http://www.cultureandcommunication.org/deadmedia/index.php?title=Broadcasting&feed=atom&action=historyBroadcasting - Revision history2024-03-29T15:18:11ZRevision history for this page on the wikiMediaWiki 1.25.2http://www.cultureandcommunication.org/deadmedia/index.php?title=Broadcasting&diff=12626&oldid=prevFinnb: Undo revision 12605 by Egugecuge (Talk)2010-11-24T14:21:54Z<p>Undo revision 12605 by <a href="/deadmedia/index.php/Special:Contributions/Egugecuge" title="Special:Contributions/Egugecuge">Egugecuge</a> (<a href="/deadmedia/index.php?title=User_talk:Egugecuge&action=edit&redlink=1" class="new" title="User talk:Egugecuge (page does not exist)">Talk</a>)</p>
<a href="http://www.cultureandcommunication.org/deadmedia/index.php?title=Broadcasting&diff=12626&oldid=12605">Show changes</a>Finnbhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Broadcasting&diff=12605&oldid=prevEgugecuge at 08:48, 24 November 20102010-11-24T08:48:42Z<p></p>
<a href="http://www.cultureandcommunication.org/deadmedia/index.php?title=Broadcasting&diff=12605&oldid=9823">Show changes</a>Egugecugehttp://www.cultureandcommunication.org/deadmedia/index.php?title=Broadcasting&diff=9823&oldid=prevEsaidel: /* Narrowcasting, Interactivity, and the Transitional Paradigm */2010-04-30T17:24:39Z<p><span dir="auto"><span class="autocomment">Narrowcasting, Interactivity, and the Transitional Paradigm</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Lisa Gitelman suggests that, “Like language itself, there is some level at which media help “wire” people for the thinking they do” (Gitelman 150) If this shaping is true, then people wired to be broadcast recipients are being replaced with two other overlapping audiences--the narrowcast audience and the interactive audience. Both choices upset the tradition model of broadcasting and both are steadily gaining strength.  </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Lisa Gitelman suggests that, “Like language itself, there is some level at which media help “wire” people for the thinking they do” (Gitelman 150) If this shaping is true, then people wired to be broadcast recipients are being replaced with two other overlapping audiences--the narrowcast audience and the interactive audience. Both choices upset the tradition model of broadcasting and both are steadily gaining strength<ins class="diffchange diffchange-inline">. In his 2005 book, Rerun Nation, Derek Kompare concludes, "it is clear that the centralized, mass-disseminated, "one-way" cultural institution that has held sway since the middle of the twentieth century is largely ceding to a regime premised instead upon individual consumer choice, and marked by highly diversified content, atomized reception, and customizable interfaces" (Kompare 198)</ins>.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The narrowcasting, named as such to be deliberately oppositional to broadcasting, is the the practice of targeting specific demographics, rather than the mass. The concept of local programming engages with this idea, defining demographic by geography, and sprang up in many incarnations of broadcast regulation. But narrowcasting by taste grew with the rise of cable programming in the 1980s and has led us to a paradigm, "whereby media become more centralized on the one hand and audiences become more fragmented and niche marketing becomes narrower on the other" (Banet-Weiser, Chris, and Freitas 257). Standard & Poor's 2010 Broadcasting, Satellite, and Industry Survey reports "continuing audience fragmentation" and the growth of targeted cable stations, such as Lifetime (for women) supports that finding. Currently, marketers are exploring narrowcasting beyond representative demographics in order to target actual customers rather than supposed ones.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The narrowcasting, named as such to be deliberately oppositional to broadcasting, is the the practice of targeting specific demographics, rather than the mass. The concept of local programming engages with this idea, defining demographic by geography, and sprang up in many incarnations of broadcast regulation. But narrowcasting by taste grew with the rise of cable programming in the 1980s and has led us to a paradigm, "whereby media become more centralized on the one hand and audiences become more fragmented and niche marketing becomes narrower on the other" (Banet-Weiser, Chris, and Freitas 257). Standard & Poor's 2010 Broadcasting, Satellite, and Industry Survey reports "continuing audience fragmentation" and the growth of targeted cable stations, such as Lifetime (for women) supports that finding. Currently, marketers are exploring narrowcasting beyond representative demographics in order to target actual customers rather than supposed ones.</div></td></tr>
