Behavioral Changes of the Audience by the Algorithmic Recommendation Systems Inside Video-On-Demand
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The Netflix Prize Contest
1) New Paths to New Machine Learning Science 2) How an Unruly Mob Almost Stole the Grand Prize at the Last Moment Jeff Howbert University of Washington February 4, 2014 Netflix Viewing Recommendations Recommender Systems DOMAIN: some field of activity where users buy, view, consume, or otherwise experience items PROCESS: 1. users provide ratings on items they have experienced 2. Take all < user, item, rating > data and build a predictive model 3. For a user who hasn’t experienced a particular item, use model to predict how well they will like it (i.e. predict rating) Roles of Recommender Systems y Help users deal with paradox of choice y Allow online sites to: y Increase likelihood of sales y Retain customers by providing positive search experience y Considered essential in operation of: y Online retailing, e.g. Amazon, Netflix, etc. y Social networking sites Amazon.com Product Recommendations Social Network Recommendations y Recommendations on essentially every category of interest known to mankind y Friends y Groups y Activities y Media (TV shows, movies, music, books) y News stories y Ad placements y All based on connections in underlying social network graph, and the expressed ‘likes’ and ‘dislikes’ of yourself and your connections Types of Recommender Systems Base predictions on either: y content‐based approach y explicit characteristics of users and items y collaborative filtering approach y implicit characteristics based on similarity of users’ preferences to those of other users The Netflix Prize Contest y GOAL: use training data to build a recommender system, which, when applied to qualifying data, improves error rate by 10% relative to Netflix’s existing system y PRIZE: first team to 10% wins $1,000,000 y Annual Progress Prizes of $50,000 also possible The Netflix Prize Contest y CONDITIONS: y Open to public y Compete as individual or group y Submit predictions no more than once a day y Prize winners must publish results and license code to Netflix (non‐exclusive) y SCHEDULE: y Started Oct. -
Lessons Learned from the Netflix Contest Arthur Dunbar
Lessons Learned from the Netflix Contest Arthur Dunbar Background ● From Wikipedia: – “The Netflix Prize was an open competition for the best collaborative filtering algorithm to predict user ratings for films, based on previous ratings without any other information about the users or films, i.e. without the users or the films being identified except by numbers assigned for the contest.” ● Two teams dead tied for first place on the test set: – BellKor's Pragmatic Chaos – The Ensemble ● Both are covered here, but technically BellKor won because they submitted their algorithm 20 minutes earlier. This even though The Ensemble did better on the training set (barely). ● Lesson one learned! Be 21 minutes faster! ;-D – Don't feel too bad, that's the reason they won the competition, but the actual test set data was slightly better for them: ● BellKor RMSE: 0.856704 ● The Ensemble RMSE: 0.856714 Background ● Netflix dataset was 100,480,507 date-stamped movie rating performed by anonymous Netflix customers between December 31st 1999 and December 31st 2005. (Netflix has been around since 1997) ● This was 480,189 users and 17,770 movies Background ● There was a hold-out set of 4.2 million ratings for a test set consisting of the last 9 movies rated by each user that had rated at lest 18 movies. – This was split in to 3 sets, Probe, Quiz and Test ● Probe was sent out with the training set and labeled ● Quiz set was used for feedback. The results on this were published along the way and they are what showed upon the leaderboard ● Test is what they actually had to do best on to win the competition. -
