This document discusses virtual world television (VWTV) produced in Second Life. It defines VWTV as user-generated content recorded before live audiences or in the field, influenced by traditional TV genres. The document presents case studies of four Second Life VWTV producers, examining how Second Life facilitates creativity and connectivity while producers seek to build community. It compares VWTV to traditional TV, noting similarities in desires to connect, create, and commune, but differences due to Second Life's technological structures and lack of industry. The document argues VWTV is an example of how virtual worlds permit the transgression of traditional audience roles and power dynamics through user-generated production and distribution.
The Web 2.0 paradigm has brought more attention to the idea of Internet-based interactive television, where the audience is allowed and encouraged to participate in and interact with television production. This paper focused on virtual worlds as a Internet-based platform within which people experiment with how to produce such egalitarian television programming. For this paper, virtual worlds television is seen through the experiences of one virtual worlds entrepreneur, Pooky Amsterdam, and how she positions herself as a producer of virtual worlds television in relationship to the users or audiences of her shows. The analysis considered her comments on how she positioned herself against the traditional power dynamics of television broadcasting paradigms by positioning herself as an entrepreneur in a new(er) power dynamic. Thus, her positioning of herself relates to how she endorses the Web 2.0 paradigm as a user herself of virtual worlds technologies.
Tech convergence & prolif of hardware content finalsandraoddy2
Technological convergence and the proliferation of hardware and content have created pressures for media institutions in production, distribution, and exhibition. In production, major studios have advantages over independent British film companies in spending on technology, promotion, and distribution deals. In distribution, majors benefit more from synergies across platforms while independents must target niche audiences. In exhibition, audiences now expect greater experiences from cinemas to compete with home viewing options, putting pressure on cinemas to offer IMAX, 3D, and special events. The essay should compare how these issues uniquely impact the case study institutions.
The document discusses seven potential topics that a question could cover regarding contemporary media practice. These include issues around media ownership, cross-media convergence and synergy, new production and distribution technologies, the proliferation of hardware and content and its effects on institutions and audiences, and how international institutions target both national and local audiences. It also mentions evaluating one's own media consumption experiences in relation to wider audience trends.
This document provides context and discussion points around the topic of media in the online age. It outlines four potential exam questions on how online media has developed, the impact of the internet on media production, how consumer behavior and audiences have been transformed, and the extent to which convergence has transformed media. It then discusses key concepts like the development of the internet and web, changing consumer behaviors and audiences, new business models, and debates around issues like piracy, censorship, control and ownership in the digital age.
Here are some potential pros and cons of digital film piracy from the perspectives of institutions and audiences:
Cons for institutions:
- Loss of revenue from lost sales/rentals of legitimate copies
- Difficulty in enforcing copyright in the digital world
- Threat to traditional business models of production and distribution
Pros for audiences:
- Increased access to films for free or low cost
- Ability to sample films before purchasing
- Convenience of digital copies that can be accessed anywhere
However, piracy also poses challenges for the long-term sustainability of the creative industries. Overall, there are reasonable arguments on both sides of this complex issue.
The document discusses several key topics related to the film industry, including media ownership, synergy, convergence, new technologies, and their impacts. It notes that major Hollywood studios dominate the international film industry through vast resources that allow widespread release and marketing of titles. New technologies have impacted film production, distribution, and exhibition, including through digital filmmaking, social media marketing, and viewing options like video on demand. Both opportunities and challenges are presented by these new technologies for audiences and media institutions.
Technological convergence and proliferation filmcigdemkalem
Technological convergence has led to proliferation in the film industry in three key ways:
1) The increased availability of hardware like smartphones and content from new and old media has given both audiences and institutions more options for producing and consuming films.
2) Technologies have merged through digitalization, allowing for interactive experiences like internet-connected TV that combine media.
3) Audiences now have more ways to access and distribute film content through various media platforms online, though this proliferation has also enabled piracy that hurts smaller film companies and institutions.
This document discusses tools and terms related to copyright and licensing. It provides an overview of key concepts like copyright, public domain, fair use, copyleft, and Creative Commons licenses. It also presents case studies on how different licenses have been applied, including Flickr (CC Attribution license), Project Gutenberg (CC0 public domain equivalent), and allowing derivatives or non-commercial use. The overall document serves as an introduction to copyright and licensing models for creative works.
The Web 2.0 paradigm has brought more attention to the idea of Internet-based interactive television, where the audience is allowed and encouraged to participate in and interact with television production. This paper focused on virtual worlds as a Internet-based platform within which people experiment with how to produce such egalitarian television programming. For this paper, virtual worlds television is seen through the experiences of one virtual worlds entrepreneur, Pooky Amsterdam, and how she positions herself as a producer of virtual worlds television in relationship to the users or audiences of her shows. The analysis considered her comments on how she positioned herself against the traditional power dynamics of television broadcasting paradigms by positioning herself as an entrepreneur in a new(er) power dynamic. Thus, her positioning of herself relates to how she endorses the Web 2.0 paradigm as a user herself of virtual worlds technologies.
Tech convergence & prolif of hardware content finalsandraoddy2
Technological convergence and the proliferation of hardware and content have created pressures for media institutions in production, distribution, and exhibition. In production, major studios have advantages over independent British film companies in spending on technology, promotion, and distribution deals. In distribution, majors benefit more from synergies across platforms while independents must target niche audiences. In exhibition, audiences now expect greater experiences from cinemas to compete with home viewing options, putting pressure on cinemas to offer IMAX, 3D, and special events. The essay should compare how these issues uniquely impact the case study institutions.
The document discusses seven potential topics that a question could cover regarding contemporary media practice. These include issues around media ownership, cross-media convergence and synergy, new production and distribution technologies, the proliferation of hardware and content and its effects on institutions and audiences, and how international institutions target both national and local audiences. It also mentions evaluating one's own media consumption experiences in relation to wider audience trends.
This document provides context and discussion points around the topic of media in the online age. It outlines four potential exam questions on how online media has developed, the impact of the internet on media production, how consumer behavior and audiences have been transformed, and the extent to which convergence has transformed media. It then discusses key concepts like the development of the internet and web, changing consumer behaviors and audiences, new business models, and debates around issues like piracy, censorship, control and ownership in the digital age.
Here are some potential pros and cons of digital film piracy from the perspectives of institutions and audiences:
Cons for institutions:
- Loss of revenue from lost sales/rentals of legitimate copies
- Difficulty in enforcing copyright in the digital world
- Threat to traditional business models of production and distribution
Pros for audiences:
- Increased access to films for free or low cost
- Ability to sample films before purchasing
- Convenience of digital copies that can be accessed anywhere
However, piracy also poses challenges for the long-term sustainability of the creative industries. Overall, there are reasonable arguments on both sides of this complex issue.
The document discusses several key topics related to the film industry, including media ownership, synergy, convergence, new technologies, and their impacts. It notes that major Hollywood studios dominate the international film industry through vast resources that allow widespread release and marketing of titles. New technologies have impacted film production, distribution, and exhibition, including through digital filmmaking, social media marketing, and viewing options like video on demand. Both opportunities and challenges are presented by these new technologies for audiences and media institutions.
