UCLA Electronic Theses and Dissertations

Total Page:16

File Type:pdf, Size:1020Kb

UCLA Electronic Theses and Dissertations UCLA UCLA Electronic Theses and Dissertations Title Parsing Fiction: Humanistic Computing and the Postmodern Novel Permalink https://escholarship.org/uc/item/85x154gw Author Shepard, David Lawrence Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California !"#$%&'#()*+,*-./#,+&"#. /01*.234541 6781923*,9:;902< =>?7291;9:*-0?@>;923*72A*;B4*601;?0A482*"0C45 .*A91148;7;902*1>D?9;;4A*92*@78;975*17;91E7:;902*0E*;B4*84F>984?42;1*E08*;B4*A43844*G0:;08*0E* 6B95010@BH*92*%23591B DH G7C9A*/7I842:4*'B4@78A JKLJ Copyright © by David Lawrence Shepard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scholars recognize. While scholars who design projects and write programs remained comfortable with the computer as a tool for reinforcing accepted theories, novelists who sometimes only glimpse computers from a distance have imagined them as, and even pushed them to become, agents of radical transformation for literature. v (B4*A91148;7;902*0E*G7C9A*/7I842:4*'B4@78A*91*7@@80C4AO ]9:B745*.O*"08;B &9;7*]7894*&754H ]78V*#O*'45;Q48 "O*P7;B48924*=7H541N*-0??9;;44*-B798 !29C4819;H*0E*-759E08297N*/01*.234541 JKLJ C 9'1&:(# (/;&<,&=(1$/)% C9 (7D54*0E*-02;42;1 #2;80A>:;902OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOL /9;4878H*G7;7*92*;B4*"4I*-89;9:75*-0?@>;48OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO ` ,93B;923*;B4*]7:B924*E80?*_9;B92OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOLK (B4*-0?@>;48*71*7*=91;089:75*]7:B924OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOLJ -HD4824;9:1OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO L` G939;75*]4A97OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO La ]4;B0A0503HOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOJJ S&4X@57:923*;B4*,0>2A48W1*':80551T<*!"#$%&!'()*+',*72A*/9;4878H*G7;7*680:411923OOOOOOOOOOOOOOOOOOOOOJ\ "4I*-89;9:75*(4:B20503941<*/9;4878H*G7;7*680:411923OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOJZ !"#$%&!'()*+',2%*(4:B20X(B40503HOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO bL =7805A*M87HN*(4:B20X]41197BOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO b\ _%'-.-N*(4:B20Xc0AOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOdL S(0*.114?D54N*-0557;4N*72A*%A9;*;B91*]7;48975T<*_89;923*;B4*&"'OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOdZ S(B4*c#/%'W1*$48H*$09:4T<*';H591;9:*';>A941*0E*;B4*&"'OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO[` S(B4*G47;B*0E*;B4*.>;B08NT*DH*Y0B2*M78;BOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO [Z (B4*>1(5$#$1*&47A923*;B4*?)#(%<*#;750*-75C920*72A*;B4*/923>91;9:1*0E*]7890*.59249OOOOOOOOOOOOOOOOOOOOO\J .59249W1*c847;*M93*M00V1<*(B4*./%N*;B4*'%#/-N*72A*;B4*'%#+GOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO\b .2:942;*/723>7341*72A*+>59@972*-021;8792;1OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO aL ]0;9C7;90275*]7@@923*72A*;B4*#;75972*"0C45OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO Zb ,844*G7;7*72A*;B4*&47A48W1*60I48OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO LKb =H@0;B4;9:75*+>59@972*-0?@>;481*72A*;B4*./%OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOLJL ,80?*/9;4878H*G7;7*680:411923*;0*/923>91;9:*]7@@923OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOLJb SG0*640@54*&4755H*(75V*(B7;*_7HeT<*(B4*-HD4824;9:*=>?729;941*92*(.)$1/''/-&(&%)'1,OOOOOOOOOOOOLJa (B4*c80I;B*0E*;B4*-HD4824;9:*=>?729;941OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO L`L G9119A42;1*E80?*7*-HD4824;9:*!;0@97OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO L`a (.)$1/''/2%*-89;9F>4*0E*.#OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOLb\ Sc0*02N*;847;*9;*71*9E*9;*I484*8475TOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOLdK SG0*@40@54*84755H*;75V*;B7;*I7HeT*S#*A02W;*V20If*H0>*784*;B4*@04;OTOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOLd\ (B4*%2A*0E*G7;7*680:411923OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO L[Z .*_92A0I*92;0*;B4*=0>14*0E*,9:;902<*6'7%$&'.&8$(5$%*72A*=H@48;4R;*(B408HOOOOOOOOOOOOOOOOOOOOOOOOOOOL\L =H@48;4R;*72A*-02;4R;>75*G4@;BOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOL\` 6'7%$&'.&8$(5$%*72A*;B4*&4;>82*0E*=48?424>;9:*G4@;BOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO LaZ G729454I1V9W1*"4I*G4C9:41OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOLZL =H@48;4R;*72A*;B4*'4C42*(H@41*0E*.?D93>9;HOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO LZJ %@9387@B1OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO LZ` 67875545*';08941<*6'7%$&'.