Participants' Biographies
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												  Digibox & Ci+ ZendernummeringDIGIBOX & CI+ ZENDERNUMMERING NUMÉROTATION DES CHAÎNES Regio Brussel Région Bruxelles 105 VIJF HD Televisiezenders 106 Vitaya Chaînes de télévision 107 BRUZZ 1 La Une HD 108 KanaalZ 2 La Deux HD 109 CAZ 3 RTL Tvi HD 110 Play Time HD 4 Club TRL HD 111 Nat Geo HD 5 Plug RTL 112 Ketnet 6 TF1 HD 113 Discovery Vl HD 8 AB3 114 Fox 10 BX1 115 Njam! 12 R. Contact Vision 116 Plattelands TV 15 La Trois 118 BBC Entertainment 30 Arte Belgique 120 Cadet 31 TV5 Monde 121 Nickelodeon/Spike HD 33 Sundance TV FR 122 Nick Jr. 41 France 3 123 Studio 100 TV 42 France 4 124 vtmKzoom 43 France 5 126 ZES HD 44 France Ô 127 Ment TV 60 France 2 130 Stories 100 vtm HD 131 MTV VL 101 één HD 133 Cartoon Network 102 VIER HD 134 Comedy Central 103 Canvas HD 135 Brava 104 Q2 HD 136 evenaar telenet.be/business V.U.: Telenet BVBA/E.R. : Telenet SPRL, Liersesteenweg 4, 2800 Mechelen/Malines – April/Avril 2017 DIGIBOX & CI+ ZENDERNUMMERING NUMÉROTATION DES CHAÎNES Regio Brussel Région Bruxelles 137 Viceland 312 Bloomberg 140 Xite 344 Animal Planet 142 Actua TV 620 Eurosport FR 145 Dobbit TV 621 Eurosport HD 201 2M Monde 622 Eurosport 2 HD 202 Al Maghreb TV 625 Extreme Sport 203 TRT Turk 210 Rai1 213 Mediaset Italia 214 TVE Play Sports (optioneel) 217 The Israëli Network Play Sports (optionelle) 220 BBC1 221 BBC2 610 Play Sports HD1 230 NPO 1 611 Play Sports HD2 231 NPO 2 612 Play Sports HD3 232 NPO 3 613 Play Sports HD4 241 ZDF 614 Play Sports HD5 299 Euronews FR 615 Play Sports HD6 301 Euronews 616 Play Sports HD7 303 CNN 617 Play Sports HD8 304 CNBC 618 Play Sports GOLF HD 305 BBC World 628 Eleven Sports 1 NL 306 Al Jazeera Eng.
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												  PORTO, PORTUGAL June 21St to 23Rd, 2001CIRCOM REGIONAL CONFERENCE REPORT PORTO, PORTUGAL June 21st to 23rd, 2001 PRIX CIRCOM REGIONAL 2001 Copro workshops CR Conference 2001 Report on the Television Journalism Workshop file:///D|/CIRCOM/WWW/2001/1.html (1 of 2) [25.3.2003 10:48:45] CIRCOM REGIONAL This year's Annual Conference of Circom Regional was hosted by RTP, the Portuguese national broadcaster, in Porto, the 2001 European capital of culture. The city presented itself to the more than 250 participants from all over Europe at its best, providing them excellent facilities for their work and sessions, as well as cultural top-events, food and wine worth to be remembered, spotless sunshine,… The RTP staff excelled as a brilliantly efficient, as well as polite and hospitable team. file:///D|/CIRCOM/WWW/2001/1.html (2 of 2) [25.3.2003 10:48:45] CIRCOM regional . PORTO 2001 CONFERENCE REPORT Thursday, June 21, 2001 9.30 - 10.30 OPENING CEREMONY Responsible: Djalme Neves, RTP, CR Vice-President, Portugal Speakers: Lefty Kongalides, CR President, Greece Nuno Cardoso, Mayor of Porto, Portugal Dr. Pacheco Pereira, Vice-President of the European Parliament Dr. Teresa Lago, Chair of Porto 2001 - European Capital of Culture Dr. Joao Carlos Silva, President of RTP, Portugal Mr. Djalme Neves and Dr. Joao Carlos Silva initially warmly welcomed all participants and Mr. Silva shortly presented RTP, the Portuguese public service broadcaster and its activities. Mr. Nuno Cardoso, Mayor of Porto described Porto as a liberal city with a dynamic television scene. He also stated that regional television has an important role in the future of the audio- visual industry.
