DOCSLIB.ORG

Diseño De Interfaz Y Diseño De La Interacción. El Rol Del Diseño En El

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Diseño De Interfaz Y Diseño De La Interacción. El Rol Del Diseño En El Diseño de interfaz y diseño de la interacción . El rol del diseño en el cambio de paradigma televisivo Natàlia Herèdia i López A questa tesi doctoral està subjecta a la llicència Reconeixement - Sense ObraDerivada 3.0. Espanya de Creative Commons . Esta tesis doctoral está sujeta a la licencia Reconocimiento - SinObraDerivada 3.0. España de Creative Commons . Th is doctoral thesis i s licensed under the Creative Commons Attribution - No Derivatives 3.0. Spain License . Natàlia Herèdia i López Diseño de la interfaz y diseño de la interacción El rol del diseño en el cambio de paradigma televisivo Natàlia Herèdia i López Directora de Tesis: Dra. Laura Baigorri Tutor: Dr. Carlos Ameller Ferretjans Programa de Doctorado de Estudios Avanzados en Producciones Artísticas Facultad de Bellas Artes Universitat de Barcelona El rol del diseño en el cambio de paradigma televisivo Diseño de la interfaz y diseño de la interacción Julio 2015 Tesis Doctoral para optar al título de Doctora en Bellas Artes Diseño de interfaz y diseño de la interacción El rol del diseño en el cambio de paradigma televisivo Tesis Doctoral de Natàlia Herèdia i López Directora de Tesis: Dra. Laura Baigorri Tutor: Dr. Carlos Ameller Ferretjans Facultad de Bellas Artes. Universitat de Barcelona Programa de Doctorado de Estudios Avanzados en Producciones Artísticas Julio de 2015 A Palmira, Lluïsa y Fèlix, cuyas lecciones han quedado aquí impresas. Agradezco a la Dra. Laura Baigorri por haberme guiado y motivado a lo largo de este proceso con su tiempo, dedicación, paciencia y buenos consejos. Gracias a Ferran Clavell (CCMA), Silvia Costa (CCMA), Andreu Oliver (Hbb4all, UAB), Héctor Millas, Josep Maria Junoy (la Caixa), David Crespo (e-la Caixa), Gerard Pagès (UOC) y Joan Bennassar (Mediapro) por haberme brindado su tiempo, interés, consejos y aportaciones como testimonios privilegiados de este cambio de paradigma. A Rosa Maria Herèdia i Lladó, Dolors Sanahuja y Rogelio Heredia por haber despertado mi afición por indagar en el porqué de todo. Agradezco por el apoyo logístico y sobre todo afectivo a Javier Solera, Adrià Herèdia, Sira González, Rosa Maria Pujol, Isidre Estévez, Mònica Lorenzo, Kairo Alloja, Rut Cuscó, Clara Massons i de Lama, Guillermo Hernáiz, Alan Porcar, Jesús Soler, Eugeni Bofill y Ana López. A mi familia y con un cariño especial a mi madre Emilia. Resumen Diversos factores están transformando la televisión. El proceso de digitalización, su convergencia con Internet, la ampliación de las posibilidades de interactividad y los nuevos hábitos de consumo de los telespectadores están produciendo un cambio de paradigma del medio de comunicación. Ante esta situación, desde la perspectiva del diseño se propone investigar cuál es el rol que asume esta disciplina. A partir de un estudio documental y bibliográfico se ha analizado la televisión interactiva como fenómeno a través de sus interfaces y de las prácticas asociadas al diseño de la interacción. Para el análisis se ha abordado la evolución histórica de la interactividad entre telespectador, televisor y televisión; se han contextualizado los cambios sociales, culturales, económicos y tecnológicos que acompañan esta transformación; y se ha propuesto un mapa de la televisión interactiva con el fin de delimitar su alcance. A partir de este escenario se ha examinado qué significa diseñar televisión interactiva teniendo en cuenta los elementos y factores que la caracterizan. Fruto de la investigación se ha identificado qué responsabilidades debería asumir el diseño y se han propuesto directrices a tener en cuenta para su práctica proyectual y su estudio teórico. También se han identificado los retos del diseño en la transformación del concepto de interactividad, en la figura del telespectador y en las formas de mejorar la usabilidad y accesibilidad de las interfaces televisivas. 