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Journal articles on the topic 'Bbc programming'
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1
Voštinár, Patrik, and Jaroslav Knežník. "Education with BBC micro:bit." International Journal of Online and Biomedical Engineering (iJOE) 16, no. 14 (2020): 81. http://dx.doi.org/10.3991/ijoe.v16i14.17071.
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Teaching Computer Science in all level of education is not easy, because most students are scared of the programming. Therefore, most of the teachers in Slovak schools prefer to teach special software for a spreadsheet editor, presentation programs, etc. This contribution deals with our experience of using an educational board BBC micro:bit in the educational process. We will explain some of our prepared tasks for teaching programming concepts, which we used for teaching with BBC micro:bit in primary, secondary schools, and university. In the article, we will also focus on various types of extensions, which could be used together with micro:bit. We will explain the results of our research and look at whether using BBC micro:bit can increase the student's motivation for learning programming.
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Green, John, and Mark Brindley. "BBC BASIC Programming for Schools and Colleges." Mathematical Gazette 70, no. 451 (1986): 64. http://dx.doi.org/10.2307/3615851.
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Stoodley, K. D. C. "An introduction to programming in BBC BASIC." International Journal of Clinical Monitoring and Computing 4, no. 4 (1987): 199–207. http://dx.doi.org/10.1007/bf02915859.
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Gorobiy, Alexey V. "Analysis of Genres of the BBC One TV Programs." RUDN Journal of Studies in Literature and Journalism 26, no. 1 (2021): 115–22. http://dx.doi.org/10.22363/2312-9220-2021-26-1-115-122.
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The relevance of the study is based on the fact that the BBC One channel is interesting as an example of a public service broadcaster which retains its image and competitiveness on the global media market. The goal of the research is to analyze the BBC One programming with regard to its forms of journalists and cameramens work. The semiotic methodology is chosen for interpreting sign systems, i. e. journalists texts or TV frames, as interconnected phenomena of culture. As a result, important sociocultural and philosophical elements integrated into the BBC One programming and determining its genre profile have been revealed. The social mission of the public broadcasting, combination of regional and metropolitan grounds, the prevalence of serious news genres are among them. Moreover, the programs are open for entertaining content including a foreign-made one. There is also a visual and aesthetic adaptation of pre-TV cultural forms of theater and the tabloid press, etc. Therefore, we can speak of a rather flexible programming policy of the BBC One, which can be a good model to develop strategies for public service broadcasters in other countries.
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Ramon, Xavier, and Richard Haynes. "Sports Coverage on BBC ALBA: Content, Value, and Position in the Scottish Broadcasting Landscape." Communication & Sport 7, no. 2 (2018): 221–43. http://dx.doi.org/10.1177/2167479518760485.
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Through a mixed-method approach, we examine the sports programming offered by BBC ALBA between 2008 and 2016 and identify the value that the channel creates in Scotland through its diverse sports portfolio. In an increasingly cluttered and complex scenario where pay-TV giants Sky and BT hold a plethora of top-tier rights and BBC Scotland and STV cannot fit more sport into their schedules, BBC ALBA serves Gaelic-speaking and national audiences with a regular diet of quality sports programming. Beyond being instrumental to filling schedules, sports content has been a gateway for Gaelic, a key driver of BBC ALBA’s investment in the creative sector and a contributor to the development of grassroots sport in Scotland. However, the financial situation under which the channel operates makes it very difficult to sustain and improve its current position. This case study demonstrates that sport broadcasting offers genuine opportunities to maintain linguistic and cultural diversity in small nations, even in a context characterized by escalating competition, dwindling resources, and the proliferation of multiple viewing portals.
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Richards, Morgan. "Global Nature, Global Brand: Bbc Earth and David Attenborough's Landmark Wildlife Series." Media International Australia 146, no. 1 (2013): 143–54. http://dx.doi.org/10.1177/1329878x1314600118.
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Landmark wildlife series like Life on Earth (1979), Planet Earth (2006) and Frozen Planet (2011) are synonymous with the BBC, and are largely seen as unquestioned embodiments of its public service values. Yet the landmark format for wildlife programming was designed from its outset to appeal to international television markets, particularly the US market. This article examines the history and evolution of David Attenborough's landmark series, tracing the development of the landmark format from its roots in the BBC's programming policy of the early 1960s through broader changes in national and international television markets to the development of the global brand BBC Earth. Combining close analysis of landmark wildlife series with ethnographic interviews with BBC Natural History Unit staff and detailed archival research, the article focuses on the role of BBC wildlife documentary in debates about how public service media should be defined and understood. It is concluded that landmark wildlife series have always evinced the tensions between the BBC's public service values and the need for these series to appeal to global television markets.
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Lin, Lisa. "Beyond Canned Television." Canned TV Going Global 9, no. 17 (2020): 21. http://dx.doi.org/10.18146/view.224.
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The October of 2018 saw the creation of BBC Earth Tribe, a global online brand representing BBC Natural History Unit (NHU)’s programming on Tencent Video, one of China’s leading online streaming services. Besides providing over 650 hours of BBC documentaries to Chinese online audiences, BBC Earth Tribe delivers unprecedented access to creators from BBC NHU through interactive screen forms and offline events. This article offers a study of BBC Earth’s global strategies in its partnerships with one of the largest Chinese digital platforms, Tencent, in terms of coproduction and online community building beyond traditional canned television distribution. It examines Project Penguin, which has formalised coproduction partnerships between BBC Studios and Tencent Online Media Group (OMG) since October 2018. The distribution partnerships involve not only pre-sales of BBC Earth’s flagship documentaries but also coproduction and online community building on Tencent-run platforms, from streaming services to social media platforms. By examining BBC Earth’s distribution strategies in the Chinese media landscape from the early 2000s, the paper aims to theorise distribution strategies between BBC Studios and Tencent Video and its socio-cultural implications on television distribution in the digital, multiplatform era of convergence.
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Genders, Amy. "BBC arts programming: a service for citizens or a product for consumers?" Media, Culture & Society 42, no. 1 (2019): 58–74. http://dx.doi.org/10.1177/0163443719842079.
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The British Broadcasting Corporation occupies what is often considered to be a unique position within UK culture as both a respected national institution that is a pillar of enlightenment values and, increasingly, an agile, entrepreneurial business that has to deliver ‘value-for-money’. This study will contribute to the existing body of literature examining the impact of a neoliberal marketisation discourse on BBC policy by focusing specifically on the provision of arts programming as a key indicator of how the logic of the marketplace has permeated the BBC’s commissioning culture. In doing so, it argues that the loss of the topical arts magazine and discussion formats from BBC television, in contrast to radio, is symptomatic of the ways in which arts broadcasting has been reimagined both in the corporation’s internal production culture and in its public pronouncements as a product for consumers rather than a service for citizens.
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Shaw, David. "A New Call Laboratory." ReCALL 3, no. 4 (1991): 2–4. http://dx.doi.org/10.1017/s0958344000002482.
