Introduction In today’s media market, several disruptions are coming together to pose challenges to the existing media, both public and private. The greatest disruption is arguably caused by intensified competition between platforms, channels and distribution models and the concurrent disruption in traditional ways of funding media content. In what we may now coin the traditional model, private media rely on advertising to fund journalism, domestic productions and other content that is beneficial to society, but this model is “jeopardized and expected to
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We present a real-time hierarchical approach to an on-line risk assessment at the national level taking into account both local risk analyses performed by key service operators and relevant interdependencies between those services. For this purpose we define mutually agreed predicted service disruption profiles and then propose a coordination mechanism to align those profiles. A simple, four-entity example is provided to illustrate the coordination.
Bearing in mind Edwidge Danticat’s ideas about writing being a dangerous affair, this paper reflects on authorial matters regarding Farida Karodia’s A Shattering of Silence (1993). Like other novels set in times of conflict, A Shattering of Silence can be seen to deploy what the researcher chooses to call a “poetics of disruption”. This is a poetics heavily at the service of politics, intended to disrupt and destabilise the blunt binaries lying at the heart of any armed conflict. In this sense, the main character in the story, Faith, embodies a poetics of disruption in so much as she problematises the binary dimension of the political situation in the Mozambique of the period, being a white woman who sympathises with the anti-colonial struggle. This article claims that, reproducing the dynamics of the poetics of disruption in a process which can be said to replicate that of her character, Farida Karodia herself makes the most of her strategic location in a liminal terrain across nations. Her position as an exilic author can be defined as dihiliz, that is, as a threshold vantage point which enables her to be both inside and outside the situation she reflects about. Karodia’s liminality is here more pointed than is usually the case with the exilic writer, since she chooses to write about Mozambique, in many senses close to her country of origin yet not her birth-place.
while former dominant channels, such as the physical DVD and Bluray formats, have been marginalized ( Squire, 2017 ). These disruptive shifts not only affect the distribution market channels but have major ripple effects across the whole audiovisual value system on producers with talent and crew in the other end. The new channels operate with different business models from the old ones, so, when viewership moves from one to another, the change is felt economically by content providers. Most have been forced to reconsider not only their channel strategies but also what
Introduction This article analyses the disruptive potential of Valve’s game distribution platform, Steam, focusing specifically on how Steam has evolved into a de facto online social network and how Valve uses constant feature changes as part of its corporate rhetoric to mediate between different stakeholders (e.g. gamers, third-party developers, publishers and regulators). Since its launch in 2003, which sparked intense controversy among gamers, Steam has profoundly shaped the game industry. Cf. e.g. contemporary sources on Valve’s flagship title Half Life 2