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The Impact of the Net

This is an assignment written as part of my recent masters in Broadcast Production. It was interesting to take an overview of online media, a decade after regularly writing about its impacts. In a sense surprisingly little has changed… Remix culture is still alive, and still illegal. Podcasts and online video are more popular than ever, but have done little to replace established media. Blogs have ceased to matter, despite the efforts of medium and aggregators, and more surprisingly despite their utility and disseminators of free specialist knowledge. There exists in the public conversation only the polarised ‘mainstream media’ and the ephemeral and even more polarised tweet. The level of online discourse has hence inarguably diminished; a further impact of the ‘Eternal September’ ongoing since the weeds of the net outgrew the ivy league. Overall though, the online world of 2017 looks remarkably similar to the world of a decade past.

Title: An optimistic view of the impact of the internet is that it is a democratic and life-enhancing force for culture and communication. The main criticisms of that hopeful approach are that the internet has enabled unequal access, centralization of power and new forms of power through surveillance. (Hesmondhalgh, David. The Cultural Industries (3rded). Ch9 Sage 2013) Analyse these contrasting arguments with reference to broadcasting.

Introduction

Today’s English language internet is dominated by a single search engine (Google), two social networks (Facebook and Twitter), and a few hundred smartphone applications (Alexia.com, 2017) (Perry, 2016). Yet it is also paradoxically stocked by ‘user created content’ – the podcasts, comments, blog posts, images and videos created by the nets 3.5 billion users (ITU, 2016). Today’s ‘network of networks’ is in a sense the final medium, a canvas for all current and future communications technologies, from mobile phone calls to virtual reality. But it exists in a state of tension. Since its inception the internet has struggled with competing imperatives – openness vs privacy, free speech vs censorship, commercialisation vs open source, privacy vs the panopticon. The internet frees us to communicate instantaneously across the globe, even as it makes the monitoring and permanent storage of that communication trivial. It lets us publish our ideas and creative work, even as it makes them so ubiquitous, easily mimicked and duplicated as to be valueless. It’s the source of limitless education and constant manipulation. This essay will examine how this most contradictory of mediums has impacted broadcasters and audiences alike.

The Evolution of the Net

The internet was born at the Advanced Research Projects Agency (ARPA) of the US defence department. Work at APRA and the RAND think tank in the 1960’s and early 70’s laid the groundwork for a single grand computer network, interconnecting all others. The network was based on the decentralised structure of the human brain, an interconnected system with no single point of failure (Ryan, 2010). Beginning in 1973 the net spread from exclusive military use to the research community (Ziewitz, 2011). Through enthusiasts and later commercial internet service providers, the net opened to home users beginning in the late 1970’s (Ryan, 2010). The advent of the world wide web, developed at CERN in 1991, popularised the domestic and commercial uses of the net (Berners-Lee & Fischetti, 2000). However, the modern internet, composed of mobile apps, the web, chat services, cloud storage and processing, file-sharing, the ‘always on’ elements of computer operating systems and the emerging ‘internet of things’, still relies on the core infrastructure developed at ARPA (Khodkari & Maghrebi, 2016).

As bulletin board systems, gopher internet relay chat, and latterly the web spread, they competed with private subscription services offering curated programmatic content. Services like Compuserve and America Online did not initially include access to the open internet, despite relying on its underlying TCP/IP technology (Ryan, 2010). Like today’s social networks they were ‘walled gardens’, private spaces where content modelled on network television was curated, managed and sanitised (Bruns & Burgess, 2015). In stark contrast, the ‘user generated’ wilds of the early internet contained any number of thorns, from pirated media and illegal pornography, to guides to the manufacture and use of weapons (Deibert, 2010).

Ultimately the internet’s greater variety of content and wider pool of users outcompeted the private online services. But this dynamic conflict between the open free transfer of information and corporate networks that offer polished services at the expense of user control, continues to this day (Noam et al, 2003). Today’s internet user primarily consumes and produces content through closed source applications purchased from curated stores owned and operated by powerful corporations (Adams et al, 2012).