7 Índice i. Introducción 13 1. Historia de la interacción entre telespectador, televisor y televisión 27 1.1 Ciencia ficción, juego de niños y primeros mandos a distancia 35 1.2 Años 70. Experimentación analógica, teletexto y videotexto 40 1.3 Años 80. La revolución electrónica 44 1.4 Años 90. El hype de la interactividad 48 1.5 Años 00. Migración digital y convergencia de medios 59 1.6 De 2010 a 2015. La caja tonta quiere ser lista 71 1.7 Recapitulando: el pasado desconocido de un medio con futuro incierto 77 2. El cambio de paradigma televisivo 85 2.1 Condiciones para el cambio: migración digital, convergencia y Millennials 89 2.2 Propiedades del cambio: bidireccionalidad, ubicuidad y control del tiempo 106 2.3 Del telespectador al teleusuario: un nuevo agente en el marco de la post-televisión 116 2.4 Recapitulando: efectos y nociones sobre el cambio de paradigma 133 3. El mapa de la interactividad en televisión 139 3.1 Televisión interactiva: un concepto en construcción 142 3.2 Marco tecnológico para la interactividad 157 3.2.1 Plataformas de emisión y canal de retorno 157 3.2.2 Dispositivos de recepción y acceso 162 3.2.3 Pantallas, periféricos y smart interactions: donde el mando a distancia eres tú 168 3.2.4 Estándares de desarrollo y envío de sistemas interactivos en televisión 175 3.3 Sistemas de televisión interactiva: la materialización de las promesas de interactividad 182 3.3.1 Servicios y contenidos para dotar de utilidad 186 3.3.2 Funcionalidades para empoderar al teleusuario 194 3.3.3 Modalidades de interacción y aplicaciones 200 3.4 Recapitulando: a qué llamamos y cómo se manifiesta la televisión interactiva 216 4 El diseño de la televisión interactiva 225 4.1 Aplicación del concepto de diseño: elementos y correspondencias 228 11 4.2 Convergencia de la interfaz televisiva y la interfaz interactiva 239 4.2.1 Etapa analógica. Asentamiento del grafismo audiovisual y aparición de los estudios de la interacción persona-ordenador 241 4.2.2 Cambio de siglo y cambio de paradigma televisivo. Usabilidad y el diseño centrado en el usuario 256 4.2.5 Post-televisión en la era del post-materialismo. Hacia el diseño de experiencias 298 4.3 Dando forma a la experiencia de teleusuario 314 4.3.1 La situación interactiva como plan 317 4.3.2 Ecología multipantalla y multidispositivo como sistema 318 4.3.3 La interfaz de teleusuario como artefacto 323 4.4 El proceso proyectual centrado en el teleusario 333 i. Introducción 4.5 Recapitulando: elementos, características y propuesta de definición del diseño de la televisión interactiva en el cambio de paradigma 348 5. Conclusiones. El rol del diseño en el cambio de paradigma televisivo 359 5.1 Cambio de paradigma: cuando la interacción mató a la estrella de la televisión 362 5.2 Humanizando la televisión: enseñando a la caja tonta a ser lista 369 5.3. El rol del diseño: poniendo orden en el nuevo paradigma televisivo 379 ii. Epílogo 391 iii. Ilustraciones 399 iv. Índice de figuras y tablas 433 v. Siglas 437 vi. Bibliografía 441 12 Introducción Objeto de estudio En el año 1999 asistí a una conferencia orientada a los entonces estudiantes de la Licenciatura en Comunicación Audiovisual. Los ponentes nos tranquilizaron al revelarnos que, ante la llegada de Internet, los medios de comunicación no iban a desaparecer tal y como algunos gurús del momento advertían. En cambio sí se reposicionarían, transformándose en nuevas entidades híbridas. Aquellas palabras reconfortaron a los presentes, quienes temíamos estar cursando una carrera de dudoso futuro, debido a las incógnitas que planteaba la llegada de Internet. Recuerdo que la ponencia estuvo enfocada en los efectos que la Red tendría sobre la prensa y la radio. Sobre la televisión se habló poco. Posiblemente esas palabras me impactaron bastante, ya que mi futuro profesional se desvinculó de los medios de comunicación tradicionales y terminó derivando