</table>Esaidelhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Broadcasting&diff=9822&oldid=prevEsaidel at 19:06, 29 April 20102010-04-29T19:06:17Z<p></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:The Story of Television.JPG|thumb|300px|right|alt=RCA's ''The Story of Television''|[http://www.youtube.com/watch?v=9A7MN4TjC2Qfeature=player_embedded "Metal fingers beckoning to the invisible." Both instructional and self-promoting RCA's The Story of Television provides a background on the technical development of television broadcasting. (1956)]]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:The Story of Television.JPG|thumb|300px|right|alt=RCA's ''The Story of Television''|[http://www.youtube.com/watch?v=9A7MN4TjC2Qfeature=player_embedded "Metal fingers beckoning to the invisible." Both instructional and self-promoting RCA's The Story of Television provides a background on the technical development of television broadcasting. (1956)]]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Broadcasting refers to a technical model of content distribution, a business model, and the industry that implements the two. In ''NBC: America's Network'', Michele Hilmes illustrates how the naming of NBC, the National Broadcasting Company, contains the core characteristics that broadcasting would take on in America. "First, ''national'': when RCA announced the formation of its new radio "chain" in 1926, it introduced the first medium that could, through its local stations, connect the scattered and disparate communities of a vast nation ''simultaneously'' and address the nation as a whole...Second, ''broadcasting'': this word was coined to denote a new form of communication that emerged in the early 1920s, one that emanated invisibly from a central source and passed with ease though not only physical but social and cultural barriers to reach listeners as private individuals in their homes...Third, ''company'': In the United States, unlike most of the rest of the world, broadcasting would develop as a primarily private owned enterprise, a business responding to market conditions rather than an organ of the state or a public service institution" (Hilmes 7). "The word broadcast, in the electronic sense of the term, stems from early United States naval reference to the "broadcast" of orders to the fleet (Hillard 3).</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Broadcasting refers to a technical model of content distribution, a business model, and the industry that implements the two. In ''NBC: America's Network'', Michele Hilmes illustrates how the naming of NBC, the National Broadcasting Company, contains the core characteristics that broadcasting would take on in America. "First, ''national'': when RCA announced the formation of its new radio "chain" in 1926, it introduced the first medium that could, through its local stations, connect the scattered and disparate communities of a vast nation ''simultaneously'' and address the nation as a whole...Second, ''broadcasting'': this word was coined to denote a new form of communication that emerged in the early 1920s, one that emanated invisibly from a central source and passed with ease though not only physical but social and cultural barriers to reach listeners as private individuals in their homes...Third, ''company'': In the United States, unlike most of the rest of the world, broadcasting would develop as a primarily private owned enterprise, a business responding to market conditions rather than an organ of the state or a public service institution" (Hilmes 7<ins class="diffchange diffchange-inline">, Italics original</ins>). "The word broadcast, in the electronic sense of the term, stems from early United States naval reference to the "broadcast" of orders to the fleet (Hillard 3).</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Hilmes' analysis concentrates on the American broadcast system: this dossier focuses on the central distribution characteristics of the model: transmission over a distance from a central source to multiple receivers, simultaneous consumption by a mass audience, and identical content. This "obvious" modus operandi emerged during a worldwide paradigm shift toward nation stabilization as a result of the horror of World War I and entering World War II on all sides of the ideological spectrum. Mussolini was quoted as saying that without radio he would not have been able to achieve the solidification of and power over the Italian people that he did, and the Fireside Chat over radio is frequently thought of as having vastly strengthened President Franklin D. Roosevelt’s popularity and influence with the American people (Hillard 1).  </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Hilmes' analysis concentrates on the American broadcast system: this dossier focuses on the central distribution characteristics of the model: transmission over a distance from a central source to multiple receivers, simultaneous consumption by a mass audience, and identical content. This "obvious" modus operandi emerged during a worldwide paradigm shift toward nation stabilization as a result of the horror of World War I and entering World War II on all sides of the ideological spectrum. Mussolini was quoted as saying that without radio he would not have been able to achieve the solidification of and power over the Italian people that he did, and the Fireside Chat over radio is frequently thought of as having vastly strengthened President Franklin D. Roosevelt’s popularity and influence with the American people (Hillard 1).  </div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>===Remediation===</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>===Remediation===</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The defining characteristics of broadcasting--simultaneous remote reception of identical content--existed individually or in combination in a variety of mediums long before the first commercial broadcasting experiments. The innovation of broadcasting was to unite them in a single medium.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The defining characteristics of broadcasting--simultaneous remote reception of identical content--existed individually or in combination in a variety of mediums long before the first commercial broadcasting experiments <ins class="diffchange diffchange-inline">(Kompare 19)</ins>. The innovation of broadcasting was to unite them in a single medium.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Institutionalization==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Institutionalization==</div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>*Kolb, Erik B.. “Broadcasting, Cable, and Satellite.” Standard & Poor’s Industry Surveys. (February 18, 2010). Web. April 24, 2010.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>*Kolb, Erik B.. “Broadcasting, Cable, and Satellite.” Standard & Poor’s Industry Surveys. (February 18, 2010). Web. April 24, 2010.</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">*Kompare, Derek. ''Rerun Nation: How Repeats Invented American Television''. New York: Routledge, 2005.</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>*Murray, Susan. ''Hitch Your Antenna to the Stars: Early Television and Broadcast Stardom''. New York: Routledge, 2005. PDF.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>*Murray, Susan. ''Hitch Your Antenna to the Stars: Early Television and Broadcast Stardom''. New York: Routledge, 2005. PDF.</div></td></tr>
</table>Esaidelhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Broadcasting&diff=9764&oldid=prevEsaidel: /* References */2010-04-26T18:12:05Z<p><span dir="auto"><span class="autocomment">References</span></span></p>
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<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[Visuality]]</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[<ins class="diffchange diffchange-inline">Category:</ins>Visuality]]</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[Temporality]]</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[<ins class="diffchange diffchange-inline">Category:</ins>Temporality]]</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[Spatiality]]</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[<ins class="diffchange diffchange-inline">Category:</ins>Spatiality]]</div></td></tr>
</table>Esaidelhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Broadcasting&diff=9760&oldid=prevEsaidel: /* References */2010-04-26T18:11:10Z<p><span dir="auto"><span class="autocomment">References</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Dossier]]  </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Dossier]]  </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Spring 2010]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Spring 2010]]</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Visuality]]</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Temporality]]</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Spatiality]]</ins></div></td></tr>
</table>Esaidelhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Broadcasting&diff=9753&oldid=prevEsaidel: /* The Broadcasting Model */2010-04-26T17:50:35Z<p><span dir="auto"><span class="autocomment">The Broadcasting Model</span></span></p>
<table class='diff diff-contentalign-left'>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 17:50, 26 April 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L15" >Line 15:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Electronic broadcasting removes the human sensorium from the direct act of transmission and reception, integrating technical apparatus into the system, and removing the opportunity for recipients to impact content. The wireless model took on multiple forms in the United States, before settling in to the current one in which stations broadcast radio or television signals, which can be received by mechanisms dedicated to that purpose. The signal may originate from that station or may be a part of a chain broadcast originating from a further distance with the local station acting as intermediary. “The network concept [is] of a single origination point for programs distributed by wire and radio links to hundreds of stations for national audience consumption” (Wallace 12). The receiver has a dedicated range of frequencies available, and can only be tuned to access one at anytime. The broadcast model does not allow for serial reception of multiple transmissions. The formal qualities of the transmission model were largely duplicated in the industrial infrastructure.