Video distribution

For many journalists and scholars, what distinguishes binge-watching from garden variety television viewing is the number of episodes viewed in one sitting. However, the question of what viewers define as 'bingeing' is likely to shift significantly depending on a range of factors, including age, occupation and family situation. What remains stable is that binge-watching is always understood as self-determined viewing: It is the viewer who decides when to watch and what to watch, not the broadcasting schedule. Another key aspect is that binge-watching only happens in relation to serialised formats as opposed to films or one-offs. Proposition 2: Binge-watching is Netflix's schedule The television schedule has been theorised as central to the television medium, from Raymond Williams (1974) to John Ellis (1992). So, what does it mean when Netflix highlights, at every juncture, that the schedule (or its absence) is precisely what sets it apart from television? BBC iPlayer, Hulu or HBO Go may allow for self-scheduled viewing, but the way programming is disseminated remains contingent on the

For many journalists and scholars, what distinguishes binge-watching from garden variety television viewing is the number of episodes viewed in one sitting. However, the question of what viewers define as 'bingeing' is likely to shift significantly depending on a range of factors, including age, occupation and family situation. What remains stable is that binge-watching is always understood as self-determined viewing: It is the viewer who decides when to watch and what to watch, not the broadcasting schedule. Another key aspect is that binge-watching only happens in relation to serialised formats as opposed to films or one-offs. Proposition 2: Binge-watching is Netflix's schedule The television schedule has been theorised as central to the television medium, from Raymond Williams (1974) to John Ellis (1992). So, what does it mean when Netflix highlights, at every juncture, that the schedule (or its absence) is precisely what sets it apart from television? BBC iPlayer, Hulu or HBO Go may allow for self-scheduled viewing, but the way programming is disseminated remains contingent on the

Silencio. Ciudad. Sonido público: contar el oxímoron.
La Fonoteca de Sevilla es un centro de arte dedicado a las prácticas sonoras, la indagación sobre
otras ideas de ciudad a partir del pensamiento sobre el sonido y el silencio, la didáctica de la
escucha y el archivo y preservación del patrimonio sonoro hispalense. Se trata de un archivo en
permanente construcción dedicado a la ciudad de Sevilla y determinado por proyectos concretos de
indagación y acción sobre la auralidad.
La Fonoteca de Sevilla, en funcionamiento desde 2018, se encuentra actualmente en residencia
en la Real Fábrica de Artillería, a través del laboratorio de experimentación BARRIO BOMBA.
San Bernardo Sonic Experience. En estas jornadas, se mostraron el proceso de conversión de la
Fundición Menor en el Museo del Silencio (colección de sonidos, silencios y experiencias aurales
alrededor de la escucha) y Fábrica Aural (procesos de indagación sonora acerca del barrio de
San Bernardo y piezas desarrolladas a través de la experiencia en y con la Fábrica de Artillería de
Sevilla).
A lo largo de tres días el público pudo acceder a una experiencia de oídos abiertos, de músicas
visibles, músicas mentales, en un museo que habla de cómo el silencio hace que se perciba todo lo
demás, el mundo –parafraseando a Cage–. Situado en la Fundición Menor –germen de la Fábrica
de Artillería, una nave renacentista con ruidos y silencios de siglos–, el Museo del Silencio trabajó
con los materiales que le proporcionaba el mismo espacio, con su poética, belleza y sensibilidad,
sin añadir mucho más... El espacio que muta en su propia espacialidad como lugar de estancia,
pensamiento y acción sobre nuestro sitio en las ciudades de nuestro tiempo.