hacia el diseño web. Primero como webmaster, luego como diseñadora web, arquitecta de la información, más tarde diseñadora de la interacción y, últimamente, diseñadora de experiencia de usuario1. Diferentes etiquetas marcadas por la tendencia curricular y evolución de la profesión para, al fin y al cabo, referirse a un mismo cometido: el diseño de entornos interactivos para los usuarios de la Red. Durante esa etapa participé en diversos proyectos comerciales, institucionales, culturales, educativos. Incluso me adentré en temas de net-art. No llegué a diseñar nada que tuviera relación directa con un medio de comunicación. Una tarea pendiente. 1 Este perfil suele identificarse como user experience designer. En adelante, se empleará las siglas UX para denominar esta especificidad dentro del diseño. En este contexto el concepto de experiencia se refiere a la vivencia que experimenta el usuario al utilizar un sistema interactivo o un artefacto. 15 Diseño de la interfaz y diseño de la interacción. El rol del diseño en el cambio de paradigma televisivo Introducción En el año 2006, tras acabar la formación del programa de doctorado, tuve que decidir En primer lugar, se comprobó que la interactividad dentro de la experiencia televisiva3 sobre qué temática emprender el proyecto de tesina. Cumplido mi primer objetivo, tenía una larga historia. Desde que tuvo lugar la primera emisión televisiva –realizada que consistía en entender de raíz qué es el diseño y cómo investigarlo, tocaba poner en por la BBC en el Reino Unido, en 1936–, este medio de masas –unidireccional, basado en práctica lo aprendido. Posiblemente porque nos ubicábamos en los albores del apagón el consumo pasivo y grupal, y centrado en la figura del televisor–, convivió con pruebas analógico de la televisión, volvió a mi mente esa conferencia en la universidad donde y experimentos que pretendían dotar de interactividad la experiencia televisiva. Sin se planteó cual sería el futuro de los medios ante el nuevo mapa digital y convergente embargo, no ha sido hasta estas dos últimas décadas cuando estos intentos han tomado con Internet. Habían pasado ya siete años desde entonces y la televisión al uso no había consistencia en el contexto de la migración digital de los medios y la irrupción de Internet.
Load more

Recommended publications
  • EXHIBITS an Evolution
    CHAPTER 2 EXHIBITS An Evolution Frances Kruger, Not Finished After All These Years Liz Clancy, and Museums have many important functions, but exhibits are what most Kristine A. Haglund people come to see. In addition to educating and entertaining, exhibits bring visitors in the door, generating revenue that supports Museum operations. More than a century after John F. Campion spoke at the Museum’s opening exercises on July 1, 1908, his observation that “a museum of natural history is never finished” is especially true in the world of exhibits (Fig. 2.1)—and in fact needs to stay true for the Museum to remain relevant (Alton 2000). Times change, expectations change, demographics change, and opportuni- ties change. This chapter is a selective, not-always-chronological look at some of the ways that the Museum’s exhibits have changed with the times, evolving from static displays and passive observation to immersive experi- ences to increased interactivity and active visitor involvement. Starting from a narrow early focus, the Museum went on to embrace the goal of “bringing the world to Denver” and, more recently, to a renewed regional emphasis and a vision of creating a community of critical thinkers who understand the lessons of the past and act as responsible stewards of the future.1 Figure 2.1. Alan Espenlaub putting finishing touches on the Moose-Caribou diorama. 65 DENVER MUSEUM OF NATURE & SCIENCE ANNALS | No. 4, December 31, 2013 Frances Kruger, Liz Clancy, and Kristine A. Haglund Displays and Dioramas Construction of the Colorado Museum of Natural History, as the Museum was first called, began in 1901.
