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The lack of any censorship in streaming media is a double-edged sword. On the one hand, there is access to literally anything, which can be a very liberating force, but on the other hand some material that most people would regard as unsavory would also be available. A lack of censorship is, nevertheless, a compelling driver for uptake of the medium
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by consumers. The allure of forbidden fruit is a strong one. Streaming media almost uniquely allows the global movement of information, without censorship. Technical solutions to filter out potentially unsavory material exist, but are unreliable, filtering out innocent material inadvertently, and they are ultimately easily bypassed. Privacy preferences can be set with modern browsers, placing the onus on the individual consumer to reveal tolerance to adult-only material. There is a growing realization that censorship is only part of the solution to maintaining moral standards in society. Education and societal attitudes have a role to play as well. Reliance on technical solutions to safeguard the moral fiber of society is not only na ve but also somewhat dangerous. The relevance to streaming media is that censorship, or the lack of it, will tend to make streaming media profitable. Evidence for this is the current earnings of the online adult entertainment industry, some of the earliest adopters of streaming media technology. Online adult entertainment is unarguably successful, in pure financial terms.
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Another way that streaming media can be regarded (and marketed) is as an enhanced World Wide Web, but more fun and with better and more interesting content. Streaming media has the potential to be more entertaining and informative than all the content already on the Web. Besides allowing the creation of entirely new content, streaming media also unlocks a vast archive of audiovisual material currently only rarely accessed. Old film stock, once seen as expensive to store, now becomes an opportunity for revenue generation. The streaming media experience can be thought of as the next generation of the World Wide Web.
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Digital television, as we know it, is expensive. Multimillion-dollar production facilities are the norm. Quality standards in production are far beyond what the consumer actually receives or requires. More importantly, digital television is extremely wasteful of scarce radio frequency resources. When it is possible to deliver high-definition streaming media pictures over fiber, without impacting any other communications service, how can the use of hundreds of megahertz of the airwaves per channel be
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justified Surely there are other more worthy uses of that spectrum. Terrestrial transmission of uncompressed high definition video is no longer a technical necessity. There are other ways. The real question is how the broadcast industry can get away with such waste and profligacy. Digital television is largely didactic. You watch and listen while they tell you what they want to tell you. There are few ways to shape the information delivered, to interact with the program makers as the program comes together, or to delve into the inside and background stories surrounding any given television report. It echoes the attitudes of a long-gone age, where deference to authority was the norm and the common man did not question what he was told. Modern media consumers are not as accepting. Digital television struggles to adjust to the new expectations of a questioning, inquiring, sometimes cynical audience. Its technical features make this adjustment difficult. Digital television is undoubtedly under the control of relatively few organizations. This limited diversity poses several potential problems, some of which society is not even aware of. There are well-documented instances of media owners using their media properties to influence the masses, so as to pervert the course of ordinary political decisions. Media owners desirous of particular policy decisions have coerced politicians into making laws more favorable to themselves, through the simple expedient of threatening public exposure of some less-than-honest politicians. Some call this kind of activity blackmail. These same media owners own and control significant digital television properties globally. For this reason and because viewers can never know or find out why the television media holds and broadcasts certain opinions, television is no longer a trustworthy source of information. Television shows are not the events they once were. To many television viewers today, the medium has become boring, primarily because of its passive nature. The term couch potato sums up the backlash. Digital television, though a relatively recent technical system, is actually based on a much older technology. Interlaced pictures are a workaround for the problems with modulating television pictures on analog transmission systems, dating back to the 1930s. Interlacing, which has some severe visual artifacts associated with it, was meant to mask the effect of limitations of the analog transmission system. Yet, today s digital television systems still slavishly broadcast interlaced content, even though there is no longer any technical reason to do so. This is because of the desire to maintain backward compatibility with older television receivers. The American NTSC television broadcast system was deployed about 1954 and today s television sets remain compatible with
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