Category: Network Lifestyle And Activities

Is there a necessity to offer English subtitling for foreign-language content hubs?

SBS On Demand Windows 10 platform app

SBS – the first broadcaster to provide English-subtitled foreign-language content on broadcast TV and also providing such content through video-on-demand.

An issue that will crop up with foreign-language video content providers who operate in a particular language is market pressures to offer English-subtitled versions of their content that they offer.

Popularity of English-subtitled foreign language content

There is a significant interest in English-subtitled foreign-language video content especially amongst discerning cinema and TV viewers.

This kind of foreign-language content was initially facilitated in Australia since the 1980s by SBS as part of that broadcaster’s initial multicultural remit. But there has been recent interest in the UK in this content thanks to the arrival of BBC4 who took on a high-brow content approach similar to SBS or HBO. In the USA, a significant number of premium cable-TV channels have been offering this kind of content because such content is similar in calibre to what the likes of HBO and Showtime are offering which appeals to discerning viewers.

Video-on-demand, still seen as a way to deliver premium TV content, is being used to bring more foreign-language TV content to many homes. This is more so with Netflix and similar premium subscription services but could also apply to transactional or advertising-driven services. FAST (Free Ad-Supported Streaming TV) services are also appearing that bring in this kind of foreign-language TV content.

It isn’t just the multicultural communities who are interested in film and TV content produced by their homelands or in their native tongues. But an increasing number of English-language viewers want to view the cultures that exist beyond their country’s borders or beyond the Anglosphere’s realms. This is more so where these countries exhibit different social norms to what is expected in the Anglo-American culture. Let’s not forget that an array of non-Anglophone countries are seeing their culture as part of their soft power that is to be promoted and exploited such as with the “Cool Japan” effort.

The video-on-demand sphere also exposed a significant number of providers offering this kind of content such as SBS on Demand, Walter Presents, and Netflix. In the case of viewing foreign-language content on Netflix, there is the option to select an English-dubbed soundtrack or an original soundtrack with English or original-language subtitles.

In a significant number of cases, foreign TV producers are aspiring to offer shows in a similar calibre to the English-language fare offered on the BBC, HBO or Netflix and are vying for their position in the “premium TV” landscape. This kind of content is best described as high-quality content that has a strong appeal with discerning audiences. That is while foreign-language cinema is perceived to maintains that independent artsy non-Hollywood vibe.

Add to this an increase in co-production efforts by non-English-speaking foreign TV producers / broadcasters with English-language TV producers / broadcasters who appeal to discerning audiences. An example of this that I saw for myself is the Norwegian crime drama Lilyhammer which was a co-production effort between Netflix and Norway’s public-service broadcaster NRK, but was shown on SBS in Australia before Netflix set up shop there.

Language-specific content hubs

Flag of France

The French language is being represented in some foreign-language-specific content hubs

But an increasing number of language-specific content hubs are setting up shop in their home markets and primarily delivering video-on-demand content produced in the languages supported by that hub.

The first kind of this content-hub class are niche content providers or broadcasters operating in the language’s home country or a country that has a significant diaspora who speak the language. This could include a pay-TV operator in the language’s home country who wants to create their language-specific content hub based on their original content. On the other hand, the second kind of content hub represents an alliance of public-service and/or private commercial free-to-air TV broadcasters in the country or countries that speak the hub’s languages.

Examples of the former type include Univision who offer Latin-American-Spanish content to the US’s Hispanic community, and France Channel who offer French-language content. It can extend to Canal+ setting up international operations in order to offer their original French-language content. Examples of the latter type include LOVETv which is a European-Spanish-speaking alliance comprising of Aresmedia, RTVE and Mediaset Espana; Salto who is a French-speaking alliance of France’s free-to-air TV providers; and Joyn who is a German-speaking alliance of Germany’s free-to-air TV stations and the ViacomCBS platform’s German-language outposts.

More of these content hubs would start to surface and refine their offerings; especially if they or their partner broadcasters are producing a significant amount of original content. These providers could realise that there is an international market for their content especially if there are overseas viewers out there who are interested in their offerings. This can range from expats and migrants who have the language as their native tongue or those of us who have some familiarity with the language and its associated culture.

Localising to the English language

The question for these foreign-language content hubs is whether they need to offer English-language localisations of their content and what method. These services could implement at least subtitling as a way to localise to the English language, although a dubbed English-language soundtrack option can work for children’s content or animated shows.

An English-speaking person who is familiar with the hub’s indigenous language may still need to benefit from having the content localised to English. This is due to different areas of the countries speaking that language using dialects and accents local to particular regions that they aren’t familiar with. Add to this the use of new words, colloquialisms and slang in film and TV that is something you wouldn’t learn from most language courses or textbooks, something that will impact people who have learnt the foreign language but are out of practice.

A lot of these shows that are shown in to English-language countries will already have been localised to that language, typically through the use of subtitles.  This can be shows that SBS, BBC4 or a premium cable-TV channel in the USA had run at some time. Or the foreign-language content producer offers International-English or American-English localisation as part of the package when they offer shows to TV channels or VoD services.

But there is a lot more content that hasn’t been localised to the English language but could appeal to the viewership. There would be the question about whether it is worth localising the rest of this content especially if it does reflect the country and its culture. Here, this may be assessed based on the kind of content that is being viewed on these language-specific content hubs.

Deep localisation

An issue that can crop up as far as localisation is concerned is whether to engage in what I call “deep localisation”. That is to use terminology and slang peculiar to a particular market in the subtitles such as referring to public services using the same names as what would be used there.