    [Show full text]
  • Retos De La Convergencia Digital Para La Televisión1
    QUADERNS ISSN: 1138-9761 / www.cac.cat DEL CAC Retos de la convergencia digital para la televisión1 EMILI PRADO Catedrático de comunicación audiovisual y publicidad de la Universidad Autónoma de Barcelona. Director del Grupo de Investigación en Imagen, Sonido y (GRISS)2 [email protected] Resumen Abstract El presente trabajo aborda el mapa de las transformaciones This work looks at the task of mapping out the technological tecnológicas que intervienen en el proceso de convergencia transformations involved in the convergence process, establis- estableciendo un estado de la cuestión tecnológica y del gra- hing the current state of affairs in technological terms and the do de plasmación de la convergencia digital. Se centra en los extent to which digital convergence has occurred. It concen- cambios que eso implica para el sistema de comunicación y trates on the changes that this implies for the communication sus consecuencias en el ámbito de la producción, la distribu- system and the consequences in the areas of production, dis- ción y el consumo de contenidos televisivos. Finalmente, abor- tribution and consumption of TV content. Finally, it tackles da las consecuencias de dichas transformaciones en el plano the consequences of these transformations at a social and social y cultural y los efectos sobre las políticas de comunica- cultural level and the effects on communication policies. ción. Éstas afrontan un desafío de primera magnitud porque These are facing a huge challenge because their effectiveness toda su efectividad histórica se fundamentaba en una estruc- to date has been founded on a channel-based structure of the tura del sistema audiovisual constituida sobre la base de cana- audiovisual system, while the system resulting from conver- les, mientras que el sistema resultante de la convergencia se gence will be based on a structure that, although it will inclu- basará en una estructura que, a pesar de incluir los canales, de channels, will be network-based.
    [Show full text]
  • British Sky Broadcasting Group Plc Annual Report 2009 U07039 1010 P1-2:BSKYB 7/8/09 22:08 Page 1 Bleed: 2.647 Mm Scale: 100%
    British Sky Broadcasting Group plc Annual Report 2009 U07039 1010 p1-2:BSKYB 7/8/09 22:08 Page 1 Bleed: 2.647mm Scale: 100% Table of contents Chairman’s statement 3 Directors’ report – review of the business Chief Executive Officer’s statement 4 Our performance 6 The business, its objectives and its strategy 8 Corporate responsibility 23 People 25 Principal risks and uncertainties 27 Government regulation 30 Directors’ report – financial review Introduction 39 Financial and operating review 40 Property 49 Directors’ report – governance Board of Directors and senior management 50 Corporate governance report 52 Report on Directors’ remuneration 58 Other governance and statutory disclosures 67 Consolidated financial statements Statement of Directors’ responsibility 69 Auditors’ report 70 Consolidated financial statements 71 Group financial record 119 Shareholder information 121 Glossary of terms 130 Form 20-F cross reference guide 132 This constitutes the Annual Report of British Sky Broadcasting Group plc (the ‘‘Company’’) in accordance with International Financial Reporting Standards (‘‘IFRS’’) and with those parts of the Companies Act 2006 applicable to companies reporting under IFRS and is dated 29 July 2009. This document also contains information set out within the Company’s Annual Report to be filed on Form 20-F in accordance with the requirements of the United States (“US”) Securities and Exchange Commission (the “SEC”). However, this information may be updated or supplemented at the time of filing of that document with the SEC or later amended if necessary. This Annual Report makes references to various Company websites. The information on our websites shall not be deemed to be part of, or incorporated by reference into, this Annual Report.
