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Author(s):  
Marina Dubyago ◽  
Nikolay Poluyanovich

It was established that methods based on artificial neural networks (HC) find the most widespread in predicting thermal processes in power cable networks. Analysis of influence of various functions of HC activation on forecast error of thermoflux processes in power cable networks was carried out. It is established that the minimum error of thermal processes prediction in power cable networks is HC with function of logsig activation in hidden layer and pureline in output layer.


2021 ◽  
Author(s):  
◽  
Caitlin Grandy

<p>This thesis explores the emergence and significance of internet-distributed television by unpacking the industrial, cultural, and textual ramifications of programming originated for an online context. As one of the foremost streaming services both globally and within the United States, Netflix will be the central focus of this thesis. The programmes that Netflix originates facilitate discussions around the potential of this network and its online platform to encourage innovation and novelty in its long-form TV drama. Netflix’s Stranger Things (2016–), a programme concept that was reputedly rejected by a number of cable networks before being accepted by Netflix, provides a compelling case study of the creative possibilities afforded by streaming capabilities.  This exploration is structured into three chapters. The first examines the environmental and institutional factors of the US television industry from which internet-distributed networks emerged. This chapter also explores the different economic models and the associated storytelling methods of each. Chapter 2 demonstrates the cultural significance of streaming on consumption behaviours and explores how broadcast, cable, and internet-distributed TV networks conceive of and pursue audiences. The analysis of several seminal TV dramas, such as The Sopranos (HBO 1999-2007), Game of Thrones (HBO 2011-2019), and Breaking Bad (AMC 2008-2013), provides comparisons from which to better understand the significance of Stranger Things to both the network that commissioned it and to the American television industry at large. The third chapter offers a detailed analysis of Stranger Things as an exemplar of Netflix’s ability to commission what Trisha Dunleavy (2018) terms the ‘complex serial drama’ and in doing so emulate the successful strategies first deployed by US cable networks.</p>


2021 ◽  
Author(s):  
◽  
Caitlin Grandy

<p>This thesis explores the emergence and significance of internet-distributed television by unpacking the industrial, cultural, and textual ramifications of programming originated for an online context. As one of the foremost streaming services both globally and within the United States, Netflix will be the central focus of this thesis. The programmes that Netflix originates facilitate discussions around the potential of this network and its online platform to encourage innovation and novelty in its long-form TV drama. Netflix’s Stranger Things (2016–), a programme concept that was reputedly rejected by a number of cable networks before being accepted by Netflix, provides a compelling case study of the creative possibilities afforded by streaming capabilities.  This exploration is structured into three chapters. The first examines the environmental and institutional factors of the US television industry from which internet-distributed networks emerged. This chapter also explores the different economic models and the associated storytelling methods of each. Chapter 2 demonstrates the cultural significance of streaming on consumption behaviours and explores how broadcast, cable, and internet-distributed TV networks conceive of and pursue audiences. The analysis of several seminal TV dramas, such as The Sopranos (HBO 1999-2007), Game of Thrones (HBO 2011-2019), and Breaking Bad (AMC 2008-2013), provides comparisons from which to better understand the significance of Stranger Things to both the network that commissioned it and to the American television industry at large. The third chapter offers a detailed analysis of Stranger Things as an exemplar of Netflix’s ability to commission what Trisha Dunleavy (2018) terms the ‘complex serial drama’ and in doing so emulate the successful strategies first deployed by US cable networks.</p>


2021 ◽  
Author(s):  
Karyn Riddle ◽  
Nicole Martins

Abstract This article provides a 20-year, apples-to-apples update of the National Television Violence Studies. Using the same sampling procedures and codebook, we coded 765 primetime television programs and movies airing on 21 broadcast and cable networks. Results suggest the prevalence of violence has increased slightly, but the number of programs saturated with violence has experienced a more significant increase. This appears to be driven by an influx of highly violent movies airing in primetime on cable channels. Although some contextual variables suggest slight improvements in terms of negative consequences for violence, the overwhelming majority of violent television programs and movies do not feature anti-violence themes. Implications for social cognitive, cultivation, schema, transportation, and media vividness theories are discussed.