An example I had seen for myself was SBS’s effort to localise earlier episodes of Inspector Rex (Kommissar Rex) to the English language. Here, they localised the earlier episodes of the series for the Australian audience by using Australian-English subtitles. For example, an episode that involved a panel beater (car body shop) referred to the passenger-car-based pickup truck used by that workshop as a ute in the subtitles. Some other episodes referred to the Austrian public health insurance as “Medicare” to be equivalent to the same public health insurance operating in Australia.

Most likely this was because there wasn’t much activity going on in the Anglosphere with respect to English-subtitled foreign-language TV content at the time SBS acquired the broadcasting rights to that show. But the Austrian produces of this show ended up taking on the job of localising Inspector Rex to English due to this show gaining popularity in more of the Anglosphere thanks to cable TV and video-on-demand offering this kind of content.

Popular and light entertainment content

There are some content types that are not likely to be of interest to English-native viewers that look for foreign-language content. These are things like soap-operas, reality-TV, romantic-fiction or simple police-procedural dramas which may be frowned upon by viewers who have discerning tastes. It is more so where the content mirrors story-lines used in Anglophone popular content without conveying the colour of the show’s native culture.

But some people may find that viewing popular entertainment content produced in the other country, having the mix of foreign language dialogue and English subtitles may give that series an air of perceived legitimacy. This is similar to the use of an e-reader or tablet to read romance fiction and similar guilty pleasures in order avoid being scoffed at by others.

There are two good examples of this. One is “Gran Hotel”, a Spanish-language TV series ran on Netflix which has the style of a telenovela or soap opera but is set in an early time period. Another is “112 Sie Retten Dein Lieben” which is a simple fire/emergency procedural drama created by RTL and set in Dusseldorf that has some soap-opera-style melodrama in it. Here, SBS localised this German-language show with English subtitles and ran it on their relatively-new SBS 2 digital sub-channel as “112 Emergency” in 2009. Even the aforementioned Kommissar Rex (Inspector Rex) would have fallen in to this class of content due to a simple police-procedural storyline and featuring a hero dog.

It could be found that the foreign language in the dialogue uttered by original speakers with the English-language subtitles on the screen and, perhaps, an unseemly English-localised show title may work as a means to obfuscate the fact that the content has that popular-entertainment feel about it. That means that the show may earn a level of respect in some societal circles.

It is although the show may convey societal attitudes that are very endemic in its home culture and work differently to what is expected in Anglo-American cultures. This can be through interpersonal relationships or workplace dynamics that are woven through the show’s plot thanks to it being written for its home market.

This is more demonstrable with content produced in European countries where social issues are effectively woven in to the show and examined from the European country’s point of view. In this example, this concept is seen as being of value with those Anglosphere societies who align with Continental-European values.

For example, a German TV drama will underscore the strong separation of work and personal life that is part of German culture such as the importance of “Feierabend” when work ceases. Or a significant amount of German and Scandinavian police dramas have been known to give significant space to social issues rather than focusing on the “whodunnit” or “goodies vs baddies” aspect.

Conclusion

If there is a significant and continual interest within the Anglosphere for foreign-language content that has English-language subtitles, there will be an interest in offering to localise such content that way. These foreign-language content hubs that operate on the Internet to offer linear broadcast or video-on-demand could then offer to fill that niche.

European Union deems Big Tech companies and services as gatekeeepers

Article

European Union flag - Creative Commons by Rock Cohen - https://www.flickr.com/photos/robdeman/

The EU will be using two new tools to regulate Big Tech significantly

EU names six tech giant ‘gatekeepers’ under DMA guidelines | Mashable

From the horse’s mouth

European Union

Digital Markets Act: Commission designates six gatekeepers (europa.eu)

My Comments

The European Union is taking serious steps towards controlling Big Tech further and enforcing a competitive market within its territory.

They recently passed the Digital Markets Act and Digital Services Act laws which apply to companies that have a significant market presence in the EU. The former one is about assuring real competition by doing things like pry open app stores to competition, require a service to accept advertising for its competitors or assure end-users have access to the data they generate through their services. As well, the latter one regulates online services to assure a user experience with these services that is safe and in harmony with European values as well as supporting innovation and competitiveness.

Initially, six powerful Big Tech companies have been designated as “gatekeepers” under the Digital Markets Act. These are Alphabet (Google, Jigsaw, Nest), Amazon, Meta (Facebook, Facebook Messenger, Instagram, Threads, WhatsApp), Apple, ByteDance (TikTok) and Microsoft.

Google Play Android app store

The European laws will also be about prying open the app-store marketplace for mobile platform devices

Most of the products like Facebook, Instagram, TikTok, YouTube, Amazon’s marketplaces, the familiar Google search engine, and the mobile app stores ran by Apple and Google are listed services or platforms subject to scrutiny as “gateways”. Even the iOS, Android and Microsoft Windows desktop operating systems are also deemed “gateways” under this law. But I am surprised that the Apple MacOS operating system wasn’t even deemed as a “gateway” under that law.

There is further investigation about Microsoft’s Bing search platform, Edge browser and Advertising platform and Apple’s iMessage messaging service regarding deeming them as “gateways”.

The latter one has attracted intense scrutiny from the computing press due to it not being fully interoperable with Android users who use first-party messaging clients compliant with the standards-based RCS advanced-messaging platform put forward by the GSM Association. This causes a significantly-reduced messaging experience if iPhone users want to message Android users, such as not being able to share higher-resolution images.

