualised. With an increasing distribution of audience attention to multiple channels, products, and services, the ability to, and strategies for, acquiring a large audience has changed (Napoli). As audience attention is distributed, it is broken up, into smaller, fragmented groups. The success, therefore, of a new provider may be to amass a large audience through the aggregation of smaller, niche audiences. This theory has significance for consumers who require audio description because they represent a viable target group. In this context, accessibility is reframed as a commercial opportunity rather than a cost (Ellis, “Netflix Closed Captions”).However, what this means for future provision of audio description in Australia is still unclear. Chris Mikul from Media Access Australia, author of Access on Demand, was interviewed as part of this research. He told us that the complete lack of audio description on local video on demand services can be attributed to the lack of Australian legislation requiring it. In an interview as part of this research he explained the central issue with audio description in this country as “the lack of audio description on broadcast TV, which is shocking in a world context”.International providers fare only slightly better. Robert Kingett established the Accessible Netflix Project in 2013 with the stated aim of advocating for the provision of audio description on Netflix. Netflix, despite a lack of a clear accessibility policy, are seen as being in front in terms of overall accessibility—captions are available for most content. However, the provision of audio description was initially not considered to be of such importance, and Netflix were initially against the idea, citing technical difficulties. Nevertheless, in 2015—shortly after their Australian launch—they did eventually introduce audio description on original programming, describing the access feature as an option customers could choose, “just like choosing the soundtrack in a different language” (Wright). However, despite such successful trials, the issue in the Australian market remains the absence of legislation mandating the provision of audio description in Australia and the other video on demand providers have not introduced audio description to compete with Netflix. As the Netflix example illustrates, both legislation and recognition of people with disability as a key audience demographic will result in a more accessible television environment for this group.Currently, it is debatable as to whether this increasingly competitive market, the shifting perception of audience attraction and retention, and the entry of multiple international video on demand providers, has influenced how accessibility is viewed, both for broadcast television and video on demand. Although there is some evidence for an increasing consideration of people with disability as “valid” consumers—take, for example, the iView audio description trial, or the inclusion of audio description by Netflix—our research indicates accessibility is still inconsistently considered, designed for, and applied by current providers.Survey Response: Key Issues Regarding AccessibilityRespondents were asked to provide an overall impression of video on demand services, and to tell us about their positive and negative experiences. Analysis of 68 extended responses, and the responses provided by the interview participants, identified a lack of availability of accessibility features such as audio description as a key problem. What our results indicate is that while customers with a disability are largely accommodating of the inaccessibility of providers—they use their own assistive technology to access content—they are keenly aware of the provisions that could be made. As one respondent put it:they could do a lot better: talking menus, spoken sub titles, and also spoken messages on screen.However, many expressed low expectations due to the continued absence of audio description on broadcast television:so, the other thing is, my expectations are quite low because of years of not having audio descriptions. I have slightly different expectations to other people.This reflection is important in considering both the shifting expectations regarding video on demand providers but also the need for a clear communication of what features are available so that providers can cater to—and therefore capture—niche markets.The survey identified captioning as the main accessibility problem of video on demand services. However, this may not accurately reflect the need for other accessibility features such as audio description. Rather, it may be indicative that this feature is often the only choice given to consumers. As, Chris Mikul identified, “the only disability being catered for to any great extent is deafness/hearing impairment”. Kingett agreed, noting:people who are deaf and hard of hearing are placed way before the rest because captions are beyond easy and cheap to create now. Please, there’s even companies that people use to crowd source captions so companies don’t have to do it anymore. This all came about because the deaf community has [banded] together … to achieve a cause. I know audio description isn’t as cheap to make as captions but, by these companies’ budgets that’s like dropping a penny.Advocacy and Political WillAs noted above, it has been argued by some that accessibility features that address vision impairments have been neglected. The reason behind this is twofold—the perception that this disability is experienced by a minority of the population and that, because blind people “don’t watch television”, it is not an important accessibility feature. This points towards a need for both disability advocacy and political will by politicians to introduce legislation. As one survey respondent identified, the reality is that, in Australia, neither politicians nor people with vision impairments have yet to address the issue on audio description in an organised or sustained way:we have very little audio described content available in Australia. We don’t have the population of blind people nor the political will by politicians to force providers to provide for us.However, Blind Citizens Australia—the coalition of television audiences with vision impairments who lodged the human rights complaint against the government and the ABC—suggest the tide is turning. Whereas advocates for people with vision impairments have traditionally focused on access to the workforce, the issue of television accessibility is increasingly gaining attention, particularly as a result of international activist efforts and the move towards video on demand (see Ellis and Kent).For example, Kingett’s Accessible Netflix Project in the US is considered one of the most successful accessibility movements towards the introduction of audio description. While its members are predominantly US-based, it does include several Australian members and continues to cover Netflix Australia’s stance on audio description, and be covered by Australian media and organisations (including Media Access Australia and Life Hacker). When Netflix launched in Australia, Kingett encouraged Australians to become more involved in the project (Ellis and Kent).However, despite the progress towards mandating of audio description in parliament and the resolution of efforts made by advocacy groups (including Vision Australia and Blind Citizens Australia), the status of audio description remains uncertain. Whilst some support has been gained—specifically through motions made by Senator Siewert and the ABC iView audio description trials—significant change has been slow. For example, conciliation discussions are still ongoing regarding the now four-year-old complaint brought against the ABC and the Federal Government by Blind Citizens Australia. Meanwhile, although the Senate supported Senator Siewert’s motion to change the Broadcasting Services Act to include audio description, the Act has yet to be amended.The results of multiple ABC trials of audio description remain in discussion. Whilst the recently released report on the findings of the April 2015—July 2016 iView trial states that the “trial has identified that those who utilised the audio description service found it a valuable enhancement to their media engagement and their social interactions” (ABC, “ABC iView Audio Description Trial” 18), it also cautioned that “any move to introduce AD services in Australia would have budgetary implications for the broadcasters in a constrained financial environment” and “broader legislative implications” (ABC, “ABC iView Audio Description Trial” 18). Indeed, although the trial was considered “successful”—in that experiences by users were generally positive and the benefits considerable (Media Access Australia, “New Report”)—the continuation of audio description on iView alone was clarified as representing “a systemic failure to provide people who are blind or have low vision with basic access to television now, given that iView is out of reach for many people in the blindness and low vision community” (Media Access Australia, “New Report”). Indeed, the relatively low numbers of plays of audio described content during the trial (158, 277 plays, representing 0.58% of total program plays on iView) were likely a result of a lack of access to smartphones or Internet technology, prohibitive data speeds and/or general Internet costs, all factors which affect the accessibility of video on demand significantly more for people with disability (Ellis et al., “Access for Everyone?”).On a more positive note, the culmination of advocacy pressure, the ABC iView trial, political attention, and increasing academic literature on the accessibility of Australian media has resulted in the establishment of an Audio Description Working Group by the government. This group consists of industry representatives, advocacy group representatives, academics, and “consumer representatives”. The aims of the group are to: identify options to sustainably increase access to audio description services; identify any impediments to the implementation of audio description; provide expert advice on audio description implementation options; and develop a report on the findings due at the end of 2017.ConclusionIn the absence of audio description, people who are blind or vision impaired report a less satisfying television experience (Cronin and King; Kingett). However, with each technological advancement in the delivery of television, from stereo sound to digital television, this group has held hopes for a more accessible experience. The reality, however, has been a continued lack of audio description, particularly in broadcast television.Several commentators have compared the provision of audio description with closed captioning. They find that audio description is not as widely available, and reflect this is likely a result of lack of legislation (Robare; Ellis, “Digital Television Flexibility”)—for example, in the Australian context, whereas the provision of captions is mandated in the Broadcasting Services Act 1992, audio description is not. As a result, there have been limited trials of audio description in this country and inconsistent standards in how to display it. As discussed throughout this paper, people with vision impairments and their allies therefore often draw on the example of the widespread “acceptance” of captions to make the case that audio description should also be more widely available.However, following the introduction of subscription video on demand in Australia, and particularly Netflix, the issue of audio description is receiving greater attention. It has been argued that video on demand has transformed television, particularly the ways in which television is accessed. Video on demand could also potentially transform the way we think about accessibility for audiences with disability. While captions are a well-established accessibility feature facilitating television access for people with a range of disabilities, video on demand is raising the profile of the importance of audio description for audiences with vision impairments.ReferencesABC. “Audio Description Trial on ABC Television: Report to the Minister for Broadband, Communications and the Digital Economy”. Dec. 2012. 8 Apr. 2017 <https://www.communications.gov.au/sites/g/files/net301/f/ABC-Audio-Description-Trial-Report2.pdf>.ABC. “ABC iView Audio Description Trial: Final Report to The Department of Communications and the Arts.” Oct. 2016. 6 Apr. 2017 <https://www.communications.gov.au/documents/final-report-trial-audio-description-abc-iview>.Alper, Meryl, et al. “Reimagining the Good Life with Disability: Communication, New Technology, and Humane Connections.” Communication and the Good Life. Ed. H. Wang. New York: Peter Lang, 2015.Australian Network on Disability. “Disability Statistics.” Mar. 2017. 30 Apr. 2017 <https://www.and.org.au/pages/disability-statistics.html>.Blind Citizens Australia. Government and ABC Fail to Deliver on Accessible TV for Australia’s Blind. Submission. 10 July 2013. 1 May 2017 <http://bca.org.au/submissions/>.C-Scott, Marc. “The Battle for Audiences as Free-TV Viewing Continues Its Decline.” Mumbrella 22 Apr. 2016. 24 May 2016 <https://mumbrella.com.au/the-battle-for-audiences-as-free-tv-viewing-continues-its-decline-362010>.Carmichael, Alex, et al. “Digital Switchover or Digital Divide: A Prognosis for Useable and Accessible Interactive Digital Television in the UK.” Universal Access in the Information Society 4 (2006): 400–16.Cronin, Barry J., and Sharon Robertson King. “The Development of the Descriptive Video Services.” National Center to Improve Practice in Special Education through Technology, Media and Materials. Sep. 1998. 8 May 2014 <https://www2.edc.org/NCIP/library/v&c/Cronin.htm>.Downey, G. “Constructing Closed-Captioning in the Public Interest: From Minority Media Accessibility to Mainstream Educational Technology.” Info 9.2–3 (2007): 69–82.Ellis, Katie. “Digital Television Flexibility: A Survey of Australians with Disability.” Media International Australia 150 (2014): 96.———. “Netflix Closed Captions Offer an Accessible Model for the Streaming Video Industry, But What about Audio Description?” Communication, Politics & Culture 47.3 (2015).———. “Television’s Transition to the Internet: Disability Accessibility and Broadband-Based TV in Australia.” Media International Australia 153 (2014): 53–63.Ellis, Katie, and Mike Kent. “Accessible Television: The New Frontier in Disability Media Studies Brings Together Industry Innovation, Government Legislation and Online Activism.” First Monday 20 (2015). <http://firstmonday.org/ojs/index.php/fm/article/view/6170>.Ellis, Katie, et al. Accessing Subscription Video on Demand: A Study of Disability and Streaming Television in Australia. Australian Communications Consumer Action Network. Aug. 2016. <https://accan.org.au/grants/current-grants/1066-accessing-video-on-demand-a-study-of-disability-and-streaming-television>.Ellis, Katie, et al. “Access for Everyone? Australia’s ‘Streaming Wars’ and Consumers with Disabilities.” Continuum (2017, publication pending).Kingett, Robert. “The Accessible Netflix Project Advocates Taking Steps to Ensure Netflix Accessibility for Everyone.” 2014. 30 Jan. 2014 <https://netflixproject.wordpress.com>.Media Access Australia. “Statistics on DVD Accessibility in Australia.” 2012. 21 Nov. 2014 <https://mediaaccess.org.au/dvds/Statistics%20on%20DVD%20accessibility%20in%20Australia>.———. “New Report on the Trial of A.D. on ABC iView.” 7 Mar. 2017. 30 Apr. 2017 <https://mediaaccess.org.au/latest_news/television/new-report-on-the-trial-of-ad-on-abc-iview>.Napoli, Philip M., ed. Audience Evolution: New Technologies and the Transformation of Media Audiences. New York: Columbia UP, 2011.Robare, Joshua S. “Television for All: Increasing Television Accessibility for the Visually Impaired through the FCC’s Ability to Regulate Video Description Technology.” Federal Communications Law Journal 63.2 (2011): 553–78.Tucker, Harry. “Netflix Leads the Streaming Wars, Followed by Foxtel’s Presto.” News.com.au 24 June 2016. 18 May 2016 <http://www.news.com.au/technology/home-entertainment/tv/netflix-leads-the-streaming-wars-followed-by-foxtels-presto/news-story/7adf45dcd7d9486ff47ec5ea5951287f>.Utray, Francisco, et al. “Monitoring Accessibility Services in Digital Television.” International Journal of Digital Multimedia Broadcasting (2012): 9.