    [Show full text]
  • Downloading of Movies, Television Shows and Other Video Programming, Some of Which Charge a Nominal Or No Fee for Access
    Table of Contents UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K (Mark One) ☒ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 FOR THE FISCAL YEAR ENDED DECEMBER 31, 2011 OR ☐ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 FOR THE TRANSITION PERIOD FROM TO Commission file number 001-32871 COMCAST CORPORATION (Exact name of registrant as specified in its charter) PENNSYLVANIA 27-0000798 (State or other jurisdiction of (I.R.S. Employer Identification No.) incorporation or organization) One Comcast Center, Philadelphia, PA 19103-2838 (Address of principal executive offices) (Zip Code) Registrant’s telephone number, including area code: (215) 286-1700 SECURITIES REGISTERED PURSUANT TO SECTION 12(b) OF THE ACT: Title of Each Class Name of Each Exchange on which Registered Class A Common Stock, $0.01 par value NASDAQ Global Select Market Class A Special Common Stock, $0.01 par value NASDAQ Global Select Market 2.0% Exchangeable Subordinated Debentures due 2029 New York Stock Exchange 5.50% Notes due 2029 New York Stock Exchange 6.625% Notes due 2056 New York Stock Exchange 7.00% Notes due 2055 New York Stock Exchange 8.375% Guaranteed Notes due 2013 New York Stock Exchange 9.455% Guaranteed Notes due 2022 New York Stock Exchange SECURITIES REGISTERED PURSUANT TO SECTION 12(g) OF THE ACT: NONE Indicate by check mark if the Registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes ☒ No ☐ Indicate by check mark if the Registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act.
    [Show full text]
  • Building a Brand Leader
    Building a brand leader INTRODUCTION We’ve come a long way 1993-4 1999 2003 that Sky will have 7 million digital “we want to be at the heart of 21st cen- Over the next two years Sky continued Interactivity came to Sky in 1999 with the satellite households (18.9 million indi- tury living and to make every day extra- In a few years, British Sky Broadcasting has transformed the First, a little bit of history… to increase what was on offer to its sub- launch of Open and Sky Sports Active. viduals) - fully a third of all TV homes ordinary for every one of our customers” way people in Britain watch and use their television. Before scribers. In 1993 it added a multichan- Using Sky digital technology, Open in Britain. It has secured the main live 1989 nel package, offering a selection of allowed customers to shop, bank, play rights to FA Premier League Football This is backed up by a statement of Sky people could never have imagined ordering a pizza or When Sky began broadcasting via the themed channels that complemented the games and email directly from their tele- until the end of 2003-04 season. And it how that will be achieved, a brand sending an email from their set. Today it’s an accepted thing. Astra satellite back in February 1989 it existing movies, news and sports ser- vision. Sky Sports Active, available has firmly established itself as a leading promise: offered four channels – Sky Channel, vices. A further expansion occurred in during major live sports broadcasts on innovator and pioneer in broadcasting.
    [Show full text]
  • Directory of Environmental Literature and Teaching Council For
    DOCUMENT RESUME ED 093 674 SE 017 918 AUTHOR Johnson, Carol, Comp.; Smith, Jacgui, Comp. TITLE Directory of Environmental Literature and Teaching Aids. INSTITUTION Council for Environmental Education, London (England) . PUB DATE [73] NOTE 171p. AVAILABLE FROM The Council for Environmental Education, 26 Bedford Square, London WC1B 3HU EDRS PRICE MF-$0.75 HC-$7.80 PLUS POSTAGE DESCRIPTORS Classroom Materials; *Directories; Ecology; *Environmental Education; Guides; Information Sources; *Instructional Materials; *Resource Guides; *Resource Materials; Resources ABSTRACT The Council for Environmental Education has produced this document listing environmental literature and teaching aids (DELTA version). Includcid are the first four of the supplements which will be issued at intervals to keep Delta up to date. The directory includes lists of books, films, filmstlips and slides, posters, games and study kits. The lists are comprehensive, but not exhaustive. However, this directory should form a useful starting point for anyone looking for material for courses on conservation, pollution, or any form of environmental education for pupils from age 5 upwards. (JP) -..- ED 0 I.,............_ ,rnmm-o,.,P, ,.,....,93,r8 i) -I 4T - INTRODUCTION Inrecent years, there has been a noticeable increase in publicinterest in matters concerning the environment.This interest has been reflected by the teaching profession, and there have been several encouraging indications of the trend towards the use of the local and national environment as a medium for children's education. One of the main difficulties experienced by teachersin breaking away from the strict confines of established disciplines is that they may' not feel fully equipped to cope with the wide range of subjects which an environmental approach encompasses.There is therefore a great need for environment-based handbooks, classbooks and teaching aids upon which the teacher can draw for information and inspiration.