What happens is that “Gatekeeper” IT companies will be under strict compliance measures with requirement to report to the European Commission. These include requirements to:

  • accept competitors on their platform, which will apply to app stores, operating systems and online advertising platforms
  • ensure that end-users have access to data they generate on the platform
  • allow end-users and merchants to complete transactions away from app-store and similar platforms owned by the gatekeeper company
  • assure independent verification by advertisers of ad impressions that occur on their ad-tech platform

At the moment, an online service or similar IT company is considered a “gatekeeper” if they have:

  • EUR€7.5bn turnover
  • EUR€75 billion market capitalisation
  • 45 million or more active users in the 27 European-Union member countries

Personally, I would like to see the geographic realm for active users based on a larger area in Europe because of non-EU countries like Switzerland, Norway, Iceland and the UK and EU-candidate countries also contributing to the user base. For example, this could be based on the European Economic Area or membership of the Council of Europe which standardises fundamental human-rights expectations in Europe.

Failure to comply will see the company face fines of 10% of its global turnover, even the ability for the European Union bureaucrats to subject a company to a Standard Oil / AT&T style forced breakup.

At the moment, it is about EU setting an example on reining in Big Tech with DMA being considered a gold standard by the consumer IT press just as GDPR was considered a gold standard for user privacy. But the United Kingdom is putting a similar recommendation in place by introducing the Digital Markets, Competition and Consumer Bill before Parliament. This is while the USA are trying to pry open app stores with various anti-trust (competitive-trade) and similar legislation.

A question that will also arise is whether the European Union bureaucrats can effectively have control over corporations anywhere in the world such as to force the breakup of a dominant corporation that is chartered in the USA for example. This is although they could exert this power over a company’s local affiliate offices that exist within Europe for example.

There is still a very serious risk of Big Tech “dumping” non-compliant software and services in to jurisdictions that aren’t covered by these regulations. This will typically manifest in software or services that have the features desired by customers like sideloading or competitive app-store access for mobile operating systems or ad-free subscription versions of social networks being only available in Europe for example. This was a practice that happened with Microsoft when the EU forced them to allow the end-user to install an alternative Web browser when they install Windows as part of commissioning a new computer for example, with this feature only occurring within Europe.

A previous analogy I used is what has been happening with the vehicle market in Australia where vehicles that aren’t fuel-efficient to current international expectations appear in this country whereas other countries benefit from those vehicles that are fuel-efficient. This is due to Australia not implementing the fleet-wide fuel-efficiency standards being used in many countries around the world.

Who knows how long it will take to push similar legislation or regulation aimed at curbing Big Tech’s marketplace powers around the world. Only time will tell.

Emiko is an example of how you can deal with online trolls

Article

Why Emiko is forgetting the trolls and passing on her love of food to her daughters instead – ABC Everyday

Previous coverage on HomeNetworking01.info

Constance Hall puts trolling and bullying in the TV spotlight on Dancing With The Stars

What can you do about people who use the Social Web to menace

Dealing with Internet trolls

How can social media keep itself socially sane?

My Comments

I had come across another personality who had to do battle with online bullies and trolls and she and her fan base turned it around for good.

Emiko Davies is a food writer of Japanese heritage who writes for newspaper lifestyle supplements as well as running an online presence about food. She has two daughters that are part of her food culture with one that has a large body frame.

There was an instance that she documented as part of an interview with Everyday, the ABC’s online lifestyle site. This was where Emiko’s large-bodied daughter was fat-shamed by online trolls, with Emiko being accused of not doing things right as a parent even though she is encouraging an enjoyment-of-food culture.

But, what I liked here was that an army of her online followers jumped in to defend Emiko, her daughters and her food culture. This took Emiko’s mind away from dealing with the perils of online life and led to most of these trolls deleting the comments they had posted.

It also led to Emiko changing her online-presence policy by limiting comment-writing privileges to followers and not sharing content about her children in the online space. Here she was able to rely on her followers as an army of defenders and to use the content-management tools and policies wisely to limit bad behaviour online.

But it also showed up an issue amongst the trolls as not having a healthy relationship with their food or bodies. This was drawing on an unhealthy culture where people who have a large body frame are frequently denigrated while their isn’t much positive content about these people, especially large-bodied children, engaging in joyful activities relating to food like cooking.

It is also driven by the diet culture and a vanity culture amongst women where the “hourglass figure” is considered the ideal look. As well, large-framed people aren’t really portrayed as significant heroes in popular fiction, especially juvenile fiction. There is a reality that some men and women who look large aren’t necessarily fat with this coming about because of ethnic origins or other factors or how one’s body shape changes over our lives.

Some of these accounts are showing up how a group of loyal followers for an online creator can act as their army especially when dealing with online bullying and harassment. It takes the heat off the online creator’s mind and allows them to continue to create good content. In some cases, it can also expose particular hurts that are taking place within our society.

Big Tech works with the Linux Foundation to compete with Google Maps for geospatial information

Articles

OpenStreetMap seen as a viable alternative to Google Maps

Big Tech Companies Join Linux in Effort to Kill Google Maps (gizmodo.com)

There could finally be a solid Google Maps alternative on Android – SamMobile

From the horse’s mouth

Linux Foundation Project

Overture Maps Foundation – Linux Foundation Project

My Comments

Major tech firms like Microsoft, Meta (Facebook, Instagram), TomTom, Amazon Web Services and the Linux Foundation to build an open-source mapping and geolocation project to compete with Google Maps. It is to complement OpenStreetMap as a major competing navigation and geospatial data pool.

