Traditional Media vs New Media
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Digital Communication & Partcipatory Culture
Technology, in many ways has always been an important determinant in shaping the mechanics of the society – how it functions. From the invention of the light bulb by Thomas Edison to the current i-pod by Macintosh, they have revolutionised the lifestyles of many. All in all, these inventions sought to ease and improve various aspects of a person’s life, such as enhancing one’s work productivity, leisure time, and allowing them to expand on their potentials and interests. Technologies are opening a gateway for them to create, share and produce materials that are beforehand restricted only to big major companies and conglomerates. The public are no longer passive consumers, but strive to reinvent existing and contributing to future materials.
This emerging participatory culture is blurring the lines of work between the public and the private domain. Some had even questioned the relevance of some companies’ existence. In retaliation to these unknown threats, big companies safeguard their interests by pushing for copyright laws that will control and impede public’s work. Consequently this also generated a number of people, associations and websites that opposes such actions. Darknet is one such website. It is the aim of this exercise to evaluate Darknet blog in term of its position, contribution and relation to participatory culture and digital communication.
Darknet is a term meaning “a collection of networks and technologies used to share digital content”. They are the mediums or tools for sending and receiving files from one to another and the function to make copies of the files. This includes peer to peer sharing (p2p) and burning of CD and DVD respectively; hence allowing quick and easy dissemination of digital files. Examples includes Napster, Kazaa, Grokster and the newly Bittorent. These services have been subjected to many copyright lawsuits, on the grounds that they are encouraging illegal copyrighted file sharing. This has dire implications on the big companies because as mentioned above, “companies take such a hard line over p2p distribution is because a more level, or democratic, playing field calls into question the legitimacy of their own stated reasons for existence.”Consequently this causes closure of Napster in 2001, and multiple court cases for Kazaa and Grokster.
During the period when Napster was shutting down, there was the appearance of a number of counterparts with similar features to Napster on the web.This defiance and the sense of neglect to the copyright laws is part of the constant battle for sharing and participation rights against the major companies. Hence the Darknet blog serves as a source for readers to find out more about the on-going struggle between Darknet and the opposing companies. The continuous updates on any matters in relation to Darknet, from new softwares, debates, interviews and court ruling outcome serves as supports; and maintaining the hype around Darknet. Thus the position of the blog was evident and clear. It wholly promotes Darknet, and is apparent by reading the blog posts. More often then not, interviews and court ruling that favours the big companies are generally criticised.
The position of the Darknet blog can be traced by examining the author. This blog is written and maintained by J.D Lasica. He is “one of the world's leading authorities on grassroots media and the personal media revolution.” He is the current head of ourmedia.org, and has given numerous lectures and speeches on digital technologies. Ultimately his intention was to voice his concern over the threats on digital culture. These threats involve strict copyright rules that will ‘lock-down’ public’s freedom to share and create, and consequently obstructing their creativity. He discusses the steps taken by these big companies that will eventually result in a total control of public’s work. Simply speaking, rules have been tweaked to favour the big over small. Therefore it is the Darknet blog and his aim to create awareness on such matters. The objective is twofold. Firstly it is to inspire public to fight against these laws and secondly to change the mentality of these companies. The war between them will only disadvantage both parties, as Lasica argued that “recent excesses in law and private industry have created a new imbalance in the public’s digital freedoms that threatens to shackle creative culture.” and also “they (big companies) attempt to lock down content with digital armor in a way that eviscerates traditional fair use rights, they are alienating customers —and pursuing business practices contrary to their long-term interests.”