    [Show full text]
  • Terror Fund Campaign Gains Steam
    TOP STORIES “Every single Ad guru helps rising month, there firm win transit are more and billboard contracts more [Internet] nationwide companies.” PAGE 3 ® –Kevin Ryan, entrepreneur Page 14 Targeted hospitals line up in court to strike back at VOL. XXIII, NO. 1 WWW.NEWYORKBUSINESS.COM JANUARY 1-7, 2007 PRICE: $3.00 state closing panel PAGE 3 MANHATTAN LOCATIONS Expansion on the Terror fund grill at Zen Palate * PAGE 4 campaign REPORT 90* Estimate. 200 ECONOMIC gains steam FORECAST ■New York City’s Insurance subsidy growth rate will continue to outstrip a high priority the nation’s PAGE 6 among Democratic ■After an epic 2006, committee leaders Wall Street profits projected to fall slightly PAGE 9 BY JULIE SATOW ap images ■ DEMOCRATIC Sen. Christopher Dodd and Mass-market Rep. Carolyn Maloney will play key roles. retailers changing for the first time since Sept. the way New Yorkers COFFEE BATTLE 11,the real estate and insurance in- shop PAGE 10 dustries are gaining momentum in A push for permanent funding ■The second wave their effort to secure long-term in 2005 resulted in only a two- of dot-com startups BREWS IN CITY federal subsidies for terrorism cov- year extension. The Democratic arrives in the area erage. takeover of Congress, which con- PAGE 14 The incoming chairmen of the venes Thursday,has improved the Dunkin’ Donuts aims to tap Senate Banking Committee and outlook for an enduring program. the House Financial Services That is good news for landlords Starbucks’ upscale customers Committee have publicly ex- and tenants here.New York has the by opening shops near offices pressed support for extended highest terrorism risk of any city in funding to back insurers that cov- the country, and insurance to cov- er terrorism risk.
    [Show full text]
  • Um Canal Personalizado Integrado Num Sistema De Iptv
    Universidade de Departamento de Comunicação e Arte Aveiro 2011 Bruno Mourão MYCHANNEL: UM CANAL PERSONALIZADO Teles INTEGRADO NUM SISTEMA DE IPTV Universidade de Departamento de Comunicação e Arte Aveiro 2011 Bruno Mourão MYCHANNEL: UM CANAL PERSONALIZADO Teles INTEGRADO NUM SISTEMA DE IPTV Dissertação apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Comunicação Multimédia, realizada sob a orientação científica do Doutor Pedro Alexandre Ferreira dos Santos Almeida, Professor Auxiliar do Departamento de Comunicação e Arte da Universidade de Aveiro e co-orientação científica do Doutor Jorge Trinidad Ferraz de Abreu, Professor Auxiliar do Departamento de Comunicação e Arte da Universidade de Aveiro 2 Dedico este trabalho aos meus pais, à minha irmã e à minha adorada namorada. 3 o júri presidente Prof. Doutor Luís Francisco Gabriel Mendes Pedro Professor Auxiliar do Departamento de Comunicação e Arte da Universidade de Aveiro Prof. Doutora Maria Teresa Caeiro Chambel Professora Auxiliar do Departamento de Informática da FCUL Prof. Doutor Pedro Alexandre Ferreira dos Santos Almeida Professor Auxiliar do Departamento de Comunicação e Arte da Universidade de Aveiro Prof. Doutor Jorge Trinidad Ferraz de Abreu Professor Auxiliar do Departamento de Comunicação e Arte da Universidade de Aveiro 4 agradecimentos Agradeço em primeiro lugar à minha família, amigos e namorada pelo apoio, incentivo e paciência demonstrados ao longo desta etapa da minha vida. Agradeço aos meus orientadores, Professor Pedro Almeida e Professor Jorge Ferraz, por toda a disponibilidade e ajuda prestada em todo o projeto. Agradeço ao Professor Telmo Silva pela cedência de parte do equipamento essencial para o estudo e pelo auxílio prestado em outras situações.
