DOCSLIB.ORG

Metadata for Phonograph Records: Facilitating New Forms of Use and Access

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Metadata for Phonograph Records: Facilitating New Forms of Use and Access Metadata for Phonograph Records: Facilitating New Forms of Use and Access Catherine Wanwen Lai Music Technology Area Department of Theory Schulich School of Music McGill University Montreal, Canada Submitted May 2007 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor ofPhilosophy. © 2007 Catherine Wanwen Lai ,~. Library and Bibliothèque et 1+1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada Your file Votre référence ISBN: 978-0-494-32305-2 Our file Notre référence ISBN: 978-0-494-32305-2 NOTICE: AVIS: The author has granted a non­ L'auteur a accordé une licence non exclusive exclusive license allowing Library permettant à la Bibliothèque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans loan, distribute and sell th es es le monde, à des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, électronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in et des droits moraux qui protège cette thèse. this thesis. Neither the thesis Ni la thèse ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent être imprimés ou autrement may be printed or otherwise reproduits sans son autorisation. reproduced without the author's permission. ln compliance with the Canadian Conformément à la loi canadienne Privacy Act some supporting sur la protection de la vie privée, forms may have been removed quelques formulaires secondaires from this thesis. ont été enlevés de cette thèse. While these forms may be included Bien que ces formulaires in the document page count, aient inclus dans la pagination, their removal does not represent il n'y aura aucun contenu manquant. any loss of content from the thesis. ••• Canada Abstract This dissertation presents a new metadata design, as part of a large digitization management system being developed, to assist in the consistent creation of digital libraries of phonograph records. The Metadata provides digitallibraries with an effective tool for the description, discovery, management, control, delivery, and sharing of digital objects of phonograph record. The metadata design is the outcome of two pilot projects for the digitization of phonograph records that took place at the Marvin Duchow Music Library at Mc Gill University. The new design offers an approach to maintaining and using digital sound and ensures the long-term viability of digitallibraries of phonograph records. The dissertation discusses key areas of preservation and addresses the most common retrieval problems of music in digital libraries. These problems include challenges in the digital context of bibliographic control, cataloging, distribution, and copyright protection. The dissertation revisits traditional cataloging approaches, summarizes historical music cataloging and metadata development, sets up preservation principles and rationales for digitizing phonograph records, and presents state-of-the-art techniques for preserving phonograph records in the digital domain. The dissertation contains three main parts. The first is an introduction to the new metadata design for phonograph records. The second is a metadata dictionary, which assigns precise syntactic and semantic meanings to metadata elements, to guide digitizers working in libraries, archives, museums, and heritage sectors. These will be followed by two case studies of phonograph record digitization projects using the Metadata and the Data Dictionary. The dissertation concludes by examining three challenges that are critical to future development in both the preserving of and access to phonograph records: the issue of interoperability between different metadata standards, the need for usability and quality evaluation of digitization management systems, and the importance of further development in digitallibrary retrieval services and tools. 2 Résumé Cette thèse présente un nouveau modèle de métadonnées faisant partie du développement d'une large infrastructure pour la gestion de numérisation ayant pour but d'assister la création cohérente de librairies digitales de disques phonographiques. Les métadonnées fournissent aux librairies digitales une base efficace pour la description, la recherche, la gestion, le contrôle, la distribution et le partage d'objets numériques tirés de disques phonographiques. Le modèle de métadonnées est le résultat concret de deux projets pilotes de numérisation de disques phonographiques réalisés à la bibliothèque de musique Marvin Duchow de l'Université McGill. Le nouveau modèle offre une approche originale pour maintenir et exploiter le son numérisé et assurer aux bibliothèques digitales de disques phonographiques une viabilité à long terme. La thèse présente les éléments clé de la préservation et aborde les problèmes de recherche les plus communs pour les bibliothèques de musique digitales. Ceux-ci incluent les enjeux dans un environnement numérique, du contrôle bibliographique, du catalogage, de la distribution et de la protection, des droits d'auteur. Cette these revisite les approches traditionnelles de catalogage, résume l'histoire du catalogage musical et du développement des métadonnées, expose les principes et les raisons de la préservation de disques phonographiques, et présente les