2021 ◽  
Author(s):  
◽  
Fairooz Samy

<p><b>As the leading internet-distributed television platform (IDTVP) today, with over 200 millionworldwide subscribers, Netflix is a fascinating case-study through which to unpack thestrategies, innovations, and possibilities of internet-delivered television.</b></p> <p>This thesis argues that Netflix appropriates existing broadcast and premium cable networkpractices to produce original programming while using internet-originated tools, such as bigdata and algorithms, to continuously improve its interface design. The thesis demonstrateshow Netflix utilises internet discourses relating to television media, streaming, andtechnology, to contextualise subscribers’ interactions with, and consumption of, content onits platform, discursively and practically creating the ‘Netflix experience’.</p> <p>The thesis examines the ways in which Netflix supports its commissioning strategies bycontinuously developing technology that emphasizes personalisation, choice, and temporalflexibility, all while promoting its digital capabilities through self-mythologizing narratives. AsNetflix is constantly evolving in response to changes in the television industry (and is at timesinstigating these changes) this thesis includes industry discourse in the forms of pressreleases, advertising materials, and popular media journalism. Netflix’s framing withinpopular media, both through its own promotional material and across industry press,simultaneously creates, reinforces, and normalises IDTV delivery and viewing protocols.</p> <p>The thesis analyses Netflix’s use of big data and algorithms to ‘create value’ for subscribersby enhancing the user-friendliness and personalisation capabilities of its platform, both ofwhich increase viewer engagement with the Netflix interface. Also discussed are thecompany’s strategies for value creation, such as continuous playback, the skip intro feature,the ability to download episodes automatically for offline viewing, and others, all of whichincentivise temporally-flexible viewing habits, such as binge-watching. Additionally, the thesisinvestigates Netflix’s exploitation of its big data caches to market its original programmesdirectly to subscribers, circulate biased viewing figures pertaining to content on its platform,and categorise its viewers into ‘taste communities’.</p> <p>Domestically, Netflix’s role in the increasing consolidation of content owned by mediaconglomerates is discussed, notably Disney’s 2019 acquisition of 20th Century Fox and itstelevision holdings, and the subsequent effects of the deal on the licensing of Fox and Disney’sintellectual property (IP). Netflix’s upward trajectory in the United States illustrates theopenings and opportunities available to the company in the time immediately before the IDTVmodel became widespread amongst (now) multi-platform broadcast and cable networks,thanks in part to Netflix’s innovations in popularising IDTV protocols. The company tookadvantage of the US television industry’s existing economic and industrial constraints to builda catalogue of acquired content. The resulting popularity of certain (high-end serial drama)programmes (particularly those licensed from cable networks) helped Netflix to establish adomestic subscriber base while forecasting the importance of IP ownership.</p> <p>This thesis posits that the changes in the international regulation and provision of what is nowan established form of television delivery demonstrate the influence that Netflix, as thelargest purveyor of IDTV, has had in gaining entry into 190 countries over the past decade. Assuch, Netflix is an excellent representation of the international possibilities and successes ofIDTV. The thesis also interrogates how Netflix’s entry into original content commissioning hasinstigated broader changes in the legislation, commissioning, production, and reception ofIDTVP in markets such as Brazil, The United Kingdom, India, South Africa, and its domesticmarket of the United States. Internationally, this research examines Netflix’s investments ininternet infrastructure and physical infrastructure, in terms of buying its own production hubsin places like Spain, its relationships with non-US networks, and the legislative response tothe rapid growth of internationally-operating IDTVPs.</p> <p>The thesis investigates how Netflix’s willingness to outspend competitors and accrue debtallows it to build subscriber numbers, despite continuing to rely on acquired content, andincreasingly, co-produced and directly commissioned content with (non-US) networks(Dunleavy 2020). It argues that Netflix is pursuing a commissioning and branding strategy of‘international localisation’. The strategy cultivates cultural specificity in the form of locallanguage use, a story by a local writer-producer, the involvement of a local productioncompany, and partnerships with local casts and crews. This cultural specificity is thencombined with factors that allow local content to appeal to Netflix’s international subscriberbase, including accurately translated subtitling and dubbing in a variety of languages, as wellas adopting aspects of high-end serial drama programming, such as large budgets, highproduction values, and creatively-risky or adult themes. The concept of internationallocalisation is explored through the case studies of two Netflix-originated serial dramaprogrammes, Stranger Things (US) and Queen Sono (South Africa).</p> <p>Internet-delivered television is now a permanent fixture of the entertainment landscape.</p> <p>Multi-platform networks are the predominant group of television providers, with IDTVplatforms constituting an ever-growing part of these networks’ strategies. Increasing mediacompany conglomeration is going to result in the consolidation of intellectual property rightsfor programmes among an oligopoly of parent companies, making content origination evenmore crucial for television providers. These conditions occurred alongside the rise of Netflix,a company which, little more than a decade prior, was primarily a DVD rental service, andnow, in 2020, boasts availability in 190 countries. Netflix is not the ‘global network’ its CEOReed Hastings claims it to be. However, its successes and challenges uniquely represent theseismic changes in the industrial, economic, and technological circumstances of the televisionindustry over the past ten years.</p>