&8$(5$%*71*!#(%XI08VOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO LZd /4R97X;0X/4R97*/92V923OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOJKL %:B041OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOJK[ (B4*,795>841*0E*-02;4R;>75*G4@;BOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO JLL /00V923*E08*_92A0I1*#21;47A*0E*=H@48592V1OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO JLZ C99 ,80?*=H@48;4R;*M7:V*;0*;B4*=0>14*0E*,9:;902OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO J`L -02:5>1902<*#2*'478:B*0E*G939;75*=>?729;941*,9:;902OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOJ`` _08V1*-9;4AOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO
Recommended publications
  • Media Nations 2019
    Media nations: UK 2019 Published 7 August 2019 Overview This is Ofcom’s second annual Media Nations report. It reviews key trends in the television and online video sectors as well as the radio and other audio sectors. Accompanying this narrative report is an interactive report which includes an extensive range of data. There are also separate reports for Northern Ireland, Scotland and Wales. The Media Nations report is a reference publication for industry, policy makers, academics and consumers. This year’s publication is particularly important as it provides evidence to inform discussions around the future of public service broadcasting, supporting the nationwide forum which Ofcom launched in July 2019: Small Screen: Big Debate. We publish this report to support our regulatory goal to research markets and to remain at the forefront of technological understanding. It addresses the requirement to undertake and make public our consumer research (as set out in Sections 14 and 15 of the Communications Act 2003). It also meets the requirements on Ofcom under Section 358 of the Communications Act 2003 to publish an annual factual and statistical report on the TV and radio sector. This year we have structured the findings into four chapters. • The total video chapter looks at trends across all types of video including traditional broadcast TV, video-on-demand services and online video. • In the second chapter, we take a deeper look at public service broadcasting and some wider aspects of broadcast TV. • The third chapter is about online video. This is where we examine in greater depth subscription video on demand and YouTube.
    [Show full text]
  • The BBC's Use of Spectrum
    The BBC’s Efficient and Effective use of Spectrum Review by Deloitte & Touche LLP commissioned by the BBC Trust’s Finance and Strategy Committee BBC’s Trust Response to the Deloitte & Touche LLPValue for Money study It is the responsibility of the BBC Trust,under the As the report acknowledges the BBC’s focus since Royal Charter,to ensure that Value for Money is the launch of Freeview on maximising the reach achieved by the BBC through its spending of the of the service, the robustness of the signal and licence fee. the picture quality has supported the development In order to fulfil this responsibility,the Trust and success of the digital terrestrial television commissions and publishes a series of independent (DTT) platform. Freeview is now established as the Value for Money reviews each year after discussing most popular digital TV platform. its programme with the Comptroller and Auditor This has led to increased demand for capacity General – the head of the National Audit Office as the BBC and other broadcasters develop (NAO).The reviews are undertaken by the NAO aspirations for new services such as high definition or other external agencies. television. Since capacity on the platform is finite, This study,commissioned by the Trust’s Finance the opportunity costs of spectrum use are high. and Strategy Committee on behalf of the Trust and The BBC must now change its focus from building undertaken by Deloitte & Touche LLP (“Deloitte”), the DTT platform to ensuring that it uses its looks at how efficiently and effectively the BBC spectrum capacity as efficiently as possible and uses the spectrum available to it, and provides provides maximum Value for Money to licence insight into the future challenges and opportunities payers.The BBC Executive affirms this position facing the BBC in the use of the spectrum.