Technological convergence and proliferation filmcigdemkalem
Technological convergence has led to proliferation in the film industry in three key ways:
1) The increased availability of hardware like smartphones and content from new and old media has given both audiences and institutions more options for producing and consuming films.
2) Technologies have merged through digitalization, allowing for interactive experiences like internet-connected TV that combine media.
3) Audiences now have more ways to access and distribute film content through various media platforms online, though this proliferation has also enabled piracy that hurts smaller film companies and institutions.
This document discusses tools and terms related to copyright and licensing. It provides an overview of key concepts like copyright, public domain, fair use, copyleft, and Creative Commons licenses. It also presents case studies on how different licenses have been applied, including Flickr (CC Attribution license), Project Gutenberg (CC0 public domain equivalent), and allowing derivatives or non-commercial use. The overall document serves as an introduction to copyright and licensing models for creative works.
The document discusses David Gauntlett's ideas about the shift from Web 1.0 to Web 2.0. Web 1.0 was static and only provided information to users, while Web 2.0 is more collaborative, participatory and creative as it allows users to upload, share, download and create content. Gauntlett argues that Web 2.0 platforms allow people to make and share their own media to represent themselves, rather than just being represented by traditional media. Examples mentioned include Wikipedia, YouTube, and personal video blogs. The document asks readers to provide examples that support Gauntlett's view of a more participatory digital culture and media landscape driven by user-generated content.
Transmedia Storytelling: Reality Television Use Of Multiple Media Platformscssndralouise
Transmedia storytelling involves telling stories across multiple media platforms in a planned manner. Reality television, such as Big Brother, was an early adopter of transmedia storytelling by using various media like smartphones, websites with live feeds and contestant profiles, and social media for audience participation. This allows for a deeper audience connection and engagement across platforms. Scholars note that transmedia gives storytellers the ability to appeal to different audience segments and turn fiction into narrative brands expressed through various compatible media. Reality TV has gained popularity by taking content from TV to other platforms through transmedia elements.
The document discusses the transition from the network era of television to the emerging post-network era enabled by digital technologies. In the network era, television was financed through advertising, distributed through broadcast networks, and viewed linearly on scheduled programming. The post-network era provides more choice, control, and convenience for viewers through on-demand streaming, mobile viewing, and diverse models of financing including subscription services and crowdfunding. While this represents an opportunity for new kinds of programming, it also challenges traditional economic and business models of television production and distribution.
The document discusses the concept of proliferation in media which refers to the increase in available hardware, content, and platforms for both audiences and institutions. It gives the example of how the success of the iPhone led to many similar touchscreen smartphones flooding the market. Proliferation can occur when new technologies enable many companies to enter a market. Technological convergence, where different technologies merge into new combinations, has contributed to proliferation through digital technologies that combine functions like smartphones that play video. This has changed how films are distributed, accessed, and discussed online through various media platforms.
Produsage: Towards a Broader Framework for User-Led Content CreationAxel Bruns
This document discusses the concept of "produsage", which refers to user-led content creation across various online domains such as open source software, blogs, wikis, social media, and more. It outlines some key characteristics of produsage, including open participation, fluid governance structures, unfinished works-in-progress, and common ownership of content. The author argues that produsage blurs traditional distinctions between producers, distributors, and consumers, and represents an emerging model of collaborative production enabled by digital networks and user participation.
The document discusses the redesign of the Drupal.org website by the Drupal community. It provides background on Drupal, noting that it was created by Dries Buytaert in 2001 and has grown significantly in popularity. It then poses questions about how to redesign the home for such an active community and how to design in an open source way. The redesign process involved recruiting community participation through online forms and blogs, crowdsourcing design ideas and testing through a wiki, and iterative prototyping to engage the existing community infrastructure.
Jenkins discusses the concept of "prosumer theory" where consumers are no longer just passive viewers of media but are active producers and contributors of content, such as by providing feedback or remixing and sharing content. As online platforms allow for more participation, the line between professional and amateur is blurred. While companies encourage prosumerism for their own aims, it could lead to audiences gaining more control over media than mass media companies.
The Future Is User-Led: The Path towards Widespread ProdusageAxel Bruns
The document discusses the emergence of "produsage", where users take an active role in producing and distributing content online through various means such as open source software, wikis, social media, and user-generated content. It outlines some key characteristics of produsage including open participation, fluid roles, unfinished works, and common property. The author argues this represents a shift beyond traditional models where producers, distributors, and consumers have distinct roles, and questions what this means for issues like intellectual property, trust, economics, and politics.
Media Section B- The Impact of Convergence kanda11821
Convergence is the process by which different media industries intersect and combine to form multi-purpose systems. Media theorist Henry Jenkins describes convergence as occurring where old and new media collide and where the power of media producers and consumers interact. Technological convergence has impacted various media industries by allowing for increased portability, accessibility, and interactivity of content across multiple platforms. It has challenged traditional distribution models but also created new opportunities for independent and online content creators.
This document discusses and defines Web 2.0. It begins by asking what Web 2.0 is and provides examples of Web 2.0 applications. It then discusses the impact of Web 2.0 in decentralizing power and enabling more user creativity and participation online through user-generated content and social media. Key aspects of Web 2.0 include user interactivity, participation, and collaboration online.
1) Virtual world television (VWTV) is user-generated content produced by amateurs in virtual worlds like Second Life and recorded before live audiences.
2) Interviews with VWTV producers in Second Life highlighted the importance of connectivity with other professionals, creative freedom in the virtual world, and a sense of community.
3) While there are similarities to traditional television like the importance of connections and creativity, VWTV differs in allowing producers to realize their visions without limitations of the physical world and facilitating more interaction with audiences.
The document proposes re-inventing the performing arts industry by making it global, interactive and live through an online platform called VirtualArtsTV. It notes that the $14 billion performing arts industry is struggling with declining audiences and revenues. VirtualArtsTV aims to introduce new revenue streams by live streaming multi-camera productions of plays and arts events online in an interactive format combining traditional performance, online video, social media and live streaming. It proved successful in a pilot project and aims to establish itself as a destination for live streamed performances and help other arts organizations do the same globally.
An interactive documentary can take many forms using multimedia like photos, text, audio and animations to offer an interactive experience controlled by the viewer. They can have linear structures or be user-navigated. Challenges include collaborating across skills, limited bandwidth in Australia, and ongoing costs, but advantages are convergence across platforms, low production costs, worldwide accessibility, and instant audience contact through social media. The key is choosing an engaging story and accessible technology.
A Web Documentary Survival Kit: The Essentials (Podcast Version)Enjiao Chen
This document provides an overview of web documentaries in under 10 minutes. It defines traditional documentaries as factual movies or television programs, while web documentaries are non-linear online stories that employ multimedia tools. Web documentaries allow for deeper narratives and give audiences more autonomy and ability to participate. However, they also face challenges in funding, collaboration across skillsets, and technical limitations. Overall, the document presents web documentaries as a new format that empowers individuals and communities to tell their own stories.
