#online video distribution platforms

[vaakcreatives01]

Digital Video Distribution: Online Video Distribution Platforms -VaakCreatives.

VaaK offers professional video services for digital distribution. Expert strategies for effective online presence. online video distribution platforms help company in promoting content to maximize your reach. 

[hazbinbabbling4ever]

amazon marketing is so good at marketing itself as very pro lgbt+ but only if it means spoiling the series to people (see good omens and the leaked "every" spoiler*), but when it comes to actually marketing the single lgbt+ serie? I've never seen either good omens or hazbin hotel on the front page.

HELL YESSSSSS! (I am a bit salty that you don't see it in their Amazon Originals section on the "front page", but whatever)

[dapg-otmebytheballs]

All or Nothing and lowave records

Strap in because this is gonna be a long one. This post will try to shed some light on how the whole lowave records thing works, how you can use this music, how it is being distributed, and what all a contract with lowave would include. All this and more below the cut!

Let us start with the basics: What is lowave records?

Quite succinctly summed up on their website as follows:

They make and distribute royalty-free music for content creators - specifically video-format content creators like Youtubers and streamers - they share some streaming revenue (30%, we'll get into that) with the creators who are labelled 'co-artists' and get promotion of their music through the content creators.

So, that brings us to the next big question: What is royalty-free music?

This is music that is free to use. Yes, by anyone, by Dan and Phil, by other creators, by you and me, any of us. This is by no means a new thing of course, anyone who has created content online would have come across other such services. just as an example, bensound.com hosts a large library of royalty-free music which you can use in any video by simply crediting the site in your description. Lowave works in a similar fashion. The music is not copyrighted. However, the rights to the music are held by lowave records and there are limitations on its use, which we will get into ahead.

How is the money working (preliminary edition)?

I will add details to this later when I discuss the contract, but let's see the info we get straight away from the FAQs: You do not have to pay them anything to make music for you

The money is coming in from the streaming platforms, depends completely on amount of streams, and is shared between lowave and the creators

Also from the FAQs: how can this music be used?

Anyone can freely use any of the music from lowave records, which means that yes, you can use any music from All or Nothing for your purposes with credit, it will not be taken down

Is this the only music we will hear on dapg now? Will there be more albums?

Not necessarily! This isn't an exclusive deal, DnP can use any music they want on the channel. As for new albums, seems like it depends on how this one does (and it seems to be doing quite well!) which will unlock future avenues for more collabs with lowave

Okay BASICS DONE if you're still reading you're probably here for the real meat so let us get into it

How is the money working (director's cut)?

Let us start with the terms on the partner agreement:

Content Creators get 30% of the 'remaining income'. This basically means any costs that streaming platforms are deducting, any processing fees, taxes etc will be deducted before the 30% share is calculated. The second point there basically means that the deductions here do not include business expenses of the label itself, ie when the label calculates its own profit production costs and various other expenses are deducted from the income, but these costs will not affect the revenue received by the content creators (You are probably already thinking 'how is this company earning enough to keep going?' and I will touch on that later as well)

Payment installments are simple enough but here we see a third party enter the chat: DistroKid. Who is DistroKid and why are payments going through them, Hazel? I hear you ask. Well I'll tell you dear readers:

It is basically a service that takes a yearly fee for putting your music on streaming platforms efficiently and then pockets 0% of the royalties. The royalties go from the streaming services (eg Spotify) to DistroKid who then send it to the rights-holders (in this case, lowave records). lowave records is using this service for a yearly fee to upload all their music through.

But wait! If DistroKid is working with lowave, and lowave owns all the rights, why is DistroKid making direct payments to the content creators?

Well, over the years they have offered a bunch of services:

I am guessing lowave is making use of the teams feature to send royalties owed to content creators ("collaborators") directly from Diskworld, which makes sense, the less people money goes through the less chances of mishandling.

People have of course been talking about what percentage Spotify even pays for many many years. The short answer: we don't know for sure because it is confidential, Spotify won't tell and artists aren't allowed to. The longer answer: people have estimated from a bunch of publically available data that the share seems to be 70-30 (rights-holders- spotify).

However spotify is not paying per stream anymore so that makes these figures harder to pin down. they are using a 'streamshare' system which is much more convoluted:

That was all about the money, now let's talk Licensing

Creators can use this music in any capacity, and do not have to share any of the revenue from their own content with lowave. They have put a stipulation that it may not be used in a way that is "illegal, immoral, discriminatory or derogatory to [lowave]" but what constitutes 'immoral' and 'discriminatory' is not really defined.

The other limitation applies to the contracted Content Creators only as far as I can tell: they are not allowed to remix, sample, or edit these songs without prior permission. This probably only applies to altering the songs and playing under the same name, so fan remixes should not run into issues here, as long as they are not monetised. (thanks kate @goldenpinof for making me think about this part a bit more, I think it should be safe, but even royalty free music cannot be transformed without permission at least in a commercial capacity)

They will also make more music free of cost if the streaming targets they set are being met by the albums produced. The process:

Other services they provide will be handling the creator's account which they set up (DanAndPhilBeats in this case) on streaming platforms and making changes as required, so the Cheeky Banter -> Project X thing was probably done from their end, possibly an older change that they forgot to update?

