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Youtube 1 Youtube
YouTube 1 YouTube YouTube, LLC Type Subsidiary, limited liability company Founded February 2005 Founder Steve Chen Chad Hurley Jawed Karim Headquarters 901 Cherry Ave, San Bruno, California, United States Area served Worldwide Key people Salar Kamangar, CEO Chad Hurley, Advisor Owner Independent (2005–2006) Google Inc. (2006–present) Slogan Broadcast Yourself Website [youtube.com youtube.com] (see list of localized domain names) [1] Alexa rank 3 (February 2011) Type of site video hosting service Advertising Google AdSense Registration Optional (Only required for certain tasks such as viewing flagged videos, viewing flagged comments and uploading videos) [2] Available in 34 languages available through user interface Launched February 14, 2005 Current status Active YouTube is a video-sharing website on which users can upload, share, and view videos, created by three former PayPal employees in February 2005.[3] The company is based in San Bruno, California, and uses Adobe Flash Video and HTML5[4] technology to display a wide variety of user-generated video content, including movie clips, TV clips, and music videos, as well as amateur content such as video blogging and short original videos. Most of the content on YouTube has been uploaded by individuals, although media corporations including CBS, BBC, Vevo, Hulu and other organizations offer some of their material via the site, as part of the YouTube partnership program.[5] Unregistered users may watch videos, and registered users may upload an unlimited number of videos. Videos that are considered to contain potentially offensive content are available only to registered users 18 years old and older. In November 2006, YouTube, LLC was bought by Google Inc. -
Youtube Yrityksen Markkinoinnin Välineenä
Lassi Tuomikoski Youtube yrityksen markkinoinnin välineenä Metropolia Ammattikorkeakoulu Tradenomi Liiketalouden koulutusohjelma Opinnäytetyö Lokakuu 2014 Tiivistelmä Tekijä Lassi Tuomikoski Otsikko Youtube yrityksen markkinoinnin välineenä Sivumäärä 47 sivua + 2 liitettä Aika 9.11.2014 Tutkinto Tradenomi Koulutusohjelma Liiketalous Suuntautumisvaihtoehto Markkinointi Ohjaaja lehtori Raisa Varsta Tämän opinnäytetyön tarkoituksena oli luoda ohjeistus oman sisällön luomiseen Youtubessa aloittelevalle yritykselle. Työn toisena tavoitteena on osoittaa, miten yritys pystyy hyödyntämään videonjakopalvelu Youtubea omassa liiketoiminnassaan muiden markkinoinnin keinojen avulla. Työn viitekehyksessä käydään läpi keskeisimmät käsitteet ja termit ja esitellään Youtube yrityksenä sekä videonjakopalveluna. Työssä kerrotaan, millä eri tavoin yritys voi näkyä Youtubessa ja Youtube yrityksen markkinoinnissa. Toiminnallisena osana työtä tuotettiin konkreettisten esimerkkien pohjalta ohjeistus Youtuben parissa aloittelevalle yritykselle siitä, kuinka päästä alkuun tehokkaassa ja yritykselle lisäarvoa tuottavassa sisällöntuottamisessa. Mitä asiota oman sisällön luomisessa täytyy ottaa huomioon ja millä keinoilla Youtubessa voidaan menestyä. Opinnäytetyön johtopäätöksenä todettiin, että ennen oman sisällön luomista on yrityksen sisältöstrategian oltava kunnossa. Sisällön tärkeyttä ei voi oman sisällön luomisessa tarpeeksi korostaa. Sisällön on oltava merkityksellistä asiakkaan kannalta. Avainsanat youtube, sisältömarkkinointi, sosiaalinen media Abstract -
Alternative Perspectives of African American Culture and Representation in the Works of Ishmael Reed
ALTERNATIVE PERSPECTIVES OF AFRICAN AMERICAN CULTURE AND REPRESENTATION IN THE WORKS OF ISHMAEL REED A thesis submitted to the faculty of San Francisco State University In partial fulfillment of Zo\% The requirements for IMl The Degree Master of Arts In English: Literature by Jason Andrew Jackl San Francisco, California May 2018 Copyright by Jason Andrew Jackl 2018 CERTIFICATION OF APPROVAL I certify that I have read Alternative Perspectives o f African American Culture and Representation in the Works o f Ishmael Reed by Jason Andrew Jackl, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in English Literature at San Francisco State University. Geoffrey