Here is a draft answer to question 1:
The attractions of going to the cinema today still hold appeal when competing against other viewing options, but cinemas face challenges in fully competing. Watching a new release film on the big screen, with high quality sound, provides an immersive experience that cannot be replicated at home. However, the ability to watch films at home using streaming services, Blu-Ray, or downloads is convenient and cheaper. Cinemas aim to enhance the experience through premium formats like IMAX, 3D and 4DX to encourage viewers to choose the cinema experience over watching at home. Marketing events and exclusive previews also entice audiences. Overall, cinemas remain attractive for certain films and audiences, but competing
Here is a draft answer to question 1:
The attractions of going to the cinema today still hold appeal when compared to other viewing options, but cinemas face increasing competition that they must work to overcome. Watching a new release film on the big screen, with high quality sound, provides an immersive experience that cannot be replicated at home. However, the ability to watch films at home using streaming services, Blu-Ray, or DVDs provides convenience that cinemas cannot match. Cinemas have countered this by emphasizing the communal aspect of watching films as an event or night out, with extras like reserved seating, food/drink options. Keeping ticket and concession prices reasonable will also help cinemas compete for
A web documentary survival kit the essentials slideshow for slideshareEnjiao Chen
This document provides an overview of web documentaries in under 10 minutes. It discusses how web documentaries differ from traditional documentaries by being non-linear and allowing audience interaction. Web documentaries empower self-representation and active participation. However, they face challenges such as funding, collaboration across skillsets, and bandwidth limitations. Examples provided are Journey to the End of Coal and The Places We Live.
Introduction to Institutions and Audiencesvfarrimond
The document discusses media institutions and audiences in the context of contemporary media practice. It explores how technological convergence and the rise of user-generated content through platforms like YouTube and social media have fragmented audiences and shifted power dynamics between media producers and consumers. This has resulted in a complex media ecosystem where value chains have been replaced by social networks and audiences can now pull rather than just be pushed media content.
Presentation DLM Symposium 2012 - Future of TV Blockchain News
The document discusses how emerging technologies are disrupting the television industry, leading to new opportunities for content creators, producers, brands and developers to connect directly with viewers through platforms like connected TVs, second screens, apps and social media. It also highlights challenges this presents for traditional gatekeepers like broadcasters, cable companies and regulators to adapt their business models and regulations. The rise of second screen viewing and interactivity is a major trend that will drive new forms of engagement and monetization.
The document discusses how content producers can generate revenue from multi-platform content by treating content as a franchise with different monetary opportunities across television, online, mobile, education, and consumer goods. It provides the example of Total Drama Island, an animated series that was very popular and profitable in both Canada and the US. It had an online game component launched simultaneously with the television series that engaged different tiers of audiences and had over 500,000 registered users. The document also discusses commissioning processes, guidelines, and potential funding opportunities for new media projects.
- Digital technology has significantly impacted the film industry through changes in production, distribution, and audience consumption. At the production stage, films are now often created digitally rather than on physical film. Digital distribution has lowered costs but increased piracy risks. Audiences now have more options for accessing films through digital downloads, streaming, and video on demand platforms. Overall, digitalization has disrupted traditional models but also created new opportunities for both large studios and independent films.
The document discusses David Gauntlett's ideas about the shift from Web 1.0 to Web 2.0. Web 1.0 was static and only provided information to users, while Web 2.0 is more collaborative, participatory and creative as it allows users to upload, share, download and create content. Gauntlett argues that Web 2.0 platforms allow people to make and share their own media to represent themselves, rather than just being represented by traditional media. Examples mentioned include Wikipedia, YouTube, and personal video blogs. The document asks readers to provide examples that support Gauntlett's view of a more participatory digital culture and media landscape driven by user-generated content.
Transmedia Storytelling: Reality Television Use Of Multiple Media Platformscssndralouise
Transmedia storytelling involves telling stories across multiple media platforms in a planned manner. Reality television, such as Big Brother, was an early adopter of transmedia storytelling by using various media like smartphones, websites with live feeds and contestant profiles, and social media for audience participation. This allows for a deeper audience connection and engagement across platforms. Scholars note that transmedia gives storytellers the ability to appeal to different audience segments and turn fiction into narrative brands expressed through various compatible media. Reality TV has gained popularity by taking content from TV to other platforms through transmedia elements.
The document discusses the transition from the network era of television to the emerging post-network era enabled by digital technologies. In the network era, television was financed through advertising, distributed through broadcast networks, and viewed linearly on scheduled programming. The post-network era provides more choice, control, and convenience for viewers through on-demand streaming, mobile viewing, and diverse models of financing including subscription services and crowdfunding. While this represents an opportunity for new kinds of programming, it also challenges traditional economic and business models of television production and distribution.
The document discusses the concept of proliferation in media which refers to the increase in available hardware, content, and platforms for both audiences and institutions. It gives the example of how the success of the iPhone led to many similar touchscreen smartphones flooding the market. Proliferation can occur when new technologies enable many companies to enter a market. Technological convergence, where different technologies merge into new combinations, has contributed to proliferation through digital technologies that combine functions like smartphones that play video. This has changed how films are distributed, accessed, and discussed online through various media platforms.
Produsage: Towards a Broader Framework for User-Led Content CreationAxel Bruns
This document discusses the concept of "produsage", which refers to user-led content creation across various online domains such as open source software, blogs, wikis, social media, and more. It outlines some key characteristics of produsage, including open participation, fluid governance structures, unfinished works-in-progress, and common ownership of content. The author argues that produsage blurs traditional distinctions between producers, distributors, and consumers, and represents an emerging model of collaborative production enabled by digital networks and user participation.
The document discusses the redesign of the Drupal.org website by the Drupal community. It provides background on Drupal, noting that it was created by Dries Buytaert in 2001 and has grown significantly in popularity. It then poses questions about how to redesign the home for such an active community and how to design in an open source way. The redesign process involved recruiting community participation through online forms and blogs, crowdsourcing design ideas and testing through a wiki, and iterative prototyping to engage the existing community infrastructure.
Jenkins discusses the concept of "prosumer theory" where consumers are no longer just passive viewers of media but are active producers and contributors of content, such as by providing feedback or remixing and sharing content. As online platforms allow for more participation, the line between professional and amateur is blurred. While companies encourage prosumerism for their own aims, it could lead to audiences gaining more control over media than mass media companies.
The Future Is User-Led: The Path towards Widespread ProdusageAxel Bruns
The document discusses the emergence of "produsage", where users take an active role in producing and distributing content online through various means such as open source software, wikis, social media, and user-generated content. It outlines some key characteristics of produsage including open participation, fluid roles, unfinished works, and common property. The author argues this represents a shift beyond traditional models where producers, distributors, and consumers have distinct roles, and questions what this means for issues like intellectual property, trust, economics, and politics.
Media Section B- The Impact of Convergence kanda11821
Convergence is the process by which different media industries intersect and combine to form multi-purpose systems. Media theorist Henry Jenkins describes convergence as occurring where old and new media collide and where the power of media producers and consumers interact. Technological convergence has impacted various media industries by allowing for increased portability, accessibility, and interactivity of content across multiple platforms. It has challenged traditional distribution models but also created new opportunities for independent and online content creators.