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After attending the 1989 Exeter CALL Conference, David Shaw and John Partridge, two teachers from the University of Kent, recommended to the School of European and Modem Language Studies that the School should establish its own Computer Assisted Language Learning Laboratory. Several of us had been ‘keeping an eye’ on CALL for quite a few years, from the days when BBC micros were innovative marvels. The Applied Languages Board had acquired a BBC and some software and had gained some experience with it in postgraduate courses. David Shaw had been supervising practical programming projects for MSc students in Computing in the area of CALL and natural language processing. Our recommendation was that, with a new generation of microcomputers supplanting the trusty but limited BBC micro, a point had been reached where it would be realistic for the School to establish a CALL teaching laboratory on a more ambitious scale.
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Wahl-Jorgensen, Karin, Mike Berry, Iñaki Garcia-Blanco, Lucy Bennett, and Jonathan Cable. "Rethinking balance and impartiality in journalism? How the BBC attempted and failed to change the paradigm." Journalism 18, no. 7 (2016): 781–800. http://dx.doi.org/10.1177/1464884916648094.
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This article reconsiders the concepts of balance and impartiality in journalism, in the context of a quantitative content analysis of sourcing patterns in BBC news programming on radio, television and online in 2007 and 2012. Impartiality is the cornerstone of principles of public service broadcasting at the BBC and other broadcasters modelled on it. However, the article suggests that in the case of the BBC, it is principally put into practice through juxtaposing the positions of the two main political parties – Conservative and Labour. On this basis, the article develops the idea of the ‘paradigm of impartiality-as-balance.’ This paradigm prevails despite the news organisation’s commitment to representing a broader range of opinion. The paradigm of impartiality-as-balance means that only a narrow range of views and voices are heard on the most contentious and important issues. Further, it results in reporting that focuses on party-political conflict, to the detriment of a journalism which provides much-needed context.
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Baumann, Gerd, and Fatima el Issawi. "The BBC Arabic Service: Changing Political Mediascapes." Middle East Journal of Culture and Communication 3, no. 2 (2010): 137–51. http://dx.doi.org/10.1163/187398610x509986.
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AbstractLaunched in 1938 as the BBC's first foreign language radio service, 80 years later, in 2008, the BBC Arabic Service also became the first tri-media platform at the World Service offering news and current affairs not only on radio and on online, but also via a fully fledged TV Channel in Arabic. This article traces the intervening transformations by exploring two critical moments in detail and examines why broadcasting to the Middle East has assumed such a pivotal position in the BBC's history. The first step examines selected internal communications between the British government and the BBC during World War Two, and the second outlines the BBC's current choices and strategy of combining the provision of 'impartial' news with new kinds of interactive programming and establishing opportunities for participation in mediated debates among audiences and users across the Middle East and the Arabic-speaking diasporas. Drawing on archival research, observational, and interview data, this article indicates enduring issues and themes that run through the history of the BBC Arabic services. The most important of these concern the dilemma of providing impartial news at the same time as promoting British diplomatic goals and strategic interests in the Greater Middle East.
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Scully, Paul, Orlaith Reid, Alan Macken, et al. "Food and beverage cues in children’s television programmes: the influence of programme genre." Public Health Nutrition 19, no. 4 (2015): 616–24. http://dx.doi.org/10.1017/s1368980015001755.
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AbstractObjectiveThe link between childhood obesity and both television viewing and television advertising have previously been examined. We sought to investigate the frequency and type of food and beverage placements in children-specific television broadcasts and, in particular, differences between programme genres.MethodContent of five weekdays of children-specific television broadcasting on both UK (BBC) and Irish (RTE) television channels was summarized. Food and beverage placements were coded based on type of product, product placement, product use and characters involved. A comparison was made between different programme genres: animated, cartoon, child-specific, film, quiz, tween and young persons’ programming.ResultsA total of 1155 (BBC=450; RTE=705) cues were recorded giving a cue every 4·2 min, an average of 12·3 s/cue. The genre with most cues recorded was cartoon programming (30·8 %). For the majority of genres, cues related to sweet snacks (range 1·8–23·3 %) and sweets/candy (range 3·6–25·8 %) featured highly. Fast-food (18·0 %) and sugar-sweetened beverage (42·3 %) cues were observed in a high proportion of tween programming. Celebratory/social motivation factors (range 10–40 %) were most common across all genres while there were low proportions of cues based on reward, punishment or health-related motivating factors.ConclusionsThe study provides evidence for the prominence of energy-dense/nutrient-poor foods and beverages in children’s programming. Of particular interest is the high prevalence of fast-food and sugar-sweetened beverage cues associated with tween programming. These results further emphasize the need for programme makers to provide a healthier image of foods and beverages in children’s television.
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Blandford, Steve, and Ruth McElroy. "Memory, Television and the Making of the BBC’s The Story of Wales." European Television Memories 2, no. 3 (2013): 118. http://dx.doi.org/10.18146/2213-0969.2013.jethc038.
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The production of television history programming is a rich site for examining the dynamic relationship between history and memory. This article approaches these dynamics through original, empirical research of a specific case study, BBC Wales’ The Story of Wales (Green Bay for BBC Wales 2012). It analyses the commissioning, production and presentation of a landmark national history programme within the specific context of a small nation (Wales) and provides insights into how television intervenes in the construction, revision and remembering of the national past. The role of national histories in the construction of memory and national identity is importance at a time when the legitimacy of nations and states is under question and when governmental and political settlements are under construction as is the case in the post-devolutionary United Kingdom.
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Wheatley, Helen. "At Home on Safari: Colonial Spectacle, Domestic Space and 1950s Television." Journal of British Cinema and Television 10, no. 2 (2013): 257–75. http://dx.doi.org/10.3366/jbctv.2013.0134.
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This article explores the ways in which television registered, and broadcast, colonial discourse in the specific context of Kenya and Britain in the 1950s. Focusing on the wildlife programming of the husband and wife team Armand and Michaela Denis as its case study, an examination of programmes such as Filming in Africa (BBC, 1955) and On Safari (BBC, 1957–65) is offered, looking at the ways in which these programmes negotiated the transition between colonial spectacle and a cosy, domestic address for British television. The article will explore what these programmes reveal about Britain's ‘imagined Kenya’ in the final years of colonial rule, and argue that it is possible to trace a colonial lament in this form of popular entertainment on the cusp of the decolonisation of Kenya. These programmes are thus interesting as examples of colonial television, that is, domestic television broadcasting made outside the UK by programme-makers who present themselves as being simultaneously ‘at home’ and ‘abroad’ on the BBC. Importantly, the programmes aimed to bridge a perceived gap between the ‘outside world’ of colonised ‘wild’ space and the ‘inside world’ of television's interior, domestic spaces. A history of the Denises’ programmes is reconstructed by intertwining archival research into scripts, set designs, publicity materials and production notes with analyses of the programmes themselves.
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Hammond, Matthew. "Tectonics Glasgow, 1–3 May 2015." Tempo 69, no. 274 (2015): 62–64. http://dx.doi.org/10.1017/s0040298215000376.