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Electronic broadcasting removes the human sensorium from the direct act of transmission and reception, integrating technical apparatus into the system, and removing the opportunity for recipients to impact content. The wireless model took on multiple forms in the United States, before settling in to the current one in which stations broadcast radio or television signals, which can be received by mechanisms dedicated to that purpose. The signal may originate from that station or may be a part of a chain broadcast originating from a further distance with the local station acting as intermediary. “The network concept [is] of a single origination point for programs distributed by wire and radio links to hundreds of stations for national audience consumption” (Wallace 12). The receiver has a dedicated range of frequencies available, and can only be tuned to access one at anytime. The broadcast model does not allow for serial reception of multiple transmissions. The formal qualities of the transmission model were largely duplicated in the industrial infrastructure.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>But the shape of this <del class="diffchange diffchange-inline">infrastructre </del>was not inevitable. Early experimentation in broadcasting involved both amateurs and professionals, sending and receiving, and a community in which feedback was an integral part of the experience. However, the frequency spectrum for broadcast transmissions is limited, and many early transmissions interfered with the clear reception of each other. "The lack of regulations...resulted in chaos over the airwaves, with the new medium virtually choking itself to death. By the mid-1920s it was clear that federal intervention was necessary if radio was to survive" (Hillard 5). In order for both the broadcast mindset and the broadcast industry to succeed, transmissions needed to reach receivers clearly.  A succession of federal regulations--the 1910 Wireless Ship Act, Radio Act of 1912, Radio Act of 1927, Communications Act of 1934--shaped the industry, favoring the more powerful conglomerates such as RCA over the individual, amateur wireless operators. With federal licenses dedicating specific frequencies to specific broadcast stations, the technical format could now function.  </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>But the shape of this <ins class="diffchange diffchange-inline">infrastructure </ins>was not inevitable. Early experimentation in broadcasting involved both amateurs and professionals, sending and receiving, and a community in which feedback was an integral part of the experience. However, the frequency spectrum for broadcast transmissions is limited, and many early transmissions interfered with the clear reception of each other. "The lack of regulations...resulted in chaos over the airwaves, with the new medium virtually choking itself to death. By the mid-1920s it was clear that federal intervention was necessary if radio was to survive" (Hillard 5). In order for both the broadcast mindset and the broadcast industry to succeed, transmissions needed to reach receivers clearly.  A succession of federal regulations--the 1910 Wireless Ship Act, Radio Act of 1912, Radio Act of 1927, Communications Act of 1934--shaped the industry, favoring the more powerful conglomerates such as RCA over the individual, amateur wireless operators. With federal licenses dedicating specific frequencies to specific broadcast stations, the technical format could now function.  </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>This one-to-many distribution model was attractive to marketers for its efficiency. Advertising agencies and the companies they represented became a major source of income for the burgeoning industry. "As one FRC commissioner, Harold A. LaFount stated, "Commercialism is the heart of broadcasting in the United States. What has education contributed to radio? not one thing. What has commercialism contributed? Everything --the life blood of the industry" (Hillard 9). This distribution model also changed political messaging. Using radio, “national and state candidates reach more voters directly and almost personally in a few minutes than they could shake hands in a lifetime.” (Wallace 41).</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>This one-to-many distribution model was attractive to marketers for its efficiency. Advertising agencies and the companies they represented became a major source of income for the burgeoning industry. "As one FRC commissioner, Harold A. LaFount stated, "Commercialism is the heart of broadcasting in the United States. What has education contributed to radio? not one thing. What has commercialism contributed? Everything --the life blood of the industry" (Hillard 9). This distribution model also changed political messaging. Using radio, “national and state candidates reach more voters directly and almost personally in a few minutes than they could shake hands in a lifetime.” (Wallace 41).</div></td></tr>