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												  The Rai Studio Di Fonologia (1954–83)ELECTRONIC MUSIC HISTORY THROUGH THE EVERYDAY: THE RAI STUDIO DI FONOLOGIA (1954–83) Joanna Evelyn Helms A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2020 Approved by: Andrea F. Bohlman Mark Evan Bonds Tim Carter Mark Katz Lee Weisert © 2020 Joanna Evelyn Helms ALL RIGHTS RESERVED ii ABSTRACT Joanna Evelyn Helms: Electronic Music History through the Everyday: The RAI Studio di Fonologia (1954–83) (Under the direction of Andrea F. Bohlman) My dissertation analyzes cultural production at the Studio di Fonologia (SdF), an electronic music studio operated by Italian state media network Radiotelevisione Italiana (RAI) in Milan from 1955 to 1983. At the SdF, composers produced music and sound effects for radio dramas, television documentaries, stage and film operas, and musical works for concert audiences. Much research on the SdF centers on the art-music outputs of a select group of internationally prestigious Italian composers (namely Luciano Berio, Bruno Maderna, and Luigi Nono), offering limited windows into the social life, technological everyday, and collaborative discourse that characterized the institution during its nearly three decades of continuous operation. This preference reflects a larger trend within postwar electronic music histories to emphasize the production of a core group of intellectuals—mostly art-music composers—at a few key sites such as Paris, Cologne, and New York. Through close archival reading, I reconstruct the social conditions of work in the SdF, as well as ways in which changes in its output over time reflected changes in institutional priorities at RAI.
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												  Market Performances Barometer Status June 2015Market Performances Barometer Status June 2015 Confidential : strictly for Space clients GROSS MEDIA INVESTMENTS EVOLUTION 2 Source: MDB National North South € Mo 1,472.6 894.2 578.4 % Region 100% 61% 39% vs YTD 2014 - 3.5% - 3.2% - 3.9% Media (vs YTD 2014) Ecogroups (vs YTD 2014) 9% 3% 7% House Eq. (+ 8%) 41% Beauty (+ 7%) OOH (+ 4%) House Cl. (+ 5%) TV (+ 3%) Transport (+ 5%) 21% Clothing (+ 2%) 6% 1% 14% Radio (- 5%) Food (- 2%) Magazines (- 7%) Health (- 3%) Retail (- 3%) Dailies (- 10%) TV Radio Energy (- 6%) Cinema Internet Internet (- 10%) Services (- 14%) Dailies Mag. Cinema (- 16%) Telecom (- 20%) Free Press (- 24%) Free Press OOH Petfood (- 27%) KEY TV FIGURES 4 Variable Channel Daypart YTD-12 YTD-13 YTD-14 YTD-15 15 vs 14 Rating (%) TSU (Total Screen Usage) (1) 17-23:00 26.9% 28.9% 29.6% 29.4% 99 Total channels (Live + TSV) " 91.1% 90.5% 89.8% 87.7% 98 VHS + DVD player + Blue Ray " 2.3% 2.1% 2.7% 3.7% 139 Audience share TSU (%) (2) Video on demand + Digital recorder " 5.0% 6.1% 6.4% 7.6% 119 Game console and other devices (3) " 1.6% 1.3% 1.2% 1.0% 82 All Channels " 8.0% 9.7% 10.3% 12.2% 118 % Time shift viewing (4) Main Channels (5) " 10.4% 12.1% 13.6% 14.9% 110 Commercial breaks rating vs Main channels (5) - Live " 86 86 87 88 Full daypart rating Main channels (5) - TSV " 24 26 25 26 All TV channels (Live) Total day 129 137 136 130 96 ATV All TV channels (TSV) " 9 12 13 15 115 (Average daily viewing time) All TV channels (Live + TSV) " 138 148 149 145 98 in minutes Other TV Screen Usage " 18 21 22 28 125 Total TV Screen Usage