    [Show full text]
  • Addition of Heart Extra to the Multiplex Is Therefore Likely to Increase Significantly the Appeal of Services on Digital One to This Demographic
    Radio Multiplex Licence Variation Request Form This form should be used for any request to vary a local or national radio multiplex licence, e.g: • replacing one programme or data service with another • adding a programme or data service • removing a programme or data service • changing the Format description of a programme service • changing a programme service from stereo to mono • changing a programme service's bit-rate Please complete all relevant parts of this form. You should submit one form per multiplex licence, but you should complete as many versions of Part 3 of this form as required (one per change). Before completing this form, applicants are strongly advised to read our published guidance on radio multiplex licence variations, which can be found at: http://licensing.ofcom.org.uk/radio-broadcast- licensing/digital-radio/radio-mux-changes/ Part 1 – Details of multiplex licence Radio multiplex licence: DM01 National Commercial Licensee: Digital One Contact name: Glyn Jones Date of request: 15 January 2016 1 Part 2 – Summary of multiplex line-up before and after proposed change(s) Existing line-up of programme services Proposed line-up of programme services Service name and Bit-rate Stereo/ Service name and Bit-rate Stereo/ short-form description (kbps)/ Mono short-form (kbps)/ Mono Coding (H description Coding (H or F) or F) Absolute Radio 80F M Absolute Radio 80F M Absolute 80s 80F M Absolute 80s 80F M BFBS 80F M BFBS 80F M Capital XTRA 112F JS Capital XTRA 112F JS Classic FM 128F JS Classic FM 128F JS KISS 80F M KISS 80F
    [Show full text]
  • Implementation Considerations for the Introduction and Transition to Digital Terrestrial Sound and Multimedia Broadcasting
    Report ITU-R BS.2384-0 (07/2015) Implementation considerations for the introduction and transition to digital terrestrial sound and multimedia broadcasting BS Series Broadcasting service (sound) ii Rep. ITU-R BS.2384-0 Foreword The role of the Radiocommunication Sector is to ensure the rational, equitable, efficient and economical use of the radio- frequency spectrum by all radiocommunication services, including satellite services, and carry out studies without limit of frequency range on the basis of which Recommendations are adopted. The regulatory and policy functions of the Radiocommunication Sector are performed by World and Regional Radiocommunication Conferences and Radiocommunication Assemblies supported by Study Groups. Policy on Intellectual Property Right (IPR) ITU-R policy on IPR is described in the Common Patent Policy for ITU-T/ITU-R/ISO/IEC referenced in Annex 1 of Resolution ITU-R 1. Forms to be used for the submission of patent statements and licensing declarations by patent holders are available from http://www.itu.int/ITU-R/go/patents/en where the Guidelines for Implementation of the Common Patent Policy for ITU-T/ITU-R/ISO/IEC and the ITU-R patent information database can also be found. Series of ITU-R Reports (Also available online at http://www.itu.int/publ/R-REP/en) Series Title BO Satellite delivery BR Recording for production, archival and play-out; film for television BS Broadcasting service (sound) BT Broadcasting service (television) F Fixed service M Mobile, radiodetermination, amateur and related satellite services P Radiowave propagation RA Radio astronomy RS Remote sensing systems S Fixed-satellite service SA Space applications and meteorology SF Frequency sharing and coordination between fixed-satellite and fixed service systems SM Spectrum management Note: This ITU-R Report was approved in English by the Study Group under the procedure detailed in Resolution ITU-R 1.