As well, they are pulling in data from public sources like government urban-planning departments to create the “shape” of cities and towns. Here, this allows for factoring in new property developments that are given the green light along with government-planned urban-renewal and similar projects. It could also encompass government roads departments who are laying down new roads or upgrading existing roads for new needs.

The idea is to support true interoperability when it comes to information about places and areas. Here, it is about using data from a plurality of data sources which leads to better data quality and richer data.

An issue that I would see coming about is whether the Overture Maps Foundation project and OpenStreetMap will present this effort as a consumer-facing mobile platform app or desktop program pitched for general use like HEREWeGo Maps. Or whether it could be focused towards various third-party Websites and software that exploits this data such as e-government, vehicle-dispatch, hotel-booking or similar use cases.

But one area this could affect is your vehicle’s integrated GPS sat-nav feature, especially if a vehicle is intended to be positioned for the so-called “value-price” market. The combination of the Overture Project and OpenStreetMap could be about providing a line-fit sat-nav setup at a price that is affordable to the manufacturer. It could also be about automotive infotainment equipment sold as an aftermarket add-on that has sat-nav functionality where such equipment is to be sold at a price affordable for most people.

Similarly, there will be issues like assuring support for and access to real-time data such as weather, traffic and transit, or emergency-situation information. This could be facilitated through open-frame database APIs associated with weather services and the like who maintain this kind of data, something that could be pushed by the public service achieving the “open source” attitude.

USA to pry open mobile-app-store market

Article

Google Play Android app store

Legislation or regulation to come about to open up the app-store market on mobile devices to competing providers

How the Open App Markets Act wants to remake app stores – The Verge

What the Open App Markets Act means for future of Big Tech (fastcompany.com)

From the horse’s mouth

US Congress

Open App Markets Act (Follow this law through Congress)

My Comments

At the moment, if you want to add functionality to your smartphone or tablet, you have to use the Apple App Store or the Google Play Store to download the necessary apps. Some Android phone manufacturers like Samsung and Amazon run their own app stores with the former operating theirs alongside Google’s app store and the latter in lieu of that app store.

This process also affects post-download transactions like purchasing the software after a trial, subscribing to the services associated with the software or buying microcurrency for a game using real money. With services like Netflix or Spotify or mobile ports of some desktop software, you use the service’s desktop user interface to sign up and pay for subscriptions then you log in to the user account you created for that service using the mobile app to benefit from what you paid for.

The same approach is being used for the ChromeOS platform and Microsoft and Apple want to push this on to their Windows and MacOS desktop computing platforms. This is more so with Microsoft and the ARM-powered Windows laptops or offering lightweight “S” variants of Windows for cheaper computers. It is also implemented with games consoles, connected-TV/set-top-box platforms, printers, network-attached storage devices, routers, connected vehicles and the smart home as a way to add functionality to these platforms.

This may even apply to app stores on regular computers like the Windows Store

Here, some of the companies in Big Tech want to provide that same kind of walled garden that is expected with games consoles for other computing devices as a way of providing some perceived “simplicity” and security for these devices.

Concern has been raised about this approach due to frustrating competition for apps on these platforms. It includes a monopsony approach where software developers are disadvantaged due to the app store charging commissions on software-related transactions or exacting onerous terms and conditions on software developers who want to have their apps available on the popular mobile platforms.

This is an issue that has been brought about by the Fortnite saga where Apple frustrated Epic’s wishes to sell microtransactions, subscriptions or similar services for Fortnite independently of Apple even for iOS ports of that game. There is similar activity going on in the European Union with the Digital Markets Act to push for competition in the mobile-computing-device realm while the authorities in charge of market competition in the UK and Australia are examining this issue.

What is the Open App Markets Act about?

What the Open App Markets Act means is that competing app markets can exist on mobile and similar-use platforms like iOS and Android. It also requires that these platforms have a requirement to allow users to sideload apps to their devices and the platform can’t default to its own app stores.

Sideloading is primarily transferring software from a regular computer or external / network file storage to the mobile or other device in order for it to run on that device. This is similar to the way we have installed software on our Windows, Macintosh or Linux computers for a long time. Here, we have inserted a floppy disk or CD-ROM in to a computer and ran an installation from that storage medium to have the software on the computer. Or we downloaded the software from the developer’s Website or a download site to our computer’s hard disk and ran the installation program associated with that software to install it.

It could also extend to software developers making the software available to download or purchase from their own Web presences, including processing any post-download payment transactions there. This means that the software developer gains effective control over their software through its lifecycle.

If software developers wish to implement post-download transactions for their software such as converting a trial version to a full-service program, offering subscriptions or selling microcurrency for a game, they can use a competing storefront or facilitate their transactions on their own Websites.

Who would it primarily benefit?

A user group that would benefit from the competitive app market would be gaming enthusiasts. Here, they would benefit from games-focused app stores like Steam, Epic and GOG who run their own leaderboards, online game saving, and online forums. Similarly, games developers would be running their own app stores for their games titles, continuing to offer the same kind of integrated functionality.

I also see Microsoft behind this idea because of software development being their founding stone with an example being the XBox One designed from scratch to support home-developed games. This is because they want to run app stores as a way to make it easier for up-and-coming software developers to put their wares on their market.

What are the issues here?

One key issue that would come up in my mind is a replication of the “bulletin board” or “download site” era that existed before and during the early days of the Internet. This is akin to the “shovelware” magazine-cover CD-ROM era that existed in the early days of optical data storage. That is where you had online or offline collections of poor-quality software available for download or installation on your regular computer. It is something that has affected some app stores in their early days where they were replete with poor-quality apps.

