Internet Broadcasters Information Handbook Second Edition
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Adding Support for Jamendo and Magnatune to Rhythmbox on Linux
Walking in Light with Christ - Faith, Computing, Diary Articles & tips and tricks on GNU/Linux, FreeBSD, Windows, mobile phone articles, religious related texts http://www.pc-freak.net/blog Adding support for Jamendo and Magnatune to Rhythmbox on Linux Author : admin I'm using rhythmbox to play music on my Debian Linux. Rhythmbox is a good substitute for both audacious and xmms. XMMS is already very obsolete and it often crashes because of some of it's plugins. On the other hand audacious is sometimes having problems on my notebook working with it's alsa plugin or pulseaudio especially if I play something in youtube. With audacious my songs sometimes got stucked for some weird reason. With rhythmbox I have never experienced this kind of issues. Considering the fact that I'm a GNOME user rhythmbox is even more attractive for me. During about 2 years ago I've heard about the Jamendo - community of free, legal and unlimited music published under the Creative Commons licenses. Just about 10 months ago I've also discovered magnatune which is also a radio which allows free listening online of it's whole online catalogue. That's why it was really interesting for me to have this two nice music streaming services directly into my rhythmbox. I was very happy to discover that already a plugin that embeds the Jamendo and Magnatune Support to the Rhytmbox program. To enable Rhythmbox to support Magnatune and Jamendo type in your root terminal: debian:~# apt-get install gmpc-plugins gmpc-plugins-dbg debian:~# apt-get rhythmbox-plugins It's very likely that the rhythmbox-plugins might be already installed on your Linux, anyways I put the command above just in case if for some reason it's not installed. -
Download Media Player Codec Pack Version 4.1 Media Player Codec Pack
download media player codec pack version 4.1 Media Player Codec Pack. Description: In Microsoft Windows 10 it is not possible to set all file associations using an installer. Microsoft chose to block changes of file associations with the introduction of their Zune players. Third party codecs are also blocked in some instances, preventing some files from playing in the Zune players. A simple workaround for this problem is to switch playback of video and music files to Windows Media Player manually. In start menu click on the "Settings". In the "Windows Settings" window click on "System". On the "System" pane click on "Default apps". On the "Choose default applications" pane click on "Films & TV" under "Video Player". On the "Choose an application" pop up menu click on "Windows Media Player" to set Windows Media Player as the default player for video files. Footnote: The same method can be used to apply file associations for music, by simply clicking on "Groove Music" under "Media Player" instead of changing Video Player in step 4. Media Player Codec Pack Plus. Codec's Explained: A codec is a piece of software on either a device or computer capable of encoding and/or decoding video and/or audio data from files, streams and broadcasts. The word Codec is a portmanteau of ' co mpressor- dec ompressor' Compression types that you will be able to play include: x264 | x265 | h.265 | HEVC | 10bit x265 | 10bit x264 | AVCHD | AVC DivX | XviD | MP4 | MPEG4 | MPEG2 and many more. File types you will be able to play include: .bdmv | .evo | .hevc | .mkv | .avi | .flv | .webm | .mp4 | .m4v | .m4a | .ts | .ogm .ac3 | .dts | .alac | .flac | .ape | .aac | .ogg | .ofr | .mpc | .3gp and many more. -
Peer-To-Peer Systems and Massively Multiplayer Online Games
Peer-to-Peer Systems and Massively Multiplayer Online Games Speaker: Jehn-Ruey Jiang CSIE Department National Central University P2P Systems Client/Server Architecture GET /index.html HTTP/1.0 HTTP/1.1 200 OK ... Server Clients 3/66 Peer-to-Peer Architecture Gateway Server Peers 4/66 The architectures Server-based architecture Client-Server / Server-Cluster Problems: Limited resources All loads are centered on the server Server-based architecture has low scalability. The setup and maintenance cost is high. Peer-to-Peer (P2P) architecture Advantages: Distributing loads to all users Users consume and provide resources P2P architecture has high scalability. The setup and maintenance cost is low. The Client Side Today‟s clients can perform more roles than just forwarding users requests Today‟s clients have: more computing power more storage space Thin client Fat client 6/66 Evolution at the Client Side DEC‟S VT100 IBM PC PC @ 4-core 4GHz @ 4.77MHz No storage 300GB HD 360k diskettes „70 „80 2008 7/66 What Else Has Changed? The number of home PCs is increasing rapidly Most of the PCs are “fat clients” As the Internet usage grow, more and more PCs are connecting to the global net Most of the time PCs are idle How can we use all this? Peer-to-Peer (P2P) 8/66 What is peer-to-peer (P2P)? “Peer-to-peer is a way of structuring distributed applications such that the individual nodes have symmetric roles. Rather than being divided into clients and servers each with quite distinct roles, in P2P applications a node may act as both -