dernières technologies pour préserver les disques phonographiques dans le domaine numérique. Cette thèse est constituée de trois parties principales: l'introduction du nouveau modèle de métadonnées pour les disques phonographiques; le dictionnaire de données des métadonnées associé, qui fournit une signification syntaxique et sémantique précise aux éléments de métadonnées pour guider les personnes en charge de la numérisation dans les bibiothèques, les archives, les musées et dans le secteur de l'héritage culturel; deux études de cas de projets de numérisation de disques phonographiques utilisant les Métadonnées et le Dictionnaire de Données. La thèse se termine par trois defies encore à relever et qui sont critiques pour le développement future aussi bien pour la préservation que pour l'accès aux disques phonographiques: les problèmes liés à l'interopérabilité entre les différents standards de métadonnées, le besoin d'application pratique et d'évaluation de la qualité des systèmes de gestion de numérisation, incluant les Métadonnées et le 3 Dictionnaire de Données, et l'importance de développer encore les services et les outils et recherche pour les bibliothèques numériques. 4 To my parents and brother. 5 Acknowledgements I would like to thank the effort and support of many people who have enabled the completion of this dissertation. First and foremost, I must express my deep gratitude to my thesis advisor, Professor Ichiro Fujinaga. His invaluable advice, attentiveness, and dedication to teaching have made my graduate study at Mc Gill University an extraordinary experience. I must also thank my colleagues, John Asheley Bourgoyne, Greg Eustace, Beinan Li, Cory McKay, and Dr. Laurent Pugin and former colleagues, Robert Ferguson, Rebecca Fiebrink, Dr. Ian Knopke, and Daniel McEnnis, who assisted and supported me in various aspects during my degree program. My special thanks also go to John Black, Joseph Hafner, Cynthia Leive, and Andrew Senior in the Marvin Duchow Music Library at Mc Gill University. During the course of my research they have generously offered guidance to my work. I also wish to acknowledge aIl those individuals who have contributed to the amazing journey of my doctoral study. I thank Dr. Duke Lee, Dr. Mike Liang, and Dr. Wei-Ho Tsai for inspiring me to strive for academic excellence. Moreover, I am thankful for the care and supports I have received from my friends in Montreal. Stacey Chen, Sidney Hsieh, Hsing-Fei Huang, Pi-Chung Huang, Andy Na, Chao-Cheng Tu, Vicky Tung, and Libin Yuan have made my life in Montreal eventful and memorable. I must also thank my friends in the distance, Jenny Chen, Keng-Woei Tan, and Dr. Louis Tsai. Their friendship and encouragement have kept me fortified throughout different stages of my doctoral study. Finally, I would not have been able to achieve what 1 have accomplished today without my family. I am forever indebted to the unconditional love, unfailing support, and unending enthusiasm from my parents Fu-Lien Lai and Jing-I Wu Lai, my brother Timothy Lai, my grandmother Tsuo-Fen Chen Wu, and the Ou, Kuo, and Tseng families. 6 Table of Contents CHAPTER 1 INTRODUCTION 13 1.1 EVOLUTION OF LIBRARIES AND DIGITAL COLLECTIONS 13 1.2 EMERGENCE, DEFINITION, AND ISSUES OF DIGITAL LIBRARIES 14 1.3 DIGITAL PRESERVATION BENEFITS 18 1.4 BUILDING DIGITAL LIBRARIES OF PHONOGRAPH RI~CORDS 20 1.5 DIGITAL LIBRARIES OF PHONOGRAPH RECORDS: MANAGING THROUGH METADATA 22 CHAPTER 2 HISTORICAL BACKGROUND OF METADATA CREATION 24 2.1 LIBRARY CATALOGS 24 2.2 ELECTRONIC CATALOGS 25 2.3 METADATA INITIATIVES 28 2.3.1 DEFINITIONS OF METADATA 29 2.3.2 CATEGORIES OF METADATA 30 2.4 LIBRARY-BASED METADATA STANDARDS 32 2.4.1 CONTENT STANDARDS 32 2.4.1.1
Load more

Recommended publications
  • The Early Years of the Acoustic Phonograph Its Developmental Origins and Fall from Favor 1877-1929
    THE EARLY YEARS OF THE ACOUSTIC PHONOGRAPH ITS DEVELOPMENTAL ORIGINS AND FALL FROM FAVOR 1877-1929 by CARL R. MC QUEARY A SENIOR THESIS IN HISTORICAL AMERICAN TECHNOLOGIES Submitted to the General Studies Committee of the College of Arts and Sciences of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of BACHELOR OF GENERAL STUDIES Approved Accepted Director of General Studies March, 1990 0^ Ac T 3> ^"^^ DEDICATION No. 2) This thesis would not have been possible without the love and support of my wife Laura, who has continued to love me even when I had phonograph parts scattered through­ out the house. Thanks also to my loving parents, who have always been there for me. The Early Years of the Acoustic Phonograph Its developmental origins and fall from favor 1877-1929 "Mary had a little lamb, its fleece was white as snov^. And everywhere that Mary went, the lamb was sure to go." With the recitation of a child's nursery rhyme, thirty-year- old Thomas Alva Edison ushered in a bright new age--the age of recorded sound. Edison's successful reproduction and recording of the human voice was the end result of countless hours of work on his part and represented the culmination of mankind's attempts, over thousands of years, to capture and reproduce the sounds and rhythms of his own vocal utterances as well as those of his environment. Although the industry that Edison spawned continues to this day, the phonograph is much changed, and little resembles the simple acoustical marvel that Edison created.