Felix Baumgartner & Red Bull Media
Issue No. 14 MediaTainmentFINANCEd Appreciate the Value to Business MIPCube fever is back For Decision-Makers and StrategistsmentMT; @JayKayMed Creativity Brings The second edition of the Who Value Creativity an Expendables producer in WWII drama future-of-TV event heats up www.mediatainmentfinance.com Head to Cannes Facebook: MediaTainment Finance; during MIPTV 8-11 April 2013 Twitter: @Mediatain or Tune into www.mipcube.com nvestors spin new Carmaggedon … 3-14 quin romances e-books NEWS Toast & Jam goes sweet on film ; film: Print mediaNitin Sawhneytune into TV;in direct-to-disc Goldman Sachs history sells 50% of CSI page 15 tv: UK tax relief delayed; I Qatar fund 3D printer escalates revolutionises stake in Tiffany’s home building music: Time Warner; Harle games: Stephen King’s novel digital campaign stuck right in the middle of fashion: dia collaborations architecture: India backs theme-park tourism books/prints:Europe’s Illegal richest to retransmit soccerPhotographer players live broadcastin censorship lawsuit country has spawned some of the world’s ads/marketing: sport: page 26 page 34 copyright: investors are lining up for Sports, a share brand … and me Europe’s biggest economy is live entertainment: r jumped from the edge of space and became photography/art: have denounced it as “the FEATURES & REPORTS Don’t turn your nose GERMANY: just text and be key to the never-ending fiscal euro crisis; but this of America’s most respected TV channels; biggest media empires, and foreign s its country of origin, Qatar, fit in? … MIPCube Feature: FELIX The USBAUMGARTNER Administration is said to &page 39 RED BULL MEDIA HOUSE flew to new heights when skydiver Baumgartne the first human to break the speed of sound in free fall; ngfind devices out how might Red hold Bull more and Red than Bull Media House used new technology to give him wings - literally .. -
Globalization and Language: English in Turkey
SOSYAL B L MLER Y l:2004 Cilt:2 Say :1 Celal Bayar Üniversitesi S.B.E MAN SA Globalization And Language: English In Turkey Yrd. Doç. Dr. Kezban Acar Celal Bayar Üniversitesi, Fen-Edebiyat Fakultesi, Tarih Bölümü, Manisa ÖZET Globalle me ve onun yerel kültürlere etkileri üzerinde çok farkl görü ler vard r. Bunlardan biri globalle meyi bat lla ma veya Amerikanla ma olarak tan mlar çünkü bat l güçler veya daha da spesifik anlamda Amerika Birle ik Devletleri dünyada ekonomisi, askerî yap s ve kültürü ile bask n olan tek dünya gücüdür [ve] globalle menin en çok bilinen görünür kültürel ifadeleri American- coca cola, McDonald s and CNN de bunu destekler niteliktedir.(Giddens. 2000, 33) Globalle menin di er bir kültürel ifadesi de ngilizcenin giderek yayg nla mas d r. Bu makale ngilizcenin Türkiye de yayg nla mas n inceler. ngilizcenin Türkiye de yay lma yollar bir anlamda global kültürün veya Amerikan kültürünün yay lma yollar na i aret eder. Anahtar Kelimeler:Globalle me, Türkiye, ngilizce, Amerikanla ma. Globalle me Ve Dil: Türkiye de ngilizce There are many different opinions on globalization and its effects on local cultures. One of them is that globalization is westernization or more specifically Americanization since western powers or the United States is now the sole superpower, with a dominant economic, cultural and military position in the global order [and] many of the most visible cultural expressions of globalization are American-coca cola, McDonald s and CNN. (Giddens, 2000, 33) In contrast to this view of globalization, many others consider globalization as a multi-way process. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
Introduction
