The PRISM On-demand Digital Media Cloud

2010 ◽  
pp. 327-341
Author(s):  
Terry Harmer ◽  
Ron Perrott ◽  
Rhys Lewis
Keyword(s):  
Digital Media ◽  
On Demand ◽  
Media Cloud

New Media Cloud Computing

2014 ◽  
pp. 1636-1648
Author(s):  
P. Sasikala
Keyword(s):  
Cloud Computing ◽  
New Media ◽  
Community Formation ◽  
Media Content ◽  
Network Access ◽  
Configurable Computing ◽  
Online Data ◽  
On Demand ◽  
The Many ◽  
Media Cloud

New Media is a generic term for the many different forms of electronic communication that are made possible through the use of computer technology. New media refers to on-demand access to content anytime, anywhere, on any digital device, as well as interactive user feedback, creative participation and community formation around the media content. Another important promise of new media is the “democratization” of the creation, publishing, distribution and consumption of media content along with real-time generation of new and user created content. Cloud computing, is a style of computing where scalable and elastic IT-related capabilities are provided as shared assorted services (IaaS, PaaS, SaaS, DaaS). It is metered by use, to customers using internet technologies built on top of diverse technologies like virtualisation, distributed computing, utility computing, and more recently networking, web infrastructure and providing on-demand network access to a shared pool of configurable computing resources. It represents a paradigm shift in how we think about our data, the role of our computing devices and on managing computing resources. Being an emerging service technology with promising novel and valuable capabilities it attracts industrial research community with main focus on standardisation and customised implementation in every segment of society. To meet out the ever growing popularity of the inevitable new media applications and services over the Internet and the way it overpowers mobile devices, there is a strong demand for cloud integration. This paper outlines the concepts of new media cloud computing and addresses the problem of handling exponential growth of online data. It presents a novel framework for New Media Cloud Computing. A preliminary simulation of the work on the proposed architecture shows that there is increase in the quality of computations done, despite the demand of constant updating of resources in New Media environment.

Human Behaviors with Podcasts

2012 ◽  
pp. 178-188
Author(s):  
Simon B. Heilesen
Keyword(s):  
Social Studies ◽  
Digital Media ◽  
Professional Communication ◽  
The Internet ◽  
Broadcast Media ◽  
Human Behaviors ◽  
On Demand ◽  
Internet Users ◽  
Production And Consumption ◽  
Individual Self

Podcasts, i.e. digital media files (audio and video) distributed over the Internet, have become particularly popular since the introduction of podcasting in 2004. Podcasts are bringing changes to patterns of media production and consumption, and indeed to the way Internet users communicate. Many podcasts repurpose content, in some cases adding a play-on-demand dimension to broadcast media. But most podcast productions introduce original content on a myriad of subjects. The most widespread uses of podcasts, however, are within education, professional communication, and individual self-expression. Podcasts are normally dealt with in the context of established research disciplines such as media studies, social studies, and educational studies. Schools have yet to develop in the research on podcasts. But it is possible to identify a number of directions and issues within the disciplines where podcasts are having notable impacts.

The emergence of the post-digital media cloud

Ubiquity ◽  
2007 ◽  
Vol 2007 (March) ◽  
pp. 1-1
Author(s):  
Ubiquity staff
Keyword(s):  
Digital Media ◽  
Media Cloud

New Media Cloud Computing

2013 ◽  
Vol 3 (2) ◽  
pp. 61-72
Author(s):  
P. Sasikala
Keyword(s):  
Cloud Computing ◽  
New Media ◽  
Community Formation ◽  
Media Content ◽  
Network Access ◽  
Configurable Computing ◽  
Online Data ◽  
On Demand ◽  
The Many ◽  
Media Cloud