    [Show full text]
  • Children, Technology and Play
    Research report Children, technology and play Marsh, J., Murris, K., Ng’ambi, D., Parry, R., Scott, F., Thomsen, B.S., Bishop, J., Bannister, C., Dixon, K., Giorza, T., Peers, J., Titus, S., Da Silva, H., Doyle, G., Driscoll, A., Hall, L., Hetherington, A., Krönke, M., Margary, T., Morris, A., Nutbrown, B., Rashid, S., Santos, J., Scholey, E., Souza, L., and Woodgate, A. (2020) Children, Technology and Play. Billund, Denmark: The LEGO Foundation. June 2020 ISBN: 978-87-999589-7-9 Table of contents Table of contents Section 1: Background to the study • 4 1.1 Introduction • 4 1.2 Aims, objectives and research questions • 4 1.3 Methodology • 5 Section 2: South African and UK survey findings • 8 2.1 Children, technology and play: South African survey data analysis • 8 2.2 Children, technology and play: UK survey data analysis • 35 2.3 Summary • 54 Section 3: Pen portraits of case study families and children • 56 3.1 South African case study family profiles • 57 3.2 UK case study family profiles • 72 3.3 Summary • 85 Section 4: Children’s digital play ecologies • 88 4.1 Digital play ecologies • 88 4.2 Relationality and children’s digital ecologies • 100 4.3 Children’s reflections on digital play • 104 4.4 Summary • 115 Section 5: Digital play and learning • 116 5.1 Subject knowledge and understanding • 116 5.2 Digital skills • 119 5.3 Holistic skills • 120 5.4 Digital play in the classroom • 139 5.5 Summary • 142 2 Table of contents Section 6: The five characteristics of learning through play • 144 6.1 Joy • 144 6.2 Actively engaging • 148
    [Show full text]
  • Digital One’S Response to the Ofcom Consultation “Future Pricing of Spectrum Used for Terrestrial Broadcasting”
    Digital One’s Response to the Ofcom Consultation “Future pricing of spectrum used for terrestrial broadcasting” 1. Digital One operates the UK’s only national commercial DAB digital radio multiplex. Its shareholders are GCap Media (63%) and Arqiva (37%). Digital One’s transmission network (which is operated by Arqiva) is the world’s biggest DAB digital radio network with coverage well in excess of 85% of the British population. Digital One’s multiplex broadcasts: - the three INRs (Classic FM, Virgin Radio and talkSPORT); - four digital-only national stations (Capital Life, Core, Oneword and Planet Rock) with a further station being launched in the next few months; - TV channels and an Electronic Programme Guide broadcast as part of BT Movio. Digital One is a leading stakeholder in the UK’s Digital Radio Development Bureau and the WorldDAB Forum (which is responsible for the DAB digital radio standard and works to coordinate the international roll-out of Eureka 147 based technologies). 2. Digital One is licensed under the 1996 Broadcasting Act, and has licence obligations which help deliver public policy benefits. These limit Digital One’s ability to use the spectrum it has been allocated in the most efficient manner (in economic terms). For example: - the obligation to operate a transmitter network which delivers high population coverage; - the obligation (at the direction of the Secretary of State for the Department of Culture, Media and Sport) to carry the three INRs and to offer each INR an amount of capacity dictated by the regulator;
    [Show full text]
  • An Application to Ofcom for the Channel Islands Local DAB Digital Radio Multiplex
    Tindle MuxCo Channel Islands Limited An application to Ofcom for the Channel Islands local DAB digital radio multiplex Part A – Public Section July 2019 Executive summary Please provide a summary of your application, of no more than four pages in length. Tindle MuxCo Channel Islands 1. Tindle MuxCo Channel Islands Ltd (‘TMCI’) was created to establish local DAB digital radio in the Channel Islands, with shareholders who have significant analogue and digital radio experience through broadcasting and multiplex ownership – Tindle CI Broadcasting Ltd and Folder Media Ltd. 2. Tindle CI Broadcasting operates the popular and successful local heritage commercial services in the Channel Islands – Channel 103 and Island FM – which consistently report the highest percentage reach figures in the British Isles, whilst Folder Media has considerable experience as a multiplex operator and content producer, having established the Now Digital and MuxCo networks, and currently managing the MuxCo network as well as multiplexes owned by Wireless Group and Bauer Media. 3. Tindle CI Broadcasting and Folder Media have been developing plans to bring DAB to the Channel Islands since early 2018, initially undertaking research of radio listening habits and digital take-up across the islands, discussing opportunities with Ofcom, and then formally announcing its intention to apply in November 2018. 4. Our ethos is that digital radio should be available in a cost and operationally efficient manner to enable as many organisations as possible to broadcast. TMCI will offer both DAB and DAB+. We believe this is the best way to encourage more stations to join the platform and provide a compelling proposition for digital radio listeners.