Grec/C Ph.D. Professor of English Sarita Cannon, Ph.D. Associate Professor of English ALTERNATIVE PERSPECTIVES OF AFRICAN AMERICAN CULTURE AND REPRESENTATION IN THE WORKS OF ISHMAEL REED Jason Andrew JackI San Francisco, California 2018 This thesis demonstrates the ways in which Ishmael Reed proposes incisive countemarratives to the hegemonic master narratives that perpetuate degrading misportrayals of Afro American culture in the historical record and mainstream news and entertainment media of the United States. Many critics and readers have responded reductively to Reed’s work by hastily dismissing his proposals, thereby disallowing thoughtful critical engagement with Reed’s views as put forth in his fiction and non fiction writing. The study that follows asserts that Reed’s corpus deserves more thoughtful critical and public recognition than it has received thus far. To that end, I argue that a critical re-exploration of his fiction and non-fiction writing would yield profound contributions to the ongoing national dialogue on race relations in America. -
Try, Fail, Analyze, Adjust: a Youtube History Lesson
1 Try, Fail, Analyze, Adjust: A YouTube History Lesson Have you ever watched the first video uploaded to YouTube? It’s an important question. No really, it matters. I don’t think it matters just because I’m a YouTube expert and think it’s high-quality content (spoiler alert: it’s not). I think it matters because it’s history, and we can learn so much from history. As a video guy, I love docu- mentaries and biopics. They fascinate me because learning about the past helps us understand and navigate our world in the present. When we explore history, we see how decisions and events affect peo- ple, whether for good or bad, and how they impact people’s families, communities, and ultimately, the entire world. But why the heck am I talking about the impact of history on the world COPYRIGHTEDin a book that’s supposed to be MATERIAL about YouTube and mak- ing you money? I’ll tell you why: studying the history of anything can benefit someone who wants to learn more about that topic and succeed in that space. It should be obvious that the same applies to YouTube creators as well. I truly believe that if creators and businesses will take the time to learn from YouTube’s history—how it became the mega-platform that it is based on decisions that lead to failure and 3 Eves716020_c01.indd 3 30-12-2020 14:49:32 4 THE YOUTUBE FORMULA success—they will become better content creators and businesses and be more equipped to generate their own success on the platform. -
Hammer Langdon Cv18.Pdf
LANGDON HAMMER Department of English [email protected] Yale University jamesmerrillweb.com New Haven CT 06520-8302 yale.edu bio page USA EDUCATION Ph.D., English Language and Literature, Yale University B.A., English Major, summa cum laude, Yale University ACADEMIC APPOINTMENT Niel Gray, Jr., Professor of English and American Studies, Yale University Appointments in the English Department at Yale: Lecturer Convertible, 1987; Assistant Professor, 1989; Associate Professor with tenure, 1996; Professor, 2001; Department Chair, 2005-fall 2008, Acting Department Chair, fall 2011 and fall 2013, Department Chair, 2014-17 and 2017-19 PUBLICATIONS Books In progress: Elizabeth Bishop: Life & Works, A Critical Biography (under contract to Farrar Straus Giroux) The Oxford History of Poetry in English (Oxford UP), 18 volumes, Patrick Cheney general editor; LH coordinating editor for Volumes 10-12 on American Poetry, and editor for Volume 12 The Oxford History of American Poetry Since 1939 The Selected Letters of James Merrill, edited by LH, J. D. McClatchy, and Stephen Yenser (under contract to Alfred A. Knopf) Published: James Merrill: Poems, Everyman’s Library Pocket Poets, selected and edited with a foreword by LH (Penguin RandomHouse, 2017), 256 pp James Merrill: Life and Art (Alfred A. Knopf, 2015), 944 pp, 32 pp images, and jamesmerrillweb.com, a website companion with more images, bibliography, documents, linked reviews, and blog Winner, Lambda Literary Award for Gay Memoir/Biography, 2016. Finalist for the Poetry 2 Foundation’s Pegasus Award for Poetry Criticism, 2015. Named a Times Literary Supplement “Book of the Year, 2015” (two nominations, November 25). New York Times, “Top Books of 2015” (December 11). -