Also below are promotional obligations:

The promotion wasn't a one-time thing, it is expected to be ongoing, so we will probably be hearing about this in future videos as well. However, later in the partner agreement it is added that this has to be done as often as possible in a way that is "natural and appealing to their audience" which again, is pretty vague wording

Also the licensing goes both ways, so lowave can also use segments of the content DnP make that has the music in the background to promote their music:

Additional stuff from the contract:

lowave takes the guarantee of creating original works that it has the rights to and which do not infringe on copyrights, and the creators likewise take the guarantee not use the songs in content which infringes copyright. If there are any disputes regarding such infringement in the future the record and the creators have to back each other up (including sharing legal fees)

I mentioned before some parts of the agreement being written in vague language. There is also a clause that says if any provision ends up being illegal/not possible to enforce by a court (eg if a court were to it's impossible to say whether content featuring the songs was 'immoral') then only that provision will be removed, the rest of the contract stands.

The waiver part basically means that if any of the parties decide to not sue or forgo a complaint about breach of contract, that does not mean that those provisions are now unavailable, they can still sue later on or for some other breach if they wish.

That's the contracts done. Some of the framing there makes it seem to me like it's a pretty small company. The revenue they hope to generate does not seem to be very sustainable, especially since the revenue is being shared with content creators but the cost is not and they are additionally paying for other services like DistroKid.

So I looked more into this record label: they started business in 2022. If you go to their socials though, twitter and instagram they have followers in double digits and post very sparsely. Their tiktok seems to have nothing on it at all (thanks @lesbiandanhowell for the screenshot) and you may have noticed, Dan did not tag the lowave account at all when he announced the album on twitter

The agreement never mentions creators promoting lowave's social channels or tagging them either (and it is quite odd, I have worked with a bunch of organisations in their infancy and this is, now more than ever, a common requirement from collaborators). lowave records does not seem to be actively working towards promoting themselves on social media or building an online presence, even though they have been operational two years producing music throughout.

There are three people involved with the company on public record:

Benjamin Johnson listed as 'Head of Production' is probably the 'Ben' Dan has been talking about who made the songs. Seems like their scale of operations is not very big and possibly not a lot of producers in the records at all (despite the spotify page saying they have 'producers' plural, but that doesn't have to mean a lot many lol). Anyway, that would solve the mystery of 'how are they playing their employees?' if there aren't many employees to begin with (not even an intern to manage their social media it seems).

Look at the last person in the screenshots though: Robin. I looked at what other companies Robin is associated with and several of them - yeah several different operations that he's involved in - have the same correspondence address of '60 Thorpe Road...', so probably operating out of a ghost office (just to have a registered address and receive mail at etc). And one of these businesses that Robin is associated with is RWD, the business that made lowave records' website for them:

The no-cost production of royalty-free music, little attention to social media presence, vaguely written contract, seemingly small scale of operations with technical assistance like website design coming from an affiliated organisation makes me think that lowave records might be a side project. A labour of love, possibly, hoping to sustain itself enough to keep putting out royalty-free music in a time of extreme crackdown on copyrighted music use.

It makes sense to use content creators for promotion, gets you way more streaming than making your own music and putting it out. And the incentive of unique but guaranteed royalty free music at no cost is great for content creators of all sizes. It is far from sustainable on its own though, especially with streaming revenue being basically peanuts, and I do not think there's much interest in gaining a following or putting in that effort either, so it's probably a very small business by a few people. How long it manages to sustain itself as a project I am not sure, but it certainly isn't looking like something particularly geared towards profit and growth in its current state.

We are at an end! If you read this far, leave me like an A+ or a star for my essay so I can have academic validation from this please. Of course I probably have not covered everything possible in connection to this so if anyone has more info feel free to add on! And if this was all very long and there's something particular you wanted to know you can drop an ask into the inbox about it!

Thank you for coming with me on this journey! Back to the important things, which was your favourite song from the album? I think mine is Arcade Admission

[srbachchan]

DAY 5973

Jalsa, Mumbai June 25/26, 2024 Tue/Wed 2:07 AM

Birthday - EF - Anamika Gupta .. 🙏🌹

Ef Özen Eren Wednesday, 26 June .. and all ur prayers and wishes for this special day for the Ef ..

the Agenda .. an act of predetermined thought and conveyance .. what shall bring attention recognition be the intent .. any express that can remotely be given the spin, and mastered is the guile and expertise of such ..

it is lamentable , ignominious to witness the impotency of content .. to somehow in any which manner , to be able to draw attention in storied form, just so it can be put up and seen or read , in favourable condition to them that devise it ..

devise .. for the right is not needed to be devised ..

pity ..

never ever underestimate the generation that follows , or is about to follow .. they are aware and alive to every situation and knowledged to hold their own in debate or discussion ..

we are enriched by the circumstance that often fall upon us .. and then we find a way .. even when there be none ..

"In today's digital age, the ubiquitous nature of content has paradoxically led to a dilution of its potency. With the democratization of content creation, anyone with an internet connection can produce and distribute information, leading to an oversaturation of the digital landscape. This phenomenon has profound implications, rendering content less impactful and more ephemeral.

First, the sheer volume of content available online has created a paradox of choice. Every minute, hundreds of hours of video are uploaded to platforms like YouTube, thousands of blog posts are published, and millions of social media updates are posted. This relentless flow of information makes it difficult for any single piece of content to stand out. The audience, overwhelmed by options, often resorts to skimming or entirely ignoring vast amounts of content, diminishing its overall impact.

Moreover, the quality of content has become highly variable. While the ease of content creation has empowered many voices, it has also led to an influx of low-quality, poorly researched, and sometimes misleading or false information. This glut of mediocre content competes with high-quality, well-researched pieces, making it challenging for audiences to discern value and trustworthiness. As a result, even content of genuine worth can struggle to achieve the recognition and engagement it deserves.

