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People like to feel they belong to something, especially since work, social and housing patterns have eroded traditional communities and increased the tendency for people to feel isolated and lonely. Online, people spontaneously form communities with astonishing facility. Groups of people readily identify with each other on the basis of common interests and gravitate to people they meet who hold similar outlooks and values. Streaming media is already facilitating this community formation, through streaming audio and video chat services, such as Yahoo! and PalTalk.
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Who has time anymore to wait or to have time wasted There are so many other demands on people s attention and leisure time. With companies working on Internet Time and requiring greater productivity, year after year, more is expected of everyone at work. Time is so precious, because nobody has more than a lifetime to give. Streaming media allows people to get as much or as little information as they require; different levels of detail and the ability to control the pace of information delivery.
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Expectations of Search Relevance
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Search relevance is an important audience expectation. Nobody has the time or interest to wade through irrelevant or out-of-date search results. They can t possibly hope to be able to trawl through listings for thousands of on-demand channels. When the user specifies the search key,
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The Audience
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the results have to pertain to it. With metadata-enabled searching and some of the newer content management, publication, syndication, and replication systems being developed for streaming media applications, this is one technology that ought to be able to deliver fast and relevant pointers to material of interest.
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Whereas watching old media was like taking dictation, people today want not only to shape the editorial agenda, but also to create their own discussion groups and programming, to promote their own ideas and views. Media should not be for the elite. There is an expectation that anybody should be able to publish audiovisual content, just as on static Web sites today. With streaming media technology, it is possible to kick ideas around with peers and even collaborate on digital media production online. Production costs are not prohibitive, as they are with television production. The desktop content producer is a realistic prospect with streaming media.
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Respect for Digital Rights
Most people will happily buy a piece of media, especially when it is easier or more cost effective to do so than to make copies. Many people with disposable income don t have time to fiddle with the process of making pirate copies. Those who have time, but no money, aren t potential customers anyway. Their accessing a piece of content serves only to spread the work to a wider audience and perhaps to create some word-of-mouth recommendation value to the content owner. Sentient beings realize that if favorite artists aren t paid they, like everybody else who isn t paid, go out of business. Some activities of global media concerns have not won them any friends. It is widely known that digital content of all types is priced differentially across the globe. It can cost less to buy a CD pressed in the UK in a foreign country than it does in its country of origin, for example. Local taxes not withstanding, people do not like to feel that they are being taken advantage of. The calculus for digital music downloaded or streamed from the Web might go something like this. If a CD with ten tracks on it costs $20 and if a person expects to play that CD a total of 50 times, then the value the
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consumer attaches to listening to a single track just once is around four cents. What this means is that an online music service cannot expect to charge the retail price of a single to access that track as a stream, especially when you consider that some consumers still have to pay connection charges by the minute and also pay for the storage, if they save the track for later replay. Fortunately, many digital music services have now emerged that charge a flat monthly rate for access. In essence, people will resist paying more to stream digital music and video, at quality levels that rival CD and DVD, than it costs to deliver actual physical disks, pressed at a plant, packaged, and transported to warehouses and sold via a retail outlet. The amount paid for the bandwidth plus the contribution to the content owner cannot exceed the price of the DVD or CD without consumers feeling that the situation is absurd. Consumers know that the incremental cost to the content owner of shipping additional bits, once the initial production costs have been amortized, is effectively zero.
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