    [Show full text]
  • The Lab Notebook
    Thomas Edison National Historical Park National Park Service U.S. Department of the Interior The Lab Notebook Upcoming Exhibits Will Focus on the Origins of Recorded Sound A new exhibit is coming soon to Building 5 that highlights the work of Thomas Edison’s predecessors in the effort to record sound. The exhibit, accompanied by a detailed web presentation, will explore the work of two French scientists who were pioneers in the field of acoustics. In 1857 Edouard-Léon Scott de Martinville invented what he called the phonautograph, a device that traced an image of speech on a glass coated with lampblack, producing a phonautogram. He later changed the recording apparatus to a rotating cylinder and joined with instrument makers to com- mercialize the device. A second Frenchman, Charles Cros, drew inspiration from the telephone and its pair of diaphragms—one that received the speaker’s voice and the second that reconstituted it for the listener. Cros suggested a means of driving a second diaphragm from the tracings of a phonauto- gram, thereby reproducing previously-recorded sound waves. In other words, he conceived of playing back recorded sound. His device was called a paléophone, although he never built one. Despite that, today the French celebrate Cros as the inventor of sound reproduction. Three replicas that will be on display. From left: Scott’s phonautograph, an Edison disc phonograph, and Edison’s 1877 phonograph. Conservation Continues at the Park Workers remove the light The Renova/PARS Environ- fixture outside the front mental Group surveys the door of the Glenmont chemicals in Edison’s desk and home.
    [Show full text]
  • Vinyl Theory
    Vinyl Theory Jeffrey R. Di Leo Copyright © 2020 by Jefrey R. Di Leo Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to publish rich media digital books simultaneously available in print, to be a peer-reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. The complete manuscript of this work was subjected to a partly closed (“single blind”) review process. For more information, please see our Peer Review Commitments and Guidelines at https://www.leverpress.org/peerreview DOI: https://doi.org/10.3998/mpub.11676127 Print ISBN: 978-1-64315-015-4 Open access ISBN: 978-1-64315-016-1 Library of Congress Control Number: 2019954611 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Without music, life would be an error. —Friedrich Nietzsche The preservation of music in records reminds one of canned food. —Theodor W. Adorno Contents Member Institution Acknowledgments vii Preface 1 1. Late Capitalism on Vinyl 11 2. The Curve of the Needle 37 3.
    [Show full text]
  • MINIDISC MANUAL V3.0E Table of Contents
    MINIDISC MANUAL V3.0E Table of Contents Introduction . 1 1. The MiniDisc System 1.1. The Features . 2 1.2. What it is and How it Works . 3 1.3. Serial Copy Management System . 8 1.4. Additional Features of the Premastered MD . 8 2. The production process of the premastered MD 2.1. MD Production . 9 2.2. MD Components . 10 3. Input components specification 3.1. Sound Carrier Specifications . 12 3.2. Additional TOC Data / Character Information . 17 3.3. Label-, Artwork- and Print Films . 19 3.4. MiniDisc Logo . 23 4. Sony DADC Austria AG 4.1. The Company . 25 5. Appendix Form Sheets Introduction T he quick random access of Compact Disc players has become a necessity for music lovers. The high quality of digital sound is now the norm. The future of personal audio must meet the above criteria and more. That’s why Sony has created the MiniDisc, a revolutionary evolution in the field of digital audio based on an advanced miniature optical disc. The MD offers consumers the quick random access, durability and high sound quality of optical media, as well as superb compactness, shock- resistant portability and recordability. In short, the MD format has been created to meet the needs of personal music entertainment in the future. Based on a dazzling array of new technologies, the MiniDisc offers a new lifestyle in personal audio enjoyment. The Features 1. The MiniDisc System 1.1. The Features With the MiniDisc, Sony has created a revolutionary optical disc. It offers all the features that music fans have been waiting for.