The utopian vision of an internet free from censorship and corporate control was articulated in an influential statement ‘A Declaration of the Independence of Cyberspace’ by Electronic Freedom Foundation (EFF) founder John Perry Bardow. Bardow and technologists and hackers like him stood for the vision of an internet free from “legal concepts of property, expression, identity, movement”. They sought to “create a civilization of the Mind in Cyberspace…. more humane and fair than the world your governments have made before” (EFF, 1996). Put another way, ‘information wants to be free’ (Clarke, 2016).

“Information Wants To Be Free. Information also wants to be expensive. Information wants to be free because it has become so cheap to distribute, copy, and recombine—too cheap to meter. It wants to be expensive because it can be immeasurably valuable to the recipient. That tension will not go away. It leads to endless wrenching debate about price, copyright, ‘intellectual property’, the moral rightness of casual distribution, because each round of new devices makes the tension worse, not better.”

Stewart Brand, ‘The Media Lab, Inventing the Future at MIT’, 1987

As broadcasters encountered the internet they found in it both a place to promote their content, and an existential risk (Lee & Lee, 2015). The net offered access to a global audience, yet it made the mechanisms of broadcast television all but obsolete. Despite the crude low resolution imagery of early internet video, and the slow speeds of early file transfer programmes over dialup internet, by the late 1990’s it was already apparent that all programming would ultimately be available in some form online (Dowling et al, 1998).

 

All Consuming Platforms

This came to pass first through the free sharing enabled by peer-to-peer platforms like BitTorrent, and later via corporate stores and streaming platforms. Today all major broadcasters and production companies offer their programming for sale or rental online. Surprisingly, broadcast television has not disappeared in the wake of ubiquitous online access and cheap ‘prosumer’ content creation technology. Instead broadcasters have adapted in a wide variety of ways to the inescapable reality of the internet. Streaming TV services both net native (Netflix, Amazon), and ‘old media’ owned (Hulu, BBC iPlayer, RTE Player, HBO Go etc) provide always on access to archives of previously broadcast progammes. Enabling viewers to ‘binge watch’ entire series in a short period (Matrix, 2014). Increasingly these services commission new programming for an online only audience (Carr & Somaiya, 2014). The pressure these platforms (and other forms of ad skipping) have put on traditional advertising has massively increased product placement (Schweidel et al, 2014). Meanwhile broadcast television has balkanized: Bifurcating into a small number of premium channels developing high end scripted productions, and a much larger number of channels producing low budget, often exploitative, reality programming (Serpe, 2013). The turnover of new programming formats is enormously higher than before, creating a multi-billion euro format market for programmes that can be customized and resold in multiple territories (Moran, 2013).

Podcasting, a new medium for the distribution of audio content developed in the early 2000s, initially empowered independent creators to cheaply release spoken word programming. However, as with video, centralised ownership and the ‘discoverability problem’ have led to podcasts charts becoming dominated by traditional broadcasters and new media companies founded by former traditional broadcasters (Bottomley, 2015). In recent weeks facebook have announced the launch of ‘live audio’, an integrated platform for audio streaming, which threatens to take a wall off a significant segment of the field dominated by podcasting (Facebook, 2016). A similar path was followed by blogging which initially promised to give air to a diversity of perspectives. Over time aggregator sites like Reddit, blog-like news organisations such as Gawker and Buzzfeed, and centralised platforms like Facebook, Twitter and Medium leveraged network effects to overwhelm independent sites (Arthur, 2009). While blogs and non-commercial media outlets like Indiemedia still exist, their significance has greatly decreased. Today, the primary outlets for ‘user created content’ are platforms like twitter, facebook and youtube (Brake, 2004). These sites limit what can be posted, disseminated and ‘monitized’; practicing de facto censorship in response to commercial and political imperatives (Heins, 2013). Often prohibiting anonymous or pseudonymous posting (van der Nagel & Frith, 2015). While intended to reduce online abuse, this can endanger writers and creators working in authoritarian regimes (Grönlund & Wakabi, 2015), or in vulnerable domestic circumstances.

