The story of broadcasting alongside its effect on the environment...Frankenstream
In the year 2020, when the world was put on pause by the covid-19 pandemic, anyone could play, work or study from home. All they needed was a drinkable Internet connection and they were in business. This would have been impossible in 1995. Streaming was introduced in 1997, thanks in part to RealPlayer, an Internet video player for watching video online. Of course, the whole thing was based on the network at the time, and was therefore of low resolution. Meanwhile, in Germany, the MP3 format was born, creating an audio file that did not distort the sound of a song or piece of music.
It would then lead to file downloading, the very thing that so worried the music industry in particular. As a result, it began trying to develop Internet streaming services. In the meantime, 3 young men founded the site that literally launched the online broadcasting beast: YouTube. Anyone could now upload any video they wanted. Since then, hundreds of services have sprung up to accompany our daily lives.
But these transmissions have an ecological cost. The data centers that download the content, the bandwidth and above all the devices that play these files are extremely polluting. In 2022, online broadcasting had the equivalent carbon footprint of the Czech Republic, and it's only getting worse. Admittedly, there are greener data centers, but for the moment, their effect is minimal.
Does this mean stopping broadcasting? No, that would be hypocritical in a YouTube video... On the other hand, it will be necessary to require broadcasters to reduce their ecological footprint by asking them, for example, to ease up on forcing consumers to buy a new phone or TV. As for the general public, it is possible to reduce it by downloading the broadcast via wi-fi, thus avoiding the 4G or 5G Internet connection, and above all by keeping one's devices on over a long period.
In her thesis in economics and finance, the researcher exposes, in a language accessible to non-economists, the concepts that animate our states, our companies, our institutions, and that regulate our lives and our professional potential. The emergence of local Social and Solidarity Economy (SSE) initiatives is triggering economic logics that invite us to rethink the way we conceive and govern the economy. How can we leverage this to transform the economy on a larger scale?
The affirmation of the right to lifelong learning, so dear to the European institutions, includes easy access to cultural works that now reach end users via the Internet. But the intention is struggling to be transformed into a practical initiative, despite the efforts made so far. It must be said that the competition is tough, and that the equality of means is not assured between the combatants.
Since February 2011, Google Art & Culture has made it possible to consult an impressive catalog of works of art in forty countries around the world. 151 museums (or venues) have embarked on this digital adventure with the search engine giant. Thanks to street view technology, 32,000 works of art have been digitized in 3D and can be consulted on the Internet.
Everything is going digital, including the arts. As a result, it's almost inevitable that the educational world will borrow the tools to teach digital art.