Another critical factor contributing to the impotency of content is the algorithm-driven nature of content distribution. Social media platforms and search engines prioritize content based on engagement metrics such as likes, shares, and comments rather than the inherent quality or informational value. This prioritization often leads to the virality of sensational, clickbait content at the expense of substantive, insightful work. Consequently, the attention economy favors superficial engagement over deep, meaningful interactions with content.

Additionally, the fast-paced consumption habits of modern audiences further erode the potency of content. The average attention span has dwindled in the face of constant digital distractions. People increasingly consume content in bite-sized formats, such as tweets or short videos, which limits their exposure to in-depth analysis or comprehensive narratives. This shift towards brevity undermines the ability of content to foster nuanced understanding or sustained engagement.

The commercialization of content also plays a significant role in its diminishing impact. Content marketing has become a dominant strategy for businesses, leading to a proliferation of branded content. While this can provide value, it also contributes to the noise and can sometimes prioritize promotional messages over genuine, informative content. The blending of editorial and advertising content can lead to skepticism and diminished trust among audiences, further reducing the impact of the content they encounter.

Lastly, the fleeting nature of digital content means that it often has a very short lifespan. Unlike traditional media, which could have a lasting presence, digital content is quickly buried under the avalanche of new information. This ephemeral existence means that even impactful content can be forgotten rapidly as attention shifts to the next trending topic.

In conclusion, the impotency of content in today's times is a multifaceted issue stemming from the overwhelming volume of information, variable quality, algorithm-driven distribution, changing consumption habits, commercialization, and the ephemeral nature of digital content. To reclaim the potency of content, creators and platforms must prioritize quality, foster trust, and find ways to engage audiences meaningfully and sustainably amidst the cacophony of the digital age."

Love and more ..

Amitabh Bachchan

[bfpnola]

Trans Reads is an ambitious project created by and for transgender people to openly access writing related to our communities. We believe education should be free and writing shouldn’t be behind a paywall. Transreads.org provides the opportunity to access, discuss, and distribute texts for free.

If you’re looking for books, chapters, texts, essays, or articles by, for, or about people who transverse or transcend western gender norms, you’re in the right place!

Trans Reads was formed through the work, consulting, and creativity of an anonymous group of trans people of various genders and races around the U.S. involved in organizing, academia, and trans liberation efforts. Trans Reads was launched in 2019 following increasing violence against trans people alongside the lack of accessible resources for trans people to learn about our own community.

There is a serious barrier for most trans people accessing content from our community. Trans people on average have less disposable income, time to read and purchase literature, and knowledge of the available texts. We created Trans Reads to address this problem directly. We offer the largest collection of free trans texts on the internet.

Get Involved:

Trans Reads is almost entirely generated through user content. By uploading, you can help a trans teen in a rural area learn about other girls like her. You could help a trans student who can’t afford a textbook easily pass their class. You can even share your own writing with the world on an easy-to-use platform exclusively for trans content. You can help grow our collection on our upload page. If you are interested in helping us upload texts for our collection, you can reach out on our contact page.

Ethics:

We are faced with the common ethical question about hurting the sales of trans authors. However, the largest ever study on piracy actually found that the piracy of copyrighted books, music, video games, and movies has no effect on sales. In the case of video games, piracy actually helped sales. As far back as 2002, we can see piracy boosting sales of media. Trans Reads strongly encourages you to purchase the books that you enjoy here or find other ways to support the author.

Academic authors rarely – if ever – see income from sales of their books, articles, or chapters. Most want to remove the paywalls withholding their content. Trans Reads is open to collaborating with authors, publishers, and journals on making this a possibility through our website.

History:

In 2014, Leslie Feinberg published the 20th-anniversary edition of Stone Butch Blues, one of the most influential works of transgender literature. The novel was a way for trans, gender nonconforming, and queer people to realize ourselves. It told us we aren’t alone. However, when the publisher went bankrupt, Leslie had to struggle to regain ownership over hir own novel.

“I had to work to recover my rights to Stone Butch Blues. When the first publisher went into Chapter 11 court, I had to spend thousands of dollars of my wages on legal fees to recover the right to this novel… While very ill in Spring 2012, I recovered my rights again.”

Ze didn’t want the book to be released as a film adaptation exploiting hir story for straight fantasies. Ze also used the opportunity to make the book more accessible. First editions shot up into hundreds of dollars. The least expensive print versions are still over $30 on Amazon. This simply isn’t affordable to most queer and trans people. The fight ended with Leslie publishing hir novel on hir website as a PDF, a strategy of reclaiming transgender narratives from greedy publishes by collective ownership of the text.

Trans Reads is dedicated to the memory of Leslie and all those who feel alone. Most individuals don’t have institutional access and cannot afford to pay for texts. Transreads.org allows visitors to effortlessly read texts by, for, or related to trans people online for free as PDFs. Trans Reads is the space where anyone can easily discuss, add, or download trans content.

This project is intended to foster discussion around the current state of learning. We refuse paywalls and withholding education. Trans Reads provides the opportunity to access, discuss, and distribute texts related to our community on its website in a matter of seconds.

Knowledge, learning, and community must be de-commodified for our collective liberation. Take it from Leslie:

“And on the day those paper deeds of ownership are torn up, it won’t matter about protecting Stone Butch Blues anymore from commercial exploitation.”

Authors shouldn’t live in fear of their work being exploited or inaccessible. Trans Reads is just one small part of trans autonomy from corporate publishers. However, it is a necessary step toward engaging with our radical history, politics, and futures.

Click here to upload a text.

[genderqueerpositivity]

Separately, the DOJ accused two Russian employees of RT, the Russian state-owned media outlet, of a nearly $10 million scheme to create and distribute content to U.S. audiences while keeping the connection to Russia hidden.

