Web Radio Blueprint

The Internet is one of the most significant technological developments in our lifetime, and its impact affects many established technologies and media. Radio is one of the established media revolutionized by the Internet because of the expanding multi-media capabilities, leading the way to a more focused medium when compared to traditional terrestrial radio broadcasting. Radio transmissions over the Internet (Web Radio) offers the opportunity to provide content focused to a “niche” audience, while providing an opportunity for broader operator participation than terrestrial radio. Web Radio is an Information Technology that offers a viable alternative to commercial radio, which has become increasingly consolidated since the Passage of the Telecommunications Act of 1996. Commercial radio consolidation into ten major owners has resulted in less localism, diversity, and competition in radio. Web Radio can restore these elements to the radio industry, assuming policies implemented support the goals of localism, diversity, competition, and interaction. Web Radio is at a critical stage in its development as an Internet supported information technology. Web Radio content providers are facing several significant issues in the economic and regulatory components of their businesses. Web Radio represents a unique opportunity for entrepreneurs and producers to establish viable conduits for the content that they are able to create. It is critical that policies concerning the technical, legal, and operational issues be determined in a way that does not cripple the development of the industry. This thesis provides a blueprint for individuals or organizations that are new to the technology of Web Radio, or would like to review the current state of affairs in the technical and legal components of webcasting. This “Web Radio Blueprint” will assist individuals or organizations with the implementation of webcasting as a way to communicate their music or message to an interested listener. It provides a blueprint for an organization attempting to become an Internet Broadcaster, or add an Internet Broadcasting function to an e-commerce site, by presenting three key areas that should be considered in the organization\u27s plan. These areas include infrastructure technologies used in webcasting, legal obstacles imposed by the 1998 “Digital Millennium Copyright Act” and other rulings, and operational concerns that an e-commerce organization should address

Phoenix 2001

https://commons.erau.edu/phoenix-yearbooks/1032/thumbnail.jp

Interpretations of digital exhibition. Assessing the academic pertinence of commercial and political definitions. A case study

The principal research question of this study is framed as: Do prevailing, industrially and politically sourced definitions of Digital Exhibition faithfully represent the phenomenon¿s position within the contemporary media theory framework? Within this work Digital Exhibition is defined as: The practice of presenting moving images, either live or pre-recorded, to paying audiences, in public spaces, by means of digital distribution and projection. The majority of established literatures concerning Digital Exhibition are aimed at producing categorical definitions of the phenomenon. These ¿meaning making¿ discourses commonly stem from potentially ideologically affected sources. To address this issue, the author has investigated the political economy of key commentators, and Digital Exhibition has been impartially researched following a ¿case studies¿ methodology; with an analytical framework based upon a series of ¿plausible rival hypotheses¿. These hypotheses include that Digital Exhibition isM ¿ a form of the cinema ¿ a form of television ¿ a new (new media) medium ¿ multiple media ¿ not a medium It is presented that each investigated hypothesis can be argued to be legitimate when employing established media theories as the means of rationalisation. Nevertheless, the author concludes that individual industrially / politically charged definitions still do not provide an adequately comprehensive account as to the wealth of interpretations that can be drawn for Digital Exhibition. The author also presents his own perspective as to the subjective nature of contemporary media taxonomies, and ultimately proposes that Digital Exhibition is not a medium, but is a designation offered to a subjectively defined collection of events made possible through the transmission of computational binary pulse signals

A group approach to the study and treatment of problem boys

Thesis (D.S.S.)--Boston University, 1937. This item was digitized by the Internet Archive

Annual report of the town of Winchester and Winchester school district for fiscal year July 1, 2012 to June 30, 2013.

This is an annual report containing vital statistics for a town/city in the state of New Hampshire

Annual reports of the town of Winchester and Winchester school district for fiscal year July 1, 2006 to June 30, 2007.

This is an annual report containing vital statistics for a town/city in the state of New Hampshire

Webfilm theory

Since its inception in 1989, the World Wide Web has grown as a medium for publishing first text, then images, audio, and finally, moving images including short films. While most new media forms, in particular, hypertext, have received scholarly attention, research into moving image on the Internet had been limited. The thesis therefore set out to investigate webfilms, a form of short film on the WWW and the Internet, over a period of 9 years (1997-2005). The thesis was theoretically embedded in questions regarding new media as new field of research, since the increasing visibility of new media had resulted in the emergence of the discipline of 'new media studies'. This context raised issues regarding the configuration of new media studies within the existing academic disciplines of media and cultural studies, which were explored in depth in the literature review. The case studies of the thesis explored and analysed webfilms from a vantage point of actor-network theory, since this was arguably the most appropriate methodology to a research object considerably influenced by technological factors. The focus was on the conditions of webfilm production, distribution, and exhibition, and the evolution of webfilm discourse and culture. The aim was to seek answers to the question 'How didwebfilm arise as (new) form of film?' In the process of research, a number of issues were raised including the changing definition and changing forms of webfilms, the convergence of media, and the complex interdependency of humans and their computers. The research re-evaluates the relationship between human and non-human factors in media production and presents a fresh approach by focusing on the network as unit of analysis. The thesis as a whole not only provides new information on the evolution of webfilm as a form of film, but also illustrates how the network interaction of humans and nonhumans lies at the heart of contemporary new media and convergence culture.sub_mcpaunpub79_ethesesunpu

North Hampton annual report for the fiscal year ended June 30, 2015.

This is an annual report containing vital statistics for a town/city in the state of New Hampshire

Transnational Intimacies: Korean Television Dramas, Romance, Erotics, and Race

In this dissertation, I examine the gendered and racial politics of women’s transnational sex tourism. I draw on thirteen months of ethnographic fieldwork with women from Europe and North America who travel to South Korea to form intimate relations with South Korean men in a phenomenon known as Hallyu tourism. Hallyu (also known as the Korean Wave) is a transnational phenomenon whereby people from all over the world consume South Korean popular culture including music, films, and television programs. In my dissertation, I focus on the transnational popularity of romantic South Korean television dramas and how they generate erotic desires in their viewers for South Korean men. I build on interdisciplinary debates in the fields of Gender Studies, Asian Studies, and Media Studies to examine the racial, gendered, and sexual politics of the Hallyu tourists’ erotic desires and their intimate relationships with South Korea men. I argue that these transnational relationships of intimacy produce racialized discourses of South Korean masculinity emerging at the intersection of South Korean cultural conceptions of gender and transnational discourses of race. Furthermore, I suggest that these intimate encounters between South Korean men and “Western” female Hallyu tourists compel us to reconfigure binary conceptions of West versus East, national versus transnational, sex versus romance, and masculine versus feminine. By analyzing why and how the Hallyu tourists use South Korean television dramas to racially eroticize South Korean men, I demonstrate the inextricability of erotics from race and gender