Mario Sasso, painter and videoartist, has gradually made the expressive exploration of new technological languages the privileged area of his experience. However, he is also known to the general public for being the most sensitive "art director" of television graphics, an activity in which, since the 1960s, and in particular for Rai-Radiotelevisione italiana, he has transfused the richness of his plastic research. Sasso is the main architect of the "image" of Italian public television: of that particular way of presenting himself and being recognized, beyond the programs, in peculiar signs and graphic layouts that the artist himself has conceptually contributed to conceiving: innovating and proposing in new ways the languages of nascent television. Made by him are the first “covers”, the first broadcast opening credits of Rai and its flagship programs; as well as a whole series of expressive innovations that have marked the history of the audiovisual sector. Furthermore, operations of destructuring and intersection of artistic languages that have contributed to building the identity of the medium in Italy even before the official affirmation of the electronic arts and up to the pioneering experience of RaiSat.

This article aims to bring together various strands in analysis and research on the origins of volleyball as one of the youngest sports of the twentieth century. It reviews the historical, social, educational, political and religious factors that influenced and conditioned the context in which volleyball was first played; and it then considers how the continuous development of volleyball rules and the constant technological innovations in this sport have made volleyball a spectacle that obeys and favours the television corporations. In short, the article examines the origin of a particular sport from a historical point of view in order to understand the uses that have been made of it, first as a civilizing element and then as an instrument for evangelism.

As students’ uses and experiences with literacy are changing due to technological innovations, particularly in their out-of-school contexts, it is important to consider how media literacy is a social practice, particularly one where students are engaging socially, culturally, and politically. This is particularly relevant to the way that messages are conveyed through popular media such as commercials, video games, and television programmes. Th e purpose of this paper is to explore what happens when students use a critical media literacy to respond to mass media texts and images. The primary question this research attempts to answer is: What happens when students use a critical media literacy approach to discuss and interpret print and visual media images in an after-school setting? We used qualitative research methods to collect data and thematic analysis to analyse data. Findings reflect how students discussed identity, bullying and aggression, socioeconomic status, materialism and consumerism.

Writing in the American Annals of the Deaf in 1931, Emil S. Ladner Jr, a Deaf high school student, predicted the invention of words on screen to facilitate access to “talkies”. He anticipated:Perhaps, in time, an invention will be perfected that will enable the deaf to hear the “talkies”, or an invention which will throw the words spoken directly under the screen as well as being spoken at the same time. (Ladner, cited in Downey Closed Captioning)This invention would eventually come to pass and be known as captions. Captions as we know them today have become widely available because of a complex interaction between technological change, volunteer effort, legislative activism, as well as increasing consumer demand. This began in the late 1950s when the technology to develop captions began to emerge. Almost immediately, volunteers began captioning and distributing both film and television in the US via schools for the deaf (Downey, Constructing Closed-Captioning in the Public Interest). Then, between the 1970s and 1990s Deaf activists and their allies began to campaign aggressively for the mandated provision of captions on television, leading eventually to the passing of the Television Decoder Circuitry Act in the US in 1990 (Ellis). This act decreed that any television with a screen greater than 13 inches must be designed/manufactured to be capable of displaying captions. The Act was replicated internationally, with countries such as Australia adopting the same requirements with their Australian standards regarding television sets imported into the country. As other papers in this issue demonstrate, this market ultimately led to the introduction of broadcasting requirements.Captions are also vital to the accessibility of videos in today’s online and streaming environment—captioning is listed as the highest priority in the definitive World Wide Web Consortium (W3C) Web Content Accessibility Guideline’s (WCAG) 2.0 standard (W3C, “Web Content Accessibility Guidelines 2.0”). This recognition of the requirement for captions online is further reflected in legislation, from both the US 21st Century Communications and Video Accessibility Act (CVAA) (2010) and from the Australian Human Rights Commission (2014).Television today is therefore much more freely available to a range of different groups. In addition to broadcast channels, captions are also increasingly available through streaming platforms such as Netflix and other subscription video on demand providers, as well as through user-generated video sites like YouTube. However, a clear discrepancy exists between guidelines, legislation and the industry’s approach. Guidelines such as the W3C are often resisted by industry until compliance is legislated.Historically, captions have been both unavailable (Ellcessor; Ellis) and inadequate (Ellis and Kent), and in many instances, they still are. For example, while the provision of captions in online video is viewed as a priority across international and domestic policies and frameworks, there is a stark contrast between the policy requirements and the practical implementation of these captions. This has led to the active development of a solution as part of an ongoing tradition of user-led development; user-generated captions. However, within disability studies, research around the agency of this activity—and the media savvy users facilitating it—has gone significantly underexplored.Agency of ActivityInformation sharing has featured heavily throughout visions of the Web—from Vannevar Bush’s 1945 notion of the memex (Bush), to the hacker ethic, to Zuckerberg’s motivations for creating Facebook in his dorm room in 2004 (Vogelstein)—resulting in a wide agency of activity on the Web. Running through this development of first the Internet and then the Web as a place for a variety of agents to share information has been the hackers’ ethic that sharing information is a powerful, positive good (Raymond 234), that information should be free (Levey), and that to achieve these goals will often involve working around intended information access protocols, sometimes illegally and normally anonymously. From the hacker culture comes the digerati, the elite of the digital world, web users who stand out by their contributions, success, or status in the development of digital technology. In the context of access to information for people with disabilities, we describe those who find these workarounds—providing access to information through mainstream online platforms that are not immediately apparent—as the disability digerati.An acknowledged mainstream member of the digerati, Tim Berners-Lee, inventor of the World Wide Web, articulated a vision for the Web and its role in information sharing as inclusive of everyone:Worldwide, there are more than 750 million people with disabilities. As we move towards a highly connected world, it is critical that the Web be useable by anyone, regardless of individual capabilities and disabilities … The W3C [World Wide Web Consortium] is committed to removing accessibility barriers for all people with disabilities—including the deaf, blind, physically challenged, and cognitively or visually impaired. We plan to work aggressively with government, industry, and community leaders to establish and attain Web accessibility goals. (Berners-Lee)Berners-Lee’s utopian vision of a connected world where people freely shared information online has subsequently been embraced by many key individuals and groups. His emphasis on people with disabilities, however, is somewhat unique. While maintaining a focus on accessibility, in 2006 he shifted focus to who could actually contribute to this idea of accessibility when he suggested the idea of “community captioning” to video bloggers struggling with the notion of including captions on their videos:The video blogger posts his blog—and the web community provides the captions that help others. (Berners-Lee, cited in Outlaw)Here, Berners-Lee was addressing community captioning in the context of video blogging and user-generated content. However, the concept is equally significant for professionally created videos, and media savvy users can now also offer instructions to audiences about how to access captions and subtitles. This shift—from user-generated to user access—must be situated historically in the context of an evolving Web 2.0 and changing accessibility legislation and policy.In the initial accessibility requirements of the Web, there was little mention of captioning at all, primarily due to video being difficult to stream over a dial-up connection. This was reflected in the initial WCAG 1.0 standard (W3C, “Web Content Accessibility Guidelines 1.0”) in which there was no requirement for videos to be captioned. WCAG 2.0 went some way in addressing this, making captioning online video an essential Level A priority (W3C, “Web Content Accessibility Guidelines 2.0”). However, there were few tools that could actually be used to create captions, and little interest from emerging online video providers in making this a priority.As a result, the possibility of user-generated captions for video content began to be explored by both developers and users. One initial captioning tool that gained popularity was MAGpie, produced by the WGBH National Center for Accessible Media (NCAM) (WGBH). While cumbersome by today’s standards, the arrival of MAGpie 2.0 in 2002 provided an affordable and professional captioning tool that allowed people to create captions for their own videos. However, at that point there was little opportunity to caption videos online, so the focus was more on captioning personal video collections offline. This changed with the launch of YouTube in 2005 and its later purchase by Google (CNET), leading to an explosion of user-generated video content online. However, while the introduction of YouTube closed captioned video support in 2006 ensured that captioned video content could be created (YouTube), the ability for users to create captions, save the output into one of the appropriate captioning file formats, upload the captions, and synchronise the captions to the video remained a difficult task.Improvements to the production and availability of user-generated captions arrived firstly through the launch of YouTube’s automated captions feature in 2009 (Google). This service meant that videos could be uploaded to YouTube and, if the user requested it, Google would caption the video within approximately 24 hours using its speech recognition software. While the introduction of this service was highly beneficial in terms of making captioning videos easier and ensuring that the timing of captions was accurate, the quality of captions ranged significantly. In essence, if the captions were not reviewed and errors not addressed, the automated captions were sometimes inaccurate to the point of hilarity (New Media Rock Stars). These inaccurate YouTube captions are colloquially described as craptions. A #nomorecraptions campaign was launched to address inaccurate YouTube captioning and call on YouTube to make improvements.The ability to create professional user-generated captions across a variety of platforms, including YouTube, arrived in 2010 with the launch of Amara Universal Subtitles (Amara). The Amara subtitle portal provides users with the opportunity to caption online videos, even if they are hosted by another service such as YouTube. The captioned file can be saved after its creation and then uploaded to the relevant video source if the user has access to the location of the video content. The arrival of Amara continues to provide ongoing benefits—it contains a professional captioning editing suite specifically catering for online video, the tool is free, and it can caption videos located on other websites. Furthermore, Amara offers the additional benefit of being able to address the issues of YouTube automated captions—users can benefit from the machine-generated captions of YouTube in relation to its timing, then download the captions for editing in Amara to fix the issues, then return the captions to the original video, saving a significant amount of time when captioning large amounts of video content. In recent years Google have also endeavoured to simplify the captioning process for YouTube users by including its own captioning editors, but these tools are generally considered inferior to Amara (Media Access Australia).Similarly, several crowdsourced caption services such as Viki (https://www.viki.com/community) have emerged to facilitate the provision of captions. However, most of these crowdsourcing captioning services can’t tap into commercial products instead offering a service for people that have a video they’ve created, or one that already exists on YouTube. While Viki was highlighted as a useful platform in protests regarding Netflix’s lack of captions in 2009, commercial entertainment providers still have a responsibility to make improvements to their captioning. As we discuss in the next section, people have resorted extreme measures to hack Netflix to access the captions they need. While the ability for people to publish captions on user-generated content has improved significantly, there is still a notable lack of captions for professionally developed videos, movies, and television shows available online.User-Generated Netflix CaptionsIn recent years there has been a worldwide explosion of subscription video on demand service providers. Netflix epitomises the trend. As such, for people with disabilities, there has been significant focus on the availability of captions on these services (see Ellcessor, Ellis and Kent). Netflix, as the current leading provider of subscription video entertainment in both the US and with a large market shares in other countries, has been at the centre of these discussions. While Netflix offers a comprehensive range of captioned video on its service today, there are still videos that do not have captions, particularly in non-English regions. As a result, users have endeavoured to produce user-generated captions for personal use and to find workarounds to access these through the Netflix system. This has been achieved with some success.There are a number of ways in which captions or subtitles can be added to Netflix video content to improve its accessibility for individual users. An early guide in a 2011 blog post (Emil’s Celebrations) identified that when using the Netflix player using the Silverlight plug-in, it is possible to access a hidden menu which allows a subtitle file in the DFXP format to be uploaded to Netflix for playback. However, this does not appear to provide this file to all Netflix users, and is generally referred to as a “soft upload” just for the individual user. Another method to do this, generally credited as the “easiest” way, is to find a SRT file that already exists for the video title, edit the timing to line up with Netflix, use a third-party tool to convert it to the DFXP format, and then upload it using the hidden menu that requires a specific keyboard command to access. While this may be considered uncomplicated for some, there is still a certain amount of technical knowledge required to complete this action, and it is likely to be too complex for many users.However, constant developments in technology are assisting with making access to captions an easier process. Recently, Cosmin Vasile highlighted that the ability to add captions and subtitle tracks can still be uploaded providing that the older Silverlight plug-in is used for playback instead of the new HTML5 player. Others add that it is technically possible to access the hidden feature in an HTML5 player, but an additional Super Netflix browser plug-in is required (Sommergirl). Further, while the procedure for uploading the file remains similar to the approach discussed earlier, there are some additional tools available online such as Subflicks which can provide a simple online conversion of the more common SRT file format to the DFXP format (Subflicks). However, while the ability to use a personal caption or subtitle file remains, the most common way to watch Netflix videos with alternative caption or subtitle files is through the use of the Smartflix service (Smartflix). Unlike other ad-hoc solutions, this service provides a simplified