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Ilan Volkov's Tectonics series continues to break new ground in contemporary music programming and curating. Tectonics has now seen its third edition in Glasgow, where Volkov conducts the BBC Scottish Symphony Orchestra, and has also sprung up in other locations to which he has connections – beginning in his home city of Tel Aviv, the series has spread also to Reykjavik, Adelaide and New York. The common theme is a blend of new commissions (usually orchestral works), important recent works, and performances from figures from other areas of avant-garde music making – free improvisation, electronic music and the outer fringes of noise and metal.
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Keane, Damien. "Contrary Regionalisms and Noisy Correspondences: The BBC in Northern Ireland circa 1949." Modernist Cultures 10, no. 1 (2015): 26–43. http://dx.doi.org/10.3366/mod.2015.0096.
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This essay examines the limits and possibilities of the mid-century broadcasting field in Northern Ireland, by attending to the dynamic interplay at the BBC's Belfast station of three competing regional formations: the political regionalism of the Northern Irish state; the cultural regionalism of a coterie of Northern Irish writers and intellectuals; and the broadcasting regionalism instituted as part of the BBC's policy of national programming. These contrary regionalisms each had different and, at times, competing criteria for what constituted particular and typical details of life in the North, and broadcasters had to negotiate the inexact correspondences among them with ears tuned to the political relations triangulated by Belfast, Dublin, and London. Beginning with a consideration of how broadcasters in Northern Ireland produced forms of mediated actuality both in and beyond the studio, the essay concludes with Sam Hanna Bell's This is Northern Ireland (1949), a feature that explores the tension of overspill and containment effected less by the partition of Ireland than by the contradictions inherent to the broadcasting field.
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Genders, Amy. "An Invisible Nation? The BBC and English-language Arts Television in Wales." Journal of British Cinema and Television 16, no. 4 (2019): 409–28. http://dx.doi.org/10.3366/jbctv.2019.0492.
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The history of the BBC's regional programming is one of perennial tension between representing and reflecting the diversity of the UK's nations and regions and what is often perceived as an unrelenting ‘metropolitan centricity’. Through charting the mixed fortunes of English-language arts television for and about Wales, this article examines how the narrow range of cultural representation available on BBC television is situated within a public service broadcasting strategy that continues to regard regional arts as inherently ‘provincial’ and as such, inferior to that of London. The data and analysis presented derives from a broader study based on 21 qualitative interviews conducted with key figures directly involved in the production and commissioning of arts content across the BBC's television, radio and online services. The accounts provided by these interviewees are also contextualised by analysis of broadcasting policy and internal BBC documents, including annual yearbooks and reports. The article concludes by arguing that if the BBC is to reflect more adequately the true diversity of the UK's nations and regions and the distinct arts and cultures constituted within them, it must start by devolving its commissioning powers more equally. Rather than merely shifting centralisation from London to allocated ‘centres of excellence’ such as Scotland in the case of arts broadcasting, an effective public service arts proposition should strive to give greater autonomy and agency to the nations and regions so that they might build their arts strategies in their own image as opposed to that of the capital.
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Iosifidis, Petros. "House of Lords Communications Committee: Public service broadcasting in the age of video on demand." Journal of Digital Media & Policy 11, no. 1 (2020): 81–95. http://dx.doi.org/10.1386/jdmp_00013_1.
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This article is my response to the House of Lords Communications Committee Inquiry on ‘Public service broadcasting in the age of video on demand’, which was carried out in 2019. The inquiry was important and relevant as the successful UK public service broadcasters (PSBs) BBC, ITV, C4, C5 and S4C are currently facing major challenges from video-on-demand (VoD) services. These challenges primarily concern competition for content from VoD services in a highly competitive broadcasting market characterized by shifts in audience behaviour. Audiences are watching less scheduled TV as they are attracted by the business model of global streaming services like YouTube, Amazon Prime Video and Netflix. Fierce competition from mainly US-based, unregulated global VoD players investing billions of pounds in content has escalated programming costs and made it difficult for tightly regulated PSBs with modest domestic UK budgets to compete. This article is largely in favour of sustaining properly funded, universally available PSBs, who can deliver quality and original programming, alongside impartial and trusted news in the era of fake news and post-truth politics.
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Saward, Angela. "Television, Teenagers and VD: An Insight into the Advisory Process behind Schools and Colleges’ Broadcasting in the Early 1970s in the UK." VIEW Journal of European Television History and Culture 9, no. 18 (2020): 23. http://dx.doi.org/10.18146/view.239.
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This article looks at the forgotten history of a television programme on venereal disease for teenagers broadcast in the United Kingdom (excluding Scotland) in 1973. It was produced by BBC Schools and Colleges and deemed to be very successful. The production was one of a trio of programmes entitled ‘Health Hazards’, from the series Twentieth Century Focus, which reflected issues relevant to teenagers over a period of social change from the 1960s to the 1970s. The archive record is lean on schools programming and this programme is very well documented from concept to delivery, representing a discrete, but ephemeral, intervention into 1970s sex educational broadcasting. This research contributes something new about public health and sexual education in the period immediately before AIDS.
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Richardson, John E. "‘Broadcast to mark Holocaust Memorial Day’: Mass-mediated Holocaust commemoration on British television and radio." European Journal of Communication 33, no. 5 (2018): 505–21. http://dx.doi.org/10.1177/0267323118763919.
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This article examines the various programmes that British television and radio broadcast to mark Holocaust Memorial Day, between 2002 and 2016. Adopting a content analytic methodology, I quantified the broadcast schedules of 15 successive Holocaust Memorial Days, as recorded in archived copies of the Radio Times. My analysis reveals significant variations in mass-mediated Holocaust commemoration. Principally, I found a decrease in programming, despite a significant increase in the number of television channels; a tendency towards ‘anniversarism’ in the form and frequency of broadcast programmes; a stress on Auschwitz, as metonym of the Holocaust, and on survivors, children and music; and that commercial channels were significantly more likely to broadcast documentaries (and repeats) than the BBC’s more varied and original outputs. These variations appear to be the result of three interlinked factors: First, a sense that the audience had grown weary of World War II commemoration, following saturation broadcasting of anniversaries in 2004 to 2005; changes in the management and programming priorities of key broadcasters, particularly the BBC; and that Holocaust Memorial Day has not yet become an established day for broadcasters in the nation’s commemorative calendar.
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Anderson, Martin. "BBC Proms 2013: Helmut Lachenmann, John McCabe, Colin Matthews, Philip Glass, Naresh Sohal and Anthony Payne." Tempo 68, no. 267 (2014): 61–63. http://dx.doi.org/10.1017/s0040298213001381.