New Media is a generic term for the many different forms of electronic communication that are made possible through the use of computer technology. New media refers to on-demand access to content anytime, anywhere, on any digital device, as well as interactive user feedback, creative participation and community formation around the media content. Another important promise of new media is the “democratization” of the creation, publishing, distribution and consumption of media content along with real-time generation of new and user created content. Cloud computing, is a style of computing where scalable and elastic IT-related capabilities are provided as shared assorted services (IaaS, PaaS, SaaS, DaaS). It is metered by use, to customers using internet technologies built on top of diverse technologies like virtualisation, distributed computing, utility computing, and more recently networking, web infrastructure and providing on-demand network access to a shared pool of configurable computing resources. It represents a paradigm shift in how we think about our data, the role of our computing devices and on managing computing resources. Being an emerging service technology with promising novel and valuable capabilities it attracts industrial research community with main focus on standardisation and customised implementation in every segment of society. To meet out the ever growing popularity of the inevitable new media applications and services over the Internet and the way it overpowers mobile devices, there is a strong demand for cloud integration. This paper outlines the concepts of new media cloud computing and addresses the problem of handling exponential growth of online data. It presents a novel framework for New Media Cloud Computing. A preliminary simulation of the work on the proposed architecture shows that there is increase in the quality of computations done, despite the demand of constant updating of resources in New Media environment.

Representing Knowledge

2010 ◽  
pp. 1-22
Author(s):  
Gilbert Paquette
Keyword(s):  
Knowledge Representation ◽  
Digital Media ◽  
Mass Communication ◽  
Oral Tradition ◽  
Storage Capacity ◽  
External Memory ◽  
Human History ◽  
On Demand ◽  
Event Knowledge ◽  
Optical Disks

The invention of writing more than 6,000 years in Mesopotamia is a recent phenomenon in human history. In the few million years that preceded this event, knowledge was passed on from generation to generation by oral tradition. Writing was a huge factor in accelerating civilization and transferring knowledge by enabling us to externalize our thoughts first on stone, parchment, then paper, and finally by digitizing and recording them on optical disks and computer servers. These media act as a kind of external memory that extends the storage capacity of our brain. This external memory can be accessed on demand, made permanent, changed in a multitude of ways, sent to others, used as a basis for mass communication orally or electronically, and distributed through print, analog, or digital media. The purpose of this chapter is to broaden our understanding of knowledge representation through organized systems of symbols, to present these systems, and to describe how they are used to understand, communicate, and solve problems.

Seismic Shifts: Platforms, Content Creators and Spreadable Media

2014 ◽  
Vol 150 (1) ◽  
pp. 106-113 ◽  
Author(s):  
Steinar Ellingsen
Keyword(s):  
Digital Media ◽  
Traditional Media ◽  
Digital Platforms ◽  
On Demand ◽  
The Way ◽  
Spreadable Media

While traditional media are grappling with an increasingly fragmented audience and (the further threat of) declining revenue, some players are excelling in the new landscape. The increasing popularity of Netflix and other online broadcasters and platforms is signalling seismic shifts in the way that content is created, consumed and distributed/circulated. As part of this shift towards what Chuck Tryon (2013) broadly describes as an ‘on-demand culture’, we are experiencing an accelerating trend in which digital platforms are beginning to act as TV networks, and amidst this transition independent content creators are empowered by the flexibility of digital media and the proliferation of funding and release possibilities.

scholarly journals ESTETIKA GASTRONOMI NUSANTARA DALAM MEDIA DIGITAL

2021 ◽  
Vol 4 (2) ◽  
pp. 248-257
Author(s):  
Ilma Pratiwi
Keyword(s):  
Social Media ◽  
Digital Media ◽  
Food Culture ◽  
Digital Television ◽  
Digital Information ◽  
Entertainment Media ◽  
On Demand ◽  
Television Media ◽  
Digital Information Technology ◽  
Digital Film

The development of the digital technology affects how humans perceive aesthetics in digital media. Including how the Indonesia gastronomic presentation is perceived in digital media both visually and audio. Gastronomy is the study of food and food culture. The development of digital information technology creates a space that is full of information, how can information about the Indonesian gastronomy continue to exist in the midst of cross-cultural information on today's digital media. People's behavior is influenced by the perceptions of netizens formed from digital information media, be it social media, television media, film media, even entertainment media on demand. This study uses a phenological approach to describe how the Indonesian gastronomic aesthetics are presented in various digital media platforms, namely social media Instagram, social media Facebook, social media Youtube, digital television media, digital film media, and entertainment digital media on demand. The data was obtained through observation of these various digital media platforms. This study produces a comparison of the aesthetic elements used in each of these digital media and how the existence of Indonesian gastronomy is presented in it.

