Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-05-07T15:46:17Z No. of bitstreams: 1 LUIZ TEIXEIRA MACHADO NETO - DISSERTAÇÃO PPGCC 2015..pdf: 936539 bytes, checksum: 75e4ab7774a9d4c965e23ec09254fc86 (MD5) / Made available in DSpace on 2018-05-07T15:46:17Z (GMT). No. of bitstreams: 1 LUIZ TEIXEIRA MACHADO NETO - DISSERTAÇÃO PPGCC 2015..pdf: 936539 bytes, checksum: 75e4ab7774a9d4c965e23ec09254fc86 (MD5) Previous issue date: 2015-03-01 / A utilização de serviços de streaming cresceu bastante nos últimos anos, por meio de sistemas como Youtube, Hulu, Netflix, Vimeo, etc. Utilizando o stream, os vídeos são transmitidos e exibidos em tempo real e em qualquer lugar do mundo por meio da internet. Muitosusuáriosdestessistemasosutilizamemsuaresidênciaondeébastante comumencontrarumaredesemfio(devidoàmobilidadequesepodealcançarpormeio deste tipo de rede). Apesar de mais mobilidade, uma rede sem fio está mais suscetível a interferências do que a rede cabeada e, por isso, um vídeo pode ter sua imagem degradada com mais facilidade. Neste trabalho, é avaliada a transmissão de vídeos via stream para descobrir se o vídeo realmente é degradado pela transmissão; se tipos de conteúdos diferentes afetam a qualidade do vídeo recebido; e se de acordo com o padrão de compressão utilizado, é possível observar melhorias na qualidade do vídeo recebido. Por meio de uma abordagem experimental com um design de experimentos fatorial completo, foram feitas transmissões de vídeos utilizando o H.264, o HEVC e o MPEG-4; padrões mais utilizados atualmente. Além de definir os padrões, foram definidas outras variáveis: porcentagem de ocupação do canal de transmissão (com o objetivo de avaliar a degradação dos vídeos de acordo com a competição que a rede está sofrendo); potência do sinal de transmissão (com o objetivo de avaliar o impacto da qualidade do sinal da rede no vídeo recebido); quantidade de movimento no vídeo (para avaliar se a quantidade de movimento que o vídeo exibe impacta na sua qualidade). Nos experimentos, foi utilizado um ambiente residencial que conta as interferências de outras redes, exatamente como pode acontecer em um ambiente real. Para definir as porcentagens de ocupação, foram realizados experimentos para medição da capacidade máxima de transmissão da rede de testes. Em se tratando da quantidade de movimento, foi necessário fazer uma classificação prévia dos vídeos de acordo com características espaciais e temporais de cada vídeo. Os vídeos foram separados em três categorias e dentro dessas categorias, três vídeos foram escolhidos aleatoriamente para participar dos experimentos. Os resultados mostram que o HEVC obteveamelhormédiaparaasmétricasdequalidadedevídeoescolhidas, sendoocodec que menos perde qualidade numa transmissão sem fio. Também foi possível observar que a quantidade de movimento foi o parâmetro que mais influenciou na qualidade do vídeos nos experimentos realizados. / The use of streaming services has grown significantly in recent years, through systems such as Youtube, Hulu, Netflix, Vimeo, etc. Using the stream, videos are transmitted and displayed in real time and from anywhere in the world via the Internet. Many users of these systems use the same in their homes where it is quite common to find a wireless network (due to the mobility we can achieve through this type of computer network). In spite of having more mobility, a wireless network is more susceptible to interference than the wired network so a video can have its picture degraded more easily just because it is transmitted over a wireless network. We evaluate the transmission of videos via stream to find out whether the video is actually degraded by transmission; if different types of content affect the quality of the received video; and if there are compression standarts (H.264 and MPEG-4 HEVC, the most currently used) which ensure a better received video quality. Through an experimental approach with a design of full factorial experiments, several transmissions of videos were made in the three chosen standarts. In addition to defining the standarts, other variables were defined as: transmission channel occupancy percentage (in order to evaluate the degradation of videos according to occupation); power transmission signal (in order to assess the impact of network signal quality in the video received); amount of motion in the video (to evaluate whether the amount of motion the video displays impacts on its quality). For the experiments we used a residential environment that has all the interference from other networks, just as it can happen in a real environment. To set the occupancy percentages, experiments were performed to measure the maximum transmission capacity of the test network. Concerning the quantity of movement, it was necessary to make a preliminary classification of videos according to spatial and temporal characteristics of each one. The videos were separated into three categories and within these categories, three videos were chosen at random to participate in the experiments. The results show that the HEVC achieved the highest average for quality metricsofthechosenvideos,andthecodecistheonethatloseslessqualityinawireless transmission. The amount of movement affects the quality of the received video, and the greater the amount of motion, the bigger the loss of image quality.