Interaction Design Patterns Und Videolernumgebungen
Niels Seidel Interaction Design Patterns und CSCL-Scripts für Videolernumgebungen Interaction Design Patterns und CSCL-Scripts für Videolernumgebungen Dem Wissenschaftlichen Rat des Internationalen Hochschulinstitutes Zittau eingereichte DISSERTATION zur Erlangung des akademischen Grades doctor rerum politicarum (Dr. rer. pol.) vorgelegt von Niels Seidel geboren am 7. Oktober 1981 in Löbau Gutachter: Prof. Dr. rer. pol. habil. Thorsten Claus (TU Dresden) Prof. Dr. rer. pol. habil. Bärbel Fürstenau (TU Dresden) Prof. Dr. rer. nat. Christian Kohls (TH Köln) Einreichung: Zittau, den 10. November 2016 Disputation: Dresden, den 26. Februar 2018 Niels Seidel Interaction Design Patterns und CSCL-Scripts für Videolernumgebungen Zusammenfassung In den letzten Jahren haben Lernvideos im Bereich des informellen und formellen Lernens an Bedeutung gewonnen. Inwieweit Lernende bei der Nutzung von Videos unterstützt werden und Lehrende didaktische Szenarien umsetzen können, hängt jedoch von der eingesetzten Vi- deolernumgebung ab. Es ist Anliegen der vorliegende Arbeit, Prinzipien des User Interface Designs sowie Komponenten und Mechanismen videobasierter Lehr-Lern-Szenarien in Bezug auf Videolernumgebungen zu identifizieren, zu beschreiben und technisch zu realisieren. Das Ziel dieser Forschungsarbeit besteht darin, Gestaltungsprinzipien in Form von Interaction De- sign Patterns zu erarbeiten und computergestützte videobasierte Lehr-Lern-Szenarien mit Hilfe von CSCL-Scripts durch eine geeignete Spezifikation und Formalisierung zu realisieren. Für die Erarbeitung der Interaction Design Patterns wurden 121 Videolernumgebungen hin- sichtlich 50 Kategorien in einer Inhaltsanalyse empirisch untersucht und dokumentiert. Unter Berücksichtigung ähnlicher Patterns aus thematisch verwandten Pattern Languages und den Erfahrungen aus der Implementierung und dem Einsatz von Videolernumgebungen entstan- den 45 Interaction Design Patterns für verbreitete Lösungen für wiederkehrende Probleme bei der Gestaltung und Entwicklung von Videolernumgebungen. -
2016-2017 Report
The Society of Fellows in the Humanities Annual Report 2016–2017 Society of Fellows Mail Code 5700 Columbia University 2960 Broadway New York, NY 10027 Phone: (212) 854-8443 Fax: (212) 662-7289 [email protected] www.societyoffellows.columbia.edu By FedEx or UPS: Society of Fellows 74 Morningside Drive Heyman Center, First Floor East Campus Residential Center Columbia University New York, NY 10027 Posters courtesy of designers Amelia Saul and Sean Boggs 2 Contents Report From The Chair 5 Special Events 31 Members of the 2016–2017 Governing Board 8 Heyman Center Events 35 • Event Highlights 36 Forty-Second Annual Fellowship Competition 9 • Public Humanities Initiative 47 Fellows in Residence 2016–2017 11 • Heyman Center Series and Workshops 50 • Benjamin Breen 12 Nietzsche 13/13 Seminar 50 • Christopher M. Florio 13 New Books in the Arts & Sciences 50 • David Gutkin 14 New Books in the Society of Fellows 54 • Heidi Hausse 15 The Program in World Philology 56 • Arden Hegele 16 • Full List of Heyman Center Events • Whitney Laemmli 17 2016–2017 57 • Max Mishler 18 • María González Pendás 19 Heyman Center Fellows 2016–2017 65 • Carmel Raz 20 Alumni Fellows News 71 Thursday Lectures Series 21 Alumni Fellows Directory 74 • Fall 2016: Fellows’ Talks 23 • Spring 2017: Shock and Reverberation 26 2016–2017 Fellows at the annual year-end Spring gathering (from left): María González Pendás (2016–2019), Arden Hegele (2016–2019), David Gutkin (2015–2017), Whitney Laemmli (2016–2019), Christopher Florio (2016–2019) Heidi Hausse (2016–2018), Max Mishler (2016–2017), and Carmel Raz (2015–2018). -
Viking Voice