mechanism to bring alternative caption files to Netflix. The Smartflix website states that the service “automatically downloads and displays subtitles in your language for all titles using the largest online subtitles database.”This automatic download and sharing of captions online—known as fansubbing—facilitates easy access for all. For example, blog posts suggest that technology such as this creates important access opportunities for people who are deaf and hard of hearing. Nevertheless, they can be met with suspicion by copyright holders. For example, a recent case in the Netherlands ruled fansubbers were engaging in illegal activities and were encouraging people to download pirated videos. While the fansubbers, like the hackers discussed earlier, argued they were acting in the greater good, the Dutch antipiracy association (BREIN) maintained that subtitles are mainly used by people downloading pirated media and sought to outlaw the manufacture and distribution of third party captions (Anthony). The fansubbers took the issue to court in order to seek clarity about whether copyright holders can reserve exclusive rights to create and distribute subtitles. However, in a ruling against the fansubbers, the court agreed with BREIN that fansubbing violated copyright and incited piracy. What impact this ruling will have on the practice of user-generated captioning online, particularly around popular sites such as Netflix, is hard to predict; however, for people with disabilities who were relying on fansubbing to access content, it is of significant concern that the contention that the main users of user-generated subtitles (or captions) are engaging in illegal activities was so readily accepted.ConclusionThis article has focused on user-generated captions and the types of platforms available to create these. It has shown that this desire to provide access, to set the information free, has resulted in the disability digerati finding workarounds to allow users to upload their own captions and make content accessible. Indeed, the Internet and then the Web as a place for information sharing is evident throughout this history of user-generated captioning online, from Berner-Lee’s conception of community captioning, to Emil and Vasile’s instructions to a Netflix community of captioners, to finally a group of fansubbers who took BRIEN to court and lost. Therefore, while we have conceived of the disability digerati as a conflation of the hacker and the acknowledged digital influencer, these two positions may again part ways, and the disability digerati may—like the hackers before them—be driven underground.Captioned entertainment content offers a powerful, even vital, mode of inclusion for people who are deaf or hard of hearing. Yet, despite Berners-Lee’s urging that everything online be made accessible to people with all sorts of disabilities, captions were not addressed in the first iteration of the WCAG, perhaps reflecting the limitations of the speed of the medium itself. This continues to be the case today—although it is no longer difficult to stream video online, and Netflix have reached global dominance, audiences who require captions still find themselves fighting for access. Thus, in this sense, user-generated captions remain an important—yet seemingly technologically and legislatively complicated—avenue for inclusion.ReferencesAnthony, Sebastian. “Fan-Made Subtitles for TV Shows and Movies Are Illegal, Court Rules.” Arstechnica UK (2017). 21 May 2017 <https://arstechnica.com/tech-policy/2017/04/fan-made-subtitles-for-tv-shows-and-movies-are-illegal/>.Amara. “Amara Makes Video Globally Accessible.” Amara (2010). 25 Apr. 2017. <https://amara.org/en/ 2010>.Berners-Lee, Tim. “World Wide Web Consortium (W3C) Launches International Web Accessibility Initiative.” Web Accessibility Initiative (WAI) (1997). 19 June 2010. <http://www.w3.org/Press/WAI-Launch.html>.Bush, Vannevar. “As We May Think.” The Atlantic (1945). 26 June 2010 <http://www.theatlantic.com/magazine/print/1969/12/as-we-may-think/3881/>.CNET. “YouTube Turns 10: The Video Site That Went Viral.” CNET (2015). 24 Apr. 2017 <https://www.cnet.com/news/youtube-turns-10-the-video-site-that-went-viral/>.Downey, Greg. 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Baltimore: John Hopkins UP, 2008.———. “Constructing Closed-Captioning in the Public Interest: From Minority Media Accessibility to Mainstream Educational Technology.” Info: The Journal of Policy, Regulation and Strategy for Telecommunications, Information and Media 9.2/3 (2007): 69–82.Ellcessor, Elizabeth. “Captions On, Off on TV, Online: Accessibility and Search Engine Optimization in Online Closed Captioning.” Television & New Media 13.4 (2012): 329-352. <http://tvn.sagepub.com/content/early/2011/10/24/1527476411425251.abstract?patientinform-links=yes&legid=sptvns;51v1>.Ellis, Katie. “Television’s Transition to the Internet: Disability Accessibility and Broadband-Based TV in Australia.” Media International Australia 153 (2014): 53–63.Ellis, Katie, and Mike Kent. “Accessible Television: The New Frontier in Disability Media Studies Brings Together Industry Innovation, Government Legislation and Online Activism.” First Monday 20 (2015). <http://firstmonday.org/ojs/index.php/fm/article/view/6170>.Emil’s Celebrations. “How to Add Subtitles to Movies Streamed in Netflix.” 16 Oct. 2011. 9 Apr. 2017 <https://emladenov.wordpress.com/2011/10/16/how-to-add-subtitles-to-movies-streamed-in-netflix/>.Google. “Automatic Captions in Youtube.” 2009. 24 Apr. 2017 <https://googleblog.blogspot.com.au/2009/11/automatic-captions-in-youtube.html>.Jaeger, Paul. “Disability and the Internet: Confronting a Digital Divide.” Disability in Society. Ed. Ronald Berger. Boulder, London: Lynne Rienner Publishers, 2012.Levey, Steven. Hackers: Heroes of the Computer Revolution. North Sebastopol: O’Teilly Media, 1984.Media Access Australia. “How to Caption a Youtube Video.” 2017. 25 Apr. 2017 <https://mediaaccess.org.au/web/how-to-caption-a-youtube-video>.New Media Rock Stars. “Youtube’s 5 Worst Hilariously Catastrophic Auto Caption Fails.” 2013. 25 Apr. 2017 <http://newmediarockstars.com/2013/05/youtubes-5-worst-hilariously-catastrophic-auto-caption-fails/>.Outlaw. “Berners-Lee Applies Web 2.0 to Improve Accessibility.” Outlaw News (2006). 25 June 2010 <http://www.out-law.com/page-6946>.Raymond, Eric S. The New Hacker’s Dictionary. 3rd ed. Cambridge: MIT P, 1996.Smartflix. “Smartflix: Supercharge Your Netflix.” 2017. 9 Apr. 2017 <https://www.smartflix.io/>.Sommergirl. “[All] Adding Subtitles in a Different Language?” 2016. 9 Apr. 2017 <https://www.reddit.com/r/netflix/comments/32l8ob/all_adding_subtitles_in_a_different_language/>.Subflicks. “Subflicks V2.0.0.” 2017. 9 Apr. 2017 <http://subflicks.com/>.Vasile, Cosmin. “Netflix Has Just Informed Us That Its Movie Streaming Service Is Now Available in Just About Every Country That Matters Financially, Aside from China, of Course.” 2016. 9 Apr. 2017 <http://news.softpedia.com/news/how-to-add-custom-subtitles-to-netflix-498579.shtml>.Vogelstein, Fred. “The Wired Interview: Facebook’s Mark Zuckerberg.” Wired Magazine (2009). 20 Jun. 2010 <http://www.wired.com/epicenter/2009/06/mark-zuckerberg-speaks/>.W3C. “Web Content Accessibility Guidelines 1.0.” W3C Recommendation (1999). 25 Jun. 2010 <http://www.w3.org/TR/WCAG10/>.———. “Web Content Accessibility Guidelines (WCAG) 2.0.” 11 Dec. 2008. 21 Aug. 2013 <http://www.w3.org/TR/WCAG20/>.WGBH. “Magpie 2.0—Free, Do-It-Yourself Access Authoring Tool for Digital Multimedia Released by WGBH.” 2002. 25 Apr. 2017 <http://ncam.wgbh.org/about/news/pr_05072002>.YouTube. “Finally, Caption Video Playback.” 2006. 24 Apr. 2017 <http://googlevideo.blogspot.com.au/2006/09/finally-caption-playback.html>.

Background: Recent technological advances in deep brain stimulation (DBS) (e.g., directional leads, multiple independent current sources) lead to increasing DBS-optimization burden. Techniques to streamline and facilitate programming could leverage these innovations. Objective: We evaluated clinical effectiveness of algorithm-guided DBS-programming based on wearable-sensor-feedback compared to standard-of-care DBS-settings in a prospective, randomized, crossover, double-blind study in two German DBS centers. Methods: For 23 Parkinson’s disease patients with clinically effective DBS, new algorithm-guided DBS-settings were determined and compared to previously established standard-of-care DBS-settings using UPDRS-III and motion-sensor-assessment. Clinical and imaging data with lead-localizations were analyzed to evaluate characteristics of algorithm-derived programming compared to standard-of-care. Six different versions of the algorithm were evaluated during the study and 10 subjects programmed with uniform algorithm-version were analyzed as a subgroup. Results: Algorithm-guided and standard-of-care DBS-settings effectively reduced motor symptoms compared to off-stimulation-state. UPDRS-III scores were reduced significantly more with standard-of-care settings as compared to algorithm-guided programming with heterogenous algorithm versions in the entire cohort. A subgroup with the latest algorithm version showed no significant differences in UPDRS-III achieved by the two programming-methods. Comparing active contacts in standard-of-care and algorithm-guided DBS-settings, contacts in the latter had larger location variability and were farther away from a literature-based optimal stimulation target. Conclusion: Algorithm-guided programming may be a reasonable approach to replace monopolar review, enable less trained health-professionals to achieve satisfactory DBS-programming results, or potentially reduce time needed for programming. Larger studies and further improvements of algorithm-guided programming are needed to confirm these results.

The era in which the exstense of ICT brings with it enlightenment in every aspect of life changes of paradigms in libraries exists. The change includes a transfer in system – from conventional type of services to ICT-based services with some orientation for the sake of users’ needs. The innovations taking place in libraries are influenced by 10 issues: "... a) the presence of electronic paper, b) new publishing model, c) on-line bookstore, d) e-commerce, e) digital television, f) integrated learning environment , g) remote university, h) mobile communication, i) print-on-demand, j) the threat og the unknown". The change in paradigms leads to manajerial which formely management bound to merely build and develop library collection, product-oriented services of information to ICT-based services management. Three major ICT-based services comprise human resources and non human resources, proactive kind of services and users empowerment. Accordingly, libraries an entitiy need to be managed bt human resources with managerial competence (leading, planning, organizing dan controlling), bibliograpical and library technological know-how, human relation skill, ability to work in team, elite type of conduct, elegance and intelligence, being ordered, ordered, school curriculum, writing competency, publishing, users needs, work partnership, ability of reading publisher’s catalog both printed and online, desoiderata, budgeting, statistics, accesion list, registration book, classification, catalouging both manually and in an electronic mode, indexing, writing an abstract, accessories, shelving, binding, fumigation, camouflaging, and others), services competency, users-oriented services, users empowering, wide horizons, expertise in one field of dicipline, knowledge of principles and techniques in guidance and counseling, social sciences, psychology and culture, library technological know-how, communication skill, human resources skill, emphaty, attractive appearance, fair, helpful, information and science know-how, form-making skil, flow charts of services, organizing materials, guides/labels, rules and policy, correspondency, shelving,PERPUSTAKAAN reporting/evaluating/statistic, punishment, how to use library education, simple general infromation, good sense of media, answeing reference questions skill, helping people to obtain information through face to face contact, assistance to readers in searching information, bibliographical searching/service, and competency and ICT (the use of hardware and implementing of all softwares on all operational activities in the library). The competency of human development at schools/madrasah should refer to Act #43/2007 on Library and the Ministry Regulations #25/2008 on Standard of School Librarians.

The following practice report is based on observational experiences of a project group running a research project on accessibility during the COVID-19 pandemic. The project aimed to provide accessibility using plain language in children’s programs on a public television channel. The project included three groups of end-users: Deaf, hard of hearing, and visually impaired children. An overview of the project is presented to provide background for the practice report. The second part of the report deals with changes encountered in the running of the project during the pandemic: compensating for the lack of interactivity, social interaction and collective experience; using video conferencing; monitoring research; at-home research spaces and technological availability; network availability and performance; dealing with home computers; communication load; workload and work-life balance. Some key concepts of actor-network theory are used to analyse new actors, networks and shifts encountered in the process of implementing the project in the “new normal” in comparison to its planned implementation pre-COVID-19. In conclusion, a summary of possible options is cited to provide food for thought in running such projects. Lay summary The following practice report is based on the observations of a group running a research project on accessibility for Deaf, Hard of Hearing and blind children to children’s programs during the Covid-19 pandemic. We aimed to provide accessibility using plain language (easy to understand and easy to follow language in subtitles, through sign language and audiodescription) in children’s’ programs on a public television channel. Initially, an overview of the project is presented to provide background, then the changes encountered in the running of the project due to the pandemic are studied. Some of the issues discussed are: How to compensate for the lack of interactivity and social interaction since there was no face-to-face interaction; using video conferencing, monitoring research; at home research spaces and technology availability; issues about network availability and performance; dealing with home computers; communication load, and workload. Some key concepts of the actor-network theory (ANT) are used to explain changes. ANT is concerned with exploring how networks come into existence, looking into which relations exist, how those relations are sustained, how actors come together to constitute and maintain a network and how networks maintain impermanent stability. In conclusion, a summary of possible options is cited to provide food for thought in running such projects.

Background.Development disorders and delays are recognised as a public health priority and included in the WHO mental health gap action programme (mhGAP). Parents Skills Training (PST) is recommended as a key intervention for such conditions under the WHO mhGAP intervention guide. However, sustainable and scalable delivery of such evidence based interventions remains a challenge. This study aims to evaluate the effectiveness and scaled-up implementation of locally adapted WHO PST programme delivered by family volunteers in rural Pakistan.Methods.The study is a two arm single-blind effectiveness implementation-hybrid cluster randomised controlled trial. WHO PST programme will be delivered by ‘family volunteers’ to the caregivers of children with developmental disorders and delays in community-based settings. The intervention consists of the WHO PST along with the WHO mhGAP intervention for developmental disorders adapted for delivery using the android application on a tablet device. A total of 540 parent-child dyads will be recruited from 30 clusters. The primary outcome is child's functioning, measured by WHO Disability Assessment Schedule – child version (WHODAS-Child) at 6 months post intervention. Secondary outcomes include children's social communication and joint engagement with their caregiver, social emotional well-being, parental health related quality of life, family empowerment and stigmatizing experiences. Mixed method will be used to collect data on implementation outcomes. Trial has been retrospectively registered at ClinicalTrials.gov (NCT02792894).Discussion.This study addresses implementation challenges in the real world by incorporating evidence-based intervention strategies with social, technological and business innovations. If proven effective, the study will contribute to scaled-up implementation of evidence-based packages for public mental health in low resource settings.Trial registration.Registered with ClinicalTrials.gov as Family Networks (FaNs) for Children with Developmental Disorders and Delays. Identifier: NCT02792894 Registered on 6 July 2016.