RT worked with an online content creation company in Tennessee, which was directed to contract with U.S. social media influencers to distribute its content on social media platforms including, TikTok, X, Instagram and YouTube. Since November, the company posted more than 2,000 videos that received more than 16 million views on YouTube, according to the indictment.

United States intelligence and security officials have been warning for months about Russia’s efforts to interfere in the 2024 election, specifically to undermine the Democratic presidential nominee, exploit social divisions, sow distrust in democratic institutions and to erode support for Ukraine.

The U.S. has provided arms to Ukraine to support its war following Russia's invasion in 2022.

“Russia remains the most active foreign threat to our elections,” Director of National Intelligence Avril Haines told senators in May at a briefing about election risks.

This is not the first time the U.S. has taken action against those behind the Doppelganger influence campaign.

In March, the U.S. Treasury sanctioned Social Design Agency and Structura, as well as their founders, for a network of fake accounts and phony news websites, saying they carried out the campaign "at the direction of the Russian Presidential Administration."

A report released on Tuesday by social network analysis company Graphika documents a cross-platform influence operation linked to the Chinese government with the aim of influencing online discourse ahead of the November 5 elections.

The operation has relied on "spamouflage" to spread misleading or false information, adopting faux American accounts to sow division through anti-government narratives and posts on divisive topics such as the Israel-Hamas conflict, gun control, and racial inequality.

Using ATLAS, its proprietary platform for real-time intelligence and data analysis, Graphika identified 15 such accounts on X (formerly Twitter) and one on TikTok. Mimicking both U.S. nationals and advocacy groups, these accounts have taken aim at both major political parties and called into question the legitimacy of the U.S. electoral process.

They exhibited certain patterns, including the use of U.S.-related hashtags like #American, and presented themselves as U.S. voters who "love America" but feel alienated by issues ranging from abortion to U.S. support for the war in Ukraine.

One X post from June 2023 stated: "Although I am an American, I am extremely opposed to NATO and the behavior of the U.S. government in war. I think soldiers should protect their own country's people and territory from being violated, and should not initiate wars on their own initiative." The post was accompanied by an image depicting NATO's expansion in Europe.

Not to say "I told you so" but I've been saying this for months. Social engineers are hard at work trying to influence the outcome of the election in November. It is very likely happening on a larger scale than we know of. Take everything you read online with a grain of salt between now and November.

[milverton]

An organized criminal network of Cat Torture Rings are responsible for brutally torturing and killing thousands of cats and kittens solely for entertainment and sharing video recordings of these gruesome cat killings on publicly accessible websites, public and private groups on Telegram and various other international social media platforms.

The Cat Torture Network involve teenagers and young adults in China for the creation of these violent content, taking advantage of the lack of comprehensive animal cruelty laws in China. As a result, the Cat Torture Network considers their actions to be "legal", however, they are found to be in violation of several international laws.

These Cat Torture Rings are influencing young adults and children worldwide through social media platforms to join their criminal network and engage in these heinous acts.

Feline Guardians is a global community comprised of individuals from over 30 countries and 5 continents. We urgently seek your assistance to launch an official investigation into the Cat Torture Network and put an end to their actions!

FELINE GUARDIANS MISSION:

To STOP the distribution of Cat Torture Videos online.

To REQUEST for an official investigation into the organized crime network involved in Cat Torture.

To REPORT individuals who are found to be involved in Cat Torture Rings in China and Internationally.

To RESCUE cats that are victims of Cat Torture Rings. Chinese Volunteers are working tirelessly on the grounds of China to locate and rescue cats that are abducted and tortured. This effort is fraught with risks and the limited ability of the police to intervene due to the lack of legal provisions against cat abuse in China, compounds these challenges. Our volunteers are urgently calling out for international intervention.

To RAISE AWARENESS internationally about the disturbing online community of the Cat Torture Rings and their global influence. 

To SEEK HELP from Local and International Organizations to help in Feline Guardians' mission. 

To ADVOCATE for laws preventing Animal Cruelty and Torture in China; for the protection of cats and to help in the conviction of individuals who are involved in cat torture crimes in China.

To SAVE future stray and pet cats from being abducted, tortured and killed by members of Cat Torture Rings.

HOW CAN I HELP?

Report abuser

Sign petitions

Send emails

Request media coverage

Contact your representatives

Join and organise demonstrations

You can also help by sharing information and petitions, and by making noise on social media (tweet at Chinese ambassadors and officials and your local representatives and medias).

[borrowingtheborrower]

Blue spirit productions: The Borrowers (Info we have so far 2018-2024)

Many of you may remember this video from a couple years back...

2018

This is a pitch from "Blue Spirit Productions" a french animation studio, you may know their works such as "The Blue Samurai" or "My Life As A Courgette."

The pitch is for a potential animated TV show for "The Borrowers", made for companies and audiences to watch and get an impression on what they're gonna make and if anyone would be interested.

This was shown at the Cartoon Fourm 2018 as a project pitch and uploaded by CartoonBrew online, which is where the video comes from.

CartoonBrew's review here:

We know very little about the pitch for this other than it was shown off a few times at international animation conventions. Due to that we have very little concept art other than a few online.

From what little info we had the plot was simple and already created the groundwork for things such as characters and story.

The official Blue Spirit productions website wrote:

"Whilst out on a foraging mission, Arrietty, a Borrower no taller than an apple, is spotted by Tom, a human! But what should have been a disaster turns out to be the start of a wonderful friendship"

Although there's still a few reviews where a other plot points get mentioned, such as Tom's grandma running a Hotel where the Borrowers currently reside, but this is likely many ideas from the concepts they had.