Here, there was very little effort regarding quality control when it came to making software available on a bulletin board or download site or adding software to an optical disc that was attached to a computer magazine. This is compared to most app stores where the people who run the stores vet the software before it is published as well as running “editor’s choice” or “spotlight” programs to feature good-quality software,

Apple and Google challenge the competitive app store approach because they see exclusive app stores as a way to maintain standards regarding software for their platforms.

Here, they see this primarily with data security and user privacy. But they also see this with maintaining legal and social expectations regarding the kind of software available on personal devices. This ranges from issues like suitability for children and suitability to use in the workplace or around your family; along with being able to facilitate access to undesireable content like hate speech or disinformation.

How could these issues be answered?

Computing-platform, operating-system and device vendors, amongst other strong voices in the personal/business IT and cybersecurity world could implement one or more “seal-of-approval” systems on apps or app stores. There would even be various legal protections and requirements placed on the software and app stores like intellectual-property or media-classification requirements, Here, the software or app stores have to maintain certain quality and similar standards before acquiring that “seal of approval”.

Endpoint-security logic that is part of the operating system or a third-party endpoint-security program offered by a brand of respect would add extra friction to installing or running software that doesn’t have one or more of these “seals of approval”. As well, such software would be required to identify and easily remove such software.

Similarly, these companies could vet software developers’ access to software-development kits and application-programming interfaces so that the developer has to be in “good standing” to use the features that matter in an operating system. As well, software-authentication regimes will be implemented in a strong manner for any software that is distributed or installed on these devices.

Is there a risk of a limited rollout of open app-market features

There can be a risk of Big Tech creating versions of their app-store-driven computing platforms for particular geopolitical areas when each area enacts open-app-market legislation.

In this situation, when a user registers a new device or the device’s operating system is updated, there would be logic to test whether the device is within a country or region under an open-app-market mandate then deliver a compliant version of the software to those areas. That is while a noncompliant version of the software is delivered to new or updated devices in areas that don’t have the open-app-market mandate.

This is similar to an issue faced in Australia with the motor industry where vehicle builders are “dumping” vehicles that are less fuel-efficient in to that market. That is because there aren’t the fleet-wide vehicle-efficiency mandates there that are similar to those mandates affecting USA, Europe or South East Asia.

Here, the issue that would be raised is having markets that aren’t regulated with open-app-market mandates being areas to continue the status quo regarding anticompetitive behaviour. Add to this intense lobbying of government or political parties by Big Tech to continue the same kind of behaviour with impunity.

Conclusion

What may be coming about for smartphones, mobile-platform tablets and similar devices is that governments will be forcing open the app-store markets for these devices so that users can seek software from competing suppliers.

Chapter marking within podcasts

Android main interactive lock screen

Smartphones are facilitating our listenership to podcasts

As we listen to more spoken-word audio content in the form of podcasts and the like, we may want to see this kind of audio content easily delineated in a logical manner. For that matter, such content is being listened to as we drive or walk thanks to the existence of car and personal audio equipment including, nowadays, the “do-it-all” smartphones being connected to headphones or car stereos.

This may be to return to the start of a segment if we were interrupted so we really know where we are contextually. Or it could be to go to a particular “article” in a magazine-style podcast if we are after just that article.

Prior attempts to delineate spoken-word content

In-band cue marking on cassette

Some people who distributed cassette-based magazine-style audio content, typically to vision-impaired people, used mixed-in audio marking recorded at high speed to allow a user to find articles on a tape.

This worked with tape players equipped with cue and review functionality, something that was inconsistently available. Such functionality, typically activated when you held down the fast-forward or rewind buttons while the tape player was in play mode, allowed the tape to be ran forward or backward at high speed while you were able to hear what’s recorded but in a high-pitch warbling tone.

With this indexing approach, you would hear a reference tone that delineated the start of the segment in either direction. But if you used the “cue” button to seek through the tape, you would also hear an intelligible phrase that identified the segment so you knew where you were.

Here, this function was dependent on whether the tape player had cue and review operation and required the user to hold down the fast-wind buttons for it to be effective. This ruled out use within car-audio setups that required the use of locking fast-wind controls for safe operation.

Index Marking on CDs

The original CD Audio standard had inherent support for index marking that was subordinate to the track markers typically used to delineate the different songs or pieces. This was to delineate segments within a track such as variations within a classical piece.

Most 1980s-era CD players of the type that connected to your hi-fi system supported this functionality. This was more so with premium-level models and how they treated this function was markedly different. The most basic implementation of this feature was to show the index number on the display after the track number. CD players with eight-digit displays showed the index number as a smaller-sized number after the track number while those with a four or six-digit display had you press the display button to show the track number and index number.

Better implementations had the ability to step between the index marks with this capability typically represented by an extra pair of buttons on the player’s control surface labelled “INDEX”. Some more sophisticated CD players even had direct access to particular index numbers within a track or could allow you to program an index number within a track as part of a user-programmed playlist.

As well, some CDs, usually classical-music discs which feature long instrumental works that are best directly referenced at significant points made use of this feature. Support for this feature died out by the 1990s with this feature focused on marking the proper start of a song. It was considered of importance with live recordings or concept albums where a song or instrumental piece would segue in to another one. This was of importance for the proper implementation of repeat, random (shuffle) play or programmed-play modes so that the song or piece comes in at the proper start.

There was an interest in spoken-word material on CD through the late 1990s with the increase in the number of car CD players installed in cars. This was typically in the form of popular audiobooks or foreign-language courseware and car trips were considered a favourite location for listening to such content. But these spoken-word CDs were limited to using tracks to delineate chapters in a book or lessons within a foreign-language course.