Introduction Many anthropologists and other academics have attempted to argue that the spread of technology is a global homogenising force, socialising the remaining indigenous groups across the planet into an indistinct Western "monoculture" focussed on consumption, where they are rapidly losing their cultural distinctiveness. In many cases, these intellectuals -– people such as Jerry Mander -- often blame the diffusion of television (particularly through new innovations that are allowing it to penetrate further into rural areas, such as satellite and cable) as a key force in the effort to "assimilate" indigenous groups and eradicate their unique identities. Such writers suggest that indigenous groups can do nothing to resist the onslaught of the technologically, economically, and aesthetically superior power of Western television. Ironically, while often protesting the plight of indigenous groups and heralding their need for cultural survival, these authors often fail to recognise these groups’ abilities to fend for themselves and preserve their cultural integrity. On the other side of the debate are visual anthropologists and others who are arguing that indigenous groups are quickly becoming savvy to Western technologies, and that they are now using them for cultural revitalisation, linguistic revival, and the creation of outlets for the indigenous voice. In this school of thought, technology is seen not so much as a threat to indigenous groups, but instead as a remarkable opportunity to reverse the misfortunes of these groups at the hands of colonisation and national programmes of attempted assimilation. From this perspective, the rush of indigenous groups to adopt new technologies comes hand-in-hand with recent efforts to assert their tribal sovereignty and their independence. Technology has become a "weapon" in their struggle for technological autonomy. As a result, many are starting their own television stations and networks, and thus transforming the way television operates in their societies -– away from global monocultures and toward local interests. I hypothesise that in fact there is no correlation between television viewing and acculturation, and that, in fact, the more familiar people are with the technology of television and the current way the technology is utilised, the more likely they are to be interested in using it to revive and promote their own culture. Whatever slight negative effect exists depends on the degree to which local people can understand and redirect how that technology is used within their own cultural context. However, it should be stated that for terms of this investigation, I consider the technologies of "video" and "television" to be identical. One is the recording aspect, and the other the distribution aspect, of the same technology. Once people become aware that they can control what is on the television screen through the instrumentality of video, they immediately begin attempting to assert cultural values through it. And this is precisely what is going on on the Cheyenne River Reservation. This project is significant because the phenomenon of globalisation is real and Western technologies such as video, radio, and PCs are spreading throughout the world, including the "Fourth World" of the planet’s indigenous peoples. However, in order to deal with the phenomenon of globalisation, anthropologists and others may need to deal more realistically with the phenomenon of technological diffusion, which operates far less simply than they might assume. Well-meaning anthropologists seeking to "protect" indigenous groups from the "invasion" of technologies which will change their way of life may be doing these groups a disservice. If they turned some of their effort away from fending off these technologies and toward teaching indigenous groups how to use them, perhaps they might have a better result in creating a better future for them. I hope this study will show a more productive model for dealing with technological diffusion and what effects it has on cultural change in indigenous societies. There have been very few authors that have dealt with this topic head-on. One of the first to do so was Pace (1993), who suggested that some Brazilian Indians were acculturating more quickly as a result of television finally coming to their remote villages in the 1960s. Molohon (1984) looked at two Cree communities, and found that the one which had more heavy television viewing was culturally closer to its neighboring white towns. Zimmerman (1996) fingered television as one of the key elements in causing Indian teenagers to lose their sense of identity, thus putting them at higher risk for suicide. Gillespie (1995) argued that television is actually a ‘weapon’ of national states everywhere in their efforts to assimilate and socialise indigenous and other ethnic minority groups. In contrast, authors like Weiner (1997), Straubhaar (1991), and Graburn (1982) have all critiqued these approaches, suggesting that they deny subjectivity and critical thinking to indigenous TV audiences. Each of these researchers suggest, based on their field work, that indigenous people are no more likely than anybody else to believe that the things they see on television are true, and no more likely to adopt the values or worldviews promoted by Western TV programmers and advertisers. In fact, Graburn has observed that the Inuit became so disgusted with what they saw on Canadian national television, that they went out and started their own TV network in an effort to provide their people with meaningful alternatives on their screens. Bell (1995) sounds a cautionary note against studies like Graburn’s, noting that the efforts of indigenous New Zealanders to create their own TV programming for local markets failed, largely because they were crowded out by the "media imperialism" of outside international television. Although the indigenous groups there tried to put their own faces on the screen, many local viewers preferred to see the faces of J.R. Ewing and company, and lowered the ratings share of these efforts. Salween (1991) thinks that global media "cultural imperialism" is real -– that it is an objective pursued by international television marketers -– and suggests a media effects approach might be the best way to see whether it works. Woll (1987) notes that historically many ethnic groups have formed their self-images based on the way they have been portrayed onscreen, and that so far these portrayals have been far from sympathetic. In fact, even once these groups started their own cinemas or TV programmes, they unconsciously perpetuated stereotypes first foisted on them by other people. This study tends to side with those who have observed that indigenous people do not tend to "roll over" in the wake of the onslaught of Western television. Although cautionary studies need to be examined carefully, this research will posit that although the dominant forces controlling TV are antithetical to indigenous groups and their goals, the efforts of indigenous people to take control of their TV screens and their own "media literacy" are also increasing. Thus, this study should contribute to the viewpoint that perhaps the best way to save indigenous groups from cultural eradication is to give them access to television and show them how to set up their own stations and distribute their own video programming. In fact, it appears to be the case that TV, the Internet, and electronic 'new media' are helping to foster a process of cultural renewal, not just among the Lakota, but also among the Inuit, the Australian aborigines, and other indigenous groups. These new technologies are helping them renew their native languages, cultural values, and ceremonial traditions, sometimes by giving them new vehicles and forms. Methods The research for this project was conducted on the Cheyenne River Sioux Reservation headquartered in Eagle Butte, South Dakota. Participants chosen for this project were Lakota Sioux who were of the age of consent (18 or older) and who were tribal members living on the reservation. They were given a survey which consisted of five components: a demographic question section identifying their age, gender, and individual data; a technology question section identifying what technologies they had in their home; a TV question section measuring the amount of television they watched; an acculturation question section determining their comparative level of acculturation; and a cultural knowledge question section determining their knowledge of Lakota history. This questionnaire was often followed up by unstructured ethnographic interviews. Thirty-three people of mixed age and gender were given this questionnaire, and for the purposes of this research paper, I focussed primarily on their responses dealing with television and acculturation. These people were chosen through strictly random sampling based on picking addresses at random from the phone book and visiting their houses. The television section asked specifically how many hours of TV they watched per day and per week, what shows they watched, what kinds of shows they preferred, and what rooms in their home had TVs. The acculturation section asked them questions such as how much they used the Lakota language, how close their values were to Lakota values, and how much participation they had in traditional indigenous rituals and customs. To assure open and honest responses, each participant filled out a consent form, and was promised anonymity of their answers. To avoid data contamination, I remained with each person until they completed the questionnaire. For my data analysis, I attempted to determine if there was any correlation (Pearson’s coefficient r of correlation) between such things as hours of TV viewed per week or years of TV ownership with such things as the number of traditional ceremonies they attended in the past year, the number of non-traditional Lakota values they had, their fluency in the Lakota language, their level of cultural knowledge, or the number of traditional practices and customs they had engaged in in their lives. Through simple statistical tests, I determined whether television viewing had any impact on these variables which were reasonable proxies for level of acculturation. Findings Having chosen two independent variables, hours of TV watched per week, and years of TV ownership, I tested if there was any significant correlation between them and the dependent variables of Lakota peoples’ level of cultural knowledge, participation in traditional practices, conformity of values to non-Lakota or non-traditional values, fluency in Lakota, and participation in traditional ceremonies (Table 1). These variables all seemed like reasonable proxies for acculturation since acculturated Lakota would know less of their own culture, go to fewer ceremonies, and so on. The cultural knowledge score was based on how many complete answers the respondents knew to ‘fill in the blank’ questions regarding Lakota history, historical figures, and important events. Participation in traditional practices was based on how many items they marked in a survey of whether or not they had ever raised a tipi, used traditional medicine, etc. The score for conformity to non-Lakota values was based on how many items they marked with a contrary answer to the emic Lakota value system ("the seven Ws".) Lakota fluency was based on how well they could speak, write, or use the Lakota language. And ceremonial attendance was based on the number of traditional ceremonies they had attended in the past year. There were no significant correlations between either of these TV-related variables and these indexes of acculturation. Table 1. R-Scores (Pearson’s Coefficient of Correlation) between Variables Representing Television and Acculturation R-SCORES Cultural Knowledge Traditional Practices Modern Values Lakota Fluency Ceremonial Attendance Years Owning TV 0.1399 -0.0445 -0.4646 -0.0660 0.1465 Hours of TV/Week -0.3414 -0.2640 -0.2798 -0.3349 0.2048 The strongest correlation was between the number of years the Lakota person owned a television, and the number of non-Lakota (or ‘modern Western’) values they held in their value system. But even that correlation was pretty weak, and nowhere near the r-score of other linear correlations, such as between their age and the number of children they had. How much television Lakota people watched did not seem to have any influence on how much cultural knowledge they knew, how many traditional practices they had participated in, how many non-Lakota values they held, how well they spoke or used the Lakota language, or how many ceremonies they attended. Even though there does not appear to be anything unusual about their television preferences, and in general they are watching the same shows as other non-Lakota people on the reservation, they are not becoming more acculturated as a result of their exposure to television. Although the Lakota people may be losing aspects of their culture, language, and traditions, other causes seem to be at the forefront than television. I also found that people who were very interested in television production as well as consumption saw this as a tool for putting more Lakota-oriented programs on the air. The more they knew about how television worked, the more they were interested in using it as a tool in their own community. And where I was working at the Cultural Center, there was an effort to videotape many community and cultural events. The Center had a massive archive of videotaped material, but unfortunately while they had faithfully recorded all kinds of cultural events, many of them were not quite "broadcast ready". There was more focus on showing these video programmes, especially oral history interviews with elders, on VCRs in the school system, and in integrating them into various kinds of multimedia and hypermedia. While the Cultural Center had begun broadcasting (remotely through a radio modem) a weekly radio show, ‘Wakpa Waste’ (Good Morning CRST), on the radio station to the north, KLND-Standing Rock, there had never been any forays into TV broadcasting. The Cultural Center director had looked into the feasibility of putting up a television signal transmission tower, and had applied for a grant to erect one, but that grant was denied. The local cable system in Eagle Butte unfortunately lacked the technology to carry true "local access" programming; although the Channel 8 of the system carried CRST News and text announcements, there was no open channel available to carry locally produced public access programming. The way the cable system was set up, it was purely a "relay" or feed from news and channels from elsewhere. Also, people were investing heavily in satellite systems, especially the new DBS (direct broadcast satellite) receivers, and would not be able to pick up local access programmes anyway. The main problem hindering the Lakotas’ efforts to preserve their culture through TV and video was lack of access to broadcast distribution technology. They had the interest, the means, and the stock of programming to put on the air. They had the production and editing equipment, although not the studios to do a "live" show. Were they able to have more local access to and control over TV distribution technology, they