This document discusses and defines Web 2.0. It begins by asking what Web 2.0 is and provides examples of Web 2.0 applications. It then discusses the impact of Web 2.0 in decentralizing power and enabling more user creativity and participation online through user-generated content and social media. Key aspects of Web 2.0 include user interactivity, participation, and collaboration online.
1) Virtual world television (VWTV) is user-generated content produced by amateurs in virtual worlds like Second Life and recorded before live audiences.
2) Interviews with VWTV producers in Second Life highlighted the importance of connectivity with other professionals, creative freedom in the virtual world, and a sense of community.
3) While there are similarities to traditional television like the importance of connections and creativity, VWTV differs in allowing producers to realize their visions without limitations of the physical world and facilitating more interaction with audiences.
The document proposes re-inventing the performing arts industry by making it global, interactive and live through an online platform called VirtualArtsTV. It notes that the $14 billion performing arts industry is struggling with declining audiences and revenues. VirtualArtsTV aims to introduce new revenue streams by live streaming multi-camera productions of plays and arts events online in an interactive format combining traditional performance, online video, social media and live streaming. It proved successful in a pilot project and aims to establish itself as a destination for live streamed performances and help other arts organizations do the same globally.
An interactive documentary can take many forms using multimedia like photos, text, audio and animations to offer an interactive experience controlled by the viewer. They can have linear structures or be user-navigated. Challenges include collaborating across skills, limited bandwidth in Australia, and ongoing costs, but advantages are convergence across platforms, low production costs, worldwide accessibility, and instant audience contact through social media. The key is choosing an engaging story and accessible technology.
A Web Documentary Survival Kit: The Essentials (Podcast Version)Enjiao Chen
This document provides an overview of web documentaries in under 10 minutes. It defines traditional documentaries as factual movies or television programs, while web documentaries are non-linear online stories that employ multimedia tools. Web documentaries allow for deeper narratives and give audiences more autonomy and ability to participate. However, they also face challenges in funding, collaboration across skillsets, and technical limitations. Overall, the document presents web documentaries as a new format that empowers individuals and communities to tell their own stories.
Here is a draft answer to question 1:
The attractions of going to the cinema today still hold appeal when competing against other viewing options, but cinemas face challenges in fully competing. Watching a new release film on the big screen, with high quality sound, provides an immersive experience that cannot be replicated at home. However, the ability to watch films at home using streaming services, Blu-Ray, or downloads is convenient and cheaper. Cinemas aim to enhance the experience through premium formats like IMAX, 3D and 4DX to encourage viewers to choose the cinema experience over watching at home. Marketing events and exclusive previews also entice audiences. Overall, cinemas remain attractive for certain films and audiences, but competing
Here is a draft answer to question 1:
The attractions of going to the cinema today still hold appeal when compared to other viewing options, but cinemas face increasing competition that they must work to overcome. Watching a new release film on the big screen, with high quality sound, provides an immersive experience that cannot be replicated at home. However, the ability to watch films at home using streaming services, Blu-Ray, or DVDs provides convenience that cinemas cannot match. Cinemas have countered this by emphasizing the communal aspect of watching films as an event or night out, with extras like reserved seating, food/drink options. Keeping ticket and concession prices reasonable will also help cinemas compete for
A web documentary survival kit the essentials slideshow for slideshareEnjiao Chen
This document provides an overview of web documentaries in under 10 minutes. It discusses how web documentaries differ from traditional documentaries by being non-linear and allowing audience interaction. Web documentaries empower self-representation and active participation. However, they face challenges such as funding, collaboration across skillsets, and bandwidth limitations. Examples provided are Journey to the End of Coal and The Places We Live.
Introduction to Institutions and Audiencesvfarrimond
The document discusses media institutions and audiences in the context of contemporary media practice. It explores how technological convergence and the rise of user-generated content through platforms like YouTube and social media have fragmented audiences and shifted power dynamics between media producers and consumers. This has resulted in a complex media ecosystem where value chains have been replaced by social networks and audiences can now pull rather than just be pushed media content.
Presentation DLM Symposium 2012 - Future of TV Blockchain News
The document discusses how emerging technologies are disrupting the television industry, leading to new opportunities for content creators, producers, brands and developers to connect directly with viewers through platforms like connected TVs, second screens, apps and social media. It also highlights challenges this presents for traditional gatekeepers like broadcasters, cable companies and regulators to adapt their business models and regulations. The rise of second screen viewing and interactivity is a major trend that will drive new forms of engagement and monetization.
The document discusses how content producers can generate revenue from multi-platform content by treating content as a franchise with different monetary opportunities across television, online, mobile, education, and consumer goods. It provides the example of Total Drama Island, an animated series that was very popular and profitable in both Canada and the US. It had an online game component launched simultaneously with the television series that engaged different tiers of audiences and had over 500,000 registered users. The document also discusses commissioning processes, guidelines, and potential funding opportunities for new media projects.
- Digital technology has significantly impacted the film industry through changes in production, distribution, and audience consumption. At the production stage, films are now often created digitally rather than on physical film. Digital distribution has lowered costs but increased piracy risks. Audiences now have more options for accessing films through digital downloads, streaming, and video on demand platforms. Overall, digitalization has disrupted traditional models but also created new opportunities for both large studios and independent films.
This document discusses several topics related to media convergence for an upcoming exam, including: the issues of media ownership; new production, marketing and distribution technologies; the impact of increased content and hardware on institutions and audiences; how technological convergence affects institutions and audiences; targeting national and local audiences internationally; and the importance of cross-media convergence in production, distribution, and marketing. It also provides example exam questions and discusses classifying films by certificate.
This document discusses the 3D Internet or virtual worlds and its potential applications and implications. It provides an overview of the architecture of the 3D Internet including world servers, avatar/ID servers, and universal location servers. It describes some technical challenges around bandwidth limitations and hardware constraints and potential solutions. Examples of applications are also given such as education, commerce, and social networking. The document concludes that the 3D Internet combines the strengths of television, the web and social media into an interactive virtual experience.
The document is a presentation by Nick Verkroost of Value Partners on Project Canvas, an initiative in the UK to establish an open internet-connected TV platform. The presentation provides an introduction to Project Canvas, explaining the drivers behind it, an overview of the technical standard and user experience, and findings from a market impact assessment of Canvas. It analyzes how Canvas could positively impact the TV, video-on-demand, and internet service provider markets in the UK while securing investment in digital terrestrial television. The presentation concludes with lessons learned from Project Canvas including the need for public sector involvement to drive industry standards and engagement across the value chain.
A Web Documentary Survival Kit: The Essentials (A Video Companion)Enjiao Chen
This podcast discusses the essentials of creating a web documentary in under 10 minutes. It covers the differences between traditional documentaries and web documentaries, including their linear vs non-linear formats. Web documentaries allow for more empowering self-representations and an active audience. Challenges include funding, collaborating across skillsets, and limitations of user-generated content and bandwidth. The podcast provides examples of web documentaries and discusses their advantages like deeper narratives and audience participation. It also addresses challenges such as production costs, funding, technical issues, and legal implications of crowdsourcing.