    [Show full text]
  • Pay TV Market Overview Annex 8 to Pay TV Market Investigation Consultation
    Pay TV market overview Annex 8 to pay TV market investigation consultation Publication date: 18 December 2007 Annex 8 to pay TV market investigation consultation - pay TV market overview Contents Section Page 1 Introduction 1 2 History of multi-channel television in the UK 2 3 Television offerings available in the UK 22 4 Technology overview 60 Annex 8 to pay TV market investigation consultation - pay TV market overview Section 1 1 Introduction 1.1 The aim of this annex is to provide an overview of the digital TV services available to UK consumers, with the main focus on pay TV services. 1.2 Section 2 describes the UK pay TV landscape, including the current environment and its historical development. It also sets out the supply chain and revenue flows in the chain. 1.3 Section 3 sets out detailed information about the main retail services provided over the UK’s TV platforms. This part examines each platform / retail provider in a similar way and includes information on: • platform coverage and geographical limitations; • subscription numbers (if publicly available) by platform and TV package; • the carriage of TV channels owned by the platform operators and rival platforms; • the availability of video on demand (VoD), digital video recorder (DVR), high definition (HD) and interactive services; • the availability of other communications services such as broadband, fixed line and mobile telephony services. 1.4 Section 4 provides an overview of relevant technologies and likely future developments. 1 Annex 8 to pay TV market investigation consultation - pay TV market overview Section 2 2 History of multi-channel television in the UK Introduction 2.1 Television in the UK is distributed using four main distribution technologies, through which a number of companies provide free-to-air (FTA) and pay TV services to consumers: • Terrestrial television is distributed in both analogue and digital formats.
    [Show full text]
  • Web Tv, Mobile, Iptv: Le Nuove Televisioni E La Creazione Di Valore
    Web tv, Mobile, Iptv: le nuove televisioni e la creazione di valore IEM-Fondazione Rosselli Quinto Summit sull’Industria della Comunicazione Indice 1. Le nuove piattaforme Le reti fisse e mobili Le tipologie di accesso Il nuovo panorama televisivo 2. La creazione del valore I modelli di business delle nuove televisioni Rete chiusa e rete aperta a confronto 3. Valore attuale del mercato e previsioni future Il valore dei nuovi mercati IEM - Fondazione Rosselli Quinto Summit sull’Industria della Comunicazione Le nuove piattaforme IEM - Fondazione Rosselli Quinto Summit sull’Industria della Comunicazione Obiettivi Questo lavoro si propone di analizzare globalmente i modelli di business in atto o attuabili dalle società impegnate nella distribuzione dei contenuti audiovisivi sulle nuove piattaforme. Il punto di partenza è stato individuato nella creazione di una tassonomia che potesse includere qualsiasi tipologia di distribuzione di programmi sulle piattaforme alternative, e i relativi operatori. Lo schema seguente permette anche di chiarire la terminologia di cui si farà uso nel prosieguo del lavoro, troppo spesso usata erroneamente in maniera indifferenziata. IEM - Fondazione Rosselli Quinto Summit sull’Industria della Comunicazione Rete Accesso Nuova televisione Modalità di fruizione EsempiEsempi Rete chiusa Iptv Flusso / On demand Fissa Peer to peer Flusso / On demand Rete aperta Flusso Web tv On demand Flusso Mobile Mobile tv On demand Portali mobili IEM - Fondazione Rosselli Quinto Summit sull’Industria della Comunicazione Le reti fisse e mobili Rete Accesso Nuova televisione Modalità di fruizione Flusso / On Rete chiusa Iptv demand Fissa Flusso Modelli di business consolidati sulla rete fissa Peer to peer On demand vs. strategie di attesa sulla rete mobile Rete aperta Flusso Web tv On demand Flusso Mobile Mobile tv La diffusione della banda larga fissa permette On demand offerte ad alto valore aggiunto al mass market.
