Musical preferences and technologies: Contemporary material and symbolic distinctions criticised

Today how individuals interact with various cultural items is not perfectly consistent with theoretical frameworks of influential scholars on cultural consumption, such as Bourdieu (1984), Gans (1999), and Peterson and Simkus (1992). One such variation is in the ever increasing variety of technological modes to acquire and listen to music (Pinch and Bijsterveld, 2004). However, as a consequence of digital divides (van Dijk, 2006), technological items may not be distributed equally among social groups. At present, the value of status-making through a preference for different genres of music extends itself to different forms of consumption and ways of experiencing music. We are yet to fully understand the power these practices have on generating status. This article is therefore motivated by the need to integrate within quantitative frameworks of taste and cultural consumption, an analysis of individuals’ technological engagement. These two dimensions, integrated as components of musical practices, enhance our understanding of cultural boundaries across different social groups.The objective is to bridge a gap detected in the literature, addressing the following questions: Are technological modes to listen to music related to musical tastes

BBC Experiments in local radio broadcasting 1961-62

In the early 1960s, the BBC was given the opportunity to demonstrate that it had the skills and resources to create localized broadcasting, by organizing a series of experimental stations across the UK. Although the output was not heard publicly, the results were played to the Pilkington Committee on Broadcasting, who were deliberating about the future direction of radio and television. Using archival research, featuring contemporary BBC documents, this paper argues that these experimental stations helped senior managers at the BBC to harness technological innovation with changing attitudes in society and culture, thus enabling them to formulate a strategy that put the BBC in the leading position to launch local radio a few years later in 1967

Development of Granola Bars with taro Colocasia esculenta Root, Okara Pulp Flour, and Moringa oleifera Leaves

The Granola Bars was developed from taro, locally abundant root crop, and okara (soy pulp) a nutritious waste product from soy milk and tokwa production. Sweetener that were used are honey and muscovado sugar; vanilla for aroma; moringa, peanuts, and pinipig for nurient enrichment. The okara, taro, and moringa leaves were dehydrated using the Multi-Commodity Heat Pump Dryer and were later powderized. Dried ingredients were mixed together; afterwards it was mixed into the other liquid ingredients while being melted at low temperature. The mixture was baked and cut into small squares. A serving of the product contains energy (802 kcal), protein (21.2g), carbohydrates (106.4g), fats, (32.4g), phosphorus (359mg), calcium (108mg), Iron (4.4mg), Niacin (13.1mg) Vitamin A (2mg), Vitamin C (2mg), Thiamin (0.14mg) and Riboflavin (0.2mg). The acceptability of the product in terms of appearance, taste, texture, and aroma was determined by 34 grade four students. Seventy percent of the people who tasted Granola Bars, extremely liked the product. It has an estimated life span of 14 days. And the selling price is 44.8 pesos per pack of eight pieces or 5.6 pesos per serving of 3X4 cm

Access to Infrastructure

Access to infrastructure is a perennial issue in the field of communication, which started in the era of postal services and continues to the present era of broadband networks. As infrastructures, or large-scale systems, information and communication technologies (ICTs) are central to citizens’ political, economic, and social lives. Historically and today, a variety of factors such as political and regulatory decisions impact access to infrastructure. Current concerns about equitable access include the network neutrality

A very conscientious brand: A case study of the BBC's current affairs series Panorama

The reputation of British current affairs and documentary series such as the BBC's Panorama, Channel 4’s Dispatches or the now defunct Granada series World in Action have rested on an image of conscientious ‘public service’. These popular, long running series have, at various points in their history, acted as the ‘conscience of the nation’, seeking to expose social injustice, investigate misdemeanours by the powerful and take on venal or corrupt vested interest. The BBC’s flagship current affairs series Panorama is Britain’s longest running television programme and, according to the Panorama website, ‘the world’s longest running investigative TV show’. It has provided a template for other current affairs series both in Britain, Europe and around the world while undergoing several transformations in form and style since its launch in 1953, the latest and arguably most dramatic being in 2007. This article will chart the development of Panorama as a distinctive, ‘flagship' current affairs series over six decades. It will attempt to answer why the Panorama brand has survived so long, while so many other notable current affairs series have not. Using research and material from Bournemouth University’s Panorama Archive, the Video Active website, the BFI and other European archives this article explores the development of an iconic current affairs series that has, at different stages in its history, proved a template for other news and current affairs programmes. Various breaks and continuities are highlighted in Panorama’s history and identity, and an attempt will be made to characterise and specify the Panorama ‘brand’ and pinpoint the series’ successes and failures in reinventing itself in a rapidly changing media context