Computer Networks Using the Every Aspect of Modern Life
International Journal of Scientific & Engineering Research, Volume 8, Issue 4, April-2017 ISSN 2229-5518 122 Computer Networks Using the Every Aspect Of Modern Life G.V.Vijey Kaarthic, N.V. Sakthivel, L.Manikandan Abstract: Computer netw orks run over the telephone infrastructure at relatively low cost and providing the data cost to using the connections. Netw orks enable international communication w ith suppliers and stack holders as the traffic netw orks. Challenges that arise in netw orking and particularly in the internet trend to have the millions of peoples w ill use the internet. On huge grow ing impact is the online shopping has grow n over the last 10 years to become the huge market . Wireless internet technology is development also know n as Wi-Fi has really taking over the w ay of people to access through the username and then passw ord for that connecting the Wi-Fi, w idely more popular and then very short space and the save the time. Internet connections w ill allow s the individual access the internet via a netw ork hotspots w hile travelling w ithout using the cables and w ires. Computer netw ork technology is the high-level technology it w ill maintains the developing companies are also fighting against the damaging softw are such as the attacks the malw are, virus, w orms. Keyw ords : Hotspot, Wi-fi, netw ork, Li-fi, virus, stack holders, dial-up connections. —————————— —————————— 1. INTRODUCTION Modern Life Network has a number of modern devices work on a network and then often to communicate technology, lifestyle, business, sports, and society. -
04. Peer-To-Peer Applications
Internet Technology 04. Peer-to-Peer Applications Paul Krzyzanowski Rutgers University Spring 2016 February 15, 2016 CS 352 © 2013-2016 Paul Krzyzanowski 1 Peer-to-Peer (P2P) Application Architectures • No reliance on a central server • Machines (peers) communicate with each other • Pools of machines (peers) provide the service • Goals client server – Robustness • Expect that some systems may be down – Self-scalability • The system can handle greater workloads as more peers are added peers February 15, 2016 CS 352 © 2013-2016 Paul Krzyzanowski 2 Peer-to-Peer networking “If a million people use a web site simultaneously, doesn’t that mean that we must have a heavy-duty remote server to keep them all happy? No; we could move the site onto a million desktops and use the Internet for coordination. Could amazon.com be an itinerant horde instead of a fixed central command post? Yes.” – David Gelernter The Second Coming – A Manifesto See http://edge.org/conversation/the-second-coming-a-manifesto February 15, 2016 CS 352 © 2013-2016 Paul Krzyzanowski 3 Peer to Peer applications • P2P targets diverse solutions – Cooperative computation – Communications (e.g., Skype) – Exchanges, digital currency (bitcoin) – DNS (including multicast DNS) – Content distribution (e.g., BitTorrent) – Storage distribution • P2P can be a distributed server – Lots of machines spread across multiple datacenters Today, we’ll focus on file distribution February 15, 2016 CS 352 © 2013-2016 Paul Krzyzanowski 4 Four key primitives • Join/Leave – How do you join a P2P system? -
Illegal File Sharing
ILLEGAL FILE SHARING The sharing of copyright materials such as MUSIC or MOVIES either through P2P (peer-to-peer) file sharing or other means WITHOUT the permission of the copyright owner is ILLEGAL and can have very serious legal repercussions. Those found GUILTY of violating copyrights in this way have been fined ENORMOUS sums of money. Accordingly, the unauthorized distribution of copyrighted materials is PROHIBITED at Bellarmine University. The list of sites below is provided by Educause and some of the sites listed provide some or all content at no charge; they are funded by advertising or represent artists who want their material distributed for free, or for other reasons. Remember that just because content is free doesn't mean it's illegal. On the other hand, you may find websites offering to sell content which are not on the list below. Just because content is not free doesn't mean it's legal. Legal Alternatives for Downloading • ABC.com TV Shows • [adult swim] Video • Amazon MP3 Downloads • Amazon Instant Video • AOL Music • ARTISTdirect Network • AudioCandy • Audio Lunchbox • BearShare • Best Buy • BET Music • BET Shows • Blackberry World • Blip.fm • Blockbuster on Demand • Bravo TV • Buy.com • Cartoon Network Video • Zap2it • Catsmusic • CBS Video • CD Baby • Christian MP Free • CinemaNow • Clicker (formerly Modern Feed) • Comedy Central Video • Crackle • Criterion Online • The CW Video • Dimple Records • DirecTV Watch Online • Disney Videos • Dish Online • Download Fundraiser • DramaFever • The Electric Fetus • eMusic.com -
(A/V Codecs) REDCODE RAW (.R3D) ARRIRAW