The recommendation and filtering engines that keep users returning to these sites have resulted in the creation of ‘filter bubbles’: Wells of inoffensive agreeable opinion, leading to the polarisation of political perspectives and the mistaken impression of uniformity (Bakshy et al, 2015). This trend has culminated in the creation and dissemination of ‘fake news’, wilfully misleading articles with provocative titles that are widely shared within partisan political bubbles (Khaldarova & Pantti, 2016). Allegations persist that such articles – in addition to state sponsored ‘astroturfing’ (fake grassroots campaigning) had a role in influencing the 2016 US elections (Bessi & Ferrara, 2016).

By centralising distribution and identity, the new media sites also enable profoundly invasive surveillance. The widely publicised leaks of Edward Snowdon and Chelsey Manning revealed ubiquitous surveillance of online communication and social media sites (Stoycheff, 2016). Blanket online surveillance is carried out internationally by American intelligence agencies like the NSA, and in the UK and Ireland by British military intelligence GCHQ. As far back as the late eighteenth century Jeremy Bentham predicted the chilling effect constant imperceptible surveillance would have on the surveilled (Sheridan & Foucault, 1977). Experiments by Facebook in manipulating user emotion through subtle variations in the content of their ‘news feed’, point to the additional dangers of affect manipulation (Grimmelmann, 2014).

Worryingly, the analysis of so called ‘big data’ the aggregated and commodified behaviour of citizens online and off, produces only correlations. To employ these correlations predictively requires experimental hypothesis testing (Zuboff, 2015). This creates an enormous incentive for the manipulation of mass audiences online. Zuboff, 2015, refers to the large media platforms as ‘surveillance capitalists’, commodifying the behaviour of their users in ever more invasive and manipulative ways. The authoritarian regime in China has already developed a social network that penalises antisocial behaviour via a ‘social credit score’ (SATPRC, 2014). This formalises the rankings provided by ‘subscriptions’ and ‘likes’, that already accrue to inoffensive and extreme opinions alike across social networks. Chinese officials have stated that this “new system will reward those who report acts of breach of trust” (BBC News, 2015).

 

Illegal Art

With the advent of file sharing and the online hosting of media, internet users formed a new adversarial relationship with ‘big content’. As the early file trading networks like Gnutella and Napster grew, so did the fear that the unmetered sharing of information would undercut corporate profits. New laws were rapidly drafted which penalised and even criminalised file sharing and thousands – including many college students, found themselves sued for large sums. Non-commercial infringement was no defence against laws like the Digital Millennium Copyright Act. Librarians and lecturers could be prosecuted for making ‘infringing copies’ of scholarly texts or articles (Clark, D, 2002).

While these laws had a negligible effect on the popularity of filesharing (and filesharing in turn has had a negligible effect on music sales), they had a distinct impact on the evolutionary direction of the internet (Oberholzer & Strumpf, 2007) (Oberholzer & Strumpf, 2016). The new intellectual property regime meant that broadcasters and programme makers had for the first time control over the kinds of devices and services that could distribute their content. In the 1980’s broadcasters lost the battle to prevent home taping (Madrigal, 2012), creating a new video rental market which ultimately spurred the creation of DVD and Blu-ray. Now however, unapproved use and sale could be legally sanctioned. Where the unsanctioned re-edit and recording of soul & disco gave birth to hip hop, now such innovation was impractical. While various forms of ‘illegal art’ have emerged since the advent of the new international copyright regime – from mashup videos to vaporwave – we’ve also seen the prohibition of work of immense popularity. In 2004, the American artist Danger Mouse produced a critically acclaimed record combining elements of the Beatles White Album with JZ’s Black Album. The Grey album became enormously popular but was rapidly removed from online distribution by the corporations who owned copyrights to both original recordings (Gunderson, 2004). Where two decades before sampling had provided the backbone of a nascent hiphop scene, now one of the most popular and innovative artists in a generation had been censored in the name of profit (McLeod, 2004). Latterly, an uneasy compromise has been arrived at, with record companies largely tolerating the non-commercial release of ‘mixtapes’ – albums containing ‘uncleared’ samples, as hype building exercises that develop anticipation for tours and official releases (Anderson, 2008). However, in the realm of video such tolerance has not come to pass, with ‘DCMA takedown requests’ frequently employed to remove not only ‘infringing’ art, but also political statements, critical product reviews, and other material likely to threaten corporate profits (Loren, 2011). While the modern IP regime originated in the US, the last three decades have seen a concerted effort at ‘copyright harmonisaton’: The export of American intellectual property and trademark law (often accompanied by more severe criminal penalties) internationally (Sell, 2003) (Baker, 2004).