A Web Documentary Survival Kit: The Essentials (A Video Companion)Enjiao Chen
This podcast discusses the essentials of creating a web documentary in under 10 minutes. It covers the differences between traditional documentaries and web documentaries, including their linear vs non-linear formats. Web documentaries allow for more empowering self-representations and an active audience. Challenges include funding, collaborating across skillsets, and managing user-generated content within bandwidth limitations. Examples provided are Journey to the End of Coal and The Places We Live. The podcast explores how web documentaries can deepen narratives and audience participation.
Revision piracy, ownership, the digital age, proliferation of hardwaresandraoddy2
The document discusses how piracy has been impacted by technological changes like digital media and the internet, which have made illegally distributing and accessing copyrighted content much easier. It also examines how these changes have challenged the traditional dominance of large Hollywood studios over the film industry and provided new opportunities for independent and low-budget films. Finally, it explores some strategies media companies have used to combat piracy in the digital age through things like simultaneous worldwide releases and digital encryption.
New and digital media refers to digital devices, citizen journalism, social networking, digital natives, time-shift viewing, the internet, web 2.0, apps, and blogs. Contemporary media issues related to new digital media include privacy concerns from hacking incidents and leaked photos, regulation of new technologies, and the use of social media and online videos in spreading propaganda or recording incidents like police interactions. New terminology includes hardware, software, media technology developments that have impacted industries like film, music, television, radio, and online platforms. Web 1.0 allowed only reading information while web 2.0 enables contributing and changing content. Digital natives are comfortable with technology while digital immigrants had to adapt to changing media.
Harnessing the value of VOD_Value Partners09Value Partners
On-demand delivery of video content over broadband will undoubtedly be one of the
most disruptive changes in the television industry over the next decade, with widereaching ramifications across the media, telecoms and technology industries. In this
article, we discuss the likely impact of VOD on viewing patterns, advertising spend, and business models, and explore the key issues for the many stakeholders in the VOD
value chain. By Tabitha Elwes, partners, and Kim Chua, manager of Value Partners, London.
Harnessing The Value Of Vod by Value Partnersvalentina77
On-demand delivery of video content over broadband will undoubtedly be one of the
most disruptive changes in the television industry over the next decade, with widereaching ramifications across the media, telecoms and technology industries. In this
article, two Value Partners Management Consulting professionals discuss the likely impact of VOD on viewing patterns, advertising spend, and business models, and explore the key issues for the many stakeholders in the VOD value chain.
Similar to Creativity, Connectivity and Community in Virtual World Television (20)
Gendering Hatsune Miku: Networked Gender and the Co-Construction of Identity ...Dominican University
This document discusses the gender identity of Hatsune Miku, a virtual pop star character. It notes that while Miku was programmed without an explicit gender, her feminine attributes and the discourse around her from both news media and fans reinforce her as a gendered female figure. The document analyzes Miku as an example of "networked gender" where identity is negotiated socially online. It concludes that Miku's gendered coding helps make her seem real to audiences, and suggests this could inform how human-like artificial agents are perceived.
From the 2013 SCMS conference: I am here today to offer up some preliminary thoughts about approaching the study of how spectators engage with films. This presentation comes from an interest we have in trying to understand how spectators make sense of films and what leads to differences and similarities in the reception of the same film. In today’s presentation, I will address the cognitive and affective theoretical approaches to film spectatorship and reception that informed our approach, as well as the apparent lack of studying the actual reception processes. I will then outline the method that was designed to measure the moment-by-moment or minutia reception process, as well as discuss a pilot project to employ this method, and I will conclude with our thoughts for applications of this method.
Men and their engagements with stereotypically feminine mediaDominican University
A more detailed analysis and discussion of a specific subset of interviews from my dissertation: men who engaged with media meant for women, and what led them to do so.
Once upon a time, Ms. Player got addicted...and survived to tell the taleDominican University
This is an experimental research paper relaying women's stories, gathered with Sense-Making Methodology interviews, of times they felt they were addicted to video games. My analysis, and thus the framing for this paper's "narrative", focuses on the dynamics of power in and around the women's lives during this period of addiction.
The metaphors of virtual worlds: How people make sense of a virtual world via...Dominican University
How do people make sense of a novel situation, such as engaging with a media product you've never used before? If that media product is a virtual world, then it appears people will make a bridge between the virtual and the physical -- by using metaphors to compare their experiences in the virtual world to those from the physical world.
This presentation from 2007 at Comic-Con's Comic Arts Conference features my theorization about the importance of fans in considering how to adapt a comic book or graphic novel to film.
This presentation was a Fantasticon in Copenhagen, Denmark, last fall, discussing what defines a superhero and how this impacts how we see superheroes around the world.
Communications Mining Series - Zero to Hero - Session 1DianaGray10
This session provides introduction to UiPath Communication Mining, importance and platform overview. You will acquire a good understand of the phases in Communication Mining as we go over the platform with you. Topics covered:
• Communication Mining Overview
• Why is it important?
• How can it help today’s business and the benefits
• Phases in Communication Mining
• Demo on Platform overview
• Q/A
Observability Concepts EVERY Developer Should Know -- DeveloperWeek Europe.pdfPaige Cruz
Monitoring and observability aren’t traditionally found in software curriculums and many of us cobble this knowledge together from whatever vendor or ecosystem we were first introduced to and whatever is a part of your current company’s observability stack.
While the dev and ops silo continues to crumble….many organizations still relegate monitoring & observability as the purview of ops, infra and SRE teams. This is a mistake - achieving a highly observable system requires collaboration up and down the stack.
I, a former op, would like to extend an invitation to all application developers to join the observability party will share these foundational concepts to build on:
Sudheer Mechineni, Head of Application Frameworks, Standard Chartered Bank
Discover how Standard Chartered Bank harnessed the power of Neo4j to transform complex data access challenges into a dynamic, scalable graph database solution. This keynote will cover their journey from initial adoption to deploying a fully automated, enterprise-grade causal cluster, highlighting key strategies for modelling organisational changes and ensuring robust disaster recovery. Learn how these innovations have not only enhanced Standard Chartered Bank’s data infrastructure but also positioned them as pioneers in the banking sector’s adoption of graph technology.
Cosa hanno in comune un mattoncino Lego e la backdoor XZ?Speck&Tech
ABSTRACT: A prima vista, un mattoncino Lego e la backdoor XZ potrebbero avere in comune il fatto di essere entrambi blocchi di costruzione, o dipendenze di progetti creativi e software. La realtà è che un mattoncino Lego e il caso della backdoor XZ hanno molto di più di tutto ciò in comune.
Partecipate alla presentazione per immergervi in una storia di interoperabilità, standard e formati aperti, per poi discutere del ruolo importante che i contributori hanno in una comunità open source sostenibile.