More about the creation and throught process about this pitch project can be found here in this interview:

2019 - 2021

Little was heard about the project for years despite a positive response online from borrower fans, specifically on Tumblr.

(Fun fact I was originally the first person to post it on Tumblr lol)

The only thing new info we got was in a few new images, Tom's appearance had change except his outfit, while Arrietty remained the same.

Until about 2022 - 2024 where we've gotten more news.

The series was now in development, with a new director David Lopez.

Credit: Offical art from David Lopez' Instagram account (@/el_senior_lopez)

Job listings were put up for new animators, the page about it on Blue Spirit's official website had updated and most importantly we got new images.

For a short while this was the only new official image online, with Tom and arrietty sporting new looks.

Although slowly, Arrietty specifically would be used in advertising for the company for things like new animation positions and for more international conventions.

Speaking of the conventions, a few of them had special talks at booths or even screenings of the show such as at Cartoon Fourm 2023, Annecy 2023 - 2024, Mipsjunior 2023 - 2024 ect ect.

Soon after this it was announced the team up of Blue Spirit Productions and Newen Connect, a french distribution company.

The series as of now is currently in production, on Newen connect's website we even have a new description:

(Translated from french and slighty fixed words.)

"The Borrowers are tiny people who live, unbeknownst to us, inside the walls of our homes. Their number one rule in life is simple: a peaceful existence means never being seen by Humans. Arrietty, 11 years old and 2 inches high, lives with her parents in a small community of Borrowers inside the house of a Human named Marie. Fearless and very curious, one day, Arrietty meets Tom, Marie’s grandson, and against all odds, befriends him. But shhh, its’ a secret... From this day forward, Arrietty divides her time between her daily life as a Borrower and her dream of exploring the world of Humans which takes on a whole new dimension, with her new friend, Tom. Together, Arrietty and Tom will embark on a gigantic adventure!"

Newens official website:

While it's been a long journey I genuinely cannot wait for this show, it's always exciting to see new animated projects especially a new Borrowers animated project as well. Despite The Borrowers having such an interesting idea it's only been animated once, which was about a decade ago with "The Secret World Of Arrietty" created by Studio Ghibli.

With the end of the year coming soon, let's hope to see this in 2025!

If you have more info feel free to add commentary, or if I got any details wrong feel free to message me. Thank you and have a wonderful day! <3

[self-loving-vampire]

In just a few weeks, Nintendo 3DS and Wii U owners will finally completely lose the ability to purchase new digital games on those aging platforms. The move will cut off consumer access to hundreds of titles that can't legally be accessed any other way.

But while that's a significant annoyance for consumers holding onto their old hardware, current rules mean it could cause much more of a crisis for the historians and archivists trying to preserve access to those game libraries for future generations.

"While it's unfortunate that people won't be able to purchase digital 3DS or Wii U games anymore, we understand the business reality that went into this decision," the Video Game History Foundation (VGHF) tweeted when the eShop shutdowns were announced a year ago. "What we don't understand is what path Nintendo expects its fans to take, should they wish to play these games in the future."

Libraries and organizations like the VGHF say their game preservation efforts are currently being hampered by the Digital Millennium Copyright Act (DMCA), which generally prevents people from making copies of any DRM-protected digital work.

The US Copyright Office has issued exemptions to those rules to allow libraries and research institutions to make digital copies for archival purposes. Those organizations can even distribute archived digital copies of items like ebooks, DVDs, and even generic computer software to researchers through online access systems.

But those remote-access exemptions explicitly leave out video games. That means researchers who want to access archived game collections have to travel to the physical location where that archive resides—even if the archived games themselves were never distributed on physical media.

[re-locative]

Research findings: How are people creating a sense of togetherness online?

The everyday inventiveness of translocal relationship maintenance

I'm excited to share some early insights from our latest study. Some of you may remember it from when it was distributed: a survey about how people who sustain relationships online create a sense of being in the same place, even at a distance.

Even now, online platforms are marching towards a future of standardised, formless, and profoundly placeless design. But relationships need place (Tuan, 1979), and people will continue to fashion new tactics to address their everyday needs. So, how do people in translocal relationships play with/around these technological limitations? How do they foster shared places on platforms that aren't designed for it?

That's what our study sought to uncover, and here's what we found...

---

Our deepest thanks to all who participated in the survey! We had 44 respondents—almost twice as many as we were hoping for—and more importantly, we got a pretty broad slice of translocal connections across the world:

Our original focus was on long-distance families and romantic relationships, mainly because people conventionally assume physical closeness and cohabitation in those relationships. But in practice, the data we gathered contained accounts of all kinds of relationships, so we expect the findings to be relevant (in varying degrees) to many kinds of online connection as well.

Across the data, a few themes showed up repeatedly, and through an extensive process of coding and clustering, we've distilled it into five themes, or key drivers of practices in virtual placemaking:

1. Synchronicity ⌚

People seek to act in concert and in temporal proximity, to feel a sense of relatedness—be that by experiencing media together, collaborating on a project, or just feeling collocated via a background voice call. Voice calls often scaffolded these kinds of synchronous activities—sound is a great vector for conveying simultaneity/"at the same time."

2. Persistence 📌

We talked about synchronous interactions above. Asynchronous interactions, on the other hand, assert the "being in the same space." This requires virtual spaces to not simply disappear or refresh when the session is closed: you're able to leave artefacts for others to discover even when you're offline or "in the background," and they accumulate over time. That's a core trait of a real place (as discussed in past research).