Conclusion

The internet’s impact on culture and communications has been complex, nuanced and multifarious. Inarguably the net has made possible a level of surveillance and manipulation previously undreamt of. The roles of broadcaster and content producer have merged, as countless new distribution opportunities developed and became subsumed by the social networks. Broadcasters and programme makers can today find global audiences more readily and cheaply than ever before. Native speakers can subscribe to programming and channels in their own languages almost anywhere on earth. Minority interest programming can be created exclusively for new platforms without recourse to traditional gatekeepers. At the same time, programme makers must contend with abusive copyright regimes (and conversely piracy), overwhelming competition, less captive audiences and declining advertising revenue. The big winners in this new landscape have been intellectually undemanding entertainment formats, appealing to mass audiences and easily customised to local markets.
Perhaps the greatest threats to critically engaged broadcasting arise from state and corporate censorship. Today censorship can arise algorithmically, from well intentioned efforts to increase user engagement, and with it profits. It can enable the worst elements of authoritarian state surveillance and intervention: The observation and manipulation of the intimate communications of everyday people. Under East Germany’s notorious Stazi regime, the practice of Zersetzung was employed against dissidents (Dennis, 2006). This was the willful distortion of a person’s experience of the world. The secret destruction of their personal and professional relationships. Zersetzung was a form of state gaslighting that isolated and psychologically injured its victims. Today’s online media landscape has the potential to be just as damaging. Internet users, cut off from one another in self referencing echo chambers, can become radically disconnected. These bubbles threaten the very possibility of a shared political and cultural landscape: And with the the stability of society, family and social relationships.

The net has accelerated financial inequality, even as it has led to unparalleled economic growth and access to information. We live in a Golden Age of Television (Thompson, 2013), with the most inventive, high quality drama ever broadcast. And yet enormous audiences prefer to watch and share the most trivial short form videos: Distractions that represent the least informative and edifying forms of escapism. We can publicise our interests and find others who share them. Yet keeping our viewing preferences, our online behavior and our communications private is all but impossible.

The impact of the internet has no valance. It has not been to influence mass communication, but rather to replace it. It has not merely affected existing media, but rather engulfed it. Broadcasting and narrowcasting are classifications of a bygone age. Media and communication are now united in a spectacular, universal panopticon. A place where any may speak, but where it is increasingly difficult to truly listen.

 

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Migrant Fictions

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Download: Migrant Fictions (54 Megs)

Migrant Fictions is an ambitious new drama project, bringing together the talents of a diverse group of immigrant writers to capture their experience as émigrés to Ireland. German-Polish writer / director Dominik Turkowski developed five short drama scripts through workshops with writers from the immigrant community. Their stories capture the varied experiences of newcomers to Ireland. This project provided the opportunity for immigrants to articulate their experiences in their own words, through five short radio dramas. These dramas were devised collectively by the migrants themselves, and connect in profound and mysterious ways that reflect with humour and humanity what it means to be a migrant in Ireland today.

We’d like to thank world famous film and videogame composer Craig Stuart Garfinkle who kindly donated his compositions to the project.

The Writers

The plays were written by a talented and diverse group of Migrant Writers. The writers were Dalia Smelstoriūtė, Özgecan Kesici, Dominik Turkowski, Tina Brescanu, and Chandrika Narayanan-Mohan.

Producer and sound designer was Gareth Stack.

Check out the shows complete Credits.