RESUMEN: Un niño mira por la ventana de un coche en
movimiento. Trata de enfocar algún punto en el paisaje
que lo cautive, alguna rareza, un gesto. Nada de lo que
observa lo emociona, y se enfada. El presente ha perdido
interés, es ahora un friso blanco y no hay nada que valga
la pena rescatar. El niño es el hijo de una documentalista
sonora que viaja con su madre al desierto de Sonora, y al
verlo piensa: «Tal vez si encontramos una nueva manera
de documentar el mundo empezaremos a entender esta
nueva forma de experimentar el tiempo y el espacio».
Las cartografías que proponemos son una búsqueda
esforzada en esa dirección en la que la reflexión sobre
qué y cómo documentar se ha vuelto urgente. Hay una
convicción que atraviesa todo el corpus y que se funda
en la confianza de que el sonido guarda con llave sus
secretos. Los entierra como un ser vivo lejos del rastro
cotidiano solo por el impulso de conservar algo valioso.
En cada lugar hay un sonido a la altura de la tierra, que
es el de las orejas, pero otros no. Anidan en lo bajo o en
lo alto, en lo roto o en lo pequeño, en los restos y en las
resonancias. No hay ciudad que no tenga ni oculte lo
prohibido, lo marginal, lo sucio, así como sus escándalos,
vergüenzas e ignominias. No aparecen ni en Google Maps
ni en los anaqueles de los hoteles. Pero están. Y suenan,
y resuenan.
De esto se trata, pues, esta colección.

ABSTRACT: A child looks out the window of a moving car. He tries to
focus on some point in the landscape that captivates him, something
strange, a gesture. Nothing he can see excites him, and he gets angry.
The present has lost its interest; it is now a white frieze and there is
nothing worth rescuing. The boy is the son of a sound documentary
filmmaker who is travelling with his mother to the Sonoran Desert.
Upon surveying it, he thinks to himself: “Maybe if we find a new way
of documenting the world, we’ll begin to understand this new way of
experiencing time and space”.
The cartographies we propose in this work constitute a dogged quest
in that direction: a reflection on what and how to document is now
urgent. There is a conviction that runs through the entire corpus
that is based on the unwavering belief that sound holds its secrets
under lock and key. It buries them like a living thing, far from the
quotidien, just for the sake of preserving something of value. In each
place, there is a sound at the level of the earth, which is that which
reaches the ears; but other sounds lie elsewhere. They nest up on
high or down below, in the broken or the small, in the remains and the
resonances. There is no city that does not have—or does not hide—
the forbidden, the marginal, and the dirty, as well as its scandals, its
shame and ignominies. They do not appear on Google Maps or in
hotel displays. But, there they are. And they make a sound, and they
reverberate.
This is what this collection is about.

RESUMEN
La conservación de los formatos originales de una disciplina artística como el videoarte es motivo de estudio desde hace pocos años. Distribuidoras de vídeo y museos de arte contemporáneo son los principales organismos encargados de recuperar y visibilizar las piezas de videocreación pioneras. La fragilidad de las cintas magnéticas y la obsolescencia de los formatos videográficos analógicos utilizados entre los años sesenta y ochenta del siglo XX dificulta la durabilidad de estos trabajos. El presente artículo investiga el caso de Carles Pujol, uno de los artistas españoles con mayor trayectoria en la historia del videoarte internacional. Observar de qué modo el artista catalán realiza nuevas versiones de videoinstalaciones antiguas, incorporando dispositivos tecnológicos actuales en sustitución de artilugios añejos, es uno de los objetivos del texto. Otro propósito consiste en testimoniar el proceso de incorporación de una parte representativa de sus piezas monocanales al catálogo de la distribuidora de vídeo HAMACA. Ambas cuestiones evidencian la presente consolidación del formato digital y su indudable protagonismo para el futuro del videoarte.

ABSTRACT
The preservation of the original formats of an artistic discipline such as video art has been of interest to scholars for a number of years. Video distributors and contemporary art museums are the primary organizations tasked with recovering and raising awareness of the pioneering works of video-creation. The fragility of magnetic tapes and the obsolescence of analogue video formats used in the 1960s–1980s render it difficult for these works to last over time. This article investigates the case of Carles Pujol, one of the most renowned Spanish artists in the history of international video art. Among other themes, the article observes how the Catalan artist creates new versions of old video installations, incorporating present-day technological devices in place of the outdated. It also recounts how a representative selection of his single-channel pieces is incorporated into the catalogue of video distributor HAMACA. Both topics speak to the current consolidation of the digital format and its unquestionable place in the future of video art.