Background: The following study focuses on the area of personalisation within streaming services and how vocabulary of playlist names and categories affect expectations and satisfactions. The wording of personalised items is important to convey that content is directly made for a user, yet there are limited studies that explore what users anticipate and if the message conveys correct information to then lead to satisfaction. Purpose: By using Spotify as the prime focus, this research aims to uncover how the vocabulary used in the categories of playlists and playlist titles impacts the user’s expectations and satisfaction with the actual playlist content. Method: The study uses a qualitative approach and semi-structured interviews as data collection. The interviews proceeded with open-ended questions to be able to gain a deeper understanding of the participants opinions and experiences. The analysis of the data is interpreted deductively through a thematic analysis which allowed for common topics, ideas and repeated meanings to be conveyed.

Studien undersöker betydelsen av god användarupplevelse inom streamingtjänster. För att utforska detta område ytterligare kommer syftet med studien att fokusera på hur designprinciper kan förbättra användarupplevelsen för streamingtjänster samt vilka av dessa designprinciper som bör beaktas för att förbättra användarupplevelsen bland streamingtjänster. För att samla in data genomfördes användbarhetstester på två olika streamingtjänster, där 8 olika personer fick utföra olika uppgifter på de utvalda streamingtjänsterna. Efter att testerna slutfördes ställdes några uppföljningsfrågor för att utforska vissa uppgifter ytterligare, beroende på resultatet. Alla tester spelades in med samtycke från personen som utförde testet. Resultatet av testerna noterades och analyserades senare. Data som insamlades ledde till slutsatsen att de designprinciper som utmärkte sig mest och hade störst inverkan på testpersonernas användarupplevelse var navigationsdesign, konsistens och feedback samt synlighet. Studien vänder sig till personer som arbetar inom områden såsom användargränssnittsdesign och interaktionsdesign men även till systemvetare, UX-designers, och till och med webbdesigners. Andra användare som är intresserade av användarupplevelse och användbarhet i gränssnitt, till exempel de som arbetar inom gränssnittsutveckling eller liknande områden. Denna studie initierades med att sammanställa olika teorier om varför Netflix har en sådan fördel gentemot andra streamingtjänster och varför många föredrar Netflix framför andra streamingtjänster. Vi har använt en kvalitativ metod för att samla in vår information där vi har analyserat teorin med den empiriska data vi har fått. / The study explores the importance of user experience within streaming services. To explore this area even further the purpose of the study will focus on how design principles can improve the user experience for streaming services and which of these design principles should be considered to improve the user experience among streaming services. To gather data, usability testing on two different streaming services was conducted on 8 different people where they did different tasks on the chosen streaming services. After the tests were done some follow up questions were made to explore some tasks even further, depending on the result. All the tests were recorded with the consent of the person who did the test. The result of the tests was later noted and analyzed. The data led to the conclusion that the design principles that stood out the most and had the biggest impact on the tester’s user experience was navigation design, consistency, and feedback as well as visibility. The study is aimed at people who work in the areas that are being studied by us for example, User interface designers, system scientists, UX designers and interaction designers. Also, other users that are interested in user experience and usability in interfaces, for example those who work in interface development or similar areas. This study began by compiling various theories as to why Netflix has such an advantage over other streaming services and why many people prefer Netflix over other streaming services. We have used a qualitative method for collecting our information where we have analyzed the theory with the empirical data we have received.

Au cours de la dernière décennie, les outils d’enregistrement et de production musicale, les médias sociaux et les plateformes Web de vente et d’écoute de musique en ligne ont radicalement transformé l’industrie de la musique enregistrée. La baisse significative de vente d’albums et les nouveaux modèles de production, de diffusion et de promotion de la musique ont directement affecté les acteurs traditionnels comme les maisons de disques. Pendant que certains prévoyaient la fin de ces dernières au profit de l’autoproduction et de l’autopromotion, d’autres ont suggéré que les maisons de disques indépendantes pouvaient devenir des joueurs incontournables de ce nouvel environnement, pourvu qu’elles s’adaptent et développent une offre de services et une expertise répondant aux besoins réels des artistes. Ce mémoire s’intéresse à la façon dont les maisons de disques indépendantes québécoises perçoivent et utilisent les médias sociaux pour accroitre la visibilité des artistes qu’elles représentent. Dans cette étude de cas multiples, quatre maisons de disques indépendantes québécoises ont été sélectionnées. Des entretiens en profondeur ont été réalisés avec les chargés de projet Web de ces maisons de disques indépendantes afin de connaitre leur perception et leurs usages des médias sociaux, de même que les stratégies qu’ils emploient pour accroitre la visibilité des artistes qu’ils représentent sur le Web. Des données tirées d’observation des activités Web des quatre maisons de disques ont également été collectées. / During the last decade, music recording and production tools, social media, and platforms for selling and listening to music in streaming have radically transformed the industry of recorded music. The decline of album sales and new models of music production, distribution, and promotion have directly affected the traditional actors of the music industry such as record labels. While some predicted that these changes would bring an end to the records labels at the benefit of self-production and self-promotion, others suggested that independent record labels could become an essential part of this new environment, provided they adapt to it and develop new services and an expertise that meet the artists’ needs. This master thesis explores the visibility of independent Quebec music artists on the social web and the role record labels plays in it. In this multiple case study, four independent Quebec music labels were selected. In-depht interviews were conducted with the Web project managers of these music labels to discuss their perception and their usage of Web platforms, as well as the strategies they employ to increase the visibility on the Web of the artistes they represent. Observational data of the Web activities of the four music labels were also collected.