scholarly journals Digital Media Platforms and the Use of TV Content: Binge Watching and Video-on-Demand in Germany

2016 ◽  
Vol 4 (3) ◽  
pp. 154-161 ◽  
Author(s):  
Lothar Mikos
Keyword(s):  
Digital Media ◽  
Video On Demand ◽  
Carrier Medium ◽  
Audience Studies ◽  
Film And Television ◽  
On Demand ◽  
Television Shows ◽  
The Future ◽  
Tv Shows ◽  
Television Market

The advancing digitalization and media convergence demands TV broadcasting companies to adjust their content to various platforms and distribution channels. The internet, as convergent carrier medium, is increasingly taking on a central role for additional media. Classical linear TV is still important, but for some audiences it has been developing from a primary medium to a secondary medium. Owing to the growing melding of classical-linear TV contents with online offerings (e.g. video-on-demand platforms or Web–TV), a great dynamic can be seen which has triggered numerous discussions about the future of TV for some time now. This article will summarize the results of two different audience studies. Film and television shows are meanwhile distributed online via Video-on-Demand platforms such as Netflix or Amazon Prime Video. The first audience study has dealt with the use of VoD-platforms in Germany investigating user rituals, user motivation to watch films and TV shows on these platforms, and the meaning of VoD in everyday life. Most of the participants in this study reported that they mainly watch TV drama series at Netflix or Amazon Prime. Therefore, the second audience study focused the online use of television drama series of individuals and couples elaborating the phenomenon of binge watching. In relating the audience practice to the new structures of the television market the article will shed light on the future of television.

Defining “TV-Like” Content in a Multimedia Era

2017 ◽  
Author(s):  
Marko Ala-Fossi
Keyword(s):  
European Union ◽  
Digital Media ◽  
Online Media ◽  
The European Union ◽  
Legal Concept ◽  
Linear Type ◽  
Audiovisual Media ◽  
On Demand ◽  
Eu Directive ◽  
The Eu

In the European Union, “television-like” is a legal concept, introduced in 2007 as a part of a political compromise over the scope of the new Audiovisual Media Services Directive (AVMSD). The European Commission had originally intended to expand the new rules on linear television programming to cover also all new nonlinear audiovisual content services intended for the same audiences online. This approach was objected to by the U.K. government, which saw it as potentially harmful for the growth of the new online media. Although left practically alone in the opposition in the EU decision-making process, the U.K. government managed with the support of the U.K. regulator Ofcom and the U.K. industry alliance to limit the new directive to cover only “television-like” online services. According to AVMSD Recital 24, these services should “compete for the same audience as television broadcasts” while “the concept of ‘programme’ should be interpreted in a dynamic way taking into account developments in television broadcasting.” The vagueness of this concept has left room for very different and even opposing interpretations. A number of national regulatory authorities in Europe as well as the Court of Justice of the European Union argue that parts of some newspaper’s websites can also be classified as video-on-demand services, while Ofcom has systematically excluded all the audiovisual services on the websites of British newspapers from regulation. Creating a clear definition of “TV-like” content or services is difficult not just because of the vague wording of the EU directive or digital media convergence, but because the whole concept is based on another set of concepts, which definitions are highly dependent on time and context: television, program, and channel as a practice of packaging content into a linear transmission schedule. Early TV was indeed showing radio programming in production, or radio with pictures. From a contemporary perspective, full-length films may seem to be typical content for television, but most of them have originally been made for theatrical distribution. Over the years, audiovisual media formerly known as television has expanded on multiple platforms and its content has also been available in different on demand-type formats for several decades. So depending on your perspective, there is either a plentitude of “TV-like” content services besides the genuine TV or a wide variety of different flavors of television. Currently, it can be argued whether TV is in terminal decline or just integrating with mobile and online media, but it is obvious that any efforts to define “TV-like” content could make sense only as long the traditional, linear type of (broadcast) TV continues to have an important role in our societies and media cultures.

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