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												  Press Release Potsdam DeclarationPress Release Potsdam 19.10.2018 Potsdam Declaration signed by 21 public broadcasters from Europe “In times such as ours, with increased polarization, populism and fixed positions, public broadcasters have a vital role to play across Europe.” A joint statement, emphasizing the inclusive rather than divisive mission of public broadcasting, will be signed on Friday 19th October 2018 in Potsdam. Cilla Benkö, Director General of Sveriges Radio and President of PRIX EUROPA, and representatives from 20 other European broadcasters are making their appeal: “The time to stand up for media freedom and strong public service media is now. Our countries need good quality journalism and the audiences need strong collective platforms”. The act of signing is taking place just before the Awards Ceremony of this year’s PRIX EUROPA, hosted by rbb in Berlin and Potsdam from 13-19 October under the slogan “Reflecting all voices”. The joint declaration was initiated by the Steering Committee of PRIX EUROPA, which unites the 21 broadcasters. Potsdam Declaration, 19 October 2018 (full wording) by the 21 broadcasters from the PRIX EUROPA Steering Committee: In times such as ours, with increased polarization, populism and fixed positions, public broadcasters have a vital role to play across Europe. It has never been more important to carry on offering audiences a wide variety of voices and opinions and to look at complex processes from different angles. Impartial news and information that everyone can trust, content that reaches all audiences, that offers all views and brings communities together. Equally important: Public broadcasters make the joys of culture and learning available to everyone, regardless of income or background.
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												  Reuters Institute Digital News Report 2020Reuters Institute Digital News Report 2020 Reuters Institute Digital News Report 2020 Nic Newman with Richard Fletcher, Anne Schulz, Simge Andı, and Rasmus Kleis Nielsen Supported by Surveyed by © Reuters Institute for the Study of Journalism Reuters Institute for the Study of Journalism / Digital News Report 2020 4 Contents Foreword by Rasmus Kleis Nielsen 5 3.15 Netherlands 76 Methodology 6 3.16 Norway 77 Authorship and Research Acknowledgements 7 3.17 Poland 78 3.18 Portugal 79 SECTION 1 3.19 Romania 80 Executive Summary and Key Findings by Nic Newman 9 3.20 Slovakia 81 3.21 Spain 82 SECTION 2 3.22 Sweden 83 Further Analysis and International Comparison 33 3.23 Switzerland 84 2.1 How and Why People are Paying for Online News 34 3.24 Turkey 85 2.2 The Resurgence and Importance of Email Newsletters 38 AMERICAS 2.3 How Do People Want the Media to Cover Politics? 42 3.25 United States 88 2.4 Global Turmoil in the Neighbourhood: 3.26 Argentina 89 Problems Mount for Regional and Local News 47 3.27 Brazil 90 2.5 How People Access News about Climate Change 52 3.28 Canada 91 3.29 Chile 92 SECTION 3 3.30 Mexico 93 Country and Market Data 59 ASIA PACIFIC EUROPE 3.31 Australia 96 3.01 United Kingdom 62 3.32 Hong Kong 97 3.02 Austria 63 3.33 Japan 98 3.03 Belgium 64 3.34 Malaysia 99 3.04 Bulgaria 65 3.35 Philippines 100 3.05 Croatia 66 3.36 Singapore 101 3.06 Czech Republic 67 3.37 South Korea 102 3.07 Denmark 68 3.38 Taiwan 103 3.08 Finland 69 AFRICA 3.09 France 70 3.39 Kenya 106 3.10 Germany 71 3.40 South Africa 107 3.11 Greece 72 3.12 Hungary 73 SECTION 4 3.13 Ireland 74 References and Selected Publications 109 3.14 Italy 75 4 / 5 Foreword Professor Rasmus Kleis Nielsen Director, Reuters Institute for the Study of Journalism (RISJ) The coronavirus crisis is having a profound impact not just on Our main survey this year covered respondents in 40 markets, our health and our communities, but also on the news media.