This paper presents the Dynamic Adaptive Streaming over CoAP (DASCo), a solution for adaptive media streaming in the Internet of Things (IoT) environment. DASCo combines DASH (Dynamic Adaptive Streaming over HTTP), the widespread open standard for HTTP-compliant streaming, with Constrained Application Protocol (CoAP), the vendorindependent web transfer protocol designed for resource-constrained devices. The proposed solution uses DASH formats and mechanisms to make media segments available for consumers, and exploits CoAP to deliver media segments to consumers' applications. Consequently, the DASCo player offers native interoperability with IoT devices that are accessed via CoAP, thus it allows easy access to data collected by different sensors in order to enrich the multimedia services. In the paper we present an overview of constraints of default CoAP implementation with respect to media streaming, and propose guidelines for development of adaptive streaming service over CoAP. Moreover, we discuss the features of CoAP that can be investigated when designing an efficient adaptive algorithm for DASCo. Presented experimental results show poor performance of DASCo when default values of CoAP transmission parameters have been used. However, adjusting the parameters according to the network conditions considerably improves DASCo efficiency. Furthermore, in bad network conditions the enhanced DASCo is characterized by a more stable download rate compared to DASH. This feature is important in the context of dynamic media adaptation, since it allows an adaptation algorithm to better fit media bit rate with download conditions.

In a video on demand system, the main video repository may be far away from the user and generally has limited streaming capacities. Since a high quality video’s size is huge, it requires high bandwidth for streaming over the internet. In order to achieve a higher video hit ratio, reduced client waiting time, distributed server’s architecture can be used, in which multiple local servers are placed close to clients and, based on their regional demands video contents are cached dynamically from the main server. As the cost of proxy server is decreasing and demand for reduced waiting time is increasing day by day, newer architectures are explored, innovative schemes are arrived at. In this paper we present novel 3 layer architecture, includes main multimedia server, a Tracker and Proxy servers. This architecture targets to optimize the client waiting time. We also propose an efficient prefix caching and load sharing algorithm at the proxy server to allocate the cache according to regio...

Dynamic adaptive video streaming over HTTP (DASH) has been developed as one of the most suitable technologies for the transmission of live and on-demand audio and video content over any IP network. In this work, we propose a machine learning-based method for selecting the optimal target quality, in terms of bitrate, for video streaming through an MPEG-DASH server. The proposed method takes into consideration both the bandwidth availability and the client's buffer state, as well as the bitrate of each video segment, in order to choose the best available quality/bitrate. The primary purpose of using machine learning for the adaptation is to let clients know/learn about the environment in a supervised manner. By doing this, the efficiency of the rate adaptation can be improved, thus leading to better requests for video representations. Run-time complexity would be minimized, thus improving QoE. The experimental evaluation of the proposed approach showed that the optimal target quality could be predicted with an accuracy of 79 %, demonstrating its potential.

The increasing demand for video content and the fast adoption of HTTP Adaptive Streaming (HAS) has led to the need for sophisticated streaming optimization solutions. One of the main drawbacks of HAS is that the user is responsible for deciding which video quality to request without taking into account the server load, the number of users, fairness and more. Therefore, traffic shaping server, which takes these factors into account is needed. In this paper we present a HAS traffic shaping algorithm that in one hand tries to maximize user experience by providing the quality which is the closest to the one that the user requested while in other hand takes into account the server constrains. Simulation results show that the proposed solution effectively serves up to a 28% more users when the network is congested, while the users experienced an average bit-rate decreased up to 12% and the average PSNR decrease was 0.26 dB.