What is a Codec? Codec is a portmanteau of either "Compressor-Decompressor" or "Coder-Decoder," which describes a device or program capable of performing transformations on a data stream or signal. Codecs encode a stream or signal for transmission, storage or encryption and decode it for viewing or editing. Codecs are often used in videoconferencing and streaming media solutions. A video codec converts analog video signals from a video camera into digital signals for transmission. It then converts the digital signals back to analog for display. An audio codec converts analog audio signals from a microphone into digital signals for transmission. It then converts the digital signals back to analog for playing. The raw encoded form of audio and video data is often called essence, to distinguish it from the metadata information that together make up the information content of the stream and any "wrapper" data that is then added to aid access to or improve the robustness of the stream. Most codecs are lossy, in order to get a reasonably small file size. There are lossless codecs as well, but for most purposes the almost imperceptible increase in quality is not worth the considerable increase in data size. The main exception is if the data will undergo more processing in the future, in which case the repeated lossy encoding would damage the eventual quality too much. Many multimedia data streams need to contain both audio and video data, and often some form of metadata that permits synchronization of the audio and video. Each of these three streams may be handled by different programs, processes, or hardware; but for the multimedia data stream to be useful in stored or transmitted form, they must be encapsulated together in a container format. -
ABBREVIATIONS EBU Technical Review
ABBREVIATIONS EBU Technical Review AbbreviationsLast updated: January 2012 720i 720 lines, interlaced scan ACATS Advisory Committee on Advanced Television 720p/50 High-definition progressively-scanned TV format Systems (USA) of 1280 x 720 pixels at 50 frames per second ACELP (MPEG-4) A Code-Excited Linear Prediction 1080i/25 High-definition interlaced TV format of ACK ACKnowledgement 1920 x 1080 pixels at 25 frames per second, i.e. ACLR Adjacent Channel Leakage Ratio 50 fields (half frames) every second ACM Adaptive Coding and Modulation 1080p/25 High-definition progressively-scanned TV format ACS Adjacent Channel Selectivity of 1920 x 1080 pixels at 25 frames per second ACT Association of Commercial Television in 1080p/50 High-definition progressively-scanned TV format Europe of 1920 x 1080 pixels at 50 frames per second http://www.acte.be 1080p/60 High-definition progressively-scanned TV format ACTS Advanced Communications Technologies and of 1920 x 1080 pixels at 60 frames per second Services AD Analogue-to-Digital AD Anno Domini (after the birth of Jesus of Nazareth) 21CN BT’s 21st Century Network AD Approved Document 2k COFDM transmission mode with around 2000 AD Audio Description carriers ADC Analogue-to-Digital Converter 3DTV 3-Dimension Television ADIP ADress In Pre-groove 3G 3rd Generation mobile communications ADM (ATM) Add/Drop Multiplexer 4G 4th Generation mobile communications ADPCM Adaptive Differential Pulse Code Modulation 3GPP 3rd Generation Partnership Project ADR Automatic Dialogue Replacement 3GPP2 3rd Generation Partnership -
You Are Not Welcome Among Us: Pirates and the State
International Journal of Communication 9(2015), 890–908 1932–8036/20150005 You Are Not Welcome Among Us: Pirates and the State JESSICA L. BEYER University of Washington, USA FENWICK MCKELVEY1 Concordia University, Canada In a historical review focused on digital piracy, we explore the relationship between hacker politics and the state. We distinguish between two core aspects of piracy—the challenge to property rights and the challenge to state power—and argue that digital piracy should be considered more broadly as a challenge to the authority of the state. We trace generations of peer-to-peer networking, showing that digital piracy is a key component in the development of a political platform that advocates for a set of ideals grounded in collaborative culture, nonhierarchical organization, and a reliance on the network. We assert that this politics expresses itself in a philosophy that was formed together with the development of the state-evading forms of communication that perpetuate unmanageable networks. Keywords: pirates, information politics, intellectual property, state networks Introduction Digital piracy is most frequently framed as a challenge to property rights or as theft. This framing is not incorrect, but it overemphasizes intellectual property regimes and, in doing so, underemphasizes the broader political challenge posed by digital pirates. In fact, digital pirates and broader “hacker culture” are part of a political challenge to the state, as well as a challenge to property rights regimes. This challenge is articulated in terms of contributory culture, in contrast to the commodification and enclosures of capitalist culture; as nonhierarchical, in contrast to the strict hierarchies of the modern state; and as faith in the potential of a seemingly uncontrollable communication technology that makes all of this possible, in contrast to a fear of the potential chaos that unsurveilled spaces can bring. -
UC Berkeley Recent Work