2021 ◽  
Author(s):  
◽  
Fairooz Samy

<p><b>As the leading internet-distributed television platform (IDTVP) today, with over 200 millionworldwide subscribers, Netflix is a fascinating case-study through which to unpack thestrategies, innovations, and possibilities of internet-delivered television.</b></p> <p>This thesis argues that Netflix appropriates existing broadcast and premium cable networkpractices to produce original programming while using internet-originated tools, such as bigdata and algorithms, to continuously improve its interface design. The thesis demonstrateshow Netflix utilises internet discourses relating to television media, streaming, andtechnology, to contextualise subscribers’ interactions with, and consumption of, content onits platform, discursively and practically creating the ‘Netflix experience’.</p> <p>The thesis examines the ways in which Netflix supports its commissioning strategies bycontinuously developing technology that emphasizes personalisation, choice, and temporalflexibility, all while promoting its digital capabilities through self-mythologizing narratives. AsNetflix is constantly evolving in response to changes in the television industry (and is at timesinstigating these changes) this thesis includes industry discourse in the forms of pressreleases, advertising materials, and popular media journalism. Netflix’s framing withinpopular media, both through its own promotional material and across industry press,simultaneously creates, reinforces, and normalises IDTV delivery and viewing protocols.</p> <p>The thesis analyses Netflix’s use of big data and algorithms to ‘create value’ for subscribersby enhancing the user-friendliness and personalisation capabilities of its platform, both ofwhich increase viewer engagement with the Netflix interface. Also discussed are thecompany’s strategies for value creation, such as continuous playback, the skip intro feature,the ability to download episodes automatically for offline viewing, and others, all of whichincentivise temporally-flexible viewing habits, such as binge-watching. Additionally, the thesisinvestigates Netflix’s exploitation of its big data caches to market its original programmesdirectly to subscribers, circulate biased viewing figures pertaining to content on its platform,and categorise its viewers into ‘taste communities’.</p> <p>Domestically, Netflix’s role in the increasing consolidation of content owned by mediaconglomerates is discussed, notably Disney’s 2019 acquisition of 20th Century Fox and itstelevision holdings, and the subsequent effects of the deal on the licensing of Fox and Disney’sintellectual property (IP). Netflix’s upward trajectory in the United States illustrates theopenings and opportunities available to the company in the time immediately before the IDTVmodel became widespread amongst (now) multi-platform broadcast and cable networks,thanks in part to Netflix’s innovations in popularising IDTV protocols. The company tookadvantage of the US television industry’s existing economic and industrial constraints to builda catalogue of acquired content. The resulting popularity of certain (high-end serial drama)programmes (particularly those licensed from cable networks) helped Netflix to establish adomestic subscriber base while forecasting the importance of IP ownership.</p> <p>This thesis posits that the changes in the international regulation and provision of what is nowan established form of television delivery demonstrate the influence that Netflix, as thelargest purveyor of IDTV, has had in gaining entry into 190 countries over the past decade. Assuch, Netflix is an excellent representation of the international possibilities and successes ofIDTV. The thesis also interrogates how Netflix’s entry into original content commissioning hasinstigated broader changes in the legislation, commissioning, production, and reception ofIDTVP in markets such as Brazil, The United Kingdom, India, South Africa, and its domesticmarket of the United States. Internationally, this research examines Netflix’s investments ininternet infrastructure and physical infrastructure, in terms of buying its own production hubsin places like Spain, its relationships with non-US networks, and the legislative response tothe rapid growth of internationally-operating IDTVPs.</p> <p>The thesis investigates how Netflix’s willingness to outspend competitors and accrue debtallows it to build subscriber numbers, despite continuing to rely on acquired content, andincreasingly, co-produced and directly commissioned content with (non-US) networks(Dunleavy 2020). It argues that Netflix is pursuing a commissioning and branding strategy of‘international localisation’. The strategy cultivates cultural specificity in the form of locallanguage use, a story by a local writer-producer, the involvement of a local productioncompany, and partnerships with local casts and crews. This cultural specificity is thencombined with factors that allow local content to appeal to Netflix’s international subscriberbase, including accurately translated subtitling and dubbing in a variety of languages, as wellas adopting aspects of high-end serial drama programming, such as large budgets, highproduction values, and creatively-risky or adult themes. The concept of internationallocalisation is explored through the case studies of two Netflix-originated serial dramaprogrammes, Stranger Things (US) and Queen Sono (South Africa).</p> <p>Internet-delivered television is now a permanent fixture of the entertainment landscape.</p> <p>Multi-platform networks are the predominant group of television providers, with IDTVplatforms constituting an ever-growing part of these networks’ strategies. Increasing mediacompany conglomeration is going to result in the consolidation of intellectual property rightsfor programmes among an oligopoly of parent companies, making content origination evenmore crucial for television providers. These conditions occurred alongside the rise of Netflix,a company which, little more than a decade prior, was primarily a DVD rental service, andnow, in 2020, boasts availability in 190 countries. Netflix is not the ‘global network’ its CEOReed Hastings claims it to be. However, its successes and challenges uniquely represent theseismic changes in the industrial, economic, and technological circumstances of the televisionindustry over the past ten years.</p>