Introduction James Bennett Charles Elkan Bing Liu Netflix Department of Computer Science and Department of Computer Science 100 Winchester Circle Engineering University of Illinois at Chicago Los Gatos, CA 95032 University of California, San Diego 851 S. Morgan Street La Jolla, CA 92093-0404 Chicago, IL 60607-7053 [email protected] [email protected] [email protected] Padhraic Smyth Domonkos Tikk Department of Computer Science Department of Telecom. & Media Informatics University of California, Irvine Budapest University of Technology and Economics CA 92697-3425 H-1117 Budapest, Magyar Tudósok krt. 2, Hungary [email protected] [email protected] INTRODUCTION Both tasks employed the Netflix Prize training data set [2], which The KDD Cup is the oldest of the many data mining competitions consists of more than 100 million ratings from over 480 thousand that are now popular [1]. It is an integral part of the annual ACM randomly-chosen, anonymous customers on nearly 18 thousand SIGKDD International Conference on Knowledge Discovery and movie titles. The data were collected between October, 1998 and Data Mining (KDD). In 2007, the traditional KDD Cup December, 2005 and reflect the distribution of all ratings received competition was augmented with a workshop with a focus on the by Netflix during this period. The ratings are on a scale from 1 to concurrently active Netflix Prize competition [2]. The KDD Cup 5 (integral) stars. itself in 2007 consisted of a prediction competition using Netflix Task 1 (Who Rated What in 2006): The task was to predict which movie rating data, with tasks that were different and separate from users rated which movies in 2006. -
Türkisch + Kurdisch + German 590 Channels
Türkisch + Kurdisch + German 590 Channels CNN Turk NTV Avrupa Planet Cocuk E2 Turk Shopping Turk Haberturk NTV Sport TV4 Turkey Mavi Karadeniz Med Nuce A Haber HD Sports Tv Eins Festival Kanal Tek Kurdistan S-Haber A Spor Travel Channel Turk Methab TV Knn News A Haber A Spor HD TGRT Belgesel Planet Turk Kurdsat Star Tv Turkiye FB Tv Yaban Tv Planet Mutfak Tishk TV Euro Star TGRT Kral TV Planet Pembe Rojhelat Fox Túrkye TGRT Haber Kral Pop Kanal C Speeda Kanal D Turkiye BRT 1 Köy Tv Maxi Tv Komala TV Euro D 365 Tv Power Turk Uzay Tv Newroz TV ATV Avrupa TRT 1 Nr 1 Turk MCJ Madiasa Shant TV ATV turkiye TRT Turk Gala Tv Yildiz Tv Gali Kurdistan ATV HD TRT Haber Viva Turkey Dost Tv Kanal 4 Kurd Show tv TRT Spor iMusic 1 Berat TV Korek TV Show Tv Turkey TRT Muzik Tatlises TV Sebil Tv Vin TV Show Turk HD TRT Belgesel Kanal T Irmak Tv NRT HD Samanyoulu Turkey TRT Cocuk Kanal S Ulusal Kanal Ronahi Kurdistan Samanyoulu TRT Avaz Tv 2000 Mmc Turk KurdMax TV8 TRT 6 EGE Tv Expo Channel Med Music TV8 Int TRT Diyanet Kon Tv HLT Flava Flash TV TRT HD Konya Tv Turk Hristiyan TV Bliss Bengu Turk TRT 1 HD Sivas SRT Kanal 5 Scuzz Cine5 Euro TRT Haber HD Turkmeneli Kanal 34 True Movies 1 Cine5 Turkiye Yamurack Tv Tek Rumeli TV Kanal 26 True Movies 2 Kanal 7 HD Cartoon Network Turkiye Ictimai TV Kanal 99 Tiny Pop Kanal 7 Avrupa Disney Turk Semerkend TV Avantaj tv Buz Muzik Tv2 Turk Karamel Semerkend HD Kanal B Tiny Pop +1 TV2 HD Kix Kids CCTV News GUNEYDOGU TV Pop Tv Halk Tv MinikaGo Gunaz Tv Dunya TV The Vault NTV Minika Cocuk CNBC-E Turk Sterk Tv PopGirl -
Netflix's Sense8 and Accompanying Twitter Communication Transnationale Ident
Transnational Identity in Online Discourse – Netflix’s Sense8 and accompanying Twitter communication Transnationale Identität im Online Diskurs – Netflix’s Sense8 und Anschlusskommunikation auf Twitter by Anna Carolin Antonia Rohmann A thesis presented to the University of Waterloo and the Universitaet Mannheim in fulfilment of the thesis requirement for the degree of Master of Arts in Intercultural German Studies Waterloo, Ontario, Canada / Mannheim, Germany, 2020 © Anna Carolin Antonia Rohmann 2020 Author’s declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, in- cluding any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. Ehrenwörtliche Erklärung Ich versichere, dass ich die Arbeit selbstständig und ohne Benutzung anderer als der angege- benen Hilfsmittel angefertigt