3. Emotional connection/depth 🫂

We know from other research that long-distance couples favour text messaging. Verbal communication is paramount in relationship deepening because it supports precise expressions of care and affirmation. But it can be asserted by other expressions too, like offers of help, favours and gifts—implicitly or explicitly indicating that one has the other person in one's thoughts, as well as their interests, well-being, and goings-on.

4. Physical linkage 🔗

Despite the focus on virtual spaces, many respondents saw great importance in anchoring their bonds in physical space, and used technologies as windows, or bridges, linking those spaces together. Using video calls as "windows" to have meals together, virtual house tours where the smartphone acts as a surrogate for the person on the other end, buying the same game board and playing against each other by replicating each other's moves...our data was replete with creative ways of bridging physical divides.

5. Co-creation 🖼️📝

Collaborative narratives and creation uniquely allow for interactors to explore and cohabit a shared mental place, in which they have an equal stake and are emotionally engaged. It's a way of being psychically co-present through roleplay and active imagination. Our data was full of mentions of collaborative creative work and narratives, from Dungeons and Dragons to building worlds together to making art of imagined alternate realities.

---

Other neat insights:

Rather than ever being confined to a single platform, almost everyone inhabited and interwove practices across different platforms/media types, each with its own utility, affect, and meaning: this is what Madianou calls "polymedia life." Think playing games on a virtual board while discussing it in a text chat, watching a show together on a streaming website while discussing it in a call, playing Wordle independently and checking in with the group chat to see what others thought, etc. This was almost universal across the dataset!

There were a lot of unique practices described in the dataset (i.e. instances where one respondent was the only person in the dataset who did that thing) - and yet it was never described as a practice we deliberately designed to solve a problem. This everyday inventiveness among people in translocal/transnational relationships has become the core of our research interest.

Lots of intergenerational connection (parent/child, grandparent/grandchild, aunt/uncle/niece) was evidenced - and a strong skew towards text chat, video calls, and voice calls for these. Video games are far more common among romantic relationships.

---

That's all for this post—I'll be back soon (very soon) to talk about what comes next.

[macmanx]

The effort was meant to reduce international support for Ukraine, bolster pro-Russian policies, and influence voters in the U.S. and elsewhere, the Justice Department said.

Separately, the DOJ accused two Russian employees of RT, the Russian state-owned media outlet, of a nearly $10 million scheme to create and distribute content to U.S. audiences while keeping the connection to Russia hidden.

RT worked with an online content creation company in Tennessee, which was directed to contract with U.S. social media influencers to distribute its content on social media platforms including, TikTok, X, Instagram and YouTube. Since November, the company posted more than 2,000 videos that received more than 16 million views on YouTube, according to the indictment.

[destinedarts]

🎧 OST for the The Dragon Prince Season 6 Trailer "Standing Defiant" 🎙️

WHOEVER WAS RESPONSIBLE FOR PUTTING THIS TRAILER TOGETHER NEEDS TO PAY FOR ALL OUR THERAPY BILLS ASAP 💀💀💀💀

Trailer below for comparison. Okay, did they seriously just put Dark Mage Callum as a thumbnail— We're doomed, y'all. 💀

Check out the teasers' soundtracks, Aerial View and Gargantuan!

Lyrics

Head between your knees Can’t you hear the call Can’t you hear it screaming for relief

Waiting for the chance There’s a hidden strength To set free

When you feel it It’s surreal, it’s No surprise we rise

The earth shakes, the sky shivers The stars fall out of alignment We are the sinners The new stars standing defiant Oh-oh Oh-oh

Hanging off the edge Waiting for a sign Waiting for somebody to defend

Don’t you wait too long There’s a map inside of your head

When you feel it It’s surreal, it’s No surprise we rise

The earth shakes, the sky shivers The stars fall out of alignment We are the sinners The new stars standing defiant

They won’t bring us down They can’t shake us now They are running from this war We’re raging like the perfect storm

They won’t bring us down They can’t shake us now They are running from defeat We’ll see them all upon their knees

The earth shakes, the sky shivers The stars fall out of alignment We are the sinners The new stars standing defiant Oh-oh-oh Oh-oh Oh

Since it seems like it's harder to find the lyrics online. You can find them in the Lyric Info for the song on Extreme Music. 😅

Notes: Yes, got Extreme Music to make their updates. 😊 So lyrics are 100% correct now. There's also a bunch of extra Oh's they didn't write down and no echoes jotted down either.

Further Notes

The only other time they used a lyrical song was for Season 3's Recap video: Make This End. 3 seasons later, we're here. As someone said in the yt comments, you know the season's gonna be fire if they're using a song here too. 🔥

Like usual, the song is available on Extreme Music and other distributing platforms such as Spotify. "Standing Defiant" was composed by Devin Hoffman, Figero Scripp, and Lily Marly as the singer.

It was also released in February 5, 2024. 😳 Meaning the trailer finished sometime between then and June 3 when it was first uploaded on the S6 Trailer playlist. Not gonna go into that story of how we discovered that title leak. 😂

Keywords: Cool, Electronic, Epic, Heroic, Punchy, Struggle, Thrilling

👀 me looking at that word "Struggle" right there 😨

I'm comin' after Netflix if they purposely searched for this song with the word "struggle" 👿🗡️👿👿🗡️👿🗡️

Edit: I just texted Villads since I already knew he made the edits for many trailers. He also chose the music for this as well.

And error: looking at the subtitles for the Netflix-issued trailer. Netflix is incorrect for "The Sun shivers." It's clearly "Sky". I mean seriously, nobody's gonna have the money or time to get the singers to customize a song just to fit the scene. 😂 They just buy the song off the music producer's platform.

