Podcast - Wikipedia. The Serial podcast being played through an i. Phone. A podcast is an episodic series of digital audio or video files which a user can download and listen to.
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It is often available for subscription, so that new episodes are automatically downloaded via web syndication to the user's own local computer, mobile application, or portable media player. Thus, the files distributed are in audio format, but may sometimes include other file formats such as PDF or e. Pub. Videos which are shared following a podcast model are called video podcasts or vodcasts. The distributor of a podcast maintains a central list of the files on a server as a web feed that can be accessed through the Internet. The listener or viewer uses special clientapplicationsoftware on a computer or media player, known as a podcatcher, which accesses this web feed, checks it for updates, and downloads any new files in the series.
This process can be automated so that new files are downloaded automatically, which may seem to the user as though new episodes are broadcast or . Files are stored locally on the user's device, ready for offline use. Many of these applications allow users to download podcasts or stream them on demand as an alternative to downloading. Many podcast players (apps as well as dedicated devices) allow listeners to skip around the podcast and control the playback speed.
Some have labeled podcasting as a converged medium bringing together audio, the web, and portable media players, as well as a disruptive technology that has caused some people in the radio business to reconsider established practices and preconceptions about audiences, consumption, production, and distribution. Dvd Ghostbusters (2016) Downloads Online. It is very much a horizontal media form: producers are consumers, consumers may become producers, and both can engage in conversations with each other. Use of the term . This name is used by shows from the TWi. T. tv network. Podcasts are similar to radio programs, but they are audio files. Listeners can play them at their convenience, using devices that have become more common than portable broadcast receivers.
The first application to make this process feasible was i. Podder. X, developed by August Trometer and Ray Slakinski. It was a show focused on chronicling his everyday life, delivering news and discussions about the development of podcasting, as well as promoting new and emerging podcasts. Daily Source Code is believed to be the first podcast produced on a consistent basis.
Curry published it in an attempt to gain traction in the development of what would come to be known as podcasting and as a means of testing the software outside of a lab setting. The name Daily Source Code was chosen in the hope that it would attract an audience with an interest in technology. As its audience became interested in the format, these developers were inspired to create and produce their own projects and, as a result, they improved the code used to create podcasts. As more people learned how easy it was to produce podcasts, a community of pioneer podcasters quickly appeared. While this made access to podcasts more convenient and widespread, it also effectively ended advancement of podcatchers by independent developers.
Additionally, Apple issued Cease and Desist orders to many podcast application developers and service providers for using the term . In addition, major local radio stations like WNYC in New York City and WHYY- FM radio in Philadelphia, KCRW in Los Angeles placed their programs on their websites and later on the i. Tunes platform. Concurrently, CNET, This Week in Tech, and later Bloomberg Radio, the Financial Times, and other for- profit companies provided podcast content, some using podcasting as their only distribution system. IP issues in trademark and patent law. On September 9, 2.
United States Patent and Trademark Office rejected the application, citing Wikipedia's podcast entry as describing the history of the term. The company amended their application in March 2.
USPTO rejected the amended application as not sufficiently differentiated from the original. In November 2. 00. Apple sent a cease and desist letter that week to Podcast Ready, Inc., which markets an application known as . However, no statement was made as to whether or not Apple believed they held rights to it.
US Congressman Peter De. Fazio's previously proposed . Patent and Trademark Office invalidated five provisions of Personal Audio's podcasting patent.
These can contain chapter markers, hyperlinks, and artwork, all of which is synced to a specific program or device. When an enhanced podcast is played within its specific program or device, all the appropriate information should be displayed at the same time and in the same window, making it easier to display materials. Like a traditional novel, a podcast novel is a work of long literary fiction; however, this form of the novel is recorded into episodes that are delivered online over a period of time and in the end available as a complete work for download. The episodes may be delivered automatically via RSS, through a website, blog, or another syndication method.
These files are either listened to directly on a user's computer or loaded onto a portable media device to be listened to later. The types of novels that are podcasted vary from new works from new authors that have never been printed. Other podcast novels have a single narrator reading the text of the story with little or no sound effects. Download Lowriders (2017) Movies. Podcast novels are distributed over the Internet, commonly on a weblog. Podcast novels are released in episodes on a regular schedule (e.