Dynamic Adaptive Streaming over HTTP (DASH) is a new and promising streaming protocol, based on the Media Presentation Description (MPD) specification. With the increasing demand for Internet video streaming, methods for profiting from video services are gaining increased interest. In this paper, we propose a novel algorithm for server side video ad insertion over the DASH standard. The proposed method is compatible with DASH and does not require any modifications at the client side, such as dedicated players, or any modification in the MPD definitions. Furthermore, the algorithm enables the client to always receive the advertisements regardless of his player software. Our novel approach considers the MPD URLs as encrypted URLs for pointer mapping. This will allow for deciding in real time whether a specific URL will point to an ad or to the original video stream segment. Therefore, the solution enables us to consider VOD ad insertion as similar to live ad insertion. In a comparison between the DASH video streaming server with ad insertion, as define in the standard, and our ad insertion solution, the results showed that our solution provide a dynamic ad insertion system while only slightly increasing the CPU load. As far as we know, this is the first DASH server side ad insertion solution for the ISO Base Media File Format (MPEG-4 part 12) container.

Reinforcement Learning is an important class of optimization which has recently been used in the area of dynamic adaptive streaming over HTTP (DASH). Though DASH is very popular method of video delivery in recent years it is plagued with problems when multiple players share a bottleneck link. Thus, this area has become a very active area of research. Two works which implement Reinforcement Learning in DASH are selected and their performances compared against the Conventional DASH player. It is shown that SDP works well for various network conditions.

Celem niniejszej refleksji jest rekonstrukcja atmosfery towarzyszącej domowemu odbiorowi filmowemu w latach 90. Przedmiotem zainteresowania stanie się – po pierwsze – kaseta wideo w kontekście zasady odwzajemnionego altruizmu – ekonomii daru, która nakazywała wzięcie udziału w wymianie z innymi kolekcjonerami wideokaset. Po drugie, zostanie podjęta kwestia przeobrażenia modelu recepcji treści audiowizualnych. Obrazowa konsumpcja w latach 90. była bowiem nastawiona nie na zindywidualizowany pokaz, lecz towarzyski typ odbioru. Omawiane medium sprzyjało tej wspólnotowej partycypacji w pokazie.

O presente trabalho introduz uma pesquisa sobre as animações de horror brasileiras que participaram do festival Animaldiçoados, criado em 2010, e que já teve desde então seis edições. O objetivo deste primeiro levantamento é caracterizar as tendências atuais dos filmes de horror de animação feitos no Brasil, levando em consideração o modo de formação das equipes, os tipos de financiamentos, as técnicas utilizadas e os subgêneros praticados. Com isso, pretende-se consolidar um grupo de informações e debates que possam descrever os traços mais significativos da animação brasileira de horror na atualidade.

European Network for Cinema and Media Studies (NECS) Conference is one of the biggest and the most prestigious academic events dedicated to the audiovisual culture in Europe. Each year, it takes place in a different country. The 2015 edition was held on June 17–20 in Poland. The event was organized by representatives of the University of Lodz in cooperation with the SWPS University. The major part of conference took place in the new building of the Faculty of Philology in the city of Lodz which lent the space for papers of nearly 350 researchers from thirty three countries, who overall delivered approximately 160 presentations each day. Apart from listening to highly inspiring presentations, the NECS 2015 Conference attendees had
a chance to take part in Graduate Workshop and Transmediality Workshop (held on the premises of Art_Inkubator – a cultural institution located on the Tymienieckiego Street), enjoy screenings, take part in Project Forum, engage in meetings of work groups, participate in Publishers Forum and experience four keynote lectures
delivered by well-known artists and researchers. In our report we would like to focus on the latter aspect of the Conference as well as one panels dedicated to Video Game Studies.

Este artigo propõe a possibilidade da aplicação de um modelo de conteúdo aberto baseado nas intenções e propostas do modelo do software livre que aproxime produto, processo e espectador. Descrevemos os principais conceitos que direcionam esse modelo, relacionamos o modelo do software livre e da cultura livre com a produção e distribuição de conteúdo audiovisual, discorremos sobre as motivações e objetivos da aplicação desse modelo. Também dedicaremos espaço a ilustrar esse conceito com alguns exemplos de projetos desenvolvidos com essa técnica e, por fim, recomendaremos ferramentas para trabalhar esse método de distribuição. Esse artigo tem a intenção de descrever um método experimental de distribuição de conteúdo audiovisual e de relação entre produtor e espectador e realizar apontamentos e observações sobre a sua aplicação.