</table>Esaidelhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Broadcasting&diff=9752&oldid=prevEsaidel: /* The Broadcasting Model */2010-04-26T17:50:19Z<p><span dir="auto"><span class="autocomment">The Broadcasting Model</span></span></p>
<table class='diff diff-contentalign-left'>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>===The Broadcasting Model===</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>===The Broadcasting Model===</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Human <del class="diffchange diffchange-inline">speec </del>can be considered proto-broadcasting. From the funeral oration of Pericles to Lincoln's Gettysburg Address, any moment of human performance with multiple listeners involves a single origin transmitting media content simultaneously to external recipients. But in this live format, the recipients have agency equal to the speaker to affect the content of the media, i.e. audience members can shout out at a live speech and companions contribute to dialogue.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Human <ins class="diffchange diffchange-inline">speech </ins>can be considered proto-broadcasting. From the funeral oration of Pericles to Lincoln's Gettysburg Address, any moment of human performance with multiple listeners involves a single origin transmitting media content simultaneously to external recipients. But in this live format, the recipients have agency equal to the speaker to affect the content of the media, i.e. audience members can shout out at a live speech and companions contribute to dialogue.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Electronic broadcasting removes the human sensorium from the direct act of transmission and reception, integrating technical apparatus into the system, and removing the opportunity for recipients to impact content. The wireless model took on multiple forms in the United States, before settling in to the current one in which stations broadcast radio or television signals, which can be received by mechanisms dedicated to that purpose. The signal may originate from that station or may be a part of a chain broadcast originating from a further distance with the local station acting as intermediary. “The network concept [is] of a single origination point for programs distributed by wire and radio links to hundreds of stations for national audience consumption” (Wallace 12). The receiver has a dedicated range of frequencies available, and can only be tuned to access one at anytime. The broadcast model does not allow for serial reception of multiple transmissions. The formal qualities of the transmission model were largely duplicated in the industrial infrastructure.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Electronic broadcasting removes the human sensorium from the direct act of transmission and reception, integrating technical apparatus into the system, and removing the opportunity for recipients to impact content. The wireless model took on multiple forms in the United States, before settling in to the current one in which stations broadcast radio or television signals, which can be received by mechanisms dedicated to that purpose. The signal may originate from that station or may be a part of a chain broadcast originating from a further distance with the local station acting as intermediary. “The network concept [is] of a single origination point for programs distributed by wire and radio links to hundreds of stations for national audience consumption” (Wallace 12). The receiver has a dedicated range of frequencies available, and can only be tuned to access one at anytime. The broadcast model does not allow for serial reception of multiple transmissions. The formal qualities of the transmission model were largely duplicated in the industrial infrastructure.</div></td></tr>
</table>Esaidelhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Broadcasting&diff=9751&oldid=prevEsaidel: /* Heterogeneous Audiences */2010-04-26T17:49:41Z<p><span dir="auto"><span class="autocomment">Heterogeneous Audiences</span></span></p>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 17:49, 26 April 2010</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:1956_NBC_logo.svg.png|thumb|277px|right|alt=alt| Thus Argus lies a victim, cold and pale, <br />And thus all hundred of his eyes, with all their light, <br />Are closed at once in one perpetual night. <br />These Juno takes, that they no more may fail, <br />And spreads them in her peacock's gaudy tail. <br />-- Ovid, ''Metamorphosis''<br /><br /> [http://en.wikipedia.org/wiki/NBC_logos NBC adopted the peacock as its logo in 1956.]]]</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[Image:1956_NBC_logo.svg.png|thumb|277px|right|alt=alt| Thus Argus lies a victim, cold and pale, <br />And thus all hundred of his eyes, with all their light, <br />Are closed at once in one perpetual night. <br />These Juno takes, that they no more may fail, <br />And spreads them in her peacock's gaudy tail. <br />-- Ovid, ''Metamorphosis''<br /><br /> [http://en.wikipedia.org/wiki/NBC_logos NBC adopted the peacock as its logo in 1956.]]