Abstract This study addresses the justifications of the duration of copyright, the revenue-generating models in the music business, and the availability of digital music in Finland. The first goal was to understand how different stakeholders in the music industry relate to copyright and how they justify what they consider the optimal duration. The second goal was to map out the revenue-generating models in the music industry at a time when the consumption of music has changed from analogue to digital formats, from physical products to streaming services. The third goal was to find out the different ways in which digital music is available on the internet in Finland. The research material consists of survey research, half-structured theme interviews and documentary material. The applied research methods are theory- and material-based content analysis. The theoretical approaches utilized are the theory of justice by John Rawls, the theory of hegemony by Antonio Gramsci, the classical communication model by Roman Jakobson, and power theory by Lawrence Lessig. It uses as its interpretational theory the model of justification of copyright by Laura Leppämäki. The results state the following: The most common justification provided for the optimal duration of copyright is utilitarianism – advantage to society as a whole. The same justification is given by stakeholders who want to keep the duration as it stands, and also by those who wish to shorten it. Another common justification is to see copyright as a natural item of ownership, claimed by work, and especially as a subject of inheritance, preferably for two subsequent generations. The problems concerning the revenue-generating models in the digital world tend to focus on distribution of income on three different levels: record contracts; the distribution models of the streaming companies; and contracts between content sharing companies, record companies and rights organizations. The authors and artists have the weakest bargaining position in the negotiations. The results on availability of digital music show that digital music can be discovered via public services (music libraries), commercial services (streaming companies), and ad hoc societal services (peer-to-peer networks). The role of music libraries as a content provider has decreased since the majority of music consumption has altered to digital services. / Tiivistelmä Tutkimus käsittelee musiikin tekijänoikeuden keston perusteluja, musiikkialan ansaintalogiikoita ja digitaalisten musiikkiaineistojen saatavuutta Suomessa. Tarkoituksena oli hahmottaa, miten musiikkiteollisuuden eri osapuolet suhtautuvat tekijänoikeuteen ja miten ne perustelevat tekijänoikeuksien optimaalista kestoa. Tavoitteena oli myös kartoittaa musiikkialan ansaintalogiikat, jotka ovat muuttuneet siirryttäessä analogisesta musiikin kulutuksesta digitaaliseen musiikin kulutukseen, ennen kaikkea suoratoistopalveluihin. Kolmantena tehtävänä oli selvittää, millä tavoilla digitaalista musiikkia on saatavilla internetin välityksellä Suomessa. Tutkimusaineisto koostuu kyselytutkimuksesta, puolistrukturoiduista teemahaastatteluista sekä dokumenttiaineistosta. Tutkimusmenetelmänä käytettiin sekä teoria- että aineistolähtöistä sisällönanalyysia. Tutkimuksessa sovellettuja teorioita ovat John Rawlsin oikeudenmukaisuusteoria, Antonio Gramscin hegemoniateoria, Roman Jakobsonin klassinen kommunikaatiomalli ja Lawrence Lessigin valtateoria. Tutkimus käyttää tekijänoikeuksia koskevan tutkimuskysymyksen kohdalla tulkintateoriana Laura Leppämäen esittämää mallia oikeuksien perusteluista. Tutkimuksen tuloksena on, että sekä tekijänoikeuden nykyistä kestoa että sen lyhentämistä perustellaan ennen kaikkea utilitarismilla. Toinen keskeinen perustelukeino oli työn kautta teoksiin saatava omistusoikeus ja tämän omistusoikeuden kautta tarjoutuva mahdollisuus oikeuksien jättämiseen perintönä tekijän jälkipolville. Ansaintalogiikoiden kohdalla esiin nousi digitaalisesta myynnistä generoituvien tulojen jakamiseen liittyvät ongelmat, joita esiintyy niin musiikintekijöiden ja levy-yhtiöiden välisissä sopimuksissa, suoratoistopalvelujen sisäisissä maksumalleissa kuin internetin alustapalveluiden ja oikeudenhaltijoiden sekä heitä edustavien järjestöjen välisissä sopimuksissa. Heikoimmassa asemassa sopimuksia koskevissa neuvotteluissa ovat musiikintekijät ja artistit. Digitaalisen musiikkiaineiston saatavuuden kohdalla keskeisenä tuloksena on, että aineistoa on saatavilla julkisen palvelun eli yleisten musiikkikirjastojen, kaupallisten palveluiden eli suoratoistopalveluiden ja yhteisöllisten palveluiden eli vertaisverkkojen välityksellä. Musiikkikirjastojen rooli aineistojen tarjoajana on pienentynyt siirryttäessä analogisen musiikin kulutuksesta digitaalisen musiikin kulutukseen.