Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Includes bibliographical references (leaves 53-55). / The optical videodisc is a publishing medium that permanently stores large amounts of visual and aural data. The technology needed to support videodiscs is understood and available. Digital augmentation of the optical videodisc can exploit this technology for data publishing. Not only can this data be used in raw form, it can also reference the video that it augments. Publishing requires an author to create the publishable material, and this thesis addresses the problem of authoring digitally augmented videodiscs. / by Steven Edward Yelick. / M.S.V.S.

The field of media assistance has grown ever more complex with the inclusion of ‘new media’ networks, channels, tools and practices (such as the Internet, satellite television, mobile devices, social media and citizen journalism) to the media development mix. Adding to the ferment is the increasing convergence between the formerly discrete terrains of ICT for development, media for development and (mass) media development. Much of the discussion regarding the utility and objectives of media development in general and ‘new media’ in particular has been viewed through a modernist and techno-determinist prism which offers a limited ideological view of media development and its objects and consequently, a limited set of communication approaches and strategies. This study contextualises the assumptions of media development historically and critically, with particular focus on new media’s roles and relationships with the media environment, and its objectives democratisation and development. Through the application of literature, theory and various research studies, this thesis establishes a broader view of new media’s role and diverse consequences for media development, democracy and development. The study recommends greater collaboration, contextual research and theorisation of media development and new media as part of mixed media systems and cognisant of the multi-dimensional natures of its objects of democracy and development. One implication is the need for professionalisation of the media development and media assistance sector. In relation to the influences of new media on media use and the media as an institution, it motivates the need to address digital divides and emphasise the sustainability of the practice of journalism.

Distributed media streaming has been driven by the combination of improved media compression techniques and an increase in the availability of bandwidth. This increase has lead to the development of various streaming distribution engines (systems/services), which currently provide the majority of the streaming media available throughout the Internet. This study aimed to analyse a range of existing commercial and open-source streaming media distribution engines, and classify them in such a way as to define a Common Analysis Framework for Simulated Streaming-Video Networks (CAFSS-Net). This common framework was used as the basis for a simulation tool intended to aid in the development and deployment of streaming media networks and predict the performance impacts of both network configuration changes, video features (scene complexity, resolution) and general scaling. CAFSS-Net consists of six components: the server, the client(s), the network simulator, the video publishing tools, the videos and the evaluation tool-set. Test scenarios are presented consisting of different network configurations, scales and external traffic specifications. From these test scenarios, results were obtained to determine interesting observations attained and to provide an overview of the different test specications for this study. From these results, an analysis of the system was performed, yielding relationships between the videos, the different bandwidths, the different measurement tools and the different components of CAFSS-Net. Based on the analysis of the results, the implications for CAFSS-Net highlighted different achievements and proposals for future work for the different components. CAFSS-Net was able to successfully integrate all of its components to evaluate the different streaming scenarios. The streaming server, client and video components accomplished their objectives. It is noted that although the video publishing tool was able to provide the necessary compression/decompression services, proposals for the implementation of alternative compression/decompression schemes could serve as a suitable extension. The network simulator and evaluation tool-set components were also successful, but future tests (particularly in low bandwidth scenarios) are suggested in order to further improve the accuracy of the framework as a whole. CAFSS-Net is especially successful with analysing high bandwidth connections with the results being similar to those of the physical network tests.

Today, both the way a story is told and how long the viewer's attention can be held are often as important as the story itself. This study shows how online media sets new standards for narrative and continues some print traditions. This study focuses on the dialogue between print and online media. A quantitative and qualitative analysis of this dialogue through story length, readability, shovelware and story packaging shows the numerous effects the Internet has had on news media content.

Digital music streaming websites have taken over the musical landscape. While the digital music market is booming, both data and time have revealed that the current system as it exists will not provide a sustainable future for creators of content or for technology companies. Although some consumers are willing to pay for content they can access for free, many are still enjoying content without paying. Both the technology companies and creators of content have sacrificed to meet consumer demands, but the technology companies have been too willing to make creators of content be the ones paying for ‘free.’ Recent legislative efforts have provided a good start to balancing a system that is clearly in distress, but there is still much be done to move the music industry forward. This paper examines the current issues facing the digital music streaming industry and several legislative and industry-prompted efforts in current discussion. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

In this thesis I explore the relationship between the mobile phone and its user and argue that this relationship is crucial in merging the contexts of public and private, the physical and virtual, imagined and real, past and present, author and audience. I view this relationship as crucial to understanding the shift in the role of the audience from passive receivers of content to active producers ('Mobile Produsers'). Further, I argue that the diverse contexts of mobile content production and the definition of the content itself have become the central means by which mobile phone practices are emerging. I draw on anthropology, social science and media studies in order to explore the impact of mobile contexts, content, and use on identity. I propose that this approach allows for a new understanding of mobile practices as a form of spectacle, especially what I refer to as the spectacle of the self. Produsership theory informs an understanding of mobile practices, content production and performance, and the Bahktinian concept of carnival becomes a useful term in analysing the mobile as both performance and spectacle. Through an analysis of mobile content within cinematic culture, social interaction, and mixed media environments I consider the ways in which the mobile functions not only as a tool for positioning the individual, but also as performing an integral part in a multi-user process of mobile content production. In this sense, mobile content can be understood as a map, and the mobile as a compass used by the produser to navigate the mobile?s diverse contexts. Furthermore, I demonstrate that mobile content is collectively constructed while being individually absorbed. It is reflective of both the context and its user and open to constant questioning and interpretation, which is then shared with others. Finally, this thesis explores the notion of being t/here as mode of participating with the mobile in time and space, where one's identity is distributed across virtual and physical spaces, simultaneously locating the user as both here and there (t/here).