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This year's Proms prospectus was the sixth to bear Roger Wright's name at the bottom of the preface, and under his aegis the Proms have taken on a non-doctrinaire openness that have seen some refreshing programming choices, among them Langgaard's wonderfully weird Music of the Spheres in 2010 and his six-minute Eleventh Symphony (complete with four concertante tubas) in 2012; between them, in 2011, came the most important of all maverick works, Brian's Gothic Symphony, almost tailor-made for the Proms and, more importantly, one of music's masterpieces. In the 37 years of my experience of the Proms (I went to my first one in 1977, God help me) new music has followed a longer-term but essentially similar trend of what one might call disindoctrination, as composers have increasingly felt free to write what they wanted to write rather than what they were expected to write. In my early Promming days you expected to have to fight for your new music: most of it inhabited varying degrees of uncompromising modernism.
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Steward, Tom, and James Zborowski. "(G)hosting Television:Ghostwatchand its Medium." Journal of British Cinema and Television 11, no. 2-3 (2014): 189–212. http://dx.doi.org/10.3366/jbctv.2014.0203.
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This article's subject is Ghostwatch (BBC, 1992), a drama broadcast on Halloween night of 1992 which adopted the rhetoric of live non-fiction programming, and attracted controversy and ultimately censure from the Broadcasting Standards Council. In what follows, we argue that Ghostwatch must be understood as a televisually specific artwork and artefact. We discuss the programme's ludic relationship with some key features of television during what Ellis (2000) has termed its era of ‘availability’: principally liveness, mass simultaneous viewing, and the flow of the television super-text. We trace the programme's television-specific historicity while acknowledging its allusions and debts to other media (most notably film and radio). We explore the sophisticated ways in which Ghostwatch's visual grammar and vocabulary and deployment of ‘broadcast talk’ ( Scannell 1991 ) variously ape, comment upon and subvert the rhetoric of factual programming, and the ends to which these strategies are put. We hope that these arguments collectively demonstrate the aesthetic and historical significance of Ghostwatch and identify its relationship to its medium and that medium's history. We offer the programme as a historically reflexive artefact and as an exemplary instance of the work of art in television's age of broadcasting, liveness and co-presence.
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Riquelme Odi, Juan, Claudia Marina Vicario Solórzano, and Teresa Guzmán Flores. "Implementación del Cómputo Físico como un enfoque innovador de enseñanza de los fundamentos de programación / Implementation of the Physical Computing as an innovative approach to teaching the fundamentals of applications programming." Revista Internacional de Ciencias Sociales 8, no. 3 (2020): 211–23. http://dx.doi.org/10.37467/gka-revsocial.v8.2224.
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La enseñanza de la programación de aplicaciones es una actividad compleja por diversos factores, que van desde la enseñanza siguiendo los esquemas tradicionales, hasta la necesidad de memorizar aspectos específicos de los lenguajes de programación. Actualmente existe un enfoque conocido como Cómputo Físico para facilitar el aprendizaje de conceptos relacionados con las ciencias computacionales y la programación de aplicaciones de una manera innovadora, enfocándose en la creatividad de los productos generados. Esta investigación muestra los resultados de la implementación del Cómputo Físico para la enseñanza de los fundamentos de programación mediante un seminario aplicado utilizando la tarjeta BBC Micro:Bit.
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Noonan, Caitriona. "‘Big stuff in a beautiful way with interesting people’: The spiritual discourse in UK religious television." European Journal of Cultural Studies 14, no. 6 (2011): 727–46. http://dx.doi.org/10.1177/1367549411419975.
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This article critically examines changes in the style and tone of religious broadcasting. Increasingly, a discourse of spirituality and faith is used by television producers to describe and discuss their output, as these are seen as less contentious and more audience-friendly ways of promoting faith-based programming. However, these themes continue to be framed within a recognizable set of religious traditions, mainly Christian. Combining interviews with producers and analysis of the BBC series Extreme Pilgrim (2008), this article examines the representation of spirituality as it is visualized and narrated. It analyses how this representation challenges traditional religious institutions, the new role it creates for broadcasters within lifestyle television, and discusses whether this subjective position can be conveyed authentically through the medium of television. The future of religious broadcasting rests on finding sustainable formats, yet these lifestyle formats offer distinct challenges in relation to their successful production and reproduction.
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Power, Stephanie. "Vale of Glamorgan Festival: Fitkin, Metcalf, Grigorjeva, Janulytė, Bowden and Currier." Tempo 67, no. 266 (2013): 75–76. http://dx.doi.org/10.1017/s0040298213000892.
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Since 1992, the Vale of Glamorgan Festival (founded in 1969 by composer John Metcalf) has focused exclusively on living composers, aiming to reach a wider audience than that traditionally associated with new music. In Metcalf's words: ‘We're not here for … the new music profession; of course, composers, ensembles and publishers are an important part of our audience, but … new music needs to go beyond that now’. However, Vale programmes do not lack challenge or stylistic diversity; alongside more recognized figures, the Festival showcases hitherto little-known composers and explores a variety of music from smaller countries and/or younger traditions. Premières are a key feature of the programming. This year, the Festival was extended to run from 9–18 May, adding a second concert to the customary single contribution from the BBC National Orchestra of Wales. Across a range of platforms, there were 19 premières of music by 10 composers. The following offers some of the highlights.
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Ramsey, Phil. "Commercial Public Service Broadcasting in the United Kingdom: Public Service Television, Regulation, and the Market." Television & New Media 18, no. 7 (2016): 639–54. http://dx.doi.org/10.1177/1527476416677113.
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The commercial public service broadcasters (PSBs) in the United Kingdom (UK) make a significant contribution to the country’s public service television system, alongside the BBC. Operating under the UK communications regulator Ofcom, the commercial PSB channels ITV, Channel 4, and Channel 5 are required to broadcast varying levels of public service content. This places these channels in a different category to all other market broadcasters in the UK. By taking a critical political economy of communication approach, this article examines how the regulatory system functions to secure public service provision in television. A particular focus is placed on the first-run originations quotas, which govern the levels of programming that are originally produced or commissioned by a commercial PSB, and broadcast for the first time in the UK. It is argued that while fulfilling the public service remit, the commercial PSBs gain significant benefits that contribute to the underpinning of their business models.
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Cervi, Laura. "CITIZEN JOURNALISM AND USER GENERATED CONTENT IN MAINSTREAM MEDIA. NEW DIALOGIC FORM OF COMMUNICATION, USER-ENGAGEMENT TECHNIQUE OR FREE LABOR EXPLOITATION?" Revista de Comunicação Dialógica, no. 1 (September 5, 2019): 120–41. http://dx.doi.org/10.12957/rcd.2019.41871.
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With the widespread diffusion of social networks and "participatory platforms", the process of collecting, creating and distributing information is no longer the exclusive competence of professional journalists and media outlets: it potentially involves all citizens, turning information into a real common good. In this context, despite their concerns, big broadcasters have been forced to adapt and include User Generated Content (UGC) in their programming, both as a way to engage their users and to benefit from the opportunity offered by a potential infinite source of information. This article, through a structural and qualitative analysis of four amongst the most relevant international broadcasters’ User generated Content platforms (BBC, France 24, CNN and Al Jazeera), tries to understand if the outputs of these initiatives actually create a new form of dialogic journalism, showing that these relatively young practices present a mix of user engagement and active participation, but it’s too early to speak about a real dialogic communication. The main limits are still related to the verification process, the crediting –and consequently with free labor- and the responsibility attributions. The articles ends with some recommendations geared toward building a real community of trust.