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>This new observer remediated the quasi-domestic reception space of the earlier version as well as the subjective representation of the latter. But the new mass audience was not mono-optic or bi-optic, it was now an Argus Panoptes. This collective experience began with the listeners watching the phonograph, as portrayed in the advertisements of the 1890s to the 1920s. "Listeners stare vacantly at unseen and newly reracialized performers, as if by some collective premonition, keeping their gaze steady for radio then television. The gaze itself is oddly communal, fraught with unlikely assumptions about the democratic power of mass media even as it dampens participation” (Gitelman 137). The communal cultural experience of the 20th century was no lingered rooted in proximity as was that of the 19th. A 1923 commentary on radio broadcasts marks this change. “Station WGY has reversed Shakespeare's portrayal that "all the world's a stage." Broadcasting of drama through the ether is making all the world the audience and the radio studio the stage." The individual observer becomes part of a geographically dispersed reception crowd.“The mass-produced sound storage medium only needed mass-produced communication and recording media to gain global ascendancy“ (Kittler 94).</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>This new observer remediated the quasi-domestic reception space of the earlier version as well as the subjective representation of the latter. But the new mass audience was not mono-optic or bi-optic, it was now an Argus Panoptes. This collective experience began with the listeners watching the phonograph, as portrayed in the advertisements of the 1890s to the 1920s. "Listeners stare vacantly at unseen and newly reracialized performers, as if by some collective premonition, keeping their gaze steady for radio then television. The gaze itself is oddly communal, fraught with unlikely assumptions about the democratic power of mass media even as it dampens participation” (Gitelman 137). The communal cultural experience of the 20th century was no lingered rooted in proximity as was that of the 19th. A 1923 commentary on radio broadcasts marks this change. “Station WGY has reversed Shakespeare's portrayal that "all the world's a stage." Broadcasting of drama through the <ins class="diffchange diffchange-inline">[[</ins>ether<ins class="diffchange diffchange-inline">]] </ins>is making all the world the audience and the radio studio the stage." The individual observer becomes part of a geographically dispersed reception crowd.“The mass-produced sound storage medium only needed mass-produced communication and recording media to gain global ascendancy“ (Kittler 94).</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>===Pops and Hisses===</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>===Pops and Hisses===</div></td></tr>
</table>Esaidelhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Broadcasting&diff=9750&oldid=prevEsaidel: /* Formal Prohibitions/Affordances */2010-04-26T17:48:49Z<p><span dir="auto"><span class="autocomment">Formal Prohibitions/Affordances</span></span></p>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 17:48, 26 April 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L33" >Line 33:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The formal probibitions of institutionalized broadcasting were distinct from, but not independent of the legal prohibitions, because "from the beginning radio was recognized as a public resource. There was and is a limited amount of airwave space, and the federal government from the early 1920s on decided to protect this space for citizens" (Hillard 30). The asymmetry in the power structure between the speaking-one and the listening-many greatly influenced how each could interact with the content. Stations dictated the length of programming, gradually standardized to quarter-, half-and full hour, and the availability of programming from morning to evening, and were limited by the reach of their towers and by physical hazards(Wallace 12). Early receivers were constructed by their listeners, thus had the flexibility to be altered at will. But receivers became black boxes. "By 1926, there were substantial alterations in receiver design. Technical controls had been simplified down to two knobs (tuning and volume) so that practical know-how was no longer needed" (Spiegel 29). Audiences had no agency for content expression or to influence any receiver but their own. They could not mechanically influence the operations of the station. The audience did have agency to shape the flow of programs to suit personal taste. This customization was not expression so much as a choice in participation. Still, the seeds of the shift away from the broadcasting model are rooted in this small affordance.