habe. Alle Stellen, die wörtlich oder sinngemäß aus Veröffentli- chungen in schriftlicher oder elektronischer Form entnommen sind, habe ich als solche unter Angabe der Quelle kenntlich gemacht. Mir ist bekannt, dass im Falle einer falschen Versiche- rung die Arbeit mit „nicht ausreichend“ bewertet wird. Ich bin ferner damit einverstanden, dass meine Arbeit zum Zwecke eines Plagiatsabgleichs in elektronischer Form versendet und gespeichert werden kann. Mannheim, 10.08.2020 ii Abstract Digital media has become ubiquitous and immensely shapes communitarisation, and thus identity construction. As media does not rely on physical border crossing to bring us in con- tact with different subject positions, traditional forms of mobility are not necessary to include people in transnational discourse and narratives of transnational identification. However, scholarly attention has been focused on discourses of transnational identities tied to tradition- al transgressions of national space. -
Kullanıcı Deneyimi Ve Kişiselleştirme Bağlamında Bir Dijital Platform İncelemesi1
SELÇUK İLETİŞİM DERGİSİ 2020; 13(2): 866-897 ARAŞTIRMA MAKALESİ DOI: 10.18094/JOSC.688523 Kullanıcı Deneyimi ve Kişiselleştirme Bağlamında Bir Dijital Platform İncelemesi1 ÖZET İlgi alanına göre ürün ve hizmetin kişiselleştirilmesi, tüketicinin kendine hitap eden ürün ve hizmetlere erişmesi bakımından önemlidir. Ürün çeşitliliğinin fazla olduğu günümüz şartları düşünüldüğünde tüketicilerin kendilerine hitap eden ürünleri çok sayıda seçenek arasından ayırt etmesi gerekmektedir. Ancak bu ayırt etme tüketiciler açısından zor olabilmektedir. Özellikle dijital dünyadaki ürünlerin fazlalığı düşünüldüğünde bu durum internet • Emrah Başer ortamında daha da zor hale gelmektedir. Bir dijital izleme platformu Arş. Gör. Anadolu olan, kullanıcı deneyimindeki gelişmelerle öne çıkan Netflix ise Üniversitesi kişiselleştirme özelliği ile bu zorluğu gidermeye çalışmaktadır. [email protected] Kullanıcılar perspektifinden Netflix kullanıcı deneyimi ve ORCID ID: 0000-0002-4703- kişiselleştirmenin nasıl değerlendirildiği araştırılması gereken 1125 önemli bir konudur. Yapılan araştırmalara göre Netflix’i en çok kullanan yaş aralığı 18-44’tür.Bu bağlamda, bu araştırmada, amaçlı • Semra Akıncı örneklem tercih edilerek 17 genç Netflix abonesi ile derinlemesine görüşme gerçekleştirilmiştir. Derinlemesine görüşmeden elde edilen Arş. Gör. Anadolu bulgulardan yola çıkılarak Netflix kullanıcısı olan katılımcıların, Üniversitesi Netflix’in kullanıcı deneyimine ve kişiselleştirme özelliğine ilişkin [email protected] görüşleri değerlendirilmiştir. Elde edilen -
Sense8 Roundtable
Moya Bailey, micha cárdenas, Laura Horak, Lokeilani Kaimana, Cáel M. Keegan, Geneveive Newman, Roxanne Samer, and Raffi Sarkissian Sense8 Roundtable Abstract In “Sense8: A Roundtable,” eight scholars, myself included, think through key questions regarding one of today’s most impressive trans-produced mainstream media productions, Lana and Lilly Wachowski’s Netflix series Sense8, which has yet to receive substantive scholarly attention. We analyze how Sense8 both follows and breaks from the Wachowskis’ prior approach to narrative; offers a distinctly trans* engagement with the histories of cinematic and televisual genres; often relies on western colonial conceptions for its global imagination and marginalizes characters of color; and theorizes contemporary media spectatorship in its appeal to affect and eroticism. We do so believing Sense8 to be an important cultural interlocutor, not only with regard to the exploration of transgender representation but also questions of sexuality, race, and capital in the global present. However, we also share a conviction that the series’ potentiality still leaves substantial room for growth. We take a critical approach to our collective analysis, seeing in the series a glimmer of the kind