    [Show full text]
  • Consultation on the Further Renewal of Analogue Commercial Radio Licences
    Consultation on the Further Renewal of Analogue Commercial Radio Licences 23 December 2019 Department for Digital, Culture, Media and Sport Contents Executive Summary Page 3 How to respond Page 5 A. Policy and Regulatory Background Page 7 Commercial Radio Licensing Page 7 Analogue Licence renewals Page 8 The development of the UK radio market since 2010 Page 8 The case for further renewals Page 10 B. Policy Options for Consultation Page 12 C. Next Steps Page 16 D. Consultation Questions Page 17 2 Department for Digital, Culture, Media and Sport Executive Summary 1. Since 2010, improvements in national and local digital radio coverage together with investment in new digital services by broadcasters and by vehicle manufacturers in fitting digital radios as standard in new cars (92.9% in Q3 2019) has supported the continued take up of digital radio. Digital now accounts for 56.8% of all radio listening (RAJAR Q3 2019), up from just 24% in 2010. 2. However, in spite of the shift of radio listening to digital, analogue radio remains an important platform for listeners and still accounts for just over 40% of UK radio listening. With a number of national and local commercial FM and AM radio licences approaching final expiry in 2022, and with little prospect of a radio switchover before the mid-2020s, the government needs to again consider whether or not to continue with the current arrangement of licence renewals and, if so, to determine how long the further renewal should be for. Ofcom does not currently have powers to renew these licences for a further period: radio stations wishing to continue broadcasting would need to reapply for their licences and potentially compete against other prospective operators, including new entrants, to secure a new licence.
    [Show full text]
  • Digital Listening Reaches 20 Million Mark DRUK 050810
    PRESS RELEASE EMBARGO: NOT FOR PUBLICATION BEFORE 00.01hrs THURSDAY, 5 AUGUST 2010 DIGITAL LISTENING REACHES 20 MILLION MARK • 20 million people listen to digital radio each week, an increase of 2 million year on year • Digital radio listening share up 17% year on year • 50% of all national commercial radio listening is now via digital platforms • Digital listening on DAB grows 20% year on year • Digital radio biggest contributor to record radio listening 20 million people now tune in to digital radio each week, an increase of two million from last year, according to the latest RAJAR figures released today. Weekly reach has increased by 11% year on year from 18 million to 20 million, and now 43% of all radio listeners are listening to digital every week. Digital listening share has also shown strong growth at 24.6% (up 17% year on year, and up 2.5% quarter on quarter). Digital platforms now account for 24.4% of all listening on commercial radio, a strong growth of 6.5% quarter on quarter from 22.9%, and is now level with BBC digital listening. There has been strong growth in the share of national commercial listening via digital platforms, which has now reached 50%. DAB listening now accounts for 15.8% of all radio listening, an increase of 20% year on year (up from 13.1% of all listening from last year and up from 15.1% in the last quarter). The proportion of adults claiming to own a DAB set at home has increased by 7.6% year on year, with over one third of the population or 18.2 million adults (aged 15+) now claiming to live in a household with a DAB receiver.