would have a potent "arsenal" for resisting the drastic acculturation their community is undergoing. TV has the potential to be a tool for great cultural revitalisation, but because the technology and know-how for producing it was located elsewhere, the Lakotas could not benefit from it. Discussion I hypothesised that the effects if TV viewing on levels of indigenous acculturation would be negligible. The data support my hypothesis that TV does not seem to have a major correlation with other indices of acculturation. Previous studies by anthropologists such as Pace and Molohon suggested that TV was a key determinant in the acculturation of indigenous people in Brazil and the U.S. -– this being the theory of cultural imperialism. However, this research suggests that TV’s effect on the decline of indigenous culture is weak and inconclusive. In fact, the qualitative data suggest that the Lakota most familiar with TV are also the most interested in using it as a tool for cultural preservation. Although the CRST Lakota currently lack the means for mass broadcast of cultural programming, there is great interest in it, and new technologies such as the Internet and micro-broadcast may give them the means. There are other examples of this phenomenon worldwide, which suggest that the Lakota experience is not unique. In recent years, Australian Aborigines, Canadian Inuit, and Brazilian Kayapo have each begun ambitious efforts in creating satellite-based television networks that allow them to reach their far-flung populations with programming in their own indigenous language. In Australia, Aboriginal activists have created music television programming which has helped them assert their position in land claims disputes with the Australian government (Michaels 1994), and also to educate the Europeans of Australia about the aboriginal way of life. In Canada, the Inuit have also created satellite TV networks which are indigenous-owned and operated and carry traditional cultural programming (Valaskakis 1992). Like the Aborigines and the Inuit, the Lakota through their HVJ Lakota Cultural Center are beginning to create their own radio and video programming on a smaller scale, but are beginning to examine using the reservation's cable network to carry some of this material. Since my quantitative survey included only 33 respondents, the data are not as robust as would be determined from a larger sample. However, ethnographic interviews focussing on how people approach TV, as well as other qualitative data, support the inferences of the quantitative research. It is not clear that my work with the Lakota is necessarily generalisable to other populations. Practically, it does suggest that anthropologists interested in cultural and linguistic preservation should strive to increase indigenous access to, and control of, TV production technology. ‘Protecting’ indigenous groups from new technologies may cause more harm than good. Future applied anthropologists should work with the ‘natives’ and help teach them how to adopt and adapt this technology for their own purposes. Although this is a matter that I deal with more intensively in my dissertation, it also appears to me to be the case that, contrary to the warnings of Mander, many indigenous cultures are not being culturally assimilated by media technology, but instead are assimilating the technology into their own particular cultural contexts. The technology is part of a process of revitalisation or renewal -- although there is a definite process of change and adaptation underway, this actually represents an 'updating' of old cultural practices for new situations in an attempt to make them viable for the modern situation. Indeed, I think that the Internet, globally, is allowing indigenous people to reassert themselves as a Fourth World "power bloc" on the world stage, as linkages are being formed between Saami, Maya, Lakota, Kayapo, Inuit, and Aborigines. Further research should focus on: why TV seems to have a greater acculturative influence on certain indigenous groups rather than others; whether indigenous people can truly compete equally in the broadcast "marketplace" with Western cultural programming; and whether attempts to quantify the success of TV/video technology in cultural preservation and revival can truly demonstrate that this technology plays a positive role. In conclusion, social scientists may need to take a sidelong look at why precisely they have been such strong critics of introducing new technologies into indigenous societies. There is a better role that they can play –- that of technology ‘broker’. They can cooperate with indigenous groups, serving to facilitate the exchange of knowledge, expertise, and technology between them and the majority society. References Bell, Avril. "'An Endangered Species’: Local Programming in the New Zealand Television Market." Media, Culture & Society 17.1 (1995): 182-202. Gillespie, Marie. Television, Ethnicity, and Cultural Change. New York: Routledge, 1995. Graburn, Nelson. "Television and the Canadian Inuit". Inuit Etudes 6.2 (1982): 7-24. Michaels, Eric. Bad Aboriginal Art: Tradition, Media, and Technological Horizons. Minneapolis: U of Minnesota P, 1994. Molohon, K.T. "Responses to Television in Two Swampy Cree Communities on the West James Bay." Kroeber Anthropology Society Papers 63/64 (1982): 95-103. Pace, Richard. "First-Time Televiewing in Amazonia: Television Acculturation in Gurupa, Brazil." Ethnology 32.1 (1993): 187-206. Salween, Michael. "Cultural Imperialism: A Media Effects Approach." Critical Studies in Mass Communication 8.2 (1991): 29-39. Straubhaar, J. "Beyond Media Imperialism: Asymmetrical Interdependence and Cultural Proximity". Critical Studies in Mass Communication 8.1 (1991): 39-70. Valaskakis, Gail. "Communication, Culture, and Technology: Satellites and Northern Native Broadcasting in Canada". Ethnic Minority Media: An International Perspective. Newbury Park: Sage Publications, 1992. Weiner, J. "Televisualist Anthropology: Representation, Aesthetics, Politics." Current Anthropology 38.3 (1997): 197-236. Woll, Allen. Ethnic and Racial Images in American Film and Television: Historical Essays and Bibliography. New York: Garland Press, 1987. Zimmerman, M. "The Development of a Measure of Enculturation for Native American Youth." American Journal of Community Psychology 24.1 (1996): 295-311. Citation reference for this article MLA style: Steven Mizrach. "Natives on the Electronic Frontier: Television and Cultural Change on the Cheyenne River Sioux Reservation." M/C: A Journal of Media and Culture 3.6 (2000). [your date of access] <http://www.api-network.com/mc/0012/natives.php>. Chicago style: Steven Mizrach, "Natives on the Electronic Frontier: Television and Cultural Change on the Cheyenne River Sioux Reservation," M/C: A Journal of Media and Culture 3, no. 6 (2000), <http://www.api-network.com/mc/0012/natives.php> ([your date of access]). APA style: Steven Mizrach. (2000) Natives on the electronic frontier: television and cultural change on the Cheyenne River Sioux Reservation. M/C: A Journal of Media and Culture 3(6). <http://www.api-network.com/mc/0012/natives.php> ([your date of access]).

ABSTRACT A range of game-changing biodigital and biodesign technologies are coming of age all around us, transforming our world in complex ways that are hard to predict. Not a day goes by without news of how data-centric engineering, algorithm-driven modelling, and biocyber technologies—including the convergence of artificial intelligence, machine learning, automated robotics, quantum computing, and genome editing—will change our world. If we are to be better at expecting the unexpected in the world of wine, we need to gain deeper insights into the potential and limitations of these technological developments and advances along with their promise and perils. This article anticipates how these fast-expanding bioinformational and biodesign toolkits might lead to the creation of synthetic organisms and model systems, and ultimately new understandings of biological complexities could be achieved. A total of four future frontiers in wine yeast research are discussed in this article: the construction of fully synthetic yeast genomes, including minimal genomes; supernumerary pan-genome neochromosomes; synthetic metagenomes; and synthetic yeast communities. These four concepts are at varying stages of development with plenty of technological pitfalls to overcome before such model chromosomes, genomes, strains, and yeast communities could illuminate some of the ill-understood aspects of yeast resilience, fermentation performance, flavour biosynthesis, and ecological interactions in vineyard and winery settings. From a winemaker's perspective, some of these ideas might be considered as far-fetched and, as such, tempting to ignore. However, synthetic biologists know that by exploring these futuristic concepts in the laboratory could well forge new research frontiers to deepen our understanding of the complexities of consistently producing fine wines with different fermentation processes from distinctive viticultural terroirs. As the saying goes in the disruptive technology industry, it take years to create an overnight success. The purpose of this article is neither to glorify any of these concepts as a panacea to all ills nor to crucify them as a danger to winemaking traditions. Rather, this article suggests that these proposed research endeavours deserve due consideration because they are likely to cast new light on the genetic blind spots of wine yeasts, and how they interact as communities in vineyards and wineries. Future-focussed research is, of course, designed to be subject to revision as new data and technologies become available. Successful dislodging of old paradigms with transformative innovations will require open-mindedness and pragmatism, not dogmatism—and this can make for a catch-22 situation in an archetypal traditional industry, such as the wine industry, with its rich territorial and socio-cultural connotations.

Grup musik Kasidah Nasida Ria adalah grup musik bercirikan keIslaman dari Kota Semarang yang cukup legendaris. Seiring dengan berkembangnya musik-musik modern, grup musik ini menghadapi tantangan baru yang mempengaruhi eksistensinya. Tujuan penelitian ini adalah membahas bagaimana eksistensi grup musik Kasidah Nasida Ria Semarang dalam menghadapi modernisasi, serta faktor-faktor yang menjadi pendorong dan penghambat perkembangan grup musik ini dalam menghadapi modernisasi. Penelitian ini menggunakan pendekatan deskriptif kualitatif. Subjek dalam penelitian ini adalah grup musik Kasidah Nasida Ria Semarang. Teknik pengumpulan data meliputi observasi, wawancara, dan dokumentasi. Hasil penelitian menunjukkan bahwa grup musik Kasidah Nasida Ria Semarang masih eksis, terbukti masih tampil di televisi dan di berbagai acara. Eksistensi ini didukung oleh motivasi dari pimpinan dan para personel; sifat syairnya yang religius; tanggapan masyarakat; dan faktor lingkungan. Walaupun masih eksis, grup Kasidah Nasidaria mengalami masa surut karena adanya faktor penghambat antara lain, kurangnya publikasi dan promosi, isu-isu yang tidak bertangggung jawab; plagiarisme, serta persaingan dengan jenis musik lain. Grup musik Kasidah Nasidaria Semarang perlu lebih terbuka terhadap perkembangan teknologi serta berinovasi dalam kesenian keagamaan agar mampu bertahan. Pemerintah juga perlu melakukan pembinaan untuk mengembangkan kesenian-kesenian keagamaan. Nasida Ria is a popular kasidah music group based in Semarang. This group has strong Islamic character and has spawned many hits. Along with the development of modern music, the band is facing new challenges that affect their existence.The objective of this study is to discuss how the existence of Music Group Kasidah Nasida Ria Semarang in present modernization as well as the factors driving and inhibiting the development of this band in facing modernization. In this study, the author uses a qualitative approach. Data collection techniques are observation, interview and documentation. The study shows that the Music Group of Kasidah Nasida Ria Semarang still exist. It is proven by their performance on television and at various public social events. The existence of this group is supported by the motivation of the leadership and personnel; the religious message of their songs; and the support from community and environment. Although it still exists, the group experienced regress because of the inhibiting factors such as capability; lack of publicity and promotion, irresponsible issues; plagiarism, as well as competition with other genres of music. Seeing the challenge of modernization, thus, the Music Group of Kasidah Nasidaria Semarang needs to be more open to technological developments and innovations in religious art in order to survive. The Government also needs to provide guidance to develop religious arts.

This paper is included in the First Monday Special Issue: Music and the Internet, published in July 2005. Special Issue editor David Beer asked authors to submit additional comments regarding their articles. When I wrote this essay in late 2000, mobile Internet services via mobile telephone in Japan were booming. Meanwhile, young music lovers in the United States were enjoying a frenzy of music file sharing via personal computer. My central question was this: Would these two trans-pacific trends morph into a huge global mobile music phenomenon? I predicted in my essay that digital music over mobile telephones would indeed be very big, but that due to potholes and blind corners this inevitable ride would be difficult: the big bumpy shift. Looking back five years later, for Japan the shift to mobile Internet music has been big, but for the United States it has been bumpy. The key differences are (1) Japan’s 84 million mobile Internet users; (2) Japan’s lead in mobile telephone technology; and (3) Japan’s telecoms, music labels and third party developers quickly agreed to cooperate on ring tone services. But ring tones are yesterday. The future is full-song file downloads to mobile telephones. Already in Japan, one million full-song (AAC+) files per month have been downloaded since November 2004—and that is only for KDDI, one of Japan’s three major carriers. Now that is big. The promise and rise of mobile Internet technologies and markets will be remembered as one of the most profound global information technology developments of the next few years. Mobile Internet technologies and practical applications necessary for widespread public use are advancing rapidly in Japan and are likely to catch on quickly in other countries. The remarkable adoption of mobile Internet in Japan and the popularity of digital music file sharing services such as Napster in the United States create a situation in which powerful synergies are possible between these two fundamental forces. Digital music via mobile Internet creates attractive opportunities for music artists, music consumers, entrepreneurs, and major music labels facing an uncertain future for music industry distribution practices. The realization of such opportunities depends not only on technological and business innovations, but also on the willingness among all parties involved to collaborate in equitable and valuable ways.