    [Show full text]
  • THE DYNAMIC RANGE POTENTIAL of the PHONOGRAPH by Ronald M
    THE DYNAMIC RANGE POTENTIAL OF THE PHONOGRAPH By Ronald M. Bauman his article describes a new transmission standards of even lower added to the quietest passages by the approach for analyzing the quality than our current CD standards. cartridge-preamplifier combination dynamic range of the phono- Unless these standards are dramatical- should be essentially inaudible. graphic playback system, in which the ly upgraded (in terms of information Similarly, the cartridge-preamp sys- cartridge and preamplifier are treated content), we may never have a source tem should be able to clearly repro- as an integrated system. I analyzed of music for our homes that sounds ducd the loudest sounds on record the dynamic range potential of several better than the phonograph. without distortion, compression, or combinations of phono cartridges and Are analog records inherently better clipping. preamplifier amplifying devices and in some sense? Your ears may already The same should be true of CD compared the results to CDs. be telling you that analog can sound playback. The quietest passages Additionally, I speculate about the better than today's digital. I will should be reproduced without added drawbacks of frequency domain char- provide quantitative reasons this may noise or distortion of the rnusic acterizations of musical audio compo- be so. caused by amplitude steps, or sam- nents and suggest that the time pling intervals that are too coarse, or domain may be a more natural frame Qualitative Requirements by filter phase shifts and ringing. The of reference for audio instrumentation The subtlety of detail in the grooves of loudest peaks encoded, as for analog development.
    [Show full text]
  • Chapter 186 NOISE
    Chapter 186 NOISE §186-1. Loud and unnecessary noise §186-3. Permits for amplifying devices. prohibited. §186-4. Stationary noise limits; maximum §186-2. Loud and unnecessary noises permissible sound levels. enumerated. §186-5. Violations and penalties. [HISTORY: Adopted by the Village Board of the Village of Albany 5-11-1992 as Sec. 11-2- 7 of the 1992 Code. Amendments noted where applicable.] GENERAL REFERENCES Disorderly conduct -- See Ch. 110. Parks and navigable waters -- See Ch. 198, §198-1B(2). Peace and good order -- See Ch. 202. §186-1. Loud and unnecessary noise prohibited. It shall be unlawful for any person to make, continue or cause to be made or continued any loud and unnecessary noise. It shall be unlawful for any person knowingly or wantonly to use or operate, or to cause to be used or operated, any mechanical device, machine, apparatus or instrument for intensification or amplification of the human voice or any sound or noise in any public or private place in such manner that the peace and good order of the neighborhood is disturbed or that persons owning, using or occupying property in the neighborhood are disturbed or annoyed. §186-2. Loud and unnecessary noises enumerated. The following acts are declared to be loud, disturbing and unnecessary noises in violation of this chapter, but this enumeration shall not be deemed to be exclusive: A. Horns; signaling devices. The sounding of any horn or signaling device on any automobile, motorcycle or other vehicle on any street or public place in the village for longer than three seconds in any period of one minute or less, except as a danger warning; the creation of any unreasonable loud or harsh sound by means of any signaling device and the sounding of any plainly audible device for an unreasonable period of time; the use of any signaling device except one operated by hand or electricity; the use of any horn, whistle or other device operated by engine exhaust and the use of any signaling device when traffic is for any reason held up.