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Stanojević, Dragana, Aleksandra Rosić, Branislav Ranđelović, and Željko Stanković. "Micro: Bit as a Tool for Improvement of Education." INTERNATIONAL JOURNAL OF MANAGEMENT SCIENCE AND BUSINESS ADMINISTRATION 7, no. 2 (2021): 14–19. http://dx.doi.org/10.18775/ijmsba.1849-5664-5419.2014.72.1002.
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Technical education and Computer science education is easier to understand and more meaningful to learn using new teaching materials. This paper describes the use of miniature Micro: bit computers, developed by the British company BBC, in cooperation with several technology companies, with a purpose to increase the number of technologically educated people. Paper presents possible use of Micro: bit in teaching technical and informatics education and its impact on the development of digital competence. Micro: bit is already used in schools in the UK and part of teachers in Serbia had the opportunity to get acquainted with characteristics of this device. It is shown how students can try out the programming in the Microsoft Block Editor. Another benefit of this mini-computer is getting to know the basics of robotics. The curriculum in primary education enables the use of such tools in teaching process. Use of this tool and others, similar to it, in work with students, creates the atmosphere in school that is oriented towards new technologies. The simplicity of this mini-computer allows the student to become familiar with different professional challenges that can help them with choosing a future profession.
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Smith, Joe. "Demanding stories: television coverage of sustainability, climate change and material demand." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 375, no. 2095 (2017): 20160375. http://dx.doi.org/10.1098/rsta.2016.0375.
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This paper explores the past, present and future role of broadcasting, above all via the medium of television, in shaping how societies talk, think about and act on climate change and sustainability issues. The paper explores these broad themes via a focus on the important but relatively neglected issue of material demand and opportunities for its reduction. It takes the outputs and decision-making of one of the world's most influential broadcasters, the BBC, as its primary focus. The paper considers these themes in terms of stories, touching on some of the broader societal frames of understanding into which they can be grouped. Media decision-makers and producers from a range of genres frequently return to the centrality of ‘story’ in the development, commissioning and production of an idea. With reference to specific examples of programming, and drawing on interviews with media practitioners, the paper considers the challenges of generating broadcast stories that can inspire engagement in issues around climate change, and specifically material demand. The concluding section proposes actions and approaches that might help to establish material demand reduction as a prominent way of thinking about climate change and environmental issues more widely. This article is part of the themed issue ‘Material demand reduction’.
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Gendreau Chakarov, Alexandra, Quentin Biddy, Colin Hennessy Elliott, and Mimi Recker. "The Data Sensor Hub (DaSH): A Physical Computing System to Support Middle School Inquiry Science Instruction." Sensors 21, no. 18 (2021): 6243. http://dx.doi.org/10.3390/s21186243.
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This article describes a sensor-based physical computing system, called the Data Sensor Hub (DaSH), which enables students to process, analyze, and display data streams collected using a variety of sensors. The system is built around the portable and affordable BBC micro:bit microcontroller (expanded with the gator:bit), which students program using a visual, cloud-based programming environment intended for novices. Students connect a variety of sensors (measuring temperature, humidity, carbon dioxide, sound, acceleration, magnetism, etc.) and write programs to analyze and visualize the collected sensor data streams. The article also describes two instructional units intended for middle grade science classes that use this sensor-based system. These inquiry-oriented units engage students in designing the system to collect data from the world around them to investigate scientific phenomena of interest. The units are designed to help students develop the ability to meaningfully integrate computing as they engage in place-based learning activities while using tools that more closely approximate the practices of contemporary scientists as well as other STEM workers. Finally, the article articulates how the DaSH and units have elicited different kinds of teacher practices using student drawn modeling activities, facilitating debugging practices, and developing place-based science practices.
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Chapman, Robert. "The 1960s pirates: a comparative analysis of Radio London and Radio Caroline." Popular Music 9, no. 2 (1990): 165–78. http://dx.doi.org/10.1017/s0261143000003883.
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Anyone who can remember anything at all about pirate radio in the 1960s can usually remember two names: Radio Caroline and Radio London are synonymous with the offshore era. Between them they accounted for the majority of the audience who listened to the pirates, and the majority of the sponsors who advertised on them. But although they basically shared the same market rationale Caroline and London approached their task completely differently. London sought respect, prestige and accommodation. Its every move was geared towards being incorporated into the existing system of broadcasting, and its main purpose for existing seemed to be to bring about a legal commercial radio system in Great Britain. Radio Caroline had a very different rulebook and a very different guiding ethos. By a series of acts which culminated in a highly symbolic stand against what it saw as repressive legislation Caroline made explicit an underlying set of contradictions which anticipated in microcosm the wider philosophical and political contradictions of the 1960s counter-culture. For Radio London respect would eventually be won and the station's influence and programming legacy would endure in the shape of its replacement – BBC Radio One. For Radio Caroline there would be nothing like the same degree of influence. This contrast of approaches and outcomes between the two major pirate stations is at the very epicentre of the story of offshore radio.
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Stasch, Rupert. "The Camera and the House: The Semiotics of New Guinea “Treehouses” in Global Visual Culture." Comparative Studies in Society and History 53, no. 1 (2011): 75–112. http://dx.doi.org/10.1017/s0010417510000630.
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One of the most frequently encountered representations of West Papuan people internationally today is a photographic or video image of a Korowai or Kombai treehouse (Figure 1). Circulation of these images first exploded in the mid-1990s. In 1994, anArts & Entertainment Channelfilm about Korowai was broadcast in the United States under the titleTreehouse People: Cannibal Justice, and in 1996National Geographicpublished a photo essay titled “Irian Jaya's People of the Trees.” Korowai and Kombai treehouses have since been depicted in dozens of magazine and newspaper articles and twenty television productions, made by media professionals from the United States, United Kingdom, France, Germany, Austria, Sweden, Finland, Japan, Australia, Switzerland, Italy, Croatia, Slovakia, the Czech Republic, Vietnam, and recently West Papua itself. Some representations have had mass global distribution through programming partnerships and satellite transmission agreements, and international editions of major magazines. Recently, several reality television programs have been produced about white travelers' stays in treehouses with Korowai or Kombai hosts. These include an episode ofTribebroadcast on BBC and Discovery in 2005, the six episodes ofLiving with the Kombai Tribeshown on Travel Channel and Discovery International in 2007, and an episode ofRendez-Vous En Terre Inconnuetelevised to much acclaim on France 2 in 2009. Treehouses were widely seen by Australian audiences in 2006 in theSixty Minutessegment “The Last Cannibals,” and during a subsequent media firestorm that surrounded a rival show's unsuccessful effort to film their anchor accompanying a supposedly endangered Korowai orphan boy to a safer life in town. In 2009, a BBC film crew filmed Korowai house construction for the forthcoming blockbuster seriesHuman Planet, and in 2010National Geographicbegan researching a possible second story on Korowai treehouses. In late June and early July 2010, photos of Korowai treehouses were published by newspapers in Indonesia, Singapore, Malaysia, Vietnam, Paraguay, Spain, Romania, Hungary, Turkey, Finland, Germany, France, the United Kingdom, and other countries, to illustrate stories reporting the Indonesian census bureau's announcement that it had counted Korowai thoroughly for the first time (e.g., Andrade 2010; most stories drew their content from Agence France-Presse). In August 2010, production began for a feature-length Indonesian film about physical and romantic travails of Javanese protagonists who sojourn with Korowai in their jungle home; no filming is being carried out in the Korowai area or with Korowai actors, but treehouses figure prominently in the film's early written and visual publicity.