BIO: Sostenitrice del software libero e dei formati standard e aperti. È stata un membro attivo dei progetti Fedora e openSUSE e ha co-fondato l'Associazione LibreItalia dove è stata coinvolta in diversi eventi, migrazioni e formazione relativi a LibreOffice. In precedenza ha lavorato a migrazioni e corsi di formazione su LibreOffice per diverse amministrazioni pubbliche e privati. Da gennaio 2020 lavora in SUSE come Software Release Engineer per Uyuni e SUSE Manager e quando non segue la sua passione per i computer e per Geeko coltiva la sua curiosità per l'astronomia (da cui deriva il suo nickname deneb_alpha).
UiPath Test Automation using UiPath Test Suite series, part 5DianaGray10
Welcome to UiPath Test Automation using UiPath Test Suite series part 5. In this session, we will cover CI/CD with devops.
Topics covered:
CI/CD with in UiPath
End-to-end overview of CI/CD pipeline with Azure devops
Speaker:
Lyndsey Byblow, Test Suite Sales Engineer @ UiPath, Inc.
Threats to mobile devices are more prevalent and increasing in scope and complexity. Users of mobile devices desire to take full advantage of the features
available on those devices, but many of the features provide convenience and capability but sacrifice security. This best practices guide outlines steps the users can take to better protect personal devices and information.
Goodbye Windows 11: Make Way for Nitrux Linux 3.5.0!SOFTTECHHUB
As the digital landscape continually evolves, operating systems play a critical role in shaping user experiences and productivity. The launch of Nitrux Linux 3.5.0 marks a significant milestone, offering a robust alternative to traditional systems such as Windows 11. This article delves into the essence of Nitrux Linux 3.5.0, exploring its unique features, advantages, and how it stands as a compelling choice for both casual users and tech enthusiasts.
Essentials of Automations: The Art of Triggers and Actions in FMESafe Software
In this second installment of our Essentials of Automations webinar series, we’ll explore the landscape of triggers and actions, guiding you through the nuances of authoring and adapting workspaces for seamless automations. Gain an understanding of the full spectrum of triggers and actions available in FME, empowering you to enhance your workspaces for efficient automation.
We’ll kick things off by showcasing the most commonly used event-based triggers, introducing you to various automation workflows like manual triggers, schedules, directory watchers, and more. Plus, see how these elements play out in real scenarios.
Whether you’re tweaking your current setup or building from the ground up, this session will arm you with the tools and insights needed to transform your FME usage into a powerhouse of productivity. Join us to discover effective strategies that simplify complex processes, enhancing your productivity and transforming your data management practices with FME. Let’s turn complexity into clarity and make your workspaces work wonders!
A tale of scale & speed: How the US Navy is enabling software delivery from l...sonjaschweigert1
Rapid and secure feature delivery is a goal across every application team and every branch of the DoD. The Navy’s DevSecOps platform, Party Barge, has achieved:
- Reduction in onboarding time from 5 weeks to 1 day
- Improved developer experience and productivity through actionable findings and reduction of false positives
- Maintenance of superior security standards and inherent policy enforcement with Authorization to Operate (ATO)
Development teams can ship efficiently and ensure applications are cyber ready for Navy Authorizing Officials (AOs). In this webinar, Sigma Defense and Anchore will give attendees a look behind the scenes and demo secure pipeline automation and security artifacts that speed up application ATO and time to production.
We will cover:
- How to remove silos in DevSecOps
- How to build efficient development pipeline roles and component templates
- How to deliver security artifacts that matter for ATO’s (SBOMs, vulnerability reports, and policy evidence)
- How to streamline operations with automated policy checks on container images
Alt. GDG Cloud Southlake #33: Boule & Rebala: Effective AppSec in SDLC using ...James Anderson
Effective Application Security in Software Delivery lifecycle using Deployment Firewall and DBOM
The modern software delivery process (or the CI/CD process) includes many tools, distributed teams, open-source code, and cloud platforms. Constant focus on speed to release software to market, along with the traditional slow and manual security checks has caused gaps in continuous security as an important piece in the software supply chain. Today organizations feel more susceptible to external and internal cyber threats due to the vast attack surface in their applications supply chain and the lack of end-to-end governance and risk management.
The software team must secure its software delivery process to avoid vulnerability and security breaches. This needs to be achieved with existing tool chains and without extensive rework of the delivery processes. This talk will present strategies and techniques for providing visibility into the true risk of the existing vulnerabilities, preventing the introduction of security issues in the software, resolving vulnerabilities in production environments quickly, and capturing the deployment bill of materials (DBOM).
Speakers:
Bob Boule
Robert Boule is a technology enthusiast with PASSION for technology and making things work along with a knack for helping others understand how things work. He comes with around 20 years of solution engineering experience in application security, software continuous delivery, and SaaS platforms. He is known for his dynamic presentations in CI/CD and application security integrated in software delivery lifecycle.
Gopinath Rebala
Gopinath Rebala is the CTO of OpsMx, where he has overall responsibility for the machine learning and data processing architectures for Secure Software Delivery. Gopi also has a strong connection with our customers, leading design and architecture for strategic implementations. Gopi is a frequent speaker and well-known leader in continuous delivery and integrating security into software delivery.
Pushing the limits of ePRTC: 100ns holdover for 100 daysAdtran
At WSTS 2024, Alon Stern explored the topic of parametric holdover and explained how recent research findings can be implemented in real-world PNT networks to achieve 100 nanoseconds of accuracy for up to 100 days.
GraphSummit Singapore | The Future of Agility: Supercharging Digital Transfor...Neo4j
Leonard Jayamohan, Partner & Generative AI Lead, Deloitte
This keynote will reveal how Deloitte leverages Neo4j’s graph power for groundbreaking digital twin solutions, achieving a staggering 100x performance boost. Discover the essential role knowledge graphs play in successful generative AI implementations. Plus, get an exclusive look at an innovative Neo4j + Generative AI solution Deloitte is developing in-house.
Enchancing adoption of Open Source Libraries. A case study on Albumentations.AIVladimir Iglovikov, Ph.D.
Presented by Vladimir Iglovikov:
- https://www.linkedin.com/in/iglovikov/
- https://x.com/viglovikov
- https://www.instagram.com/ternaus/
This presentation delves into the journey of Albumentations.ai, a highly successful open-source library for data augmentation.
Created out of a necessity for superior performance in Kaggle competitions, Albumentations has grown to become a widely used tool among data scientists and machine learning practitioners.
This case study covers various aspects, including:
People: The contributors and community that have supported Albumentations.
Metrics: The success indicators such as downloads, daily active users, GitHub stars, and financial contributions.
Challenges: The hurdles in monetizing open-source projects and measuring user engagement.
Development Practices: Best practices for creating, maintaining, and scaling open-source libraries, including code hygiene, CI/CD, and fast iteration.
Community Building: Strategies for making adoption easy, iterating quickly, and fostering a vibrant, engaged community.
Marketing: Both online and offline marketing tactics, focusing on real, impactful interactions and collaborations.
Mental Health: Maintaining balance and not feeling pressured by user demands.
Key insights include the importance of automation, making the adoption process seamless, and leveraging offline interactions for marketing. The presentation also emphasizes the need for continuous small improvements and building a friendly, inclusive community that contributes to the project's growth.