    [Show full text]
  • AW2400 Owner's Manual
    Owner’s Manual EN FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS devices. Compliance with FCC regulations does not guar- UNIT! antee that interference will not occur in all installations. If This product, when installed as indicated in the instruc- this product is found to be the source of interference, tions contained in this manual, meets FCC requirements. which can be determined by turning the unit “OFF” and Modifications not expressly approved by Yamaha may “ON”, please try to eliminate the problem by using one of void your authority, granted by the FCC, to use the prod- the following measures: uct. Relocate either this product or the device that is being 2. IMPORTANT: When connecting this product to acces- affected by the interference. sories and/or another product use only high quality Utilize power outlets that are on different branch (circuit shielded cables. Cable/s supplied with this product MUST breaker or fuse) circuits or install AC line filter/s. be used. Follow all installation instructions. Failure to fol- In the case of radio or TV interference, relocate/reorient low instructions could void your FCC authorization to use the antenna. If the antenna lead-in is 300 ohm ribbon this product in the USA. lead, change the lead-in to co-axial type cable. 3. NOTE: This product has been tested and found to com- If these corrective measures do not produce satisfactory ply with the requirements listed in FCC Regulations, Part results, please contact the local retailer authorized to dis- 15 for Class “B” digital devices.
    [Show full text]
  • 300-313 – 16 Specifications for Phonograph Record Storage Boxes
    Library of Congress Preservation Directorate Specification Number 300-313 – 16 Specifications for Phonograph Record Storage Boxes This specification is provided as a public service by the Preservation Directorate of the Library of Congress. Any commercial reproduction that implies endorsement of a product, service, or materials, in any publication, is strictly prohibited by law. This Specification is written for L.C. purchasing purposes and is subject to change when necessary. If you are reading a paper copy of this specification please check our website for the most up-to-date version. 1. Composition and Chemical Requirements 1.1 Fiber The stock must be made from rag or other high alpha-cellulose content pulp, minimum of 87%. It must not contain any post consumer waste recycled pulp. 1.2 Lignin The stock must give a negative reading for lignin as determined by the phloroglucinol test when tested according to TAPPI T 401, Appendix F, and shall have a Kappa number of 5 or less when tested according to TAPPI T 236. 1.3 Impurities The stock must be free of metal particles, waxes, plasticizers, residual bleach, peroxide, sulfur (which will be less than 0.0008% reducible sulfur as determined by TAPPI T 406), and other components that could lead to the degradation of the box itself, or the artifacts stored therein. 1.4 Metallic Impurities Iron must not exceed 150 ppm and copper shall not exceed 6 ppm when tested according to TAPPI T 266. 1.5 Optical Brighteners The stock must be free of optical brightening agents. 1.6 pH The stock must have a pH value within a range of 8.0 - 9.5 as determined by TAPPI T 509, cold extraction (modified by slurrying sample pulp before measurement).
    [Show full text]
  • The Form of the Phonograph Record Author(S): Theodor W
    The Form of the Phonograph Record Author(s): Theodor W. Adorno and Thomas Y. Levin Reviewed work(s): Source: October, Vol. 55 (Winter, 1990), pp. 56-61 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/778936 . Accessed: 16/02/2013 21:53 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to October. http://www.jstor.org This content downloaded on Sat, 16 Feb 2013 21:53:08 PM All use subject to JSTOR Terms and Conditions The Form of the Phonograph Record* THEODOR W. ADORNO TRANSLATED BY THOMAS Y. LEVIN One does not wantto accord it any formother than the one it itselfexhibits: a black pane made of a compositemass whichthese days no longer has itshonest name any more than automobile fuel is called benzine; fragilelike tablets,with a circularlabel in the middle thatstill looks mostauthentic when adorned withthe prewar terrierhearkening to his master'svoice; at the verycenter, a littlehole thatis at timesso narrowthat one has to redrillit wider so thatthe record can be laid upon the platter. It is covered with curves, a delicatelyscribbled, utterly illegiblewriting, which here and thereforms more plasticfigures for reasons that remain obscure to the layman upon listening;structured like a spiral, it ends somewherein the vicinityof the titlelabel, to whichit is sometimesconnected by a lead-out groove so that the needle can comfortablyfinish its trajectory.In terms of its "form," this is all that it will reveal.