Alfred Hermida recently posited ‘ambient journalism’ as a new framework for para- and professional journalists, who use social networks like Twitter for story sources, and as a news delivery platform. Beginning with this framework, this article explores the following questions: How does Hermida define ‘ambient journalism’ and what is its significance? Are there alternative definitions? What lessons do current platforms provide for the design of future, real-time platforms that ‘ambient journalists’ might use? What lessons does the work of Brian Eno provide–the musician and producer who coined the term ‘ambient music’ over three decades ago? My aim here is to formulate an alternative definition of ambient journalism that emphasises craft, skills acquisition, and the mental models of professional journalists, which are the foundations more generally for journalism practices. Rather than Hermida’s participatory media context I emphasise ‘institutional adaptiveness’: how journalists and newsrooms in media institutions rely on craft and skills, and how emerging platforms can augment these foundations, rather than replace them. Hermida’s Ambient Journalism and the Role of Journalists Hermida describes ambient journalism as: “broad, asynchronous, lightweight and always-on communication systems [that] are creating new kinds of interactions around the news, and are enabling citizens to maintain a mental model of news and events around them” (Hermida 2). His ideas appear to have two related aspects. He conceives ambient journalism as an “awareness system” between individuals that functions as a collective intelligence or kind of ‘distributed cognition’ at a group level (Hermida 2, 4-6). Facebook, Twitter and other online social networks are examples. Hermida also suggests that such networks enable non-professionals to engage in ‘communication’ and ‘conversation’ about news and media events (Hermida 2, 7). In a helpful clarification, Hermida observes that ‘para-journalists’ are like the paralegals or non-lawyers who provide administrative support in the legal profession and, in academic debates about journalism, are more commonly known as ‘citizen journalists’. Thus, Hermida’s ambient journalism appears to be: (1) an information systems model of new platforms and networks, and (2) a normative argument that these tools empower ‘para-journalists’ to engage in journalism and real-time commentary. Hermida’s thesis is intriguing and worthy of further discussion and debate. As currently formulated however it risks sharing the blind-spots and contradictions of the academic literature that Hermida cites, which suffers from poor theory-building (Burns). A major reason is that the participatory media context on which Hermida often builds his work has different mental models and normative theories than the journalists or media institutions that are the target of critique. Ambient journalism would be a stronger and more convincing framework if these incorrect assumptions were jettisoned. Others may also potentially misunderstand what Hermida proposes, because the academic debate is often polarised between para-journalists and professional journalists, due to different views about institutions, the politics of knowledge, decision heuristics, journalist training, and normative theoretical traditions (Christians et al. 126; Cole and Harcup 166-176). In the academic debate, para-journalists or ‘citizen journalists’ may be said to have a communitarian ethic and desire more autonomous solutions to journalists who are framed as uncritical and reliant on official sources, and to media institutions who are portrayed as surveillance-like ‘monitors’ of society (Christians et al. 124-127). This is however only one of a range of possible relationships. Sole reliance on para-journalists could be a premature solution to a more complex media ecology. Journalism craft, which does not rely just on official sources, also has a range of practices that already provides the “more complex ways of understanding and reporting on the subtleties of public communication” sought (Hermida 2). Citizen- and para-journalist accounts may overlook micro-studies in how newsrooms adopt technological innovations and integrate them into newsgathering routines (Hemmingway 196). Thus, an examination of the realities of professional journalism will help to cast a better light on how ambient journalism can shape the mental models of para-journalists, and provide more rigorous analysis of news and similar events. Professional journalism has several core dimensions that para-journalists may overlook. Journalism’s foundation as an experiential craft includes guidance and norms that orient the journalist to information, and that includes practitioner ethics. This craft is experiential; the basis for journalism’s claim to “social expertise” as a discipline; and more like the original Linux and Open Source movements which evolved through creative conflict (Sennett 9, 25-27, 125-127, 249-251). There are learnable, transmissible skills to contextually evaluate, filter, select and distil the essential insights. This craft-based foundation and skills informs and structures the journalist’s cognitive witnessing of an event, either directly or via reconstructed, cultivated sources. The journalist publishes through a recognised media institution or online platform, which provides communal validation and verification. There is far more here than the academic portrayal of journalists as ‘gate-watchers’ for a ‘corporatist’ media elite. Craft and skills distinguish the professional journalist from Hermida’s para-journalist. Increasingly, media institutions hire journalists who are trained in other craft-based research methods (Burns and Saunders). Bethany McLean who ‘broke’ the Enron scandal was an investment banker; documentary filmmaker Errol Morris first interviewed serial killers for an early project; and Neil Chenoweth used ‘forensic accounting’ techniques to investigate Rupert Murdoch and Kerry Packer. Such expertise allows the journalist to filter information, and to mediate any influences in the external environment, in order to develop an individualised, ‘embodied’ perspective (Hofstadter 234; Thompson; Garfinkel and Rawls). Para-journalists and social network platforms cannot replace this expertise, which is often unique to individual journalists and their research teams. Ambient Journalism and Twitter Current academic debates about how citizen- and para-journalists may augment or even replace professional journalists can often turn into legitimation battles whether the ‘de facto’ solution is a social media network rather than a media institution. For example, Hermida discusses Twitter, a micro-blogging platform that allows users to post 140-character messages that are small, discrete information chunks, for short-term and episodic memory. Twitter enables users to monitor other users, to group other messages, and to search for terms specified by a hashtag. Twitter thus illustrates how social media platforms can make data more transparent and explicit to non-specialists like para-journalists. In fact, Twitter is suitable for five different categories of real-time information: news, pre-news, rumours, the formation of social media and subject-based networks, and “molecular search” using granular data-mining tools (Leinweber 204-205). In this model, the para-journalist acts as a navigator and “way-finder” to new information (Morville, Findability). Jaron Lanier, an early designer of ‘virtual reality’ systems, is perhaps the most vocal critic of relying on groups of non-experts and tools like Twitter, instead of individuals who have professional expertise. For Lanier, what underlies debates about citizen- and para-journalists is a philosophy of “cybernetic totalism” and “digital Maoism” which exalts the Internet collective at the expense of truly individual views. He is deeply critical of Hermida’s chosen platform, Twitter: “A design that shares Twitter’s feature of providing ambient continuous contact between people could perhaps drop Twitter’s adoration of fragments. We don’t really know, because it is an unexplored design space” [emphasis added] (Lanier 24). In part, Lanier’s objection is traceable back to an unresolved debate on human factors and design in information science. Influenced by the post-war research into cybernetics, J.C.R. Licklider proposed a cyborg-like model of “man-machine symbiosis” between computers and humans (Licklider). In turn, Licklider’s framework influenced Douglas Engelbart, who shaped the growth of human-computer interaction, and the design of computer interfaces, the mouse, and other tools (Engelbart). In taking a system-level view of platforms Hermida builds on the strength of Licklider and Engelbart’s work. Yet because he focuses on para-journalists, and does not appear to include the craft and skills-based expertise of professional journalists, it is unclear how he would answer Lanier’s fears about how reliance on groups for news and other information is superior to individual expertise and judgment. Hermida’s two case studies point to this unresolved problem. Both cases appear to show how Twitter provides quicker and better forms of news and information, thereby increasing the effectiveness of para-journalists to engage in journalism and real-time commentary. However, alternative explanations may exist that raise questions about Twitter as a new platform, and thus these cases might actually reveal circumstances in which ambient journalism may fail. Hermida alludes to how para-journalists now fulfil the earlier role of ‘first responders’ and stringers, in providing the “immediate dissemination” of non-official information about disasters and emergencies (Hermida 1-2; Haddow and Haddow 117-118). Whilst important, this is really a specific role. In fact, disaster and emergency reporting occurs within well-established practices, professional ethics, and institutional routines that may involve journalists, government officials, and professional communication experts (Moeller). Officials and emergency management planners are concerned that citizen- or para-journalism is equated with the craft and skills of professional journalism. The experience of these officials and planners in 2005’s Hurricane Katrina in the United States, and in 2009’s Black Saturday bushfires in Australia, suggests that whilst para-journalists might be ‘first responders’ in a decentralised, complex crisis, they are perceived to spread rumours and potential social unrest when people need reliable information (Haddow and Haddow 39). These terms of engagement between officials, planners and para-journalists are still to be resolved. Hermida readily acknowledges that Twitter and other social network platforms are vulnerable to rumours (Hermida 3-4; Sunstein). However, his other case study, Iran’s 2009 election crisis, further complicates the vision of ambient journalism, and always-on communication systems in particular. Hermida discusses several events during the crisis: the US State Department request to halt a server upgrade, how the Basij’s shooting of bystander Neda Soltan was captured on a mobile phone camera, the spread across social network platforms, and the high-velocity number of ‘tweets’ or messages during the first two weeks of Iran’s electoral uncertainty (Hermida 1). The US State Department was interested in how Twitter could be used for non-official sources, and to inform people who were monitoring the election events. Twitter’s perceived ‘success’ during Iran’s 2009 election now looks rather different when other factors are considered such as: the dynamics and patterns of Tehran street protests; Iran’s clerics who used Soltan’s death as propaganda; claims that Iran’s intelligence services used Twitter to track down and to kill protestors; the ‘black box’ case of what the US State Department and others actually did during the crisis; the history of neo-conservative interest in a Twitter-like platform for strategic information operations; and the Iranian diaspora’s incitement of Tehran student protests via satellite broadcasts. Iran’s 2009 election crisis has important lessons for ambient journalism: always-on communication systems may create noise and spread rumours; ‘mirror-imaging’ of mental models may occur, when other participants have very different worldviews and ‘contexts of use’ for social network platforms; and the new kinds of interaction may not lead to effective intervention in crisis events. Hermida’s combination of news and non-news fragments is the perfect environment for psychological operations and strategic information warfare (Burns and Eltham). Lessons of Current Platforms for Ambient Journalism We have discussed some unresolved problems for ambient journalism as a framework for journalists, and as mental models for news and similar events. Hermida’s goal of an “awareness system” faces a further challenge: the phenomenological limitations of human consciousness to deal with information complexity and ambiguous situations, whether by becoming ‘entangled’ in abstract information or by developing new, unexpected uses for emergent technologies (Thackara; Thompson; Hofstadter 101-102, 186; Morville, Findability, 55, 57, 158). The recursive and reflective capacities of human consciousness imposes its own epistemological frames. It’s still unclear how Licklider’s human-computer interaction will shape consciousness, but Douglas Hofstadter’s experiments with art and video-based group experiments may be suggestive. Hofstadter observes: “the interpenetration of our worlds becomes so great that our worldviews start to fuse” (266). Current research into user experience and information design provides some validation of Hofstadter’s experience, such as how Google is now the ‘default’ search engine, and how its interface design shapes the user’s subjective experience of online search (Morville, Findability; Morville, Search Patterns). Several models of Hermida’s awareness system already exist that build on Hofstadter’s insight. Within the information systems field, on-going research into artificial intelligence–‘expert systems’ that can model expertise as algorithms and decision rules, genetic algorithms, and evolutionary computation–has attempted to achieve Hermida’s goal. What these systems share are mental models of cognition, learning and adaptiveness to new information, often with forecasting and prediction capabilities. Such systems work in journalism areas such as finance and sports that involve analytics, data-mining and statistics, and in related fields such as health informatics where there are clear, explicit guidelines on information and international standards. After a mid-1980s investment bubble (Leinweber 183-184) these systems now underpin the technology platforms of global finance and news intermediaries. Bloomberg LP’s ubiquitous dual-screen computers, proprietary network and data analytics (www.bloomberg.com), and its competitors such as Thomson Reuters (www.thomsonreuters.com and www.reuters.com), illustrate how financial analysts and traders rely on an “awareness system” to navigate global stock-markets (Clifford and Creswell). For example, a Bloomberg subscriber can access real-time analytics from exchanges, markets, and from data vendors such as Dow Jones, NYSE Euronext and Thomson Reuters. They can use portfolio management tools to evaluate market information, to make allocation and trading decisions, to monitor ‘breaking’ news, and to integrate this information. Twitter is perhaps the para-journalist equivalent to how professional journalists and finance analysts rely on Bloomberg’s platform for real-time market and business information. Already, hedge funds like PhaseCapital are data-mining Twitter’s ‘tweets’ or messages for rumours, shifts in stock-market sentiment, and to analyse potential trading patterns (Pritchett and Palmer). The US-based Securities and Exchange Commission, and researchers like David Gelernter and Paul Tetlock, have also shown the benefits of applied data-mining for regulatory market supervision, in particular to uncover analysts who provide ‘whisper numbers’ to online message boards, and who have access to material, non-public information (Leinweber 60, 136, 144-145, 208, 219, 241-246). Hermida’s framework might be developed further for such regulatory supervision. Hermida’s awareness system may also benefit from the algorithms found in high-frequency trading (HFT) systems that Citadel Group, Goldman Sachs, Renaissance Technologies, and other quantitative financial institutions use. Rather than human traders, HFT uses co-located servers and complex algorithms, to make high-volume trades on stock-markets that take advantage of microsecond changes in prices (Duhigg). HFT capabilities are shrouded in secrecy, and became the focus of regulatory attention after several high-profile investigations of traders alleged to have stolen the software code (Bray and Bunge). One public example is Streambase (www.streambase.com), a ‘complex event processing’ (CEP) platform that can be used in HFT, and commercialised from the Project Aurora research collaboration between Brandeis University, Brown University, and Massachusetts Institute of Technology. CEP and HFT may be the ‘killer apps’ of Hermida’s awareness system. Alternatively, they may confirm Jaron Lanier’s worst fears: your data-stream and user-generated