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												  The Public Service Broadcasting CultureThe Series Published by the European Audiovisual Observatory What can you IRIS Special is a series of publications from the European Audiovisual Observatory that provides you comprehensive factual information coupled with in-depth analysis. The expect from themes chosen for IRIS Special are all topical issues in media law, which we explore for IRIS Special in you from a legal perspective. IRIS Special’s approach to its content is tri-dimensional, with overlap in some cases, depending on the theme. terms of content? It offers: 1. a detailed survey of relevant national legislation to facilitate comparison of the legal position in different countries, for example IRIS Special: Broadcasters’ Obligations to Invest in Cinematographic Production describes the rules applied by 34 European states; 2. identifi cation and analysis of highly relevant issues, covering legal developments and trends as well as suggested solutions: for example IRIS Special, Audiovisual Media Services without Frontiers – Implementing the Rules offers a forward-looking analysis that will continue to be relevant long after the adoption of the EC Directive; 3. an outline of the European or international legal context infl uencing the national legislation, for example IRIS Special: To Have or Not to Have – Must-carry Rules explains the European model and compares it with the American approach. What is the source Every edition of IRIS Special is produced by the European Audiovisual Observatory’s legal information department in cooperation with its partner organisations and an extensive The Public of the IRIS Special network of experts in media law. The themes are either discussed at invitation-only expertise? workshops or tackled by selected guest authors.
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												  Cadavre Exquis Forking Paths from Surrealism to Interactive FilmTHE FORKING PATHS – INTERACTIVE FILM AND MEDIA Editors: Bruno Mendes da Silva Jorge Manuel Neves Carrega CIAC – Centro de Investigação em Artes e Comunicação da Universidade do Algarve FCHS – Universidade do Algarve, Campus de Gambelas, 8005-139 Faro www.ciac.pt | [email protected] ISBN: 978-989-9023-53-6 ISBN (versão eletrónica): 978-989-9023-54-3 Cover: Bloco D Composition, pagination and graphic organization: Juan Manuel Escribano Loza ALL RIGHTS RESERVED FOR THE AUTHORS © 2021 Copyright by Bruno Mendes da Silva and Jorge Manuel Neves Carrega This publication is funded by national funds through the project “UIDP/04019/2020 CIAC” of the Foundation for Science and Technology. Claudia Giannetti is a researcher specialized in contemporary art, aesthetics, media art and the relation between art, science and technology. She is a theoretician, writer and exhibitions curator. For 18 years she war director of institutions and art centres in Spain, Portugal and Germany, including MECAD\ Media Centre of Art & Design (Barcelona) and the Edith- Russ-Haus for Media Art (Oldenburg, Germany). She has curated more than hundred exhibitions and cultural events in international museums. She was Professor in Spanish and Portuguese universities for the past two decades, and visiting professor and lecturer worldwide. She performs the function of adviser in several international multimedia and media art projects. Giannetti has published more than 160 articles and fifteen books in various languages, including: Ars Telemati- ca –Telecomunication, Internet and Cyberspace (Lisbon, 1998; Barcelona, 1998); Aesthetics of the Digital –Syntopy of Art, Science and Technology (Barcelona, 2002; New York/Vienna, 2004; Lisbon, 2011); The Capricious Reason in the 21st Cen- tury: The avatars of the post-industrial information society (Las Palmas, 2006); The Discreet Charm of Technology (Madrid/ Badajoz, 2008); AnArchive(s) – A Minimal Encyclopedia on Archaeology and Variantology of the Arts and Media (Olden- burg, 2014); Image and Media Ecology.