But CD-R with the ability to support on-site short-run replication of limited-appeal content opened the door for content like religious sermons or talks to appear on the CD format. This technology effectively “missed the boat” when it came to support for index marking and most CD-burning software didn’t allow you to place index marks within a track.

The podcast revolution

File-based digital audio and the Internet opened the door to regularly-delivered spoken-word audio content in the form of podcasts. These are effectively a radio show that is in an audio file available to download. They even use RSS Webfeeds to allow listeners to follow podcasts for newer episodes.

Here, podcast-management or media-management software automatically downloads or enqueues podcast episodes for subsequent listening, marking what is listened to as “listened”. Some NAS-based DLNA servers can be set up to follow podcasts and download them to the NAS hard disk as new content, creating a UPnP-AV/DLNA content tree out of these podcasts available to any DLNA-compliant media playback device.

The podcast has gained a strong appeal with small-time content creators who want to create what is effectively their own radio shows without being encumbered by the rules and regulations of broadcasting or having to see radio stations as content gatekeepers.

The podcast has also appealed to radio stations in two different ways. Firstly, it has allowed the station’s talent to have their spoken-word content they broadcast previously available for listeners to hear again at a later time.

It also meant that the station’s talent could create supplementary audio content that isn’t normally broadcast but available for their audience, thus pushing their brand and that of the station further. This includes the creation of frequently-published short-form “snack-sized” content that may allow for listening during short journeys for example.

Secondly a talk-based radio station could approach a podcaster and offer to syndicate their podcast. That is to pay for the right to broadcast the podcast on their radio station in to the station’s market. It would appeal to radio stations having programming that fills in schedule gaps like the overnight “graveyard shift”, weekends or summer holidays while their regular talent base isn’t available. But it can also be used as a way to put a rising podcast star “on the map” before considering whether to have them behind the station’s microphone.

Why chapter marking within podcasts?

A lot of podcast authors typically ran their shows in a magazine form, perhaps with multiple articles or segments within the same podcast. As well, whenever one gave a talk or sermon, they would typically break it down in to points to make it clear to their audience to know where they are. But the idea of delineating within an audio file hasn’t been properly worked out.

This can benefit listeners who are after a particular segment especially within a magazine-style podcast. Or a listener could head back to the start of a logical point in the podcast when they resume listening so they effectively know where they are at contextually.

This can also appeal to ad-supported podcast directories like Spotify who use radio-style audio advertising and want to insert ads between articles or sections of a podcast. The same applies to radio stations who wish to syndicate podcasts. Here they would need to pause podcasts to insert local time and station-identity calls and, in some cases, local advertising spots or news bulletins.

Is this feasible?

The ID3 2 standard which carries metadata for most audio file formats including MP3, AAC and FLAC supports chapter marking within the audio file. It is based around a file-level “table of contents” which determine each audio chapter and can even have textual and graphical descriptions for each chapter.

There is also support for hierarchical table of contents like a list of “points” within each content segment as well as an overall list of content segments. Each of the “table of contents” has a bit that can indicate whether to have each chapter in that “table of contents” played in order or whether they can be played individually. That could be used by an ad-supported podcast directory or broadcast playout program to insert local advertising between entries or not.

What is holding it back?

The main problem with utilising the chapter markers supported within ID3.2 is the lack of proper software support both at the authoring and playback ends of the equation.

Authoring software available to the average podcaster provides inconsistent and non-intuitive support for placing chapter markers within a podcast. This opens up room for errors when authoring that podcast and enabling chapter marking therein.

As well, very few podcast manager and media player programs recognise these chapter markers and provide the necessary navigation functionality. This could be offered at least by having chapter locations visible as tick marks on the seek-bar in the software’s user interface and, perhaps allowing you to hold-down the cue and review buttons to search at the previous or next chapter.

Better user interfaces could list out chapters within a podcast so users can know “what they are up to” while listening or to be able to head to the segment that matters in that magazine-style podcast.

Similarly, the podcast scene needs to know the benefits of chapter-marking a podcast. In an elementary form, marking out a TED Talk, church sermon or similar speech at each key point can be beneficial. For example, a listener could simply recap a point they missed due to being distracted thus getting more value out of that talk. If the podcast has a “magazine” approach with multiple segments, the listener may choose to head to a particular segment that interests them.

Conclusion

The use of chapter marking within podcasts and other spoken-word audio content could make this kind of content easier to deal with for most listeners. Here, it is more about searching for a particular segment within the podcast or beading back to the start of a significant point therein if you were interrupted so you can hear that point in context.

The XBox One offers dual controls for the benefit of novice game players

Article

CO-PILOT, XBOX ONE’S NEW ACCESSIBILITY FEATURE | Cerebral Palsy Foundation

How to use Xbox One copilot to link two controllers | Windows Central

Copilot video update: sharing or splitting a controller | Special Effect

Video Walkthrough from Special Effect – Click or Tap to play in YouTube

From the horse’s mouth

Microsoft

First Wave of New Xbox Update Features Ship to Select Xbox Insiders Today (Blog Post)

Copilot on XBox One (XBox Support Article)

My Comments

An issue I raised in a previous posting regarding computer and video games, especially console games, is that it can be difficult for some people to learn how to play a video game.

One of the situations I was thinking of was where a younger game player was showing an older person who is interested in cricket how to play a cricket video game on his console. He then offered the older person a try at the game but the older person found it difficult to work out what effect the different buttons on the control had on the gameplay.