content can be harvested by others–for their gain, and your loss! Conclusion: Brian Eno and Redefining ‘Ambient Journalism’ On the basis of the above discussion, I suggest a modified definition of Hermida’s thesis: ‘Ambient journalism’ is an emerging analytical framework for journalists, informed by cognitive, cybernetic, and information systems research. It ‘sensitises’ the individual journalist, whether professional or ‘para-professional’, to observe and to evaluate their immediate context. In doing so, ‘ambient journalism’, like journalism generally, emphasises ‘novel’ information. It can also inform the design of real-time platforms for journalistic sources and news delivery. Individual ‘ambient journalists’ can learn much from the career of musician and producer Brian Eno. His personal definition of ‘ambient’ is “an atmosphere, or a surrounding influence: a tint,” that relies on the co-evolution of the musician, creative horizons, and studio technology as a tool, just as para-journalists use Twitter as a platform (Sheppard 278; Eno 293-297). Like para-journalists, Eno claims to be a “self-educated but largely untrained” musician and yet also a craft-based producer (McFadzean; Tamm 177; 44-50). Perhaps Eno would frame the distinction between para-journalist and professional journalist as “axis thinking” (Eno 298, 302) which is needlessly polarised due to different normative theories, stances, and practices. Furthermore, I would argue that Eno’s worldview was shaped by similar influences to Licklider and Engelbart, who appear to have informed Hermida’s assumptions. These influences include the mathematician and game theorist John von Neumann and biologist Richard Dawkins (Eno 162); musicians Eric Satie, John Cage and his book Silence (Eno 19-22, 162; Sheppard 22, 36, 378-379); and the field of self-organising systems, in particular cyberneticist Stafford Beer (Eno 245; Tamm 86; Sheppard 224). Eno summed up the central lesson of this theoretical corpus during his collaborations with New York’s ‘No Wave’ scene in 1978, of “people experimenting with their lives” (Eno 253; Reynolds 146-147; Sheppard 290-295). Importantly, he developed a personal view of normative theories through practice-based research, on a range of projects, and with different creative and collaborative teams. Rather than a technological solution, Eno settled on a way to encode his craft and skills into a quasi-experimental, transmittable method—an aim of practitioner development in professional journalism. Even if only a “founding myth,” the story of Eno’s 1975 street accident with a taxi, and how he conceived ‘ambient music’ during his hospital stay, illustrates how ambient journalists might perceive something new in specific circumstances (Tamm 131; Sheppard 186-188). More tellingly, this background informed his collaboration with the late painter Peter Schmidt, to co-create the Oblique Strategies deck of aphorisms: aleatory, oracular messages that appeared dependent on chance, luck, and randomness, but that in fact were based on Eno and Schmidt’s creative philosophy and work guidelines (Tamm 77-78; Sheppard 178-179; Reynolds 170). In short, Eno was engaging with the kind of reflective practices that underpin exemplary professional journalism. He was able to encode this craft and skills into a quasi-experimental method, rather than a technological solution. Journalists and practitioners who adopt Hermida’s framework could learn much from the published accounts of Eno’s practice-based research, in the context of creative projects and collaborative teams. In particular, these detail the contexts and choices of Eno’s early ambient music recordings (Sheppard 199-200); Eno’s duels with David Bowie during ‘Sense of Doubt’ for the Heroes album (Tamm 158; Sheppard 254-255); troubled collaborations with Talking Heads and David Byrne (Reynolds 165-170; Sheppard; 338-347, 353); a curatorial, mentor role on U2’s The Unforgettable Fire (Sheppard 368-369); the ‘grand, stadium scale’ experiments of U2’s 1991-93 ZooTV tour (Sheppard 404); the Zorn-like games of Bowie’s Outside album (Eno 382-389); and the ‘generative’ artwork 77 Million Paintings (Eno 330-332; Tamm 133-135; Sheppard 278-279; Eno 435). Eno is clearly a highly flexible maker and producer. Developing such flexibility would ensure ambient journalism remains open to novelty as an analytical framework that may enhance the practitioner development and work of professional journalists and para-journalists alike.Acknowledgments The author thanks editor Luke Jaaniste, Alfred Hermida, and the two blind peer reviewers for their constructive feedback and reflective insights. References Bray, Chad, and Jacob Bunge. “Ex-Goldman Programmer Indicted for Trade Secrets Theft.” The Wall Street Journal 12 Feb. 2010. 17 March 2010 ‹http://online.wsj.com/article/SB10001424052748703382904575059660427173510.html›. Burns, Alex. “Select Issues with New Media Theories of Citizen Journalism.” M/C Journal 11.1 (2008). 17 March 2010 ‹http://journal.media-culture.org.au/index.php/mcjournal/article/view/30›.———, and Barry Saunders. “Journalists as Investigators and ‘Quality Media’ Reputation.” Record of the Communications Policy and Research Forum 2009. Eds. Franco Papandrea and Mark Armstrong. Sydney: Network Insight Institute, 281-297. 17 March 2010 ‹http://eprints.vu.edu.au/15229/1/CPRF09BurnsSaunders.pdf›.———, and Ben Eltham. “Twitter Free Iran: An Evaluation of Twitter’s Role in Public Diplomacy and Information Operations in Iran’s 2009 Election Crisis.” Record of the Communications Policy and Research Forum 2009. Eds. Franco Papandrea and Mark Armstrong. Sydney: Network Insight Institute, 298-310. 17 March 2010 ‹http://eprints.vu.edu.au/15230/1/CPRF09BurnsEltham.pdf›. Christians, Clifford G., Theodore Glasser, Denis McQuail, Kaarle Nordenstreng, and Robert A. White. Normative Theories of the Media: Journalism in Democratic Societies. Champaign, IL: University of Illinois Press, 2009. Clifford, Stephanie, and Julie Creswell. “At Bloomberg, Modest Strategy to Rule the World.” The New York Times 14 Nov. 2009. 17 March 2010 ‹http://www.nytimes.com/2009/11/15/business/media/15bloom.html?ref=businessandpagewanted=all›.Cole, Peter, and Tony Harcup. Newspaper Journalism. Thousand Oaks, CA: Sage Publications, 2010. Duhigg, Charles. “Stock Traders Find Speed Pays, in Milliseconds.” The New York Times 23 July 2009. 17 March 2010 ‹http://www.nytimes.com/2009/07/24/business/24trading.html?_r=2andref=business›. Engelbart, Douglas. “Augmenting Human Intellect: A Conceptual Framework, 1962.” Ed. Neil Spiller. Cyber Reader: Critical Writings for the Digital Era. London: Phaidon Press, 2002. 60-67. Eno, Brian. A Year with Swollen Appendices. London: Faber and Faber, 1996. Garfinkel, Harold, and Anne Warfield Rawls. Toward a Sociological Theory of Information. Boulder, CO: Paradigm Publishers, 2008. Hadlow, George D., and Kim S. Haddow. Disaster Communications in a Changing Media World, Butterworth-Heinemann, Burlington MA, 2009. Hemmingway, Emma. Into the Newsroom: Exploring the Digital Production of Regional Television News. Milton Park: Routledge, 2008. Hermida, Alfred. “Twittering the News: The Emergence of Ambient Journalism.” Journalism Practice 4.3 (2010): 1-12. Hofstadter, Douglas. I Am a Strange Loop. New York: Perseus Books, 2007. Lanier, Jaron. You Are Not a Gadget: A Manifesto. London: Allen Lane, 2010. Leinweber, David. Nerds on Wall Street: Math, Machines and Wired Markets. Hoboken, NJ: John Wiley and Sons, 2009. Licklider, J.C.R. “Man-Machine Symbiosis, 1960.” Ed. Neil Spiller. Cyber Reader: Critical Writings for the Digital Era, London: Phaidon Press, 2002. 52-59. McFadzean, Elspeth. “What Can We Learn from Creative People? The Story of Brian Eno.” Management Decision 38.1 (2000): 51-56. Moeller, Susan. Compassion Fatigue: How the Media Sell Disease, Famine, War and Death. New York: Routledge, 1998. Morville, Peter. Ambient Findability. Sebastopol, CA: O’Reilly Press, 2005. ———. Search Patterns. Sebastopol, CA: O’Reilly Press, 2010.Pritchett, Eric, and Mark Palmer. ‘Following the Tweet Trail.’ CNBC 11 July 2009. 17 March 2010 ‹http://www.casttv.com/ext/ug0p08›. Reynolds, Simon. Rip It Up and Start Again: Postpunk 1978-1984. London: Penguin Books, 2006. Sennett, Richard. The Craftsman. London: Penguin Books, 2008. Sheppard, David. On Some Faraway Beach: The Life and Times of Brian Eno. London: Orion Books, 2008. Sunstein, Cass. On Rumours: How Falsehoods Spread, Why We Believe Them, What Can Be Done. New York: Farrar, Straus and Giroux, 2009. Tamm, Eric. Brian Eno: His Music and the Vertical Colour of Sound. New York: Da Capo Press, 1995. Thackara, John. In the Bubble: Designing in a Complex World. Boston, MA: The MIT Press, 1995. Thompson, Evan. Mind in Life: Biology, Phenomenology, and the Science of Mind. Boston, MA: Belknap Press, 2007.

No man [...] can wear one face to himself and another to the multitude, without finally getting bewildered as to which one may be true. (Nathaniel Hawthorne Scarlet Letter – as seen and pondered by Tony Soprano at Bowdoin College, The Sopranos, Season 1, Episode 5: “College”)The fictitious is a particular and varied source of insight into the everyday world. The idea of seriality—with its variations of the serial, series, seriated—is very much connected to our patterns of entertainment. In this essay, I want to begin the process of testing what values and meanings can be drawn from the idea of seriality into comprehending the play of persona in contemporary culture. From a brief overview of the intersection of persona and seriality as well as a review of the deployment of seriality in popular culture, the article focuses on the character/ person-actor relationship to demonstrate how seriality produces persona. The French term for character—personnage—will be used to underline the clear relations between characterisation, person, and persona which have been developed by the recent work by Lenain and Wiame. Personnage, through its variation on the word person helps push the analysis into fully understanding the particular and integrated configuration between a public persona and the fictional role that an actor inhabits (Heinich).There are several qualities related to persona that allow this movement from the fictional world to the everyday world to be profitable. Persona, in terms of origins, in and of itself implies performance and display. Jung, for instance, calls persona a mask where one is “acting a role” (167); while Goffman considers that performance and roles are at the centre of everyday life and everyday forms and patterns of communication. In recent work, I have use persona to describe how online culture pushes most people to construct a public identity that resembles what celebrities have had to construct for their livelihood for at least the last century (“Persona”; “Self”). My work has expanded to an investigation of how online persona relates to individual agency (“Agency”) and professional postures and positioning (Barbour and Marshall).The fictive constructions then are intensified versions of what persona is addressing: the fabrication of a role for particular directions and ends. Characters or personnages are constructed personas for very directed ends. Their limitation to the study of persona as a dimension of public culture is that they are not real; however, when one thinks of the actor who takes on this fictive identity, there is clearly a relationship between the real personality and that of the character. Moreover, as Nayar’s analysis of highly famous characters that are fictitious reveals, these celebrated characters, such as Harry Potter or Wolverine, sometime take on a public presence in and of themselves. To capture this public movement of a fictional character, Nayar blends the terms celebrity with fiction and calls these semi-public/semi-real entities “celefiction”: the characters are famous, highly visible, and move across media, information, and cultural platforms with ease and speed (18-20). Their celebrity status underlines their power to move outside of their primary text into public discourse and through public spaces—an extra-textual movement which fundamentally defines what a celebrity embodies.Seriality has to be seen as fundamental to a personnage’s power of and extension into the public world. For instance with Harry Potter again, at least some of his recognition is dependent on the linking or seriating the related books and movies. Seriality helps organise our sense of affective connection to our popular culture. The familiarity of some element of repetition is both comforting for audiences and provides at least a sense of guarantee or warranty that they will enjoy the future text as much as they enjoyed the past related text. Seriality, though, also produces a myriad of other effects and affects which provides a useful background to understand its utility in both the understanding of character and its value in investigating contemporary public persona. Etymologically, the words “series” and seriality are from the Latin and refer to “succession” in classical usage and are identified with ancestry and the patterns of identification and linking descendants (Oxford English Dictionary). The original use of the seriality highlights its value in understanding the formation of the constitution of person and persona and how the past and ancestry connect in series to the current or contemporary self. Its current usage, however, has broadened metaphorically outwards to identify anything that is in sequence or linked or joined: it can be a series of lectures and arguments or a related mark of cars manufactured in a manner that are stylistically linked. It has since been deployed to capture the production process of various cultural forms and one of the key origins of this usage came from the 19th century novel. There are many examples where the 19th century novel was sold and presented in serial form that are too numerous to even summarise here. It is useful to use Dickens’ serial production as a defining example of how seriality moved into popular culture and the entertainment industry more broadly. Part of the reason for the sheer length of many of Charles Dickens’ works related to their original distribution as serials. In fact, all his novels were first distributed in chapters in monthly form in magazines or newspapers. A number of related consequences from Dickens’ serialisation are relevant to understanding seriality in entertainment culture more widely (Hayward). First, his novel serialisation established a continuous connection to his readers over years. Thus Dickens’ name itself became synonymous and connected to an international reading public. Second, his use of seriality established a production form that was seen to be more affordable to its audience: seriality has to be understood as a form that is closely connected to economies and markets as cultural commodities kneaded their way into the structure of everyday life. And third, seriality established through repetition not only the author’s name but also the name of the key characters that populated the cultural form. Although not wholly attributable to the serial nature of the delivery, the characters such as Oliver Twist, Ebenezer Scrooge or David Copperfield along with a host of other major and minor players in his many books become integrated into everyday discourse because of their ever-presence and delayed delivery over stories over time (see Allen 78-79). In the same way that newspapers became part of the vernacular of contemporary culture, fictional characters from novels lived for years at a time in the consciousness of this large reading public. The characters or personnages themselves became personalities that through usage became a way of describing other behaviours. One can think of Uriah Heep and his sheer obsequiousness in David Copperfield as a character-type that became part of popular culture thinking and expressing a clear negative sentiment about a personality trait. In the twentieth century, serials became associated much more with book series. One of the more successful serial genres was the murder mystery. It developed what could be described as recognisable personnages that were both fictional and real. Thus, the real Agatha Christie with her consistent and prodigious production of short who-dunnit novels was linked to her Belgian fictional detective Hercule Poirot. Variations of these serial constructions occurred in children’s fiction, the emerging science fiction genre, and westerns with authors and characters rising to related prominence.In a similar vein, early to mid-twentieth century film produced the film serial. In its production and exhibition, the film serial was a déclassé genre in its overt emphasis on the economic quality of seriality. Thus, the film serial was generally a filler genre that was interspersed before and after a feature film in screenings (Dixon). As well as producing a familiarity with characters such as Flash Gordon, it was also instrumental in producing actors with a public profile that grew from this repetition. Flash Gordon was not just a character; he was also the actor Buster Crabbe and, over time, the association became indissoluble for audiences and actor alike. Feature film serials also developed in the first half-century of American cinema in particular with child actors like Shirley Temple, Mickey Rooney