Vladimir Iglovikov brings his extensive experience as a Kaggle Grandmaster, ex-Staff ML Engineer at Lyft, sharing valuable lessons and practical advice for anyone looking to enhance the adoption of their open-source projects.
Explore more about Albumentations and join the community at:
GitHub: https://github.com/albumentations-team/albumentations
Website: https://albumentations.ai/
LinkedIn: https://www.linkedin.com/company/100504475
Twitter: https://x.com/albumentations
UiPath Test Automation using UiPath Test Suite series, part 6DianaGray10
Welcome to UiPath Test Automation using UiPath Test Suite series part 6. In this session, we will cover Test Automation with generative AI and Open AI.
UiPath Test Automation with generative AI and Open AI webinar offers an in-depth exploration of leveraging cutting-edge technologies for test automation within the UiPath platform. Attendees will delve into the integration of generative AI, a test automation solution, with Open AI advanced natural language processing capabilities.
Throughout the session, participants will discover how this synergy empowers testers to automate repetitive tasks, enhance testing accuracy, and expedite the software testing life cycle. Topics covered include the seamless integration process, practical use cases, and the benefits of harnessing AI-driven automation for UiPath testing initiatives. By attending this webinar, testers, and automation professionals can gain valuable insights into harnessing the power of AI to optimize their test automation workflows within the UiPath ecosystem, ultimately driving efficiency and quality in software development processes.
What will you get from this session?
1. Insights into integrating generative AI.
2. Understanding how this integration enhances test automation within the UiPath platform
3. Practical demonstrations
4. Exploration of real-world use cases illustrating the benefits of AI-driven test automation for UiPath
Topics covered:
What is generative AI
Test Automation with generative AI and Open AI.
UiPath integration with generative AI
Speaker:
Deepak Rai, Automation Practice Lead, Boundaryless Group and UiPath MVP
Let's Integrate MuleSoft RPA, COMPOSER, APM with AWS IDP along with Slackshyamraj55
Discover the seamless integration of RPA (Robotic Process Automation), COMPOSER, and APM with AWS IDP enhanced with Slack notifications. Explore how these technologies converge to streamline workflows, optimize performance, and ensure secure access, all while leveraging the power of AWS IDP and real-time communication via Slack notifications.
Full-RAG: A modern architecture for hyper-personalizationZilliz
Mike Del Balso, CEO & Co-Founder at Tecton, presents "Full RAG," a novel approach to AI recommendation systems, aiming to push beyond the limitations of traditional models through a deep integration of contextual insights and real-time data, leveraging the Retrieval-Augmented Generation architecture. This talk will outline Full RAG's potential to significantly enhance personalization, address engineering challenges such as data management and model training, and introduce data enrichment with reranking as a key solution. Attendees will gain crucial insights into the importance of hyperpersonalization in AI, the capabilities of Full RAG for advanced personalization, and strategies for managing complex data integrations for deploying cutting-edge AI solutions.
Full-RAG: A modern architecture for hyper-personalization
Creativity, Connectivity and Community in Virtual World Television
1. Virtual World Television
Producers on the Importance of
Creativity, Connectivity, and
Community in Second Life
CarrieLynn D. Reinhard
Dominican University
creinhard@dom.edu
www.playingwithresearch.com
Pooky Amsterdam
PookyMedia
info@pookymedia.com
2. Defining Virtual Worlds
Gaming Worlds Social Worlds
• User-generated content,
world built through social
interactions
• Designer-created
content, world built
through gaming
interactions
3. Defining Virtual
World Television
• Produced by users of
virtual worlds, amateurs
& semi-professionals
• Recorded before live
studio audience or in the
field
• Influenced by format,
content of traditional
television genres
• Example: Giant Snail
Races
4. The Case Studies
Four reasons focused on
Second Life for interviews
1. User-generated controls and
intellectual property rights
2. Highest prevalence of television
programming
3. Streaming networks analogs
4. Pooky operated as gatekeeper
6. Connectivity: Comparing
VWTV to TV
Similarities Differences
• Extent to which
VWTV producers
indicated a
desire to connect
with people
otherwise left out
• Importance of
connection to
professionals for
employment
purposes
8. Creativity: Comparing
VWTV to TV
Similarities Differences
• Due to nature of
virtual world, greater
ability produce as
envisioned without
laws of nature &
separate CGI
programs
• Whether live action
or animation,
necessity of
negotiating with
conditions for
expressing creativity
10. Community: Comparing
VWTV to TV
Similarities Differences
• Interaction with
audience to point of
encouraging input
used to impact
content during live
streaming, recording
• Communities of
professionals occur
at various levels in
TV production (SAG,
PGA. DGA, etc.)
• Importance of good
working relations
with crew
11. Discussion
• Comparing to traditional television?
• Similarities due to human nature
• To connect
• To create
• To commune
• Differences due to virtual world
• Technological structures
• Lack of institutionalized production
industry
• Producers-as-agents
• Not just reacting to structures
12. Why Does This
Matter?
• One example of Web 2.0 technologies
• Themes as defining characteristics of Web 2.0
• Second Life unique
• All-encompassing user-generated production,
distribution, exhibition and consumption
• Not transgressing content, genres, formats,
styles, power dynamics
• Transgressing position as audience within
physical world that encompasses virtual world
• Virtual world permits transgression
• Human agency enables transgression
13. Thank You!
For more information, and to follow the project’s
progress, please visit our blog:
www.virtualworldtelevision.com
Editor's Notes
This project, which we are currently analyzing for a monograph, examines how amateurs and semi-professionals have used virtual worlds to create television programming. We are interested in virtual world television to understand the nature and potential of these productions, as well as how they relate to traditional practices and relationships in television production, distribution, and exhibition. We believe what we learn from these case studies will provide insight into the wider Web 2.0 phenomenon of “build it, and let them create” as the Web 2.0 paradigm continues to shape life, online and off.
From a common definition, virtual worlds are the reproduction of the physical world, either real or fiction,in a digital environment into which people, via digital representations or avatars, can gather and engage in a variety of social and personal activities. The more common versions of virtual worlds are structured for gaming, such as World of Warcraft or EverQuest. Such worlds are designed by a production team and are offered to users to play in and through. Others are primarily designed to facilitate social interaction amongst people, such as Blue Mars or HabboHotel, which are largely produced through user-generated content creation. For the purposes of our study, we are considering both types under the nomenclature “virtual worlds” if they are three-dimensional graphic spaces persistently inhabited by multiple people via avatars.
Across virtual worlds, people have been creating various types of television programming. To be considered television programming, these productions have to be multi-part fictional or non-fictional productions that are not intended to be a feature film. The production can be either serial or episodic, and such productions represent a range of genres, including but not limited to: talk show, live performance show, design show, sports show, game show, news show, drama, and comedy. There are productions that are recorded as avatars interact with one another and then are edited in post-production for streaming. Then there are those productions that live stream the avatars’ interactions as they occur, while also recording them for later streaming. Thus far, we have identified 68 productions across numerous virtual worlds that met these criteria.