They can either be downloaded manually from a website or blog or be delivered automatically via RSS or another method of syndication. Ultimately, a serialized podcast novel becomes a completed audiobook. These audiences then make it easier to secure a printing deal with a publisher at a later date. These podcast novelists also claim the exposure that releasing a free podcast gains them makes up for the fact that they are giving away their work for free.
Web television series are often distributed as video podcasts. Dead End Days (2. That serialized dark comedy about zombies was broadcast from 3.
October 2. 00. 3 through 2. Video podcasts have become extremely popular online and are often presented as short video clips, usually excerpts of a longer recording. Video clips are being used on pre- established websites, and increasing numbers of websites are being created solely for the purpose of hosting video clips and podcasts. Video podcasts are being streamed on intranets and extranets, and private and public networks, and are taking communication through the Internet to whole new levels. Examples include Amazon, Hulu, and Netflix.
Other types of video podcasts used for web television may be short- form, anywhere from 2–9 minutes per episode, typically used for advertising, video blogs, amateur filming, journalism, and convergence with traditional media. Through video podcasts, businesses both large and small can advertise their wares and services in a modern, cost- effective way. In the past, big businesses had better access to expensive studios where sophisticated advertisements were produced, but now even the smallest businesses can create high- quality media with just a camera, editing software, and the Internet. In contrast, a podcast distributed in both the Ogg Vorbis and Speex codecs would meet the strict definition of an oggcast. The term oggcast is a combination of the word .
However, The Linux Link Tech Show, one of the longer running Linux podcasts still in production, has a program in the Ogg Vorbis format in its archives from January 7, 2. Mozilla. Firefox and Google Chrome web browsers both support playing Ogg Vorbis files directly in the browser without requiring plugins.
Ogg Vorbis is not bound by patents and is considered . Some people feel that this is a safer container for their multimedia content for this reason.
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El auge del humano (original title)1h 4. The light, when not artificial, is low, allowing the volume to become dramatic.
The main element of orientation is the voice (comprised of reconstructed dialogues), which remains clearly audible while the characters move around, approaching and leaving. In contrast, the camera stays at a certain distance from the main action and moves with a slow unchanging shift, giving us the sensation of being distant observers. It is not a stream of images with a voice- over, but a stream of voices with a “camera- over”. There is an underground feeling to El auge del humano, even if the shooting passes through private and public spaces like a straight line that freely (almost indifferently) intersects the lives of young people; a cinematographic “parkour”. While we visit very different places and situations our (camera) eye ensures a perfect continuity, often coinciding with the steady walking pace of the constantly changing characters. Eduardo Williams connects Argentina, Mozambique and the Philippines, with a continuous and improbable line.
A line largely drawn by internet connections: chats and video- sharing paired with spoken dialogues, bridging the individual and the group, the job and leisure. It gives us the impression that the group supervenes the individuals, which never really emerge as such. From the characters in this film, there are not statements but connections, nor are there places but passages. The small jobs constitute a hazardous constellation around the leisure time. In the section on the Philippines, a girl answers the why- question of a child: «No reason, just fun.»It is a dark and vivid element of fun that animates this global, transversal experience of Eduardo Williams.
No joy, no sadness; just the dreamy gaze of a virtual connection. And, at the same time, a realist documentary gaze on a certain southern region, on an often neglected suburban world. El auge del humano seems to concern humanity only marginally, as it is mostly focused on its eye or its vision. The mixture of the dreamy and documentary gaze describes the reality of imagination, which is perhaps nothing but the reality of the human (making daydreaming central to the main chapter of the book of the human?).
This film is a vision, a trip, a walking movie, and an essay on the meaning of the connection: internet connection, human connection, geographical connection, urban connection, all melted into one straight line. The line tracking the single experience of which the film consists. Director: Eduardo Williams. Writer: Eduardo Williams.
Stars: Sergio Morosini, Shine Marx, Domingos Marengula. Country: Argentina.