and Judy Garland often reprising variations of their previous roles. Seriality more or less became the standard form of delivery of broadcast media for most of the last 70 years and this was driven by the economies of production it developed. Whether the production was news, comedy, or drama, most radio and television forms were and are variation of serials. As well as being the zenith of seriality, television serials have been the most studied form of seriality of all cultural forms and are thus the greatest source of research into what serials actually produced. The classic serial that began on radio and migrated to television was the soap opera. Although most of the long-running soap operas have now disappeared, many have endured for more than 30 years with the American series The Guiding Light lasting 72 years and the British soap Coronation Street now in its 64th year. Australian nighttime soap operas have managed a similar longevity: Neighbours is in its 30th year, while Home and Away is in its 27th year. Much of the analyses of soap operas and serials deals with the narrative and the potential long narrative arcs related to characters and storylines. In contrast to most evening television serials historically, soap operas maintain the continuity from one episode to the next in an unbroken continuity narrative. Evening television serials, such as situation comedies, while maintaining long arcs over their run are episodic in nature: the structure of the story is generally concluded in the given episode with at least partial closure in a manner that is never engaged with in the never-ending soap opera serials.Although there are other cultural forms that deploy seriality in their structures—one can think of comic books and manga as two obvious other connected and highly visible serial sources—online and video games represent the other key media platform of serials in contemporary culture. Once again, a “horizon of expectation” (Jauss and De Man 23) motivates the iteration of new versions of games by the industry. New versions of games are designed to build on gamer loyalties while augmenting the quality and possibilities of the particular game. Game culture and gamers have a different structural relationship to serials which at least Denson and Jahn-Sudmann describe as digital seriality: a new version of a game is also imagined to be technologically more sophisticated in its production values and this transformation of the similitude of game structure with innovation drives the economy of what are often described as “franchises.” New versions of Minecraft as online upgrades or Call of Duty launches draw the literal reinvestment of the gamer. New consoles provide a further push to serialisation of games as they accentuate some transformed quality in gameplay, interaction, or quality of animated graphics. Sports franchises are perhaps the most serialised form of game: to replicate new professional seasons in each major sport, the sports game transforms with a new coterie of players each year.From these various venues, one can see the centrality of seriality in cultural forms. There is no question that one of the dimensions of seriality that transcends these cultural forms is its coordination and intersection with the development of the industrialisation of culture and this understanding of the economic motivation behind series has been explored from some of the earliest analyses of seriality (see Hagedorn; Browne). Also, seriality has been mined extensively in terms of its production of the pleasure of repetition and transformation. The exploration of the popular, whether in studies of readers of romance fiction (Radway), or fans of science fiction television (Tulloch and Jenkins; Jenkins), serials have provided the resource for the exploration of the power of the audience to connect, engage and reconstruct texts.The analysis of the serialisation of character—the production of a public personnage—and its relation to persona surprisingly has been understudied. While certain writers have remarked on the longevity of a certain character, such as Vicky Lord’s 40 year character on the soap opera One Life to Live, and the interesting capacity to maintain both complicated and hidden storylines (de Kosnik), and fan audience studies have looked at the parasocial-familiar relationship that fan and character construct, less has been developed about the relationship of the serial character, the actor and a form of twinned public identity. Seriality does produce a patterning of personnage, a structure of familiarity for the audience, but also a structure of performance for the actor. For instance, in a longitudinal analysis of the character of Fu Manchu, Mayer is able to discern how a patterning of iconic form shapes, replicates, and reiterates the look of Fu Manchu across decades of films (Mayer). Similarly, there has been a certain work on the “taxonomy of character” where the serial character of a television program is analysed in terms of 6 parts: physical traits/appearance; speech patterns, psychological traits/habitual behaviours; interaction with other characters; environment; biography (Pearson quoted in Lotz).From seriality what emerges is a particular kind of “type-casting” where the actor becomes wedded to the specific iteration of the taxonomy of performance. As with other elements related to seriality, serial character performance is also closely aligned to the economic. Previously I have described this economic patterning of performance the “John Wayne Syndrome.” Wayne’s career developed into a form of serial performance where the individual born as Marion Morrison becomes structured into a cultural and economic category that determines the next film role. The economic weight of type also constructs the limits and range of the actor. Type or typage as a form of casting has always been an element of film and theatrical performance; but it is the seriality of performance—the actual construction of a personnage that flows between the fictional and real person—that allows an actor to claim a persona that can be exchanged within the industry. Even 15 years after his death, Wayne remained one of the most popular performers in the United States, his status unrivalled in its close definition of American value that became wedded with a conservative masculinity and politics (Wills).Type and typecasting have an interesting relationship to seriality. From Eisenstein’s original use of the term typage, where the character is chosen to fit into the meaning of the film and the image was placed into its sequence to make that meaning, it generally describes the circumscribing of the actor into their look. As Wojcik’s analysis reveals, typecasting in various periods of theatre and film acting has been seen as something to be fought for by actors (in the 1850s) and actively resisted in Hollywood in 1950 by the Screen Actors Guild in support of more range of roles for each actor. It is also seen as something that leads to cultural stereotypes that can reinforce the racial profiling that has haunted diverse cultures and the dangers of law enforcement for centuries (Wojcik 169-71). Early writers in the study of film acting, emphasised that its difference from theatre was that in film the actor and character converged in terms of connected reality and a physicality: the film actor was less a mask and more a sense of “being”(Kracauer). Cavell’s work suggested film over stage performance allowed an individuality over type to emerge (34). Thompson’s semiotic “commutation” test was another way of assessing the power of the individual “star” actor to be seen as elemental to the construction and meaning of the film role Television produced with regularity character-actors where performance and identity became indissoluble partly because of the sheer repetition and the massive visibility of these seriated performances.One of the most typecast individuals in television history was Leonard Nimoy as Spock in Star Trek: although the original Star Trek series ran for only three seasons, the physical caricature of Spock in the series as a half-Vulcan and half-human made it difficult for the actor Nimoy to exit the role (Laws). Indeed, his famous autobiography riffed on this mis-identity with the forceful but still economically powerful title I am Not Spock in 1975. When Nimoy perceived that his fans thought that he was unhappy in his role as Spock, he published a further tome—I Am Spock—that righted his relationship to his fictional identity and its continued source of roles for the previous 30 years. Although it is usually perceived as quite different in its constitution of a public identity, a very similar structure of persona developed around the American CBS news anchor Walter Cronkite. With his status as anchor confirmed in its power and centrality to American culture in his desk reportage of the assassination and death of President Kennedy in November 1963, Cronkite went on to inhabit a persona as the most trusted man in the United States by the sheer gravitas of hosting the Evening News stripped across every weeknight at 6:30pm for the next 19 years. In contrast to Nimoy, Cronkite became Cronkite the television news anchor, where persona, actor, and professional identity merged—at least in terms of almost all forms of the man’s visibility.From this vantage point of understanding the seriality of character/personnage and how it informs the idea of the actor, I want to provide a longer conclusion about how seriality informs the concept of persona in the contemporary moment. First of all, what this study reveals is the way in which the production of identity is overlaid onto any conception of identity itself. If we can understand persona not in any negative formulation, but rather as a form of productive performance of a public self, then it becomes very useful to see that these very visible public blendings of performance and the actor-self can make sense more generally as to how the public self is produced and constituted. My final and concluding examples will try and elucidate this insight further.In 2013, Netflix launched into the production of original drama with its release of House of Cards. The series itself was remarkable for a number of reasons. First among them, it was positioned as a quality series and clearly connected to the lineage of recent American subscription television programs such as The Sopranos, Six Feet Under, Dexter, Madmen, The Wire, Deadwood, and True Blood among a few others. House of Cards was an Americanised version of a celebrated British mini-series. In the American version, an ambitious party whip, Frank Underwood, manoeuvres with ruthlessness and the calculating support of his wife closer to the presidency and the heart and soul of American power. How the series expressed quality was at least partially in its choice of actors. The role of Frank Underwood was played by the respected film actor Kevin Spacey. His wife, Clare, was played by the equally high profile Robin Warren. Quality was also expressed through the connection of the audience of viewers to an anti-hero: a personnage that was not filled with virtue but moved with Machiavellian acuity towards his objective of ultimate power. This idea of quality emerged in many ways from the successful construction of the character of Tony Soprano by James Gandolfini in the acclaimed HBO television series The Sopranos that reconstructed the very conception of the family in organised crime. Tony Soprano was enacted as complex and conflicted with a sense of right and justice, but embedded in the personnage were psychological tropes and scars, and an understanding of the need for violence to maintain influence power and a perverse but natural sense of order (Martin).The new television serial character now embodied a larger code and coterie of acting: from The Sopranos, there is the underlying sense and sensibility of method acting (see Vineberg; Stanislavski). Gandolfini inhabited the role of Tony Soprano and used the inner and hidden drives and motivations to become the source for the display of the character. Likewise, Spacey inhabits Frank Underwood. In that new habitus of television character, the actor becomes subsumed by the role. Gandolfini becomes both over-determined by the role and his own identity as an actor becomes melded to the role. Kevin Spacey, despite his longer and highly visible history as a film actor is overwhelmed by the televisual role of Frank Underwood. Its serial power, where audiences connect for hours and hours, where the actor commits to weeks and weeks of shoots, and years and years of being the character—a serious character with emotional depth, with psychological motivation that rivals the most visceral of film roles—transforms the actor into a blended public person and the related personnage.This blend of fictional and public life is complex as much for the producing actor as it is for the audience that makes the habitus real. What Kevin Spacey/Frank Underwood inhabit is a blended persona, whose power is dependent on the constructed identity that is at source the actor’s production as much as any institutional form or any writer or director connected to making House of Cards “real.” There is no question that this serial public identity will be difficult for Kevin Spacey to disentangle when the series ends; in many ways it will be an elemental part of his continuing public identity. This is the economic power and risk of seriality.One can see similar blendings in the persona in popular music and its own form of contemporary seriality in performance. For example, Eminem is a stage name for a person sometimes called Marshall Mathers; but Eminem takes this a step further and produces beyond a character in its integration of the personal—a real personnage, Slim Shady, to inhabit his music and its stories. To further complexify this construction, Eminem relies on the production of his stories with elements that appear to be from his everyday life (Dawkins). His characterisations because of the emotional depth he inhabits through his rapped stories betray a connection to his own psychological state. Following in the history of popular music performance where the singer-songwriter’s work is seen by all to present a version of the public self that is closer emotionally to the private self, we once again see how the seriality of performance begins to produce a blended public persona. Rap music has inherited this seriality of produced identity from twentieth century icons of the singer/songwriter and its display of the public/private self—in reverse order from grunge to punk, from folk to blues.Finally, it is worthwhile to think of online culture in similar ways in the production of public personas. Seriality is elemental to online culture. Social media encourage the production of public identities through forms of repetition of that identity. In order to establish a public profile, social media users establish an identity with some consistency over time. The everydayness in the production of the public self online thus resembles the production and performance of seriality in fiction. Professional social media sites such as LinkedIn encourage the consistency of public identity and this is very important in understanding the new versions of the public self that are deployed in contemporary culture. However, much like the new psychological depth that is part of the meaning of serial characters such as Frank Underwood in House of Cards, Slim Shady in Eminem, or Tony Soprano in The Sopranos, social media seriality also encourages greater revelations of the private self via Instagram and Facebook walls and images. We are collectively reconstituted as personas online, seriated by the continuing presence of our online sites and regularly drawn to reveal more and greater depths of our character. In other words, the online persona resembles the new depth of the quality television serial personnage with elaborate arcs and great complexity. Seriality in our public identity is also uncovered in the production of our game avatars where, in order to develop trust and connection to friends in online settings, we maintain our identity and our patterns of gameplay. At the core of this online identity is a desire for visibility, and we are drawn to be “picked up” and shared in some repeatable form across what we each perceive as a meaningful dimension of culture. Through the circulation of viral images, texts, and videos we engage in a circulation and repetition of meaning that feeds back into the constancy and value of an online identity. Through memes we replicate and seriate content that at some level seriates personas in terms of humour, connection and value.Seriality is central to understanding the formation of our masks of public identity and is at least one valuable analytical way to understand the development of the contemporary persona. This essay represents the first foray in thinking through the relationship between seriality and persona.ReferencesBarbour, Kim, and P. David Marshall. “The Academic Online Constructing Persona.” First Monday 17.9 (2012).Browne, Nick. “The Political Economy of the (Super)Text.” Quarterly Review of Film Studies 9.3 (1984): 174-82. Cavell, Stanley. “Reflections on the Ontology of Film.” Movie Acting: The Film Reader. Ed. Wojcik and Pamela Robertson. 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