However, in the end, only programming created within Second Life was included, for several reasons. First, the user-generated nature of Second Life includes the ability for the producers to retain intellectual property rights for the series they produce. Second, such retentionmay be the reason that 79% of the located programming occurred within Second Life. Third, there exist in Second Life a series of broadcast and streaming networks that are analogs to the television networks: Treet TV, Metaverse TV, and Metamix TV. Fourth, as a co-author of this project, Pooky operated as a gatekeeper, facilitating entry to this particular community of producers. The producers were interviewed over the phone or Skype. Listed in this table are those productions from Second Life that have had their producers interviewed: the sample consists of 39 different series. Each series has also been labeled for its traditional television analogue, as the drawn out examples indicate. From these interviews, three themes emerged that concerned how the producers discussed what was involved in producing their shows. These themes are discussed for how they compare to what typically occurs in traditional television production.
One theme discussed by producers was how they connected with other Second Life users. Some of these connections occurred as the producers connected with other users, either directly or via some media, which lead to the start of their in-world experience. To get into the world, the producers discussed three primary methods of introduction: a personal relationship, a professional relationship, and a relationship to the public or popular discourse, such as via news reports or online discussion. Other connections occurred within the virtual world and were part of what helped the producers create their series: the producers discussed how being connected to professional people within the world helped them become producers. Still other connections occurred because of Second Life afforded connections with geographically separated or socially isolated people. Here, the producers discussed how Second Life, being a global free platform, helped them to connect with people around the world, and with people who might wish to create television but otherwise could not, due to their geographical location or some other personal issues.
The issue of connecting to others is not completely unique to the experience of producing television in virtual worlds. Being able to have connections to those already in the profession has been important to physical world producers for decades, with networking seen as an important step in securing work in some stage of television production. The fact that such connections were useful to VWTV producers to both get into the medium and to use the medium to produce their programs is to be expected. However, a difference does arise in the professed ability and even desire for VWTV producers to connect with people who might otherwise be left out. While there are undoubtedly people in traditional television who want to connect with those around the world through their productions, the importance of this possibility to VWTV producers indicates a conception of inclusion as part of the discourse of the social medium they have appropriated for their television productions.
Another theme considered the means by which Second Life promoted the producers’ creativity. Here producers discussed the technological, economic, and subcultural structures that constitute Second Life. The first subtheme focused on how these structures directly contributed to the producers’ creative expression. Not being beholden to physics means users can generate content not possible in the physical world: thus, content is only limited to the user’s imagination. Likewise, the freedom from political and economic considerations also frees up the television producer in ways that are not possible in traditional television. The second subtheme focused on the direct opposite of the first: how these structures appeared at first to limit this expression, forcing the producers to become even more creative to express themselves. While some producers may see the limitations of Second Life as a challenge they welcome, others may feel it as more of a frustration, one that has to be beaten back in order for their creative expression to be born. But across their responses are stories and considerations of how they have found ways to deal with these limitations, which often led to creative solutions.
In comparing VWTV to traditional television, we can see the same discussions of creativity occurring. As with VWTV, producers in the real world, whether they are producing live action or animation, need to negotiate the conditions in which they can express their creativity. Any person seeking to express themselves creatively has to deal with the limitations of the medium through which they express themselves. The difference is that with the virtual world, there is a greater possibility to create a television show as envisioned due to the freedom from the physical constraints dictated by the laws of nature and the need to add-on computer generated effects.
A final theme came from the producers reflecting on the larger issues of how the virtual world was involved in or supported by the creation and maintenance of virtual communities. Within Second Life, from the vantage of these producers, there were different types of communities operating to produce, distribute and propagate these series. Some producers argued that if it wasn’t for this community of producers, they might not have been able to achieve their creative vision: the positive feedback and cooperation experienced in these communities appears to help propel people to feel capable and comfortable exerting their creative visions into and through the virtual world. They also recognized that producing their television series is not a solitary activity: for many of their shows, each episode required a careful choreography of people doing different activities. The communities within the series helped to ensure that the producers’ visions were expressed. As with the ability to connect and to create, the virtual world’s nature promotes and permits a type of community of the audience not common to traditional television. A community where the audience directly knows those who produce the series, and who are able to attend and participate with a live series in a way the majority of the traditional television audience currently cannot. This community of audience allows for more interactive activities and audience empowerment.
Of course, communities and a sense of belonging to a community can be important to the production of traditional television. Communities occur at various levels within traditional television systems, such as among professional organizations of producers, directors, actors, and so forth. Indeed, it is most likely the case that, just as VWTV producers discussed the importance of having a good community working on their series, that traditional television producers would feel the same importance for producing a successful series. However, it has been the tradition in such television to have a different relationship with the audience of the series; across the spectrum of real world television, the history has not been one of beseeching the audience to interact with and participate in the production process, to the extent seen on VWTV where audience members can influence of the content of the show as it is being recorded. While there are examples of such engagement with the audience, it has not been applied to the same extent.
In the VWTV producers’ views, they are able to produce their series in this virtual world because of how they have connected with others, been able to be creative, and felt the sense of community at different levels of their second lives. Across these different thematic dimensions, we can find similarities and differences for how those same themes apply to traditional television production, distribution and exhibition. An explanation for the perceived similarities could be human nature: how we struggle to find ways to express ourselves with and against the elements, and how we reach out to connect to others and find a community of like-minded individuals who share our passions. Explaining the differences, then, could be seen in how the technological construction of the virtual world permits and promotes such human nature, allowing for more connections, more creativity, and more community. Additionally,anotherdifference is the lack of an institutionalized production industry within the virtual world which permits more participation from people who before might not have had access to the production process. But the lack of this political-economic structure in Second Life did not necessarily create the producers; instead, people with the agency and ambition to produce became aware of this lack inworld, and individually and collectively took advantage of the situation.
Overall,Second Life is but one example of the technologies that arose with the paradigmatic shift to Web 2.0. The themes of connectivity, creativity and community have become defining characteristics of such Web 2.0 technologies, from Facebook to YouTube. What makes the activities in Second Life unique is that the virtual world allows for user-generated production as well as distribution, exhibition and consumption of the users’ creative visions. For the most part, as the VWTV producers acknowledged, they are not transgressing the content and genres, styles and formats of traditional television. While Second Life affords the production of experimental, avant-garde content, no one interviewed has been producing such content, with the closest being the racing of giant snails. Additionally, the producers are not transgressing traditional power dynamics, since they still occupy and differentiate the identities and positions of producers, crew, and audience. What the VWTV producers are transgressing is the notion that, given their circumstances in the all-encompassing physical world, all they can be is audience. The producers’ relationship to Second Life is as the audience for and users of that particular media product; the same relationship they would have to the television shows produced in the physical world. However, upon entering the virtual world, these users find the ability to connect, to create and to commune helping them to produce their own television programs. They are no longer just “audience to television”; they are able to change their position to “producer of television”. The technology of this social medium permits this transgressing but it does not require it. What is required for the transgression is the human desire to connect, to create, and to commune.