The Plays

Experience 5 ten-minute dramas on travel, isolation and the tension between tradition and modern lifestyles. 5 stories sharing perspectives on  love and family, of acceptance and prejudice, of frustration with the bureaucracy and profound questions between home and adoptive culture.

In profound and mysterious ways they reflect with humour and humanity what it means to be a migrant in Ireland today.

Girl On A Plane

Elif, a German born Kazakh girl, is travelling home to meet her father. Elif is studying biochemistry in Ireland, but has dreams of becoming an actress. Dreams her traditionalist father thinks are beneath his daughter. Will she go her own way ?

Howling Walls

Robert has inherited a valuable collection of paintings – the work of his well-known >artist mother Margaret Owalska, a Polish migrant to Ireland. At an auction shortly after his mother’s death, Robert is interrupted by a man who is claiming ownership of his mother’s work.

Talk at Me 

Aysegul, a Turkish migrant working in Dublin, meets her boyfriend for coffee. Really Aseygul wants to address her VISA worries, but she has to deal with the reality that her boyfriend is more interested in expressing his own opinions than listening to her problems. Asysegul has been rejected by the bureaucracy of the employment permit programme. Will she have to return to the unstable political situation in Turkey ?

Eat In or Take Out 

Egle, an elderly Lithuanian woman travelling in Ireland for work, heads to a restaurant to meet Jonas. Jonas is in Ireland working eighty hour weeks to save up money for his wife and child back home. Together they talk about life and while a new friendship unfolds, Egle is also facing the sudden ending of a long lasting romance.

I Belong – Tina Brescanu

A young Swedish girl Pernilla, falls for Carrick, a charming Irish musician on a hot night in a Swedish town. Following him back to Ireland, Pernilla must deal with the realities of working in Ireland, crank callers, and a rude elderly lady she cares for, Peig. Gradually Pernilla and Peig develop a mutual respect and become fast friends. At the same time, pressured by Carrick to join him living in isolated Connemara, Pernilla is pushed to take a tough decision..

BAI CREDIT

Dead Medium Productions to create two new Sound & Vision funded Programmes

Dead Medium Productions are proud to announce that we’ve been granted funding for two new programmes in the latest round of the BAI’s ‘Sound & Vision Scheme’. These are ‘The A.R.T of Television’ for Dublin South FM, and ‘The Free School’ for Newstalk. This follows BAI’s funding of three programmes in December 2016, bringing the total number of Sound & Vision supported programmes developed by Dead Medium to twelve since 2013.

The Art of Television is a satirical screwball comedy starring Roger Gregg, set in the early days of Irish television broadcasting.  A time when government and church fought young broadcasters struggling to innovate on the nation’s fledgling TV channel. American writer Claude Chabert lands a job early Irish soap opera ’Home Farm’. Claude finds himself trapped between the political pressures and on the rigid censorship of late 1960’s Ireland. Attempting to kill the show, he resorts to improbable storylines rooted in Irish mythology, creating an unexpected hit. Now Claude must balance the demands of crafty civil servants, a meddling church and an unruly cast.

The Free School is a documentary exploring a revolutionary new school, and it’s impact on Irish education. A revolutionary new school opened recently in Ireland. Wicklow Sudbury school challenges every assumption we hold about education. This is a school with no teachers, no timetables, no exams and no classes. A school where children as young as seven and as old as eighteen work together. A place where young people are free to do whatever they want, whenever they want. The Sudbury model represents a challenge to and an opportunity for our school system. This radical form of schooling has been running in the United States for almost fifty years, but can it work here? This documentary follows the first few months of the fledgling school. Listeners will meet students, staff and parents, and explore what they found lacking in conventional education. In the process we’ll see just what Irish education can learn from The Free School.

The Bee Loud Cabaret comes to Lyric FM

The first episode of ‘The Bee Loud Glade Cabaret‘, a new poetry programme created by Roger Gregg and executive produced by Dead Medium Productions just aired on RTE Lyric’s Nova. You can hear the show for the next five weeks on Nova (Sunday’s at 8PM), then for the following seven weeks on Evelyn Grant’s Weekend Drive (Saturdays at 4PM).