    [Show full text]
  • Staying Active Outside During COVID-19 Resources and Ideas for BPS Families & Students
    Translations: Arabic | Capeverdean | Chinese | French | Haitian | Portuguese | Somali | Spanish | Vietnamese ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Staying Active Outside During COVID-19 Resources and Ideas for BPS Families & Students Physical distancing (also known as “social distancing”) and stay-at-home orders do not mean families have to stay inside - at this point, going outside is allowed. In fact, getting outside is a great way to keep your family physically and mentally healthy during this stressful time. This document includes ideas for staying active outdoors, along with resources for helping kids stay safe while walking and biking. It is best to stay close to your home, some of the greatest walks are right outside your door. The Boston Public Health Commission (BPHC) states you should not schedule playdates, group sports activities, or meet-ups. You should only interact closely with the people you live with. If you see friends and neighbors outside when you are out, wave hello and keep your distance. For up-to-date information, please visit the City of Boston website at www.boston.gov/news/coronavirus-disease-covid-19-boston. ​ ​ It is very important that while we are outside, we still practice physical distancing and take all of these actions to protect ourselves and others from the CONTENTS coronavirus. 1. Wash your hands​ with soap and water before leaving the house and after you return home WALK AND BIKE SAFELY ➤ Take hand sanitizer with you in case you need it 2. Wear a ​cloth face covering​ (face mask) 3. Keep six feet away​ from those not in your household WALKS, TRAILS AND HIKES ➤ Six feet is about the length of an adult-sized bicycle ● Art & History Walks ● Nature Walks BIKE TRAILS AND ROUTES THINGS FAMILIES CAN FOCUS ON WHILE OUT WALKING AND BIKING Allow 6 feet of space per person ● Other Outdoor Activities 4.
    [Show full text]
  • MZ-R501\3234036131MZR501UCE\01COV- MZR501UCE\00GB01COV-CED.Fm] Masterpage:Right
    filename[\\Ww001\WW001\ON GOING\MZ-R501\3234036131MZR501UCE\01COV- MZR501UCE\00GB01COV-CED.fm] masterpage:Right 00GB01COV-CED.fm Page 1 Monday, November 5, 2001 1:37 PM 3-234-036-13(1) Portable MiniDisc Recorder Operating Instructions WALKMAN and are trademarks of Sony Corporation. MZ-R501/R501PC/R501DPC © 2001 Sony Corporation model name1[MZ-R501/R501PC/R501DPC] model name2[MZ-----] [3-234-036-13(1)] Certain countries may regulate disposal of WARNING battery used to power this product. To prevent fire or shock hazard, do Please consult with your local authority. not expose the unit to rain or moisture. For customers in the USA To avoid electrical shock, do not Owner’s Record open the cabinet. Refer servicing to The serial number is located at the rear of qualified personnel only. the disc compartment lid and the model number is located at the top and bottom. Do not install the appliance in a Record the serial number in the space confined space, such as a bookcase or provided below. Refer to them whenever you call upon your Sony dealer regarding built-in cabinet. this product. Model No. To prevent fire, do not cover the Serial No. ventilation of the apparatus with news papers, table cloths, curtains, etc. And This equipment has been tested and found don’t place lighted candles on the to comply with the limits for a Class B apparatus. digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to To prevent fire or shock hazard, do not provide reasonable protection against place objects filled with liquids, such as harmful interference in a residential vases, on the apparatus.
    [Show full text]
  • Orienting Fandom: the Discursive Production of Sports and Speculative Media Fandom in the Internet Era
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository ORIENTING FANDOM: THE DISCURSIVE PRODUCTION OF SPORTS AND SPECULATIVE MEDIA FANDOM IN THE INTERNET ERA BY MEL STANFILL DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications with minors in Gender and Women’s Studies and Queer Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2015 Urbana, Illinois Doctoral Committee: Professor CL Cole, Co-Chair Associate Professor Siobhan Somerville, Co-Chair Professor Cameron McCarthy Assistant Professor Anita Chan ABSTRACT This project inquires into the constitution and consequences of the changing relationship between media industry and audiences after the Internet. Because fans have traditionally been associated with an especially participatory relationship to the object of fandom, the shift to a norm of media interactivity would seem to position the fan as the new ideal consumer; thus, I examine the extent to which fans are actually rendered ideal and in what ways in order to assess emerging norms of media reception in the Internet era. Drawing on a large archive consisting of websites for sports and speculative media companies; interviews with industry workers who produce content for fans; and film, television, web series, and news representations from 1994-2009 in a form of qualitative big data research—drawing broadly on large bodies of data but with attention to depth and texture—I look critically at how two media industries, speculative media and sports, have understood and constructed a normative idea of audiencing.
    [Show full text]