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Convergence: The International Journal of Research into New Media Technologies
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The INGVterremoti channel on YouTube
In February 2010, we launched an experimental scientific video channel on YouTube (http://www.youtube.com/ingvterremoti), to improve our communication strategy for earthquake risk and preparedness. The main goals of this initiative were to inform people of the ongoing seismic activity in Italy and around the World, to communicate the results of scientific research in seismology, and to increase the knowledge of seismic hazard of the people. To date, after almost two years from the start, we have published 52 original videos on YouTube, through the collaboration of many researchers at the Istituto Nazionale di Geofisica e Vulcanologia (INGV). The videos are organized into eight play lists: (i) earthquakes in Italy; (ii) earthquakes worldwide; (iii) the 2009 L'Aquila, Italy, earthquake; (iv) ongoing seismic activity; (v) tsunami; (vi) earthquake prediction; (vii) seismic hazard; and (viii) May 11 2011 (when a major earthquake was predicted to hit Rome). To date, the total number of views is over 466,000, with two peaks of more than 20,000/day after the Tohoku, Japan, earthquake (March 2011) and before the presumed prediction of a major earthquake to hit Rome on May 11, 2011. The most popular videos have been viewed more than 20,000 times, with a maximum of over 67,000. We think that this initiative has increased people's knowledge and awareness of seismic risk, although at the moment the outreach is limited only to a specific (but growing) target of citizens. In the future, we will try to improve the technical aspects of our video communication, and we will try to broaden our audience. We have learned that when specific earthquakes occur (or even when there are unfounded predictions about upcoming seismic events) this is when the attention is highest, which represent the best occasions to move forward towards improved risk communication strategies.
YouTube has come to epitomize the possibilities of digital culture. With more than seventy million unique users a month and approximately eighty million videos online, this brand-name video distribution platform holds the richest repository of popular culture on the Internet. As the fastest growing site in the history of the Web, YouTube promises endless new opportunities for amateur video, political campaigning, entertainment formats, and viral marketing—a clip culture that has seemed to outpace both cinema and television. The YouTube Reader is the first full-length book to explore YouTube as an industry, archive, and cultural form. This remarkable volume brings together renowned film and media scholars to debate the problems and potential of "broadcasting yourself." The YouTube Reader takes on claims of newness, immediacy, and popularity with sytematic and theoretically informed arguments, offering a closer look at the available texts on YouTube and the policies and norms that govern their access and use.
Documentary on YouTube: The failure of the direct cinema of the slogan
2008
I have written, taught about and produced activist video within the AIDS, feminist, and queer media movements of the 1980s, 1990s, and 2000s. 2 See http://mediacommons.futureofthebook.org. 312 ALEXANDRA JUHASZ 3 I credit Rachel Lee with this observation. 4 See Juhasz (1995). 5 See Gray (2007).
Proceedings of the 2011 ACM SIGCOMM conference on Internet measurement conference, 2011
In this paper we present a complete measurement study that compares YouTube traffic generated by mobile devices (smartphones, tablets) with traffic generated by commons PCs (desktops, notebooks, netbooks). We investigate the user behavior and correlate it with the system performance. Our measurements are performed using unique data sets which are collected from vantage points in nation wide ISPs and University campuses of two countries in Europe, and one in the US. Our results show that the user access patterns are similar across a wide range of user locations, access technologies and user devices. Users stick with default player configurations, e.g., not changing video resolution or rarely enabling full screen playback. Furthermore it is very common that users abort video playback, with 60% of videos watched for less than 20% of their duration. We show that the YouTube system is highly optimized for PC access and leverages aggressive buffering policies to guarantee excellent video playback. This however causes 25%-39% of transferred data to be unnecessary, since users abort the playback very early. The unnecessary data transfer is even higher when mobile devices are considered. The limited storage offered by those devices makes the video download more complicated and overall less efficient, so that clients typically download more data than the actual video length. This result is particularly critical especially for wireless networks and calls for better system optimization.
Video Vortex reader: responses to YouTube
Climatic Change, 2008
Reader responses to youtube edited by GeeRt Lovink and sabine niedeReR inC reader #4 The Video Vortex Reader is the first collection of critical texts to deal with the rapidly emerging world of online video-from its explosive rise in 2005 with YouTube, to its future as a significant form of personal media.
Poetics of Early YouTube: Production, Performance, Success
2016
Is today’s professional and commercial YouTube culture the downfall of a ‘participatory culture’ in which there were no lines between producers and consumers and the approval of the ‘YouTube community’ was revenue enough? This study argues otherwise and challenges the participatory culture and social media paradigms which have been predominant in the research thus far. It offers an analysis of the most subscribed YouTube channels of the first two years of the platform's operation (2005 and 2006). The aspects in focus are users’ backgrounds and motivations for using YouTube, video production, settings, modes of performance, cinematography, editing, the overall form of videos, and the activities of the contributing users and of others with regards to the videos once uploaded to YouTube. It shows that dedicated video production mattered already in the early years of the platform. It shows how YouTube users employed their performing bodies and audiovisual techniques in creative ways to produce their videos – and how they made their videos successful and generate revenues on and off YouTube. How is YouTube an extension, transformation, or break from media like film and television? How can YouTube videomaking be situated with regards to other cultural practices? This study offers novel insights. The website: http://hss.ulb.uni-bonn.de/2016/4407/4407.htm The full pdf: http://hss.ulb.uni-bonn.de/2016/4407/4407.pdf