    [Show full text]
  • British Sky Broadcasting Group Plc Annual Report 2007
    British Sky Broadcasting Group plc Annual Report 2007 British Sky Broadcasting Group plc Grant Way, Isleworth, Middlesex TW7 5QD, England Telephone 0870 240 3000 British Sky Broadcasting Group plc plc Group Broadcasting Sky British Overseas +44 20 7705 3000 Facsimile 0870 240 3060 www.sky.com Registered in England No.2247735 The cover of this report is printed on Era Silk which contains 50% recycled and de-inked pulp from post-consumer waste. The remaining 50% is made up of Forest Stewardship Council (FSC) Annual Report 2007 virgin fibre and pulp. The text of this report is printed on Revive 50:50 uncoated, a 50% recycled paper manufactured with 25% de-inked post consumer waste, 25% unprinted pre-consumer waste and 50% virgin fi bre. All pulps used Elemental Chlorine Free (ECF) and the manufacturing mill is accredited with the ISO 14001 standard for environmental management. The mill, merchant and printer are FSC accredited. Project: Final No: 000000 3B2 VERSION: 7 www.bowne.com Job/Filename: u52717_01.3d gcornell Time: 09:25:41 Date: 09/08/07 BL: 0 Trim: x Page: 1of49 -1397612683 0 Path: {Work_In_Progress} U5xxxx BOWNE/U527xxx/U52717 BskyB/ Black plate (1,1) Table of contents ............................................................................................................................................................................................................................................................................................................ Chairman’s statement 2 .......................................
    [Show full text]
  • XFINITY® Community Handbook Your Guide to XFINITY Services for Your Residents
    The Blacklist available at xfinity.com/tv XFINITY® Community Handbook Your guide to XFINITY services for your residents. Issue 2 – 2014 Cover: NBCU celebrity endorsement not implied. All networks are divisions of NBCUniversal. © NBCUniversal Media, LLC. All Rights Reserved. XFINITY® Handbook for Multifamily Residents Welcome to XFINITY® Communities, the program from Comcast that exclusively serves the needs of properties like yours. With it comes our promise to property owners, property managers and residents alike: to provide better service, better entertainment, better living and a relationship you can count on today and into the future. We want to make your job a little easier when it comes to XFINITY. This handbook will help you easily show residents how XFINITY may be enjoyed at home and on the go, and it provides answers and instructions to the common customer inquiries. The first section highlights the range of XFINITY products and services, like the new X1 Platform™, as well as features included at no additional cost. You will also find contact information on every page for ordering service or finding help for specific issues not covered in the book. Each page of this book can be printed by visiting comcast.com/communityhandbook. We hope this information will prove helpful to you and your community. CONTENTS Introduction ......................................................1-6 XFINITY Voice Calling Plans ............................. 27 See How XFINITY Stacks Up ............................. 4 XFINITY® Home ................................................ 28 Comcast Customer Guarantee™ ....................... 6 Movers Edge® ................................................... 30 TV ....................................................................7-21 Customer Quick Reference Tips ................31-44 X1 Platform™ from XFINITY ............................... 8 ® Setting Up Your Comcast ® XFINITY TV ..................................................... 10 User Name and Password ..............................
    [Show full text]