One approach to studying media is uses and gratifications, a model that suggests media audiences can explain why and for what purpose they use the media. This study took a Uses and Gratifications approach to the Internet social interaction site LambdaMOO. On LambdaMOO, users log on and create an alternate persona to interact with other users. Using a set of questions, 222 selected LambdaMOO users were asked about why they use LambdaMOO, their actions as an alternate persona and their opinions on LambdaMOO. Answers from the subjects were content analyzed to find commonality against several preselected categories and sub-categories. Upon analysis, the subjects were found to use LambdaMOO for talking to other users, "building" up the site through programming and surveying the current events and political movements on the site. Also, the subjects were determined not to act different from their real life actions and preceived attitudes, although the opportunity for freedom through anonymity was everpresent. / Department of Journalism

In this thesis I explore the relationship between the mobile phone and its user and argue that this relationship is crucial in merging the contexts of public and private, the physical and virtual, imagined and real, past and present, author and audience. I view this relationship as crucial to understanding the shift in the role of the audience from passive receivers of content to active producers ('Mobile Produsers'). Further, I argue that the diverse contexts of mobile content production and the definition of the content itself have become the central means by which mobile phone practices are emerging. I draw on anthropology, social science and media studies in order to explore the impact of mobile contexts, content, and use on identity. I propose that this approach allows for a new understanding of mobile practices as a form of spectacle, especially what I refer to as the spectacle of the self. Produsership theory informs an understanding of mobile practices, content production and performance, and the Bahktinian concept of carnival becomes a useful term in analysing the mobile as both performance and spectacle. Through an analysis of mobile content within cinematic culture, social interaction, and mixed media environments I consider the ways in which the mobile functions not only as a tool for positioning the individual, but also as performing an integral part in a multi-user process of mobile content production. In this sense, mobile content can be understood as a map, and the mobile as a compass used by the produser to navigate the mobile?s diverse contexts. Furthermore, I demonstrate that mobile content is collectively constructed while being individually absorbed. It is reflective of both the context and its user and open to constant questioning and interpretation, which is then shared with others. Finally, this thesis explores the notion of being t/here as mode of participating with the mobile in time and space, where one's identity is distributed across virtual and physical spaces, simultaneously locating the user as both here and there (t/here).

Thesis (MPhil (Journalism))--University of Stellenbosch, 2009. / This study examines the history, development and diversity of news agencies. It studies the major agencies and pinpoints how smaller wire services that sometimes purvey niche news seek to offer a more diverse global news-flow. The linkage between news agencies and technological developments, and how wire services have helped advance technology, is examined since the first agencies began in the 1800s, up to the current era of the Internet. The rise of television and the subsequent ascent of the Internet prompted new demands for more diverse news procurement. This accelerated the convergence of different media and has exposed challenges and opportunities to news agencies, large and small. Alongside the telegraph, news wire services expanded from supplying news and information locally to being global players, helping the world shrink. The mediahistoriographical approach engages a critical examination of literature sources regarding the development of the major wire services, and some of the smaller players. The literature, along with interviews with news agency experts, provides the material to examine wire services. The study shows how some original agencies leveraged opportunities offered by their standing in powerful nations to become dominant transnational players. The ascendancy of the mega-agencies compounded limited news-flows from developed to poorer nations, while an expansion of diversified news-flows has not matched technological progression. This study concludes by recommending greater recognition of the importance of news agencies and more scholarly examination of them, as studies on them appear scarce compared to those on other media branches, such as newspapers, the electronic media and the Internet. More studies into the development of both mainstream and alternative news agencies would pave the way for a better understanding of how they function and could provide clues as to how they might be able to better sustain themselves as more diverse entities for the benefit of the public discourse. Through the above, this dissertation seeks to contribute, in a small way, to rectifying a knowledge disparity regarding a key component of the mass media, namely the news agency.

Submitted in partial fulfilment of requirements for an MA in Journalism and Media Studies in the Faculty of Humanities at the University of Witwatersrand, August 2017 / The purpose of this research is to demonstrate how alternative youth media, particularly onlinebased news sources, in covering the #FeesMustFall (#FMF) campaign 2015 students protest from October 14, 2015 to October 23, 2015, challenged news framing, while shifting traditional mainstream media’s agenda-setting role. In post-apartheid South Africa in 2015, which was dubbed “the year of the student”, the history of student politics was significant in what culminated in the hashtag #FeesMustFall campaign, challenging the representation of student protesters in the media. The unprecedented local and international alternative youth media and mainstream media coverage of the 2015 student protests—in print, online and on social media platforms—signaled the impact of the biggest student protests since 1994. The results from this qualitative research sampling online-based news platforms and interviews with journalists for their opinions on the blanket media coverage of the protests, shows a significant paradigm shift in how newsrooms re-examined what would be a silent consensus of framing and agenda-setting as was dictated by alternative youth media. / XL2018