The Bee Loud Glade Cabaret is a series of twelve bite-size programmes bringing the best of the contemporary Irish spoken word scene to radio. Each episode showcases one beautifully produced spoken word performance, and one ‘backstage’ interview with emerging & established Irish poets. The series represents an exciting new approach to poetry on radio, mixing studio performance, music and soundscapes to recreate the excitement of the live poetry scene.

Featured poets include Gerry Murphy, Grace Wells, Pat Boran, Mary O’Donoghue, John Moynes, Leland Bardwell, Caelainn Bradley, Stephen Clare, Genevieve Healy, Patrick Chapman, and Eleanor Hooker.

Performers include Ethan Dillon, Deirdre Molloy, James O’Connor,  Angel Hannigan, John Moynes, Amilia Clarke Stewart, Juliette Crosbie, Suzie Seweify, and Olivia Haran.

Special thanks to Eoin O’Kelly at Lyric for commissioning the series.

Funded by the Broadcasting Authority of Ireland, with the television licence fee.

BAI CREDIT

Three Great Reviews for Mic Drop

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My second play ‘Mic Drop’ just finished it’s workshop run at the Scene + Heard Festival in Smock Alley. We received a couple of positive reviews.

“It is uncomfortable and disturbing, well-judged in the writing and carried off to perfection by the actor.  This is a talented writer and a fine young actor; their future work will be worth watching.”

No More Workhorse

“The script is finger-licking for any actor, and in the words of Pardo, Tyrell takes it and eats it with his f(ck)ng mouth. It’s perhaps the most intense one-man performance I’ve seen since Jonathan Capdevielle’s role as a serial killer (and his victims) in Gisele Vienne’s production of Dennis Cooper’s Jerk. Tyrell struts and frets his half hour on the stage like his life depends on it (no doubt Pardo believes that it does). Modafinilled out of his box, Pardo is itching for confrontation but has to content himself with feeding off the nervous quiet of the audience.”

Andrew P Allen 

“As it stands Mic Drop is a fun and momentarily brutal 30 minutes of performance that is immersive and engaging. Its present format mirrors the story almost too well and, like Perry, there are a few cracks in the overall piece. Mic Drop has a lot of potential to be developed into something greater and this taster demonstrates Tyrrell’s capability and Stack’s writing talent. It shines a satirical spotlight on the modern interpretation of ‘success’ while acknowledging society’s role in its own demise. Perry, like a lot of monsters, is man-made.”

David Keane

Perry Pardo is coming to Dublin!

Perry Pardo, one of the worlds most charismatic and influential business speakers is arriving in Dublin. RTE Business show ‘Time for Business’ caught up with him last week. I helped out with the shoot. Interesting guy. You can book tickets to hear him speak here. Perry is also on Twitter.

Mic Drop in the Scene & Heard Festival – Tickets available now!

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Dear Friends, I hold in my hands the booklet for the ‘Scene & Heard’ festival 2017. Featuring my newest play ‘Mic Drop‘. I cannot explain what a huge deal it is for me to be featured alongside the incredibly talented people putting together shows for this festival. This is only my second play, and I already feel like I’m in love with writing for theatre, the horrible sweaty tension of watching the audience watch your play, the unpaid hours, the hair loss. Wait no, maybe its awful. But anyway the play is really good, and Adam Tyrell is brilliant in it, and it’s only 12 euro (10 euro concessions) so you should all see it. Otherwise the MAIN FUCKING SPACE in SMOCK FUCKING ALLEY will look hella empty. Please come, I love you. February 24th, 25th and 26th.

Tickets here! – https://smockalley.ticketsolve.com/#/shows/873569415

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Perry Pardo is an entrepreneur – wealthy, successful, envied. Perry came from the streets, like Dre. Join him as he shows you how to succeed. How to get what you want. How to crush your opposition. How to scream for help.

Written & Directed by Gareth Stack.
Starring Adam Tyrell.
Produced by Joe O’Neill / Little Shadow Theatre Company.