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Xia, Chao, Ying Sheng, Zhong-Zhong Jiang, Chunqiao Tan, Min Huang, and Yuanjian He. "A Novel Discrete Differential Evolution Algorithm for the Vehicle Routing Problem in B2C E-Commerce." International Journal of Bifurcation and Chaos 25, no. 14 (2015): 1540033. http://dx.doi.org/10.1142/s0218127415400337.
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In this paper, a novel discrete differential evolution (DDE) algorithm is proposed to solve the vehicle routing problems (VRP) in B2C e-commerce, in which VRP is modeled by the incomplete graph based on the actual urban road system. First, a variant of classical VRP is described and a mathematical programming model for the variant is given. Second, the DDE is presented, where individuals are represented as the sequential encoding scheme, and a novel reparation operator is employed to repair the infeasible solutions. Furthermore, a FLOYD operator for dealing with the shortest route is embedded in the proposed DDE. Finally, an extensive computational study is carried out in comparison with the predatory search algorithm and genetic algorithm, and the results show that the proposed DDE is an effective algorithm for VRP in B2C e-commerce.
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Sari, Wisdalia Maya, Ali Amran, and Harma Oktafia Lingga Wijaya. "PENERAPAN E-COMMERCE MENGGUNAKAN METODE EXTREME PROGRAMMING PADA UMKM KABUPATEN MURATARA." Jusikom : Jurnal Sistem Komputer Musirawas 5, no. 2 (2020): 136–44. http://dx.doi.org/10.32767/jusikom.v5i2.1095.
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Metode Agile merupakan salah satu bentuk pendekatan metode pengembangan sistem yang berkembang saat ini untuk pemodelan perangkat lunak yang mengutamakan fleksibilitas dan kedinamisan setiap prosesnya terhadap perubahan-perubahan yang terjadi, dimana perubahan-perubahan tersebut dapat dilakukan pada setiap tahapan proses yang ada. Salah satu metode Agile yang ada adalah pendekatan Extreme Programming (Extreme Programming Approach). Perbedaan Extreme Programming Approach (XP) dibandingkan dengan metode lainnya yaitu tidak memiliki dokumentasi secara formal dalam setiap tahapan proses konstruksinya. Adapun tahapan-tahapan yang harus dilalui dalam XP Approach antara lain: Tahapan explorasi, perencanaan, iterasi pengembangan sistem, dan tahapan akhir. Keunggulan dari XP Approach ini adalah perancangan perangkat lunak yang dilakukan tidak akan diubah, hanya sistem yang sedang dibangun saja yang berubah, dengan kata lain XP Approach memungkinkan tidak adanya dokumentasi formal yang dapat digunakan sebagai alat ukur bahwa aplikasi telah selesai dibangun, namun aplikasi dikatakan telah selesai apabila klien tidak melakukan penambahan analisis kebutuhan (requirement) pada aplikasi. Penambahan atau perubahan requirement ini tidak dibatasi, sehingga apapun keinginan klien akan dipenuhi. Melalui pendekatan XP ini akan dibangun sebuah aplikasi yang diperuntukkan untuk sistem penjualan berbasis online (E-commerce) dengan prinsip business to customer (B2C). E-commerce ini diperuntukkan bagi penjual khususnya yang bergerak di bidang UMKM pada wilayah Kabupaten Musirawas Utara yang ingin mengembangkan kegiatan jual beli barang dagangan kepada customer secara online.
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Ngo Thi Kim, Dung. "Quan Ho cultural space." E3S Web of Conferences 263 (2021): 05032. http://dx.doi.org/10.1051/e3sconf/202126305032.
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Quan Ho singing is a unique cultural practice originated in Bac Ninh, Northern Vietnam. Various aspects of this custom from historical values to cultural impacts have been thoroughly examined. There is, however, no comprehensive study explores Quan Ho under the scope of urban planning and architecture. In recent years, Bac Ninh has been increasingly urbanized, leading to changes in multiple elements of Quan Ho culture, especially cultural space. This paper focuses on such cultural space, presents publicly available data, and collects data along with qualitative, quantitative and comparative analysis to address the effects of urbanization on Quan Ho cultural space. The paper considers characteristics, factors and changing trends of this cultural space, therefore confirms how transformation of Quan Ho cultural space is unavoidable. The paper also addresses planning and architectural requirements to harmonize between preservation and development. Among these requirements, the paper discusses in detail proper programming to optimize green spaces and limit over-urbanization, as well as planning original Quan Ho villages based on two distinctive models: adaptive preservation and development of new facilities on the old foundation. Proper landuse is suggested to build new living space to accommodate the evolving Quan Ho culture in modern society.
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DOVIER, AGOSTINO. "Preface." Theory and Practice of Logic Programming 17, no. 4 (2017): 359–64. http://dx.doi.org/10.1017/s1471068417000199.
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Magic squares, chess-like problems, cryptarithmetic puzzles, and similar classes of problems have been extensively used to challenge human reasoning capabilities. Lo Shu magic square can be traced back to 650 B.C., the eight-queens problem was proposed in 1848 by the chess player Max Bazzel TWO × TWO = THREE puzzle appeared in Strand Magazine in 1924. These puzzles are nowadays widely used in constraint programming courses. The first programming language provided with constraint modelling primitives (Sketchpad) has been proposed by the Turing award winner Ivan Sutherland in his PhD thesis (1963). Logemann and Loveland, when implementing the Davis–Putnam procedure (Davis and Putnam 1960) for testing the satisfiability of a propositional formula (SAT), devised an algorithm (Davis–Putnam–Logemann–Loveland (DPLL)) that has become the core of all SAT/and Answer Set Programming solvers (50 years later). It consists in choosing an un-assigned variable, assigning it a value 0 or 1, propagating the chosen value (unit propagation), and proceeding with the alternative value, if the original assignment leads to a contradiction (backtracking). Some years later Waltz (1975) introduced the notion of domain filtering (arc-consistency-based constraint propagation). With this idea the same DPLL scheme can be used for verifying the satisfiability of a constraint satisfaction problem, where the assignment is no longer 0/1 and the unit propagation is replaced by constraint propagation. For a detailed history of these early years achievements, we refer the reader to the works by Loveland et al. (2017), Jaffar and Maher (1994), and Freuder and Mackworth (2006).