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												  Izvješće O Poslovanju Hrvatske Radiotelevizije Za 2015Prijedlog Klasa: Urbroj: Zagreb, PREDSJEDNIKU HRVATSKOGA SABORA Predmet: Izvješće o poslovanju Hrvatske radiotelevizije za 2015. godinu - mišljenje Vlade Veza: Pismo Hrvatskoga sabora, klase: 021-12/16-09/66, urbroja: 65-16-03, od 22. prosinca 2016. godine Na temelju članka 122. stavka 2. Poslovnika Hrvatskoga sabora (Narodne novine, br. 81/13, 113/16 i 69/17), Vlada Republike Hrvatske o Izvješću o poslovanju Hrvatske radiotelevizije za 2015. godinu, daje sljedeće M I Š L J E N J E Vlada Republike Hrvatske predlaže Hrvatskome saboru da primi na znanje Izvješće o poslovanju Hrvatske radiotelevizije za 2015. godinu, koje je predsjedniku Hrvatskoga sabora podnio Glavni ravnatelj Hrvatske radiotelevizije, aktom od 21. prosinca 2016. godine. Izvješće o poslovanju Hrvatske radiotelevizije za 2015. godinu sadrži prikaz ostvarenja programa rada i financijskog plana Hrvatske radiotelevizije. Imajući u vidu protek vremena, predlaže se primanje navedenog Izvješća na znanje. Za svoje predstavnike, koji će u vezi s iznesenim mišljenjem biti nazočni na sjednicama Hrvatskoga sabora i njegovih radnih tijela, Vlada je odredila dr. sc. Ninu Obuljen Koržinek, ministricu kulture, Krešimira Partla i dr. sc. Ivicu Poljička, državne tajnike u Ministarstvu kulture, te Maricu Mikec i doc. dr. sc. Ivu Hraste Sočo, pomoćnice ministrice kulture. PREDSJEDNIK mr. sc. Andrej Plenković ’ :i: ''^vatske r V l'u r l-CZOl- i* j] i HRVATSKI SABOR I LiLiiLriJ, KLASA; 021-12/16-09/66 URBROJ: 65-16-03 Zagreb, 22. prosinca 2016. VLADI REPUBLIKE HRVATSKE Na temelju članka 214. stavak 4. Poslovnika Hrvatskoga sabora u prilogu upućujem, radi davanja mišljenja. Izvješće o poslovanju Hrvatske radiotelevizije za 2015. godinu, koje je predsjedniku Hrvatskoga sabora sukladno odredbi članka 19.a stavka 6.
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												  015-019 Dossier AB3-5P 6/04/06 18:14 Page 15015-019 Dossier AB3-5p 6/04/06 18:14 Page 15 dossier dossier AB3 ou le cheval de trop Théo Hachez AB3 ou le cheval de trop Assez tranquille au cours des années nonante, le paysage télévisuel de la Communauté française aura été dérangé, en ce début de millénaire, par l’apparition d’AB3. Les deux canaux des deux opérateurs principaux (La Une et La Deux de la R.T.B.F. et, pour R.T.L./T.V.I., Club R.T.L. et sa chaine éponyme) devront désormais compter avec une chaine gratuite à vocation généraliste de plus et, quelques mois plus tard, avec sa jumelle AB4. L’insignifiance culturelle et l’audience modeste recueillie par les nouvelles venues donnent une faible idée de la menace que leur vraie raison d’être fait peser à terme sur l’assise financière des médias de la Communauté française… Théo Hachez Il faut le dire: personne n’avait vu venir ment fleuri, mais le marché francophone le danger tel qu’il se dessine aujourd’hui. apparaissait trop mince et déjà trop Ni les ministres successifs saisis d’un encombré pour assurer sa viabilité. Au- dossier de reconnaissance au nom de trement dit, même sans pouvoir s’impo- Y.T.V., ni le Conseil supérieur de l’audio- ser comme un concurrent à part entière, visuel (C.S.A.) chargé de l’analyser. Seule Y.T.V. serait de toute façon plus ou moins R.T.L./T.V.I., sur les terres de laquelle un durablement nuisible aux intérêts de projet de télévision généraliste plus ciblé R.T.L./T.V.I.