    [Show full text]
  • The BBC's Distribution Arrangements for Its UK Public Services
    The BBC’s distribution arrangements for its UK Public Services A report by Mediatique presented to the BBC Trust Finance Committee November 2013 BRITISH BROADCASTING CORPORATION The BBC’s distribution arrangements for its UK Public Services A report by Mediatique presented to the BBC Trust Finance Committee November 2013 Presented to Parliament by the Secretary of State for Culture, Media and Sport by Command of Her Majesty February 2014 © BBC 2013 The text of this document may be reproduced free of charge in any format or medium providing that it is reproduced accurately and not in a misleading context. The material must be acknowledged as BBC copyright and the document title specified. Where third party material has been identified, permission from the respective copyright holder must be sought BBC Trust response to Mediatique’s value for money study: the BBC’s distribution arrangements for its UK Public Services Introduction The BBC exists to educate, inform and entertain through a broad range of high quality programmes and services on TV, Radio and Online. It is also tasked with distributing this content to audiences across the country in ways that are convenient to them. In 2012-13 the cost of these distribution arrangements was £233million or 6.5 percent of the licence fee. The BBC Trust exists to maximise the value audiences receive in return for the licence fee. To help it do this, the Trust commissioned Mediatique to carry out a value for money review of the BBC’s distribution arrangements in the UK. This is one of a number of value for money reports received by the Trust from various organisations, including the NAO, all of which help the Trust to identify ways to improve the way the BBC is run.
    [Show full text]
  • Digital Journalism: Making News, Breaking News
    MAPPING DIGITAL MEDIA: GLOBAL FINDINGS DIGITAL JOURNALISM: MAKING NEWS, BREAKING NEWS Mapping Digital Media is a project of the Open Society Program on Independent Journalism and the Open Society Information Program Th e project assesses the global opportunities and risks that are created for media by the switch- over from analog broadcasting to digital broadcasting; the growth of new media platforms as sources of news; and the convergence of traditional broadcasting with telecommunications. Th ese changes redefi ne the ways that media can operate sustainably while staying true to values of pluralism and diversity, transparency and accountability, editorial independence, freedom of expression and information, public service, and high professional standards. Th e project, which examines the changes in-depth, builds bridges between researchers and policymakers, activists, academics and standard-setters. It also builds policy capacity in countries where this is less developed, encouraging stakeholders to participate in and infl uence change. At the same time, this research creates a knowledge base, laying foundations for advocacy work, building capacity and enhancing debate. Covering 56 countries, the project examines how these changes aff ect the core democratic service that any media system should provide—news about political, economic and social aff airs. Th e MDM Country Reports are produced by local researchers and partner organizations in each country. Cumulatively, these reports provide a unique resource on the democratic role of digital media. In addition to the country reports, research papers on a range of topics related to digital media have been published as the MDM Reference Series. Th ese publications are all available at http://www.opensocietyfoundations.org/projects/mapping-digital-media.
    [Show full text]
  • Celebrating 40 Years of Commercial Radio With
    01 Cover_v3_.27/06/1317:08Page1 CELEBRATING 40 YEARS OF COMMERCIAL RADIOWITHRADIOCENTRE OFCOMMERCIAL 40 YEARS CELEBRATING 01 9 776669 776136 03 Contents_v12_. 27/06/13 16:23 Page 1 40 YEARS OF MUSIC AND MIRTH CONTENTS 05. TIMELINE: t would be almost impossible to imagine A HISTORY OF Ia history of modern COMMERCIAL RADIO music without commercial radio - and FROM PRE-1973 TO vice-versa, of course. The impact of TODAY’S VERY privately-funded stations on pop, jazz, classical, soul, dance MODERN BUSINESS and many more genres has been nothing short of revolutionary, ever since the genome of commercial radio - the pirate 14. INTERVIEW: stations - moved in on the BBC’s territory in the 1960s, spurring Auntie to launch RADIOCENTRE’S Radio 1 and Radio 2 in hasty response. ANDREW HARRISON From that moment to this, independent radio in the UK has consistently supported ON THE ARQIVAS and exposed recording artists to the masses, despite a changing landscape for AND THE FUTURE broadcasters’ own businesses. “I’m delighted that Music Week 16. MUSIC: can be involved in celebrating the WHY COMMERCIAL RadioCentre’s Roll Of Honour” RADIO MATTERS Some say that the days of true ‘local-ness’ on the UK’s airwaves - regional radio for regional people, pioneered by 18. CHART: the likes of Les Ross and Alan Robson - are being superseded by all-powerful 40 UK NO.1 SINGLES national brands. If that’s true, support for the record industry remains reassuringly OVER 40 YEARS robust in both corners of the sector. I’m delighted that Music Week can be involved in celebrating the RadioCentre’s 22.
    [Show full text]