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The formal probibitions of institutionalized broadcasting were distinct from, but not independent of the legal prohibitions, because "from the beginning radio was recognized as a public resource. There was and is a limited amount of airwave space, and the federal government from the early 1920s on decided to protect this space for citizens" (Hillard 30). The asymmetry in the power structure between the speaking-one and the listening-many greatly influenced how each could interact with the content. Stations dictated the length of programming, gradually standardized to quarter-, half-and full hour, and the availability of programming from morning to evening, and were limited by the reach of their towers and by physical hazards(Wallace 12). Early receivers were constructed by their listeners, thus had the flexibility to be altered at will. But receivers became black boxes. "By 1926, there were substantial alterations in receiver design. Technical controls had been simplified down to two knobs (tuning and volume) so that practical know-how was no longer needed" (Spiegel 29). Audiences had no agency for content expression or to influence any receiver but their own. They could not mechanically influence the operations of the station. The audience did have agency to shape the flow of programs to suit personal taste. This customization was not expression so much as a choice in participation. Still, the seeds of the shift away from the broadcasting model are rooted in this small affordance.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Initially, broadcasting stations sold time rather than programming, making the airwaves available for anyone who could afford it. But this haphazard structure afforded the stations little control over flow to maximize listeners, resulting in a paradigm shift from ad agency sponsored programming to deficit financing by the networks and independent producers. Although Friedrich Kittler suggests that “broadcasting of weightless material came about for the purpose of the mass transmission of records" this recorded material came to be looked at unfavorably (Kittler 94). "The largest commercial threat to the industry emerged with the widespread production of transcribed, or electronically recorded, programs...Between late 1929 and 1932, several NBC affiliates began rejecting chain offerings in favor of these recorded programs...To counter transcriptions, executives of both chains[NBC and CBS] defined and aggressively promoted live, wireless distributed programming as the only authentic system for national broadcasting" (Socolow 34}. The shift from sponsorship to deficit programming, was also a shift away from liveness. “Storing, erasing, sampling, fast-forwarding, rewinding, editing—inserting tapes into the signal path leading from the microphone to the master disc made manipulation itself possible. Ever since combat reports of Nazi radio, even live broadcasts have not been live.” (Kittler 108). Repetition and syndication became the space for economic success, but these new technical abilities called into question the simultaneity of the broadcast model.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Initially, broadcasting stations sold time rather than programming, making the airwaves available for anyone who could afford it. But this haphazard structure afforded the stations little control over flow to maximize listeners, resulting in a paradigm shift from ad agency sponsored programming to deficit financing by the networks and independent producers. Although Friedrich Kittler suggests that “broadcasting of weightless material came about for the purpose of the mass transmission of records" this recorded material came to be looked at unfavorably (Kittler 94). "The largest commercial threat to the industry emerged with the widespread production of transcribed, or electronically recorded, programs...Between late 1929 and 1932, several NBC affiliates began rejecting chain offerings in favor of these recorded programs...To counter transcriptions, executives of both chains[NBC and CBS] defined and aggressively promoted live, wireless distributed programming as the only authentic system for national broadcasting" (Socolow 34}. The shift from sponsorship to deficit programming, was also a shift away from <ins class="diffchange diffchange-inline">[[</ins>liveness<ins class="diffchange diffchange-inline">]]</ins>. “Storing, erasing, sampling, fast-forwarding, rewinding, editing—inserting tapes into the signal path leading from the microphone to the master disc made manipulation itself possible. Ever since combat reports of Nazi radio, even live broadcasts have not been live.” (Kittler 108). Repetition and syndication became the space for economic success, but these new technical abilities called into question the simultaneity of the broadcast model.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>===Legal Prohibitions/Affordances===</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>===Legal Prohibitions/Affordances===</div></td></tr>
</table>Esaidel