Here it may be about dealing with which buttons to use on a particular controller to achieve a particular result, especially has today’s game-console controllers have many different controls on them and it may be difficult to work out which button, joystick or trigger does what if you are now to these devices.

As part of Microsoft releasing the XBox Adaptive Controller, they also added to the XBox One and to Windows a “co-pilot” mode. This isn’t just part of running two controllers with two different operation methods together. But it could be to allow an advanced game player to give a helping hand to a novice game player. It is similar to the practice followed by most driving schools where the driving school’s fleet of cars are equipped with dual-controls. This allows the driving instructor to control the clutch and brake in order to override what the learner driver is doing in case of an emergency, thus being a safety net for novice drivers.

Here, you have to have at least two controllers connected to the XBox or Windows computer to have Copilot Mode active. The rule with the Copilot Mode is that the first controller you turn on ends up as the primary controller for setting up this mode. As well, it is a good idea to do the initial setup routine with your typical XBox controller, now seen as the primary controller if you are using something like the XBox Adaptive Controller as your complementary controller.

XBox One games console

Method One
  1. Connect the secondary controller to your XBox for copilot use. The copilot doesn’t need to sign in with their XBox account for this to happen. As well, the primary player is able to record their achievements on the XBox leaderboard.
  2. Using the primary controller, press the large X button to open the Guide, then select the Profile & System menu. Select Settings, then Ease Of Access, then Controller in that menu.
  3. Choose Copilot Settings and select the “Turn on Copilot” option to enable this mode.
  4. You will see the secondary controller listed. Here, select that controller to work in Copilot mode.
  5. At this point, your XBox controllers are linked as if they are dual controls.

When you are done with Copilot mode, go back to the Copilot settings menu and select “Turn off Copilot”. Both controllers then work as if they are for separate players.

Method Two

You need to follow this method if you want to maintain access to and control of any advanced features that your secondary controller may have. This may be to support custom button mappings or enable vibration to provide haptic feedback during gameplay.

  1. Connect the secondary controller to your XBox for copilot use
  2. Go to the My Games And Apps menu then select XBox Accessories. You may have pinned the XBox Accessories app to your home screen perhaps to have more control over game-controller customisations.
  3. Using the XBox Accessories app, assign the secondary controller to your current login
  4. Go to the top menu on your XBox Accessories app, then select the three-dot option on your primary controller.
  5. In this menu, you select the Turn on Copilot option to enable this function on your controller.
  6. At this point, your XBox controllers are linked as if they are dual controls. You also maintain customisations for each of the controllers like vibration feedback or custom button mappings.
  7. When you are done with Copilot mode, go back to the Copilot settings menu in the three-dot option for your primary controller. Then click “Turn off Copilot” to return the controllers to normal dual-player operation.

Windows 10 computers

  1. Here, you need to download and install the XBox Accessories App from the Microsoft Store. This will provide increased control over any XBox controllers you have connected to your computer.
  2. Connect both controllers to your Windows 10 computer as mentioned in the prior article. This can be done via USB or wirelessly and you may find that the latest controllers will support Bluetooth connectivity.
  3. Run the XBox Accessories App whereupon you will see both controllers represented on the screen.
  4. Click the three-dot option under your primary controller. Then click the Turn on Copilot option in that menu to enable this function. This will only apply to the two controllers.
  5. When you are done with Copilot mode, run the XBox Accessories App and select the three-dot option under your primary controller. Then select the Turn off Copilot option in that menu to return to normal two-player operation.

Further notes

If you are helping someone handle that game, it may be better to take a similar approach to how driving instructors help and teach novice drivers even when using dual-control vehicles. That is to allow the novice to do the controlling themselves but take the reins when things become difficult.

As well, it may be about allowing the novice to familiarise themselves with the button layout on the controller and allow them to work the game at their own speed.

If the game does have any online play abilities, you may find that playing the game in a manner where the computer is the only effective opponent may be what you need to do when you are helping a novice game player. This means that you aren’t playing against real people at remote locations who may not be understanding about novice or occasional game players.

Study confirms content-recommendation engines can further personal biases

YouTube recommendation list

Content recommendation engines on the likes of YouTube can easily lead viewers down a content rabbit hole if they are not careful

Article

This website lets you see how conspiracy theorists fall down the YouTube rabbit hole | Mashable

My Comments

Increasingly a lot of online services, be they social media services, news-aggregation portals, video streaming services and the like, are using algorithms to facilitate the exposure of undiscovered content to their users. It is part of their vision to effectively create a customised user experience for each person who uses these services and is part of an Internet-driven concept of “mass customisation”.

Those of you who use Netflix may find that your newsletter that they send you has movie recommendations that are based on what you are watching. You will also see on the Netflix screen a “recommendations” playlist with movies that are similar to what you have been watching through that service.

A very common example of this is YouTube with its recommended-content lists such as what to view next or what channels to subscribe to. Here a lot of the content that is viewed on YouTube is the result of viewers using the service’s personalised content recommendations.

The issue being raised regarding these algorithms is how they can perpetuate a personal “thought bubble”. It is even though there is other material available on the online service that may not mesh with that “bubble”. Typically this is through surfacing content that amplifies what the viewer has seen previously and can pander to their own biases.

An online experiment created by a Web developer and funded by the Mozilla Foundation explores this concept further in context with YouTube. This experiment, called “TheirTube”, emulates the YouTube content-discovery and viewing habits of six different personalities like conspiracists, conservative thinkers and climate deniers when they view content related to their chosen subjects.