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Radics, Robert I., Sudipta Dasmohapatra, and Stephen S. Kelley. "Use of linear programming to -optimize the social, −environmental, and economic impacts of using woody feedstocks for pellet and -torrefied pellet production." Biofuels, Bioproducts and Biorefining 10, no. 4 (2016): 446–61. http://dx.doi.org/10.1002/bbb.1658.
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Idris, Atif. "Screening Maize (Zea mays L.) Genotypes by Genetic Variability of Vegetative and Yield Traits Using Compromise Programming Technique." British Biotechnology Journal 2, no. 2 (2012): 102–14. http://dx.doi.org/10.9734/bbj/2012/1292.
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Boon, Tim. "‘Programmes of Real Cultural Significance’: BBC2, the Sciences and the Arts in the Mid-1960s." Journal of British Cinema and Television 14, no. 3 (2017): 324–43. http://dx.doi.org/10.3366/jbctv.2017.0376.
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The advent of BBC2 provides an ideal focus for the study of the place of science in culture. Existing historical work on the televisual representation of science and technology looks only at science programming. This article proposes that such an approach misses what the medium supplies to the account of its subject. As a corrective, this article compares the treatment of science with that of other intellectual and cultural subjects, taking the case of the four monthly programmes that occupied the channel's initial Saturday evening 8.45–9.30 slot, treating: science (Horizon), social science (The Human Side), literature (Writers' World) and music (Workshop). Considering questions of televisual technique and grammar, it uncovers a common genealogy for all but the social science programme in the style and conventions of the arts magazine, Monitor. This suggests that the comparative study of television programmes can help the historian address the difficult terrain of ‘high’ culture as it was negotiated in the fluid circumstances of the 1960s.
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Adnan, Muhammad, Muhammad Afzal, and Khadim Hussain Asif. "Ontology-Oriented Software Effort Estimation System for E-commerce Applications Based on Extreme Programming and Scrum Methodologies." Computer Journal 62, no. 11 (2019): 1605–24. http://dx.doi.org/10.1093/comjnl/bxy141.
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Abstract Presently, software industry is severely suffering from inaccurate effort estimation and inadequate unstructured or semi-structured project history management. In fact, both are difficult to accomplish and hence badly impact the software projects. We proposed improvements in the effort estimation and the project history management of e-commerce projects focusing on Extreme Programing (XP) and Scrum methodologies using ontology models in our software effort estimation system. Proposed system infers suitable estimate in the form of time, resources and lessons learnt as per the project leader’s requirements by using description logic and HermiT reasoner. To validate our approach, we have performed a case study comprising 20 Business-to-Consumer (B2C) web projects and performed comparative analysis on the collected efforts in both XP and Scrum contexts by applying (Mean Magnitude of Relative Error) MMRE and PRED(25) prediction accuracy measures. Likewise, software functional size of understudy e-commerce projects was measured using COSMIC functional size measurement methodology. Regression analysis of relations among actual COSMIC function points, estimated effort, and actual effort spent for the projects show better significance-F and R2 values for our approach. The comparative results show that overall proposed approach provides accurate estimates and significantly improves over planning poker and delphi methods by 10% and 30%, respectively.
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Zborowski, James, Tim Wall, Helen Wood, et al. "Book Reviews: Time in Television Narrative: Exploring Temporality in Twenty-First-Century Programming, Time on TV: Temporal Displacement and Mashup Television, One Night on TV is Worth Weeks at the Paramount: Popular Music on Early Television, Locating Television: Zones of Consumption, Paving the Empire Road: BBC Television and Black Britons, Popular Television in Eastern Europe during and since Socialism, a Multidão e a Televisão: Representações contemporâneas da efervescência colectiva, New Articulations of Flow and Contra-Flow: The Landscape of Television Studies in and between Portugal and Brazil." Critical Studies in Television: The International Journal of Television Studies 9, no. 1 (2014): 117–37. http://dx.doi.org/10.7227/cst.9.1.9.
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Ko, Seung Yoon, Ratna Permata Sari, Muzaffar Makhmudov, and Chang Seong Ko. "Collaboration Model for Service Clustering in Last-Mile Delivery." Sustainability 12, no. 14 (2020): 5844. http://dx.doi.org/10.3390/su12145844.
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As e-commerce is rapidly expanding, efficient and competitive product delivery system to the final customer is highly required. Recently, the emergence of a smart platform is leading the transformation of distribution, performance, and quality in express delivery services, especially in the last-mile delivery. The business to consumer (B2C) through smart platforms such as Amazon in America and Coupang in Korea utilizes the differentiated delivery rates to increase the market share. In contrast, the small and medium-sized express delivery companies with low market share are trying hard to expand their market share. In order to fulfill all customer needs, collaboration is needed. This study aims to construct a collaboration model to maximize the net profit by considering the market density of each company. A Baduk board game is used to derive the last-mile delivery time function of market density. All companies in collaboration have to specialize the delivery items into certain service clustering types, which consist of regular, big sized/weighted, and cold items. The multi-objective programming model is developed based on max-sum and max-min criteria. The Shapley value and nucleolus approaches are applied to find the profit allocation. Finally, the applicability of the proposed collaboration model is shown through a numerical example.
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Pedretti, Alessandro, Angelica Mazzolari, Silvia Gervasoni, and Giulio Vistoli. "Tree2C: A Flexible Tool for Enabling Model Deployment with Special Focus on Cheminformatics Applications." Applied Sciences 10, no. 21 (2020): 7704. http://dx.doi.org/10.3390/app10217704.
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Despite the increasing role played by artificial intelligence methods (AI) in pharmaceutical sciences, model deployment remains an issue, which only can be addressed with great difficulty. This leads to a marked discrepancy between the number of published predictive studies based on AI methods and the models, which can be used for new predictions by everyone. On these grounds, the present paper describes the Tree2C tool which automatically translates a tree-based predictive model into a source code with a view to easily generating applications which can run as a standalone software or can be inserted into an online web service. Moreover, the Tree2C tool is implemented within the VEGA environment and the generated program can include the source code to calculate the required attributes/descriptors. Tree2C supports various programming languages (i.e., C/C++, Fortran 90, Java, JavaScript, JScript, Lua, PHP, Python, REBOL and VBScript and C-Script). Along with a detailed description of the major features of this tool, the paper also describes two examples which are aimed to predict the blood–brain barrier (BBB) permeation as well as the mutagenicity. They permit a clear evaluation of the potentials of Tree2C and of its related features as implemented by the VEGA suite of programs. The Tree2C tool is available for free.
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Grichting, Anna, and Kyle Sturgeon. "Urban Design Build: The Frederick Douglass Peace Park - Community-Based Learning Through Making." Open House International 40, no. 3 (2015): 5–10. http://dx.doi.org/10.1108/ohi-03-2015-b0002.