2021 ◽  
Author(s):  
Akihiro Ametani ◽  
Haoyan Xue ◽  
Teruo Ohno ◽  
Hossein Khalilnezhad

Vestnik IGEU ◽  
2021 ◽  
pp. 30-40
Author(s):  
V.A. Shuin ◽  
Yu.D. Kutumov ◽  
N.V. Kuzmina ◽  
T.Yu. Shadrikova

As a rule, researchers do not consider the dependence of the inductance of cable lines on frequency in their scientific papers devoted to the calculation of transient processes during single phase-to-ground fault in 6–10 cable networks. In some cases, it can lead to significant errors in evaluation of current and voltage transient components parameters. Therefore, it is an urgent task to estimate defined errors and the scope of application of frequency-independent equivalent circuits and models of 6–10 kV cable lines during calculation and simulation of transient processes in case of single phase-to-ground fault. The authors applied PSCAD / EMTDC software to study the effect of the frequency dependence of the inductances of 6–10 kV cable lines on the calculation accuracy of transient processes during single phase-to-ground fault. It allows to simulate electric power systems models with the usage of both frequency-dependent and frequency-independent cable line models with round conductors only. To check the adequacy of the frequency-dependent three phase cable model developed in PSCAD software, the authors have used a frequency-dependent model of 6–10 kV three-phase cable with sector-shaped conductors designed in COMSOL Multiphysics software. The authors have developed an approach to develop of 610 kV cable lines models with frequency-dependent and frequency-independent parameters. The authors have obtained error estimation in transient current and voltage parameters during single phase-to-ground fault in cable networks models that do not consider the frequency dependence on inductance (for discharge components the error is 1520 %, for charging components the error is equal to 510 %). It is shown that models with cable line parameters defined according to spreading speed of electromagnetic wave, can be used for approximate calculation of transient current and voltage to solve most of tasks of investigation of transient processes during single phase-to-ground faults. Application of the developed recommendations to determine three phase medium voltage cable lines parameters will increase the calculation accuracy of transient processes during single phase-to-ground faults in 6–10 kV cable networks. Only application of frequency-dependent models of cable lines allows us to provide required accuracy to develop methods of distant earth fault localization in 6–10 kV networks.


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