In this issue: ● STEAM ● Fortnite Viking Voice ● Creepiness! Do you like to write? Create puzzles? Draw comics? Perform interviews or give your March 2018 opinion on anything from video games to movies to books and technology? Then Newspaper Club might be the right club for you! Mondays from 3-4:00 room 127 Steam Walk By: Lily Mann If you didn't go to the Steam Walk then you made a bad decision because they had secrets and you can make a lightsaber with straws and lights. There were drones that you could code and fly. Also if you went to Hopewell Elementary there was a computer teacher. Her name was Mrs.Daly who was helping with computers to go on code.org, which is a coding site. You can have cookies there and they were delicious. Also you can make a little tiny spaceship that was cool. There was paper and cardboard to make the spaceship, and this guy was there and he pumped it up air and you have to push a button to launch it. It was pretty fun. So that is it from the Steam Walk. Silly Putty By: Lily Mann If you ever wondered why silly putty is called silly putty? Well this is why it is called this. You can do a lot of silly stuff and it is putty.Silly Putty was invented in 1943 the person that invented Silly Putty was James Wright. If you are wondering how Silly Putty was made I am going to tell you how. It was made during war war ll, and also it is really easy you can use glue to make silly putty. -
A Portrait of Fandom Women in The
DAUGHTERS OF THE DIGITAL: A PORTRAIT OF FANDOM WOMEN IN THE CONTEMPORARY INTERNET AGE ____________________________________ A Thesis Presented to The Honors TutoriAl College Ohio University _______________________________________ In PArtiAl Fulfillment of the Requirements for Graduation from the Honors TutoriAl College with the degree of Bachelor of Science in Journalism ______________________________________ by DelAney P. Murray April 2020 Murray 1 This thesis has been approved by The Honors TutoriAl College and the Department of Journalism __________________________ Dr. Eve Ng, AssociAte Professor, MediA Arts & Studies and Women’s, Gender, and Sexuality Studies Thesis Adviser ___________________________ Dr. Bernhard Debatin Director of Studies, Journalism ___________________________ Dr. Donal Skinner DeAn, Honors TutoriAl College ___________________________ Murray 2 Abstract MediA fandom — defined here by the curation of fiction, art, “zines” (independently printed mAgazines) and other forms of mediA creAted by fans of various pop culture franchises — is a rich subculture mAinly led by women and other mArginalized groups that has attracted mAinstreAm mediA attention in the past decAde. However, journalistic coverage of mediA fandom cAn be misinformed and include condescending framing. In order to remedy negatively biAsed framing seen in journalistic reporting on fandom, I wrote my own long form feAture showing the modern stAte of FAndom based on the generation of lAte millenniAl women who engaged in fandom between the eArly age of the Internet and today. This piece is mAinly focused on the modern experiences of women in fandom spaces and how they balAnce a lifelong connection to fandom, professional and personal connections, and ongoing issues they experience within fandom. My study is also contextualized by my studies in the contemporary history of mediA fan culture in the Internet age, beginning in the 1990’s And to the present day. -
Televisual Liveness and Corporeal Interruption Alla Gadassik1
Spring 2010 117 At a Loss for Words: Televisual Liveness and Corporeal Interruption Alla Gadassik1 Introduction In the closing days of 2004, the New York Times published a list of “TV’s Best Live Moments” from the preceding year.2 By the night of its release, the list already seemed outdated, as television networks scrambled to bring viewers the first live reports from a devastating tsunami in the Indian Ocean. However, even before its historical relevance became superseded by the natural disaster, the list already presented a very peculiar survey of television. After all, no major events or catastrophes from the previous year were included in its inventory of captivating spectacles—not Hurricanes Jeanne or Ivan; not the publicized funeral of Ronald Reagan or the much-discussed re-election of George W. Bush; not the historical Olympic Games in Athens or the self-congratulatory Academy