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By way of its uniquely concurrent practice + academic learning model, the Boston Architectural College (BAC) has begun a thriving tradition of community engagement through design. This paper uncovers how design/build formats -cast as a service-learning projects - have the potential to foster profound student learning opportunities, improve the urban environment through design engagement and community action, and inform architectural accreditation. Though exceptionally rewarding, the design/build model is not without challenges. The authors utilize their unique perspectives as design educators and community members to deliver both a narrative account and critical analysis for a case study of one such learning model. The Frederick Douglas Peace Park project, conducted in 2008 as part of the authors’ Urban Design Build (UDB) format is an example of a grassroots initiative met with the support of an institution of design education. The project revitalizes a neglected neighborhood by activating forgotten space - rebuilding a sense of community and creating a place of memorial for a much-revered American Civil Rights Activist. Emanating from Grichting’s neighborhood peace park, Sturgeon’s UDB project extended grassroots momentum to community event programming and served as a catalyst for additional reclamation projects: a string of public spaces and the rehabilitation of a community center once on the verge of being torn down and privatized.
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Ko, Seung, Sung Cho, and Chulung Lee. "Pricing and Collaboration in Last Mile Delivery Services." Sustainability 10, no. 12 (2018): 4560. http://dx.doi.org/10.3390/su10124560.
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Recently, last mile delivery has emerged as an essential process that greatly affects the opportunity of obtaining delivery service market share due to the rapid increase in the business-to-consumer (B2C) service market. Express delivery companies are investing to expand the capacity of hub terminals to handle increasing delivery volume. As for securing massive delivery quantity by investment, companies must examine the profitability between increasing delivery quantity and price. This study proposes two strategies for a company’s decision making regarding the adjustment of market density and price by developing a pricing and collaboration model based on the delivery time of the last mile process. A last mile delivery time function of market density is first derived from genetic algorithm (GA)-based simulation results of traveling salesman problem regarding the market density. The pricing model develops a procedure to determine the optimal price, maximizing the profit based on last mile delivery time function. In addition, a collaboration model, where a multi-objective integer programming problem is developed, is proposed to sustain long-term survival for small and medium-sized companies. In this paper, sensitivity analysis demonstrates the effect of delivery environment on the optimal price and profit. Also, a numerical example presents four different scenarios of the collaboration model to determine the applicability and efficiency of the model. These two proposed models present managerial insights for express delivery companies.
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Nugroho, Heru, Robbi Hendriyanto, and Kautsar Tisamawi. "Application for Marketplace Agricultural Product." IJAIT (International Journal of Applied Information Technology) 2, no. 02 (2018): 58. http://dx.doi.org/10.25124/ijait.v2i02.1286.
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Farmers empowerment is an effort to improve farmers' ability to conduct better farming through education and training, counseling and mentoring, development of Agricultural products and marketing system, consolidation and guarantee agricultural land area, ease of access of science, technology and information, and institutional strengthening. Support Information Technology is not only making it easier regarding resources but become media marketing agricultural products for farmers in Indonesia. Currently, the chain of commerce for the sale of agricultural products is still very long. That causes the price of agricultural products is quite high. However, when the farmers sell the product, the hat price is still relatively low. To reduce the chain of commerce is needed a system that can provide information as well as a marketing place for agricultural products and can also use for direct purchase by consumers. The system that can meet those needs is e-commerce that built Marketplace based. Based on the findings of e-Marketer, the business to consumer (B2C) e-commerce market in Indonesia has the largest growth record in the Asia Pacific through 2017. There is potential to improve the welfare of farmers in Indonesia using information technology for marketing as well as direct transactions with consumers. In this paper will be proposed Android Application for Marketplace Agricultural Product Base Android. This Application will development by Software Development Life Cycle (SDLC) Prototype method with Java and XML programming languages and database management will be used MySQL. This Application will provide information on agricultural products, facilitate farmers to market their agricultural products, and facilitate farmers to conduct direct transactions with consumers.
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Thurman, Neil. "When a TV channel reinvents itself online: Post-broadcast consumption and content change at BBC Three." Convergence: The International Journal of Research into New Media Technologies, October 29, 2020, 135485652096777. http://dx.doi.org/10.1177/1354856520967773.
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In February 2016, BBC Three became the first television (TV) channel in the world to close its linear broadcasting operation and instead prioritize offering its programming on demand, via the internet. Two Danish channels – both also youth-focused – followed in January 2020 for the same reason: budget cuts. Although the effects of ending offline distribution on the size and behaviour of newspaper and magazine audiences have been investigated, this article is the first to investigate the effects on a TV channel. The results show that BBC Three’s audience shrank by 60–70% after it closed its linear TV channel. The intensity with which the channel was viewed was even more sharply reduced: annual viewing minutes after the switch were 89% less than the channel achieved on linear TV before (and around 72% less if viewing of BBC Three-commissioned/acquired content on other BBC TV channels is included). The mix of programme genres consumed changed too, although further research is required to establish the part played by the change in distribution mechanism. This study furthers our understanding of media platform cessation by showing how change in the size of a media outlet’s audience after ending offline distribution may be affected by the proportion of its audience that consumes it exclusively offline before and how, irrespective of media platform, ending offline distribution seems to cause a sudden and substantial fall in the time spent with a media brand by its audience.
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Simonelli, David. "BBC rock music programming on radio and television and the progressive rock audience, 1967–1973." Popular Music History 2, no. 1 (2007). http://dx.doi.org/10.1558/pomh.v2i1.95.
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Voštinár, Patrik. "Motivational Tools for Learning Programming in Primary Schools." Central-European Journal of New Technologies in Research, Education and Practice, April 28, 2020, 97–106. http://dx.doi.org/10.36427/cejntrep.2.1.420.
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Studying pedagogical sciences for Computer Science subject nowadays does not meet with great interest of students in Slovakia. Education of young generation in this area is strongly affected by small number of well qualified teachers as well as lack of high-quality teaching materials resulting to deplorable knowledge of the pupils. The very same situation is also with preparation of future teachers. They have only limited possibilities of direct contact with pupils during their studies, what leads to weak experience of the future teachers and low motivation of the children for Computer Science subject. This contribution gives a positive example of extracurricular educative activity for pupils from lower-secondary schools, where students of Teaching of Computer Science program and Applied Informatics program were involved as lecturers or tutors. In this activity we used various motivational tools for teaching programming and Computer Science as well. The contribution describes our experience with these tools for programming, which we used in our extracurricular activity – so called “Informatics club” and also in the two primary schools and three secondary schools in the region of Banská Bystrica. Motivational devices, which were used are: education board bbc micro:bit with accessories (IoT set, gamepad, micro:bit cars), didactic devices – robots (Airblock, mBot Ranger, Phiro Pro) and board game Scottie Go!.
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Hajkowski, Thomas. "Gender and media in the broadcast age: Women’s radio programming at the BBC, CBC, and ABC." Historical Journal of Film, Radio and Television, November 5, 2020, 1–3. http://dx.doi.org/10.1080/01439685.2020.1836850.
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