Ray Brown – Ailfionn

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Some records just carry you away to some place terrible and beautiful. A place you don’t necessarily want to be. They reminds you of the love you worked so hard to forget. The bells and whistles dragged behind heart break’s gnarly appendages. Some records grow inside you. The more you listen the bigger and heavier they get. Ray Brown‘s album Canyon is one. That record saved me this Autumn, I swear to God. Some things are impossible. Like escaping yourself. You have to slip your soul out of it’s socket and break out of the straight jacket of yourself. Music can do that. Change you. Ray’s new record is just as good. It’s beautiful and ugly and the most honest thing you’ve ever heard in your life. It breaks my fucking heart.

 

Talking Podcasts on the Dave Fanning Show

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I appeared on the Dave Fanning show this morning, talking about podcasting. I was fierce wrecked from insomnia, but hopefully relatively coherent.

Listen here

Check out the cliffnotes…

What is a podcast?

Any radio or TV series that can be subscribed to and downloaded online.

Almost all are free. Usually updated weekly.
Cover every topic – from sports and films, to the most obscure odd stuff – e.g.: Creature Geek – a podcast for people who like special effects monsters.
Include radio programmes from all around the world, and internet only programmes – some of which are incredibly high quality.
Listen whenever you want. Pause, skip back and forward. Keep it forever, or delete it after you listen.

What do you need to get one

Easiest way is directly through your phone, stream or download from a podcast app.
On android the best one is ‘Pocket Casts’ (also available for iphone).
iPhone comes with it’s own programme, another good one is Overcast.

How to listen…

Search for the podcast name. Hit subscribe.
Now each new episode will be available to listen. Can either download or stream over your home wifi or 4G (if you’ve got a good data plan).

There are podcasts available for literally every interest.

Types of Podcasts

1) Narrative Journalism (storytelling about the real world)

This American Life

Revisionist History – from Malcolm Gladwell

99% Invisible – from Radiotopia

Reply All – a show about the internet

2) Comedy

WTF – with Marc Maron

Chappo Trap House

3) True Crime

Stranglers

Sword and Scale

4) Science & History

Radiolab

Hardcore History

The Secret History of Hollywood

History on Fire

5) Politics

War College – from Reuters News

Trumpcast

6) Irish Podcasts

Dave Fanning Show podcast – clips of the show
RTE Lyric – Culture File
RTE One – Doc on one
Newstalk Documentaries
Headstuff network – Alison Spittle Show

How to find new podcasts you might like

Podcast networks are like TV channels that offer lots of podcasts of a certain style
You can find them in your podcast app or on the web
E.g.: Headstuff (local), Smodcast (Kevin Smith’s shows), Radiotopia (high quality narrative journalism)

How to make your own

Not too difficult!
Lots of guides online
Record on your phone or computer and pay about 20 euro a month to put online with a podcast host like Libsyn

Home For Christmas

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Last week a bunch of friends got together a made a little Christmas movie. We had some borrowed equipment and sound gear rented for a commercial job. With a few hours notice everyone volunteered their time, and devised and shot this film over a single day. I’ve edited it together over Christmas.

This has been a shitty year for so many reasons. But it’s also the year Ireland has started waking up to homelessness, depression and mental illness. So many of us live such precarious lives, surviving cheque to cheque, rent payment to rent payment, freelance job to dole cheque. Telling ourselves we’ll be OK. That it could never happen to us. We know we ignore homelessness, we allow it to go on. We don’t know how we can really help. Help people living alongside us, who have nothing but what we decide to give them. Too often we give too little.

Please support Home Sweet Home and initiatives like it. Pressure our politicians to provide permanent housing for all our citizens. We really can end the crisis of homelessness. We hope you like our little movie, and have a great Christmas.

Staring Sebastian Connellan, Dominik Turkowski, Danii Byrne, Paul Gay, and Patrick O’Brien. With sound by James Van De Waal. Directed by Gareth Stack.

Special thanks to Orla Mc Nelis and Sebastian Dooris.