Video streaming is now responsible for the majority of Internet traffic and is expected to keep growing over the coming years. Dynamic Adaptive Streaming over HTTP (DASH) [1] is an ISO/IEC MPEG multiquality layer streaming solution that is designed to enable interoperability between servers and clients of different vendors. In the DASH protocol, the client-side player is assumed to have Adaptation Logic (AL). The AL evaluates the various video representation segments available on the server and chooses the most suitable segments balancing between video quality and switching time. Note that dynamic adaptation is necessary due to the fact that the network bandwidth (e.g. cellular network) and the user's buffer are not stable and have a high influence on re-buffering. However, to date, none of the research considers multicast conditions and therefore, there is no AL specifically designed to support multicast at the client side. In this paper, we present the Harmonic Mean Adaptive Logic (HMAL) which is a buffer sensitive adaptation logic that first calculates how many segments exist in the buffer and then estimates the channel bandwidth using the harmonic mean of the previous n samples. The HMAL is designed to support multicast networks by reducing the weights of hight quality segments in the bandwidth estimation and give more weight to lower quality segments. Compared to the multicast versions of well known ALs, the simulation results showed that HMAL has the best bandwidth estimation, the lowest number of re-buffering events, and the highest buffer efficiency .

The recent introduction of video streaming services into the Australian television industry has already had a significant impact on the local broadcast and subscription ecology. Undoubtedly, the sudden influx of foreign content and choice, paired with increased content deregulation, will have considerable ramifications for the Australian production industry in the long term. While many have predicted widespread devastation, this paper suggests that access to ‘big data’ and increased audience ‘addressivity’ (Hallinan and Striphas 2014, 13) could in fact serve to protect and promote the continued production and consumption of local drama content via this ‘new screen’ option.

The increasing demand for video content and the
fast adoption of HTTP Adaptive Streaming (HAS) has led to
the need for sophisticated streaming optimization solutions. One
of the main drawbacks of HAS is that the user is responsible
for deciding which video quality to request without taking into
account the server load, the number of users, fairness and more.
Therefore, traffic shaping server, which takes these factors into
account is needed. In this paper we present a HAS traffic shaping
algorithm that in one hand tries to maximize user experience by
providing the quality which is the closest to the one that the
user requested while in other hand takes into account the server
constrains. Simulation results show that the proposed solution
effectively serves up to a 28% more users when the network
is congested, while the users experienced an average bit-rate
decreased up to 12% and the average PSNR decrease was 0.26
dB

How does algorithmic information processing affect the meaning of the word culture, and, by extension, cultural practice? We address this question by focusing on the Netflix Prize (2006–2009), a contest offering US$1m to the first individual or team to boost the accuracy of the company’s existing movie recommendation system by 10%. Although billed as a technical challenge intended for engineers, we argue that the Netflix Prize was equally an effort to reinterpret the meaning of culture in ways that overlapped with, but also diverged in important respects from, the three dominant senses of the term assayed by Raymond Williams. Thus, this essay explores the conceptual and semantic work required to render algorithmic information processing systems legible as forms of cultural decision making. It also then represents an effort to add depth and dimension to the concept of “algorithmic culture.”

How does algorithmic information processing affect the meaning of the word culture, and, by extension, cultural practice? We address this question by focusing on the Netflix Prize (2006–2009), a contest offering US$1m to the first individual or team to boost the accuracy of the company’s existing movie recommendation system by 10%. Although billed as a technical challenge intended for engineers, we argue that the Netflix Prize was equally an effort to reinterpret the meaning of culture in ways that overlapped with, but also diverged in important respects from, the three dominant senses of the term assayed by Raymond Williams. Thus, this essay explores the conceptual and semantic work required to render algorithmic information processing systems legible as forms of cultural decision making. It also then represents an effort to add depth and dimension to the concept of “algorithmic culture.”