UC Berkeley Recent Work Title The Internet and E-commerce Development in Mexico Permalink https://escholarship.org/uc/item/6c17b69n Authors Kenney, Martin Curry, James Contreras, Oscar Publication Date 2001-05-01 eScholarship.org Powered by the California Digital Library University of California The Internet and E-commerce Development in Mexico BRIE Working Paper 144 January 2, 2002 ©Copyright 2001 by the authors By James Curry Profesor-Investigador El Colegio de la Frontera Norte Tijuana, Baja California, México U.S. Mail: P.O. Box L Chula Vista, CA 91912 [email protected] and Oscar Contreras Profesor-Investigador El Colegio de Sonora Hermosillo, Sonora, Mexico and Martin Kenney Professor Department of Human and Community Development University of California, Davis Davis, California 95616 [email protected] & Senior Research Associate Berkeley Roundtable on the International Economy University of California, Berkeley Berkeley, CA 94720-2322 The authors thank the UC MEXUS-CONACYT program for the funding that is reported in this research. Generous support for production of the BRIE Working Papers Series was provided by the Alfred P. Sloan Foundation. Table of Contents · Summary and Findings · Introduction · Methodology · The Internet in Mexico The Early History of the Internet in Mexico Growth in Internet Usage Internet Access and Service Providers · E-Commerce in Mexico Barriers to the Growth of E-Commerce · Business-to-Consumer E-Commerce Mexico and the U.S. Hispanic and Pan-Latin American/Hispanic Markets Customization Brief Descriptions -
Multimedia, Internet, On-Line
Section IV: Multimedia, the Internet, and On-Line Services High-End Digital Video Applications Larry Amiot Electronic and Computing Technologies Division Argonne National Laboratory The emphasis of this paper is on the high-end applications Internet and Intranet that are driving digital video. The research with which I am involved at Argonne National Laboratory is not done on dig- The packet video networks which currently support many ital video per se, but rather on how the research applications applications such as file transfer, Mbone video (talking at the laboratory drive its requirements for digital video. The heads), and World Wide Web browsing are limiting for high- paper will define what digital video is, what some of its com- quality video because of the low throughput one can achieve ponents are, and then discuss a few applications that are dri- via the Internet or intranets. Examples of national packet ving the development of these components. The focus will be switched networks developed in the last several years include on what digital video means to individuals in the research the National Science Foundation Network (NSFNet). The and education community. Department of Energy had its own network called ESNET, and the National Aeronautics and Space Administration The Digital Video Environment (NASA) had a network as well. Recently, the NSFNet was de- commissioned, and commercial interests are now starting to In 1996, a group of people from several universities in the fill that void. Research and education communities are find- Midwest and from Argonne formed a Video Working Group. ing, however, that this new commercial Internet is too re- This body tried to define the areas of digital video of impor- stricting and does not meet their throughput requirements; it tance to their institutions. -
TAZ, Ontological Anarchy, Poetic Terrorism.Pdf
T. A. Z. The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism By Hakim Bey Autonomedia Anti-copyright, 1985, 1991. May be freely pirated & quoted-- the author & publisher, however, would like to be informed at: Autonomedia P. O. Box 568 Williamsburgh Station Brooklyn, NY 11211-0568 Book design & typesetting: Dave Mandl HTML version: Mike Morrison Printed in the United States of America Part 1 T. A. Z. The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism By Hakim Bey ACKNOWLEDGMENTS CHAOS: THE BROADSHEETS OF ONTOLOGICAL ANARCHISM was first published in 1985 by Grim Reaper Press of Weehawken, New Jersey; a later re-issue was published in Providence, Rhode Island, and this edition was pirated in Boulder, Colorado. Another edition was released by Verlag Golem of Providence in 1990, and pirated in Santa Cruz, California, by We Press. "The Temporary Autonomous Zone" was performed at the Jack Kerouac School of Disembodied Poetics in Boulder, and on WBAI-FM in New York City, in 1990. Thanx to the following publications, current and defunct, in which some of these pieces appeared (no doubt I've lost or forgotten many--sorry!): KAOS (London); Ganymede (London); Pan (Amsterdam); Popular Reality; Exquisite Corpse (also Stiffest of the Corpse, City Lights); Anarchy (Columbia, MO); Factsheet Five; Dharma Combat; OVO; City Lights Review; Rants and Incendiary Tracts (Amok); Apocalypse Culture (Amok); Mondo 2000; The Sporadical; Black Eye; Moorish Science Monitor; FEH!; Fag Rag; The Storm!; Panic (Chicago); Bolo Log (Zurich); Anathema; Seditious Delicious; Minor Problems (London); AQUA; Prakilpana. Also, thanx to the following individuals: Jim Fleming; James Koehnline; Sue Ann Harkey; Sharon Gannon; Dave Mandl; Bob Black; Robert Anton Wilson; William Burroughs; "P.M."; Joel Birroco; Adam Parfrey; Brett Rutherford; Jake Rabinowitz; Allen Ginsberg; Anne Waldman; Frank Torey; Andr Codrescu; Dave Crowbar; Ivan Stang; Nathaniel Tarn; Chris Funkhauser; Steve Englander; Alex Trotter.