[gacha-incels]

article from the english edition of the Hankyoreh, Sept 10 2024

archive link

plain text:

Pavel Durov, the founder and CEO of the chat app Telegram, who has been indicted without arrest for aiding and abetting the proliferation of child sexual abuse material on his platform, is trying to calm the storm by announcing the removal of various controversial features from Telegram. However, his response is getting slammed for its shallowness, as such wishy-washy measures cannot stop the barrage of illegal pornography proliferating on the platform.

On Friday, Durov posted on his X (formerly known as Twitter) account to say that Telegram has “removed the People Nearby feature,” as well as disabled “new media uploads to Telegraph, [Telegram’s] standalone blogging tool.”

“While 99.999% of Telegram users have nothing to do with crime, the 0.001% involved in illicit activities create a bad image for the entire platform, putting the interests of our almost billion users at risk,” Durov claimed.

While Telegram has agreed to delete two features that have been used for criminal purposes, these features are largely unrelated to the recent sex crimes involving deepfakes. The “people nearby” feature utilizes GPS technology to track your phone’s location and indicate other users in the area, allowing people to form chat rooms with people in their region.  

Telegram logo. (Reuters/Yonhap)

This feature shares a user’s location data without their consent and places users at risk of stalking. Critics pointed out that it has often been used by bot programs to indiscriminately target people for financial scams. The Telegraph feature allows users to anonymously upload blog posts, photos and videos. Scammers would use this feature to create fake websites, share the links to the fake sites, and lure unsuspecting users into phishing scams that harvested their personal data. Yet neither of these features is directly related to the production and distribution of illicit deepfakes. 

Experts say that simply removing one feature is not going to uproot digital sex crimes. Malicious users constantly create and discover ways to circumvent such controls or restrictions or simply migrate to more liberal platforms, where they can replicate their crimes.

Cho Gyeong-suk, an activist with IT feminist group Techfemi who identifies and reports bots that produce sexually exploitative deepfakes, explained the concept of bots sharing bots. 

“If Telegram shuts down a specific bot, malicious users rapidly create a similar bot. Then they use a bot for sharing a link to that bot to repeat their crimes,” she said. 

On Sept. 3, Cho discovered and reported a Telegram channel with 210,000 subscribers. Upon entering, the user is greeted with the message “We're always here. Come back to our new bot,” alongside a link to a new bot and instructions on how to use link-sharing bots in Korean, Japanese, German and French. 

A message in a Telegram chat room on Sept. 3, 2024, informing readers of the address of a new deepfake sexual abuse material bot with messages in multiple languages. (courtesy of Cho Gyeong-suk)

It’s urgent to send a message to these malicious users that if they commit a crime, they will get caught. 

“Telegram has agreed to cooperate with Korean authorities, but all they’ve done is share an email address,” said Park Ji-hyun, the former interim leader of the Democratic Party. Operating under a group codenamed Team Flame, Park helped expose the criminal activity of the notorious Nth Room channel. 

“If the police or the KCSC [Korea Communications Standards Commission] have to find every individual video and which channel it’s in and report them all to an email address with an erasure request, it’s going to take too long for them to delete them. During that time, the videos are distributed through other channels,” Park added. 

“When authorities receive a report about the distribution of illicit online sexual exploitation, an investigative body needs to be aggressively informed about the perpetrators’ IP addresses, online registration data and other identification data. We need to send a clear message to the perpetrators: You will get caught. That’s the only way they’ll stop,” she said. 

“Rather than simply deleting specific features, Telegram needs to monitor its platform to prevent the distribution of child sexual abuse material or sexual content depicting minors and establish an ethical monitoring committee, like Google does. They need to discuss ways to find out what happens on their platform and to cooperate with the authorities,” said Won Eun-ji, the other half of Team Flame. 

“We also need technological measures such as the automated deletion of content that shows signs of being illicit or sexually exploitative. There could also be preventative tools that prevent such content from being uploaded in the first place,” she added.

By Chung In-seon, staff reporter

[fallowhearth]

this is random but please enlighten me on australian content restrictions? I genuinely don’t know any site that we have control over and I’m confused as to how this works

Caveat that I'm writing this fairly quickly and not citing my sources.

Australia has fairly restrictive rules around expression (though obviously this is relative to an ideological ideal, i.e. there are lots of places with even tighter rules). We don't have the 'right to free expression' as an overruling principle in the same way the US does (all necessary disclaimers). Our laws are fairly puritan in respect to what you can legally depict in fiction and pornography. (Fun fact: the A03 'underage' content filter is partly there because of Australian law.) Flippantly, Australian law thinks words on a page and women with small breasts are the same as real actual children. Australian law also has a dim view toward fun and exciting forms of BDSM (note I've not said extreme or even unpopular) practiced by consenting adults and committed to film. Fairly normal (albeit intended for adults, though not pornography) films and video games, etc, also get banned from distribution in Australia because of the way the ratings scheme works.

The next question I suppose is how much this is enforced? Well, hard to say. The legal system seems a bit sheepish about upholding some bans on content, in the sense that they get banned then quickly overturned, presumably out of embarassment. But if Australia controlled as many online platforms as the US, it might be a different story? On the other hand, maybe there'd be more of a public outcry and there would be enough political will to change the laws.