Here, it shows up what is recommended in relationship to content to view next or channels to subscribe to for these different personalities and shows how the content recommendation engine can be used to underscore or amplify particular viewpoints.

It is a common problem associated with the artificial-intelligence / machine-learning approach associated with content recommendation that these services use. This is due to the end-user “seeding” the algorithms with the content that they actually interact with or the logical content sources they actually follow. Here, the attributes associated with the content effectively determine the “rules” the algorithm works on.

If you are trying to maintain some sort of critical thinking and use content services like YouTube for informational content, you may have to rely less on the content-recommendation engine that they use for finding new content. You may find it useful to manually seek out content with a contrasting viewpoint to avoid the creation of a “thought bubble”.

As well, if you follow the online-service’s recommendations in addition to running contrasting content through the online service, you may be in a position to make the content recommendation engine bring up varied content.

The idea of content recommendation engines that are based on what you choose can allow us to be easily cocooned in a content bubble that perpetuates personal biases.

WhatsApp to allow users to search the Web regarding content in their messages

WhatsApp Search The Web infographic courtesy of WhatsApp

WhatsApp to allow you to search the Web for text related to viral messages posted on that instant messaging app

Article

WhatsApp Pilots ‘Search the Web’ Tool for Fact-Checking Forwarded Messages | Gizmodo Australia

From the horse’s mouth

WhatsApp

Search The Web (blog post)

My Comments

WhatsApp is taking action to highlight the fact that fake news and disinformation don’t just get passed through the Social Web. Here, they are highlighting the use of instant messaging and, to some extent, email as a vector for this kind of traffic which has been as old as the World Wide Web.

They have improved on their previous efforts regarding this kind of traffic initially by using a “double-arrow” icon on the left of messages that have been forwarded five or more times.

But now they are trialling an option to allow users to Google the contents of a forwarded message to check their veracity. One of the ways to check a news item’s veracity is whether one or more news publishers or broadcasters that you trust are covering this story and what kind of light they are shining on it.

Here, the function manifests as a magnifying-glass icon that conditionally appears near forwarded messages. If you click or tap on this icon, you start a browser session that shows the results of a pre-constructed Google-search Weblink created by WhatsApp. It avoids the need to copy then paste the contents of a forwarded message from WhatsApp to your favourite browser running your favourite search engine or to the Google app’s search box. This is something that can be very difficult with mobile devices.

But does this function break end-to-end encryption that WhatsApp implements for the conversations? No, because it works on the cleartext that you see on your screen and is simply creating the specially-crafted Google-search Weblink that is passed to whatever software handles Weblinks by default.

An initial pilot run is being made available in Italy, Brazil, Ireland (Eire), UK, Mexico, Spain and the USA. It will be part of the iOS and Android native clients and the messaging service’s Web client.

WhatsApp could evolve this function further by allowing the user to use different search engines like Bing or DuckDuckGo. But they would have to know of any platform-specific syntax requirements for each of these platforms and it may be a feature that would have to be rolled out in a piecemeal fashion.

They could offer the “search the Web” function as something that can be done for any message, rather than only for forwarded messages. I see it as being relevant for people who use the group-chatting functionality that WhatsApp offers because people can use a group chat as a place to post that rant that has a link to a Web resource of question. Or you may have a relative or friend who simply posts questionable information as part of their conversation with you.

At least WhatsApp are adding features to their chat platform’s client software to make it easer to put the brakes on disinformation spreading through it. This could he something that could be investigated by other instant-messaging platforms including SMS/MMS text clients.

Google fact-checking now applies to image searches

Articles

Google search about Dan Andrews - Chrome browser in Windows 10

Google to add fact checking to images in its search user interfaces

Google adds a fact check feature for images | CNet

From the horse’s mouth

Google

Bringing fact check information to Google Images (Blog Post)

My Comments

Increasingly, images and video are being seen as integral to news coverage with most of us seeing them, especially photographs, of importance when corroborating a fact or news story.

But these are becoming weaponised to tell a different truth compared to what is actually captured by the camera. One way is to use the same or a similar image to corroborate a different fact, with this including the use of image-editing tools to doctor the image so it tells a different story.

I have covered this previously when talking about the use of reverse-image-search tools like Tineye or Google Image Search to verify the authenticity of an image and . It will be the same kind of feature that Google has enabled in its search interface when you “google” for something, or in its news-aggregation platforms.

Google is taking this further for people who search for images using their search tools. Here, they are adding images to their fact-check processes so it is easy to see whether an image has been used to corroborate questionable information. You will see a “fact-check” indicator near the image thumbnail and when you click or tap on the image for a larger view or more details, you will see some details about whether the image is true or not.

A similar feature appears on the YouTube platform for exhibiting details about the veracity of video content posted there. But this feature currently is available to users based in Brazil, India and the USA and I am not sure whether it will be available across all YouTube user interfaces, especially native clients for mobile and set-top platforms.

It is in addition to Alphabet, their parent company, offering a free tool to check whether an image has been doctored. This is because meddling with an image to constitute something else using something like Adobe Photoshop or GIMP is being seen as a way to convey a message that isn’t true. The tool, called Assembler, uses artificial intelligence and algorithms that detect particular forms of image manipulation to indicate the veracity of an image.

But I would also see the rise of tools that analyse audio and video material to identify deepfake activity, or video sites, podcast directories and the like using a range of tools to identify the authenticity of content made available through them. This may include “fact-check” labels with facts being verified by multiple newsrooms and universities; or the content checked for out-of-the-ordinary editing techniques. It can also include these sites and directories implementing a feedback loop so that users can have questionable content verified.