Awards. Not a single important live broadcast was featured in the newspaper’s year-end reflection. Instead, the list consisted entirely of much more banal events that somehow attained mythical status in public discourse. These included, among others: Janet Jackson’s bared breast, Ashlee Simpson’s lip-syncing embarrassment, Jon Stewart’s political commentary on CNN’s Crossfire, and Scott Peterson’s cold response to his death penalty sentence. This strange selection, which emerged amidst wider coverage of feel-good holiday stories and year-end recaps, is by no means an accurate representation of national political values. Nor do I think that its contents can simply be ascribed to journalistic contempt for television. After all, many of the selected televised moments did receive a frenzy of public attention, and were widely circulated or discussed by multiple media. -
Comments of Facebook, Inc. in Response To
Comments of Facebook, Inc. In Response to the “Notice of Inquiry” by the U.S. Department of Commerce, National Telecommunications and Information Administration: Information Privacy and Innovation in the Internet Economy Submitted June 14, 2010 Colin S. Stretch Deputy General Counsel Timothy D. Sparapani Director, Public Policy Facebook, Inc. 1601 S. California Avenue Palo Alto, CA 94304 (650)-485-6271 TABLE OF CONTENTS I. The Internet and Innovation............................................................................................... 3 A. The Internet Today................................................................................................. 3 B. The Role of Government Regulation..................................................................... 7 C. Extraterritorial Aspects of Internet Regulation.................................................... 12 II. Facebook and Internet Self-Regulation ........................................................................... 13 A. Self-Regulatory Features of the Internet and Social Networking Services ......... 14 B. Facebook’s Continuing Evolution in Response to User Preferences................... 17 III. Special Considerations Regarding Regulation of Social-Networking Sites.................... 21 IV. Conclusion ....................................................................................................................... 27 Comments of Facebook, Inc. In Response to the “Notice of Inquiry” by the U.S. Department of Commerce, National Telecommunications and Information -
Warming up to User-Generated Content
Chicago-Kent College of Law Scholarly Commons @ IIT Chicago-Kent College of Law All Faculty Scholarship Faculty Scholarship January 2008 Warming Up to User-Generated Content Edward Lee IIT Chicago-Kent College of Law, [email protected] Follow this and additional works at: https://scholarship.kentlaw.iit.edu/fac_schol Part of the Intellectual Property Law Commons Recommended Citation Edward Lee, Warming Up to User-Generated Content, 2008 U. Ill. L. Rev. 1459 (2008). Available at: https://scholarship.kentlaw.iit.edu/fac_schol/358 This Article is brought to you for free and open access by the Faculty Scholarship at Scholarly Commons @ IIT Chicago-Kent College of Law. It has been accepted for inclusion in All Faculty Scholarship by an authorized administrator of Scholarly Commons @ IIT Chicago-Kent College of Law. For more information, please contact [email protected], [email protected]. LEE.DOC 9/3/2008 4:50:06 PM WARMING UP TO USER-GENERATED CONTENT Edward Lee* Conventional views of copyright law almost always operate from the “top down.” Copyrights are understood as static and fixed by the Copyright Act. Under this view, copyright holders are at the center of the copyright universe and exercise considerable control over their exclusive rights, with the expectation that others seek prior permission for all uses of copyrighted works outside of a fair use. Though pervasive, this conventional view of copyright is wrong. The Copyright Act is riddled with gray areas and gaps, many of which persist over time, because so few copyright cases are ever filed and the majority of those filed are not resolved through judgment.