[transformativeworksandcultures]

TWC 42: Fandom and Platforms [Special Issue]

Editorial

Maria K. Alberto, Effie Sapuridis, and Lesley Willard; Putting forward platforms in fan studies

Article

David Kocik, PS Berge, Camille Butera, Celeste Oon, and Michael Senters; "Imagine a place:" Power and intimacy in fandoms on Discord

Kimberly Kennedy; "It's not your tumblr": Commentary-style tagging practices in fandom communities

Axel-Nathaniel Rose; #web-weaving: Parallel posts, commonplace books, and networked technologies of the self on Tumblr

Sam Binnie; Using the Murdoch Mysteries fandom to examine the types of content fans share online

Gamze Kelle; How Covid-19 has affected fan-performer relationships within visual kei

Rhea Vichot; The expression of sehnsucht in the Japanese city pop revival fandom through visual media on Reddit and YouTube

Welmoed Fenna Wagenaar; Discord as a fandom platform: Locating a new playground

Sourojit Ghosh and Cecilia Aragon; Leveraging community support and platform affordances on a path to more active participation: A study of online fan fiction communities

Paul Ocone; Fandom and the ethics of world-making: Building spaces for belonging on BobaBoard

Amber Moore; Analyzing an archive of allyish distributed mentorship in "Speak" fan fiction comments and reviews

Jionghao Liu and Ling Yang; Censorship on Japanese anime imported into mainland China

Lin Zhang; Boys’ love in the Chinese platformization of cultural production

Matt Griffin and Greg Loring-Albright; Platforming the past: Nostalgia, video games, and A Hat in Time

Irissa Cisternino; Players, production and power: Labor and identity in live streaming video games

Symposium

Yvonne Gonzales and Celeste Oon; Public versus private aca-fan identities and platforms: An academic dialogue

Dawn Walls-Thumma; The fading of the elves: Techno-volunteerism and the disappearance of Tolkien fan fiction archives

Martyna Szczepaniak; The differences between author’s notes on FanFiction.net and AO3

Muxin Zhang; Fandom image-making and the fan gaze in transnational K-pop fan cam culture

Sabrina Mittermeier; "One day longer, one day stronger": Online platforms, fan support and the 2023 WGA and SAG-AFTRA strikes

Book review

Sebastian F. K. Svegaard reviews "Vidding: A history" by Francesca Coppa

Laurel P. Rogers reviews "Fandom, the next generation," edited by Bridget Kies and Megan Connor

Axel-Nathaniel Rose reviews "Mediatized fan play: Moods, modes and dark play in networked communities," by Line Nybro Petersen

Multimedia

Naomi Jacobs, Katherine Crighton, and Shivhan Szabo; Building the spear: A demonstration in faking and remaking real feelings for an imaginary work

Rachel Loewen; "Darkness never prevails": Doctor Who Covid-19 videos as keystones for pandemic engagement

[beardedmrbean]

A man has been jailed for 20 months for posting “horrific” videos of baby monkeys being tortured for entertainment.

Peter Stanley posted three videos showing the torture of baby long-tailed macaque monkeys on a private Facebook site, since shut down, linked to the intentional harm of animals for entertainment.

The 43-year-old posted videos along with comments, including: “A fave of mine this one.”

But the videos were spotted by an animal welfare group and the Facebook user ID was given to police who traced Stanley and raided his home.

Detectives seized a mobile phone revealing 75 videos of monkeys being tortured.

Stanley was also found to have been searching terms on the internet such as: “How to tell if a baby monkey is distressed” and “Horse Porn”.

After his arrest on March 26 this year, he told police he had become aware of these videos and wanted to know just how bad they were so joined a Facebook group, the rules of which were that members had to post three videos to show they would not report the group to authorities.

He did not himself make the videos or harm animals directly.

Stanley, of Dovecote Avenue, Dovecote, Liverpool, admitted three counts of publishing obscene material, before he was jailed at Liverpool Crown Court on Wednesday.

His arrest came after the broadcast of a BBC TV documentary, The Monkey Haters, which uncovered the existence of streaming videos containing the torture of baby monkeys.

Videos, primarily filmed in South East Asia and posted online, showed the “disciplining” and tormenting of captive infant monkeys and the deliberate infliction of pain and fear, causing physical harm as well as emotional distress.

Thomas Quirk, senior crown prosecutor of Mersey-Cheshire Crown Prosecution Service, said: “The videos that Peter Stanley posted on to his page on the Facebook site are truly horrific.

“The torture imposed on these animals included sexual torture and it has been a distressing case for both the police and the prosecution team to deal with.

“Why anyone could possibly want to be involved in this sort of thing is impossible to understand. Peter Stanley was publishing videos of animals being brutally injured apparently for pleasure.”

Outside court, Sergeant Dan Goss, from Merseyside Police’s Rural, Wildlife and Heritage Team, said: “The original investigation uncovered the widespread sharing of content which showed the deliberate and gratuitous suffering of baby monkeys for ‘entertainment’, some of which was for monetary gain.

“As part of a similar investigation carried out by West Mercia Police and the National Wildlife Crime Unit we were able to identify Stanley as being responsible for the publishing of similar content.”

Chief Inspector Kevin Lacks-Kelly, head of the UK National Wildlife Crime Unit, said: “The discovery of online global torture networks has required local, national, and international resources, including officers and detectives from the UK and special agents from Homeland Security in America, to crack the case.

“These crimes are committed behind a veil of secrecy by so-called ‘communities’ and I hope the sentencing shows there is no place to hide for animal abusers.”

Sarah Kite, co-founder of Action for Primates, said: “We are very grateful to Merseyside Police for taking this action against the posting of monkey torture videos on Facebook.

“Those individuals involved in distributing graphic and obscene content depicting the violent and sadistic torture and killing of baby monkeys need to know that their behaviour is not only vile, but is also a crime.

“We also hope that this prosecution will be a wake-up call to Meta and other social media companies that continue to allow this highly disturbing and graphic content to be posted on their platforms.”