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												  Stream Name Category Name Coronavirus (COVID-19) |EU| FRANCE TNTSAT ---TNT-SAT ---|EU| FRANCE TNTSAT TF1 SD |EU|stream_name category_name Coronavirus (COVID-19) |EU| FRANCE TNTSAT ---------- TNT-SAT ---------- |EU| FRANCE TNTSAT TF1 SD |EU| FRANCE TNTSAT TF1 HD |EU| FRANCE TNTSAT TF1 FULL HD |EU| FRANCE TNTSAT TF1 FULL HD 1 |EU| FRANCE TNTSAT FRANCE 2 SD |EU| FRANCE TNTSAT FRANCE 2 HD |EU| FRANCE TNTSAT FRANCE 2 FULL HD |EU| FRANCE TNTSAT FRANCE 3 SD |EU| FRANCE TNTSAT FRANCE 3 HD |EU| FRANCE TNTSAT FRANCE 3 FULL HD |EU| FRANCE TNTSAT FRANCE 4 SD |EU| FRANCE TNTSAT FRANCE 4 HD |EU| FRANCE TNTSAT FRANCE 4 FULL HD |EU| FRANCE TNTSAT FRANCE 5 SD |EU| FRANCE TNTSAT FRANCE 5 HD |EU| FRANCE TNTSAT FRANCE 5 FULL HD |EU| FRANCE TNTSAT FRANCE O SD |EU| FRANCE TNTSAT FRANCE O HD |EU| FRANCE TNTSAT FRANCE O FULL HD |EU| FRANCE TNTSAT M6 SD |EU| FRANCE TNTSAT M6 HD |EU| FRANCE TNTSAT M6 FHD |EU| FRANCE TNTSAT PARIS PREMIERE |EU| FRANCE TNTSAT PARIS PREMIERE FULL HD |EU| FRANCE TNTSAT TMC SD |EU| FRANCE TNTSAT TMC HD |EU| FRANCE TNTSAT TMC FULL HD |EU| FRANCE TNTSAT TMC 1 FULL HD |EU| FRANCE TNTSAT 6TER SD |EU| FRANCE TNTSAT 6TER HD |EU| FRANCE TNTSAT 6TER FULL HD |EU| FRANCE TNTSAT CHERIE 25 SD |EU| FRANCE TNTSAT CHERIE 25 |EU| FRANCE TNTSAT CHERIE 25 FULL HD |EU| FRANCE TNTSAT ARTE SD |EU| FRANCE TNTSAT ARTE FR |EU| FRANCE TNTSAT RMC STORY |EU| FRANCE TNTSAT RMC STORY SD |EU| FRANCE TNTSAT ---------- Information ---------- |EU| FRANCE TNTSAT TV5 |EU| FRANCE TNTSAT TV5 MONDE FBS HD |EU| FRANCE TNTSAT CNEWS SD |EU| FRANCE TNTSAT CNEWS |EU| FRANCE TNTSAT CNEWS HD |EU| FRANCE TNTSAT France 24 |EU| FRANCE TNTSAT FRANCE INFO SD |EU| FRANCE TNTSAT FRANCE INFO HD
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												  Accès Aux Médias Audiovisuels Plateformes & EnjeuxL’accès aux médias audiovisuels Plateformes & enjeux Sommaire 01 PAYSAGE p.7 02 RÉGLEMENTATION p.25 03 CONSOMMATION p.37 04 ENJEUX ÉCONOMIQUES p.51 05 PROTECTION DU CONSOMMATEUR ET DU PUBLIC p.65 06 L’ACCÈS À L’OFFRE p.73 07 ÉVOLUTION DU CADRE RÉGULATOIRE p.89 éditorial Au sens du décret sur les services de médias audiovisuels (SMA), un distributeur de services est une personne qui met à disposition du public un ou des services de médias audiovisuels. Ces services sont généralement édités par d’autres personnes que le distribu- teur, mais ces deux fonctions se confondent de plus en plus, bous- culant la chaîne de valeur traditionnelle. Le distributeur de services joue un rôle fondamental dans l’accès du public à l’offre de SMA. Le distributeur est aussi un vecteur in- contournable pour un nombre croissant d’éditeurs. En pratique, la Dominique Vosters distribution de SMA constitue autant un enjeu démocratique et Président du Conseil supérieur culturel qu’un enjeu économique. Ceci justifie pleinement la régu- de l’audiovisuel lation de ce secteur dans un cadre fixé par les législateurs belges et européen. Après avoir dressé un panorama des différents types de distri- bution disponibles en Fédération Wallonie-Bruxelles, le présent Il y a bien longtemps que le public francophone belge s’est habi- ouvrage examinera les divers modes de consommation des SMA tué à recourir à un intermédiaire pour accéder à un SMA. Sans re- qui y sont identifiés, particulièrement ceux qui recourent à de nou- monter à la radio par câble développée à Bruxelles, c’est dans les veaux moyens de distribution.