Media response to colon cancer campaigns in Switzerland 2005-2007: regional newspapers are the most reliable among the printed media

<p>Abstract</p> <p>Background</p> <p>Health campaigns are frequently covered by printed media, but coverage is not homogeneous across different types of newspapers. Switzerland as a multilinguistic country with many newspapers offers a good field for study. A better understanding of how printed media report on national campaigns against colon cancer in the three main linguistic regions may help to improve future public health interventions. Therefore, we analyzed articles published between 2005 and 2007 during the campaigns "<it>Darmkrebs-nie</it>?" and "<it>Self-Care</it>" in the German, French and Italian regions of Switzerland.</p> <p>Findings</p> <p>Some 65% of articles reporting on colon cancer were in German, 23% and 12% were in French and Italian respectively. During the campaign, topics linked to colon cancer were increasingly covered by the media. Regional newspapers (66%) reported significantly more about colon cancer and produced the most detailed articles.</p> <p>Both gain- and loss-framed messages have been used by journalists, whereas the campaigns used merely gain-framed messages. Latin (French and Italian) newspapers mixed gain- and loss-framed messages in the same articles, while German articles mainly used a single frame throughout.</p> <p>Conclusions</p> <p>Swiss-German papers reported more about the topic and the reporting was quantitatively and qualitatively more prominent in regional papers. The press followed the campaigns closely only during the period of campaigning, with high coverage. We propose to consider the regional press as an important vehicle of health information. Moreover, slight differences in framing can be observed between German and Latin articles.</p

"Find Out Exactly What to Think-Next!": Chris Morris, Brass Eye, and Journalistic Authority

This article discusses Chris Morris's fake news TV series Brass Eye (1997, 2001). It concentrates on the ways in which Brass Eye exposed and undermined not only the textual conventions of TV news and current affairs, but also the ways in which the program deployed those textual conventions to highlight and sabotage the cultural authority of public figures who appeared on it. The article first introduces Morris and Brass Eye, before identifying some of the key textual strategies of broadcast news that are satirized in the program, including its mode of address, its music, and its visuals and graphics. It then examines how the program's use of those strategies enables it to exercise the authority of broadcast news to expose the accessed voices of public figures within the show

“Cycles upon cycles, stories upon stories” : contemporary audio media and podcast horror’s new frights

During the last ten years the ever-fertile horror and Gothic genres have birthed a new type of fright-fiction: podcast horror. Podcast horror is a narrative horror form based in audio media and the properties of sound. Despite association with oral ghost tales, radio drama, and movie and TV soundscapes, podcast horror remains academically overlooked. Podcasts offer fertile ground for the revitalization and evolution of such extant audio-horror traditions, yet they offer innovation too. Characterized by their pre-recorded nature, individualized listening times and formats, often “amateur” or non-corporate production, and isolation from an ongoing media stream more typical of radio or TV, podcasts potentialize the instigation of newer audio-horror methods and traits. Podcast horror shows vary greatly in form and content, from almost campfire-style oral tales, comprising listener-produced and performed content (Drabblecast; Tales to Terrify; NoSleep); to audio dramas reminiscent of radio’s Golden Era (Tales from Beyond the Pale; 19 Nocturne Boulevard); to dramas delivered in radio-broadcast style (Welcome to Night Vale; Ice Box Theatre); to, most recently, dramas, which are themselves acknowledging and exploratory of the podcast form (TANIS; The Black Tapes Podcast; Lime Town). Yet within this broad spectrum, sympathies and conventions arise which often not only explore and expand notions of Gothic sound, but which challenge broader existing horror and Gothic genre norms. This article thus demonstrates the extent to which podcast horror uses its audio form, technology and mediation to disrupt and evolve Gothic/horror fiction, not through a cumulative chronological formulation of podcast horror but through a maintained and alternately synthesized panorama of forms. Herein new aspects of generic narration, audience, narrative and aesthetic emerge. Exploring a broad spectrum of American and British horror podcasts, this article shows horror podcasting to utilize podcasting’s novel means of horror and Gothic distribution/consumption to create fresh, unique and potent horror forms. This article reveals plot details about some of the podcasts examined

Sexual and National Difference in the high-speed, popular surrealism of Tommy Handley and Ronald Frankau’s double acts, 1929-1936

This edited collection explores the representations of identity in comedy and interrogates the ways in which “humorous” constructions of gender, sexuality, ethnicity, religion, class and disability raise serious issues about privilege, ..