of global utopian envisioning very much needed in our ceaselessly dystopian present. The first season of J. Michael Straczynski and was the prime decree of those reviewers who were Lana and Lilly Wachowski’s Sense8 was released looking to witness a similar “seamless marriage on Netflix on June 5, 2015. The series’ critical of style and substance.”2 Those reviewers who did reception was mixed. Many found Sense8—which appreciate Sense8 were those who saw the series as tells the story of eight individuals from across purposefully demanding the labor of an attentive the globe, who, having recently been “birthed” by audience. -
FEC Polarizasy on Kapsama V-Pid A-Pid Format Şifre A9 TV 6502 6602 S
TÜRKSAT UYDU HABERLEŞME KALO TV ve İŞLETME A.Ş YENİ DÖENEM TV LİSTESİ Transpon Frekans Polarizasy Paket Adı Kanal Adı SR (ksps) FEC Kapsama V-pid A-pid Format Şifre der (MHz) on A9 TV 6502 6602 SD Şifresiz AKILLI TV 6503 6603 SD Şifresiz G.ANTEP OLAY TV 6501 6601 SD Şifresiz GENÇ TV 6500 6600 SD Şifresiz TÜRKSAT ANKARA T3A_01 HAYAT TV 12524 22500 '2/3' V - Dikey West 6504 6604 SD Şifresiz PAKET 15 - BATI HRT TV 6505 6605 SD Şifresiz IMC TV 6508 6608 SD Şifresiz LINE TV 6507 6607 SD Şifresiz TİVİTİ TV 6506 6606 SD Şifresiz ADANA TV 5403 5503 SD Şifresiz ART FM 5510 SD Şifresiz BARIŞ TV 5405 5505 SD Şifresiz BEDİR TV 5407 5507 SD Şifresiz CEM RADYO 5511 SD Şifresiz CEM TV 5401 5501 SD Şifresiz ÇİFTÇİ TV 5408 5508 SD Şifresiz TÜRKSAT ANKARA CRYPTOW T3A_01 ESKİŞEHİR STAR FM 12559 27500 '2/3' V - Dikey West 5512 SD PAKET 4 - BATI ORKS HAK MESAJ FM 5515 SD Şifresiz KOZA TV 5404 5504 SD Şifresiz POLİS RADYOSU 5513 SD Şifresiz SRT 1 5406 5506 SD Şifresiz TÜRKSAT TANITIM 5409 5509 SD Şifresiz TV 41 5400 5500 SD Şifresiz TV 5 5402 5502 SD Şifresiz 7/24 TV 5604 5704 SD Şifresiz DENGE TV 5608 5708 SD Şifresiz ERKAM RADYO 5714 SD Şifresiz KANAL FIRAT 5609 5709 SD Şifresiz MGC TV 5606 5706 SD Şifresiz OLAY TV 5601 5701 SD Şifresiz RADYO MÜZİK 5711 SD Şifresiz TÜRKSAT ANKARA T3A_02 RADYO SLOW TIME 12605 27500 '2/3' V - Dikey West 5712 SD Şifresiz PAKET 6 - BATI RADYO SPOR 5713 SD Şifresiz RTV 5610 5710 SD Şifresiz SHOPPING CHANNEL 5605 5705 SD Şifresiz TÜRKSAT ANKARA T3A_02 12605 27500 '2/3' V - Dikey West PAKET 6 - BATI TV 1 5603 5703 SD Şifresiz TV -
The Political Economy of the Media in Turkey: a Sectoral Analysis
TESEV Democratization Program Media Studies Series - 2 The Political Economy of the Media in Turkey: A Sectoral Analysis Ceren Sözeri Zeynep Güney DEMOCRATIZATION PROGRAM The Political Economy of the Media in Turkey: A Sectoral Analysis Ceren Sözeri Zeynep Güney The Political Economy of the Media in Turkey: A Sectoral Analysis Türkiye Ekonomik ve Bankalar Cad. Minerva Han Sosyal Etüdler Vakf› No: 2 Kat: 3 Turkish Economic and Karaköy 34420, İstanbul Social Studies Foundation Tel: +90 212 292 89 03 PBX Fax: +90 212 292 90 46 Demokratikleşme Program› [email protected] Democratization Program www.tesev.org.tr Authors: Production: Myra Ceren Sözeri Publication Identity Design: Rauf Kösemen Zeynep Güney Cover Design: Serhan Baykara Page Layout: Gülderen Rençber Erbaş Prepared for Publication by: Coordination: Sibel Doğan Esra Bakkalbaşıoğlu, Pre-print Coordination: Nergis Korkmaz Mehmet Ekinci Printed by: İmak Ofset Editing: Circulation: 500 copies Josee Lavoie TESEV PUBLICATIONS ISBN 978-605-5832-93-3 Copyright © September 2011 All rights reserved. No part of this publication may be reproduced electronically or mechanically (photocopy, storage of records or information, etc.) without the permission of the Turkish Economic and Social Studies Foundation (TESEV). The viewpoints in this report belong to the authors, and they may not necessarily concur partially or wholly with TESEV’s viewpoints as a foundation. TESEV would like to extend its thanks to European Commission, Friedrich Ebert Stiftung Turkey, Open Society Foundation Turkey, and TESEV