The Darknet blog has also contribute in forming an online community, with multiple links to other websites and weblogs with similar ideas and arguments. Linking to weblogs of the likes of people like Dan Gillmor and Lawrence Lessig has strengthened their bond, generating greater hype and a stronger voice to copyright matters. Moreover these linked sites have also links to Darknet and to others, further reinforcing their bond and the sense of community. Indeed “links to related sites create new expansions of communities and connections to other informational and organizational resources, which might itself constitute a new branch in online activism theory.” Additionally this has allows relevant information to be gathered in a single body of links, resulting in quick updates and notifications and ease of archiving for the visitors and authors themselves. The commonly used of quotes on excerpts and comments taken from other weblogs also allows opportunities for further discussions and examination, thus re-energising the topics and hype.
Darknet as a blog have also differentiated itself from other media forms such as static websites, television and radio. In many ways it is perhaps the most suitable medium to discuss free sharing and copyright issues. Firstly, copyright laws on the internet are still rather vague, and thus blogging serves as a wonderful means of experimenting with this issue. Secondly is the ability for visitors to comment on the blog post. This has an attribute of the participatory culture, whereby readers can carry on the discussion; notify the author of errors or new updates and so on. Blog therefore are good ‘feedback system’.Thirdly blogs have the reputation to surpass traditional news media in the speed of response to latest news and issues. They are also flexible in changing their contents to improve accuracy. Such speed and fluidity of bloggings have enlisted them as one of the more popular source for the latest information. Lastly the links to other weblogs widen the accountability of the posted information, as readers can examine other weblogs to see if there is relativity in similar posts.
In conclusion, the Darknet blog sought to support the public’s battle against major companies from imposing strict copyright laws that will impede creativity and innovation. The intention of the blog is to create an awareness of such matters, rallying and creating interests in the public to oppose such changes. It is also the intention of the author to try and change the mentality of these companies. The Darknet blog itself has participated and contribute to being part of an online community with similar cause and ideals. The links to similar weblogs strengthen their bond, amplifying their existence. The medium of Darknet as a blog have several advantages over traditional forms of media such as television and radio.
 I-pod is a portable hardware that allows the user to store computer files and to play mp3
 Materials is defined as intangible digital goods such as videos, games, fan-fictions, music
 An era whereby consumers are also producers
 Sam Howard-Spink, "Grey Tuesday, Online Cultural Activism and the Mash-up of Music and Politics." First Monday 9.10 (2004), http://firstmonday.org/issues/issue9_10/howard/
 Emerging popularity of online journalism has questioned the viability of big news company. For further information visit http://www.oreilly.com/catalog/wemedia/book/ch00.pdf
 Associations such as Hip-Hop Summit Action Network (HSAN) http://www.hsan.org/ , Music for America (MfA) http://www.musicforamerica.org/
 Visit http://www.darknet.com/
 Peter Biddle, Paul England, Marcus Peinado, Bryan Williams, “Darknet and the future of content distribution” ACM Workshop on Digital Rights Management (2002), http://www.bearcave.com/misl/misl_tech/msdrm/darknet.htm
 Burning is a computer term meaning writing or storing information onto the disc.
 Visit http://www.napster.com
 Visit http://www.kazaa.com/us/index.htm
 Visit http://www.grokster.com/
 Visit http://www.bittorrent.com/
 Sam Howard-Spink, "Grey Tuesday, Online Cultural Activism and the Mash-up of Music and Politics." (2004)
 Napster is a p2p music sharing service. Wikipedia, “Napster”, http://en.wikipedia.org/wiki/Napster
 Wayne Arnold, “Australian Court rules Kazaa has violated copyrights”, New York Times (2005), http://www.nytimes.com/2005/09/06/technology/06kazaa.html
 Wikipedia, “MGM Studios, Inc. v. Grokster, Ltd”, http://en.wikipedia.org/wiki/MGM_vs._Grokster
 Jeremy Shermak, “Global Napster usage plummets, but new file-sharing alternatives gaining ground, reports Jupiter Media Metrix”, ComScore Networks, (2001) http://www.comscore.com/press/release.asp?id=249
 JD Lasica, “Lessig on the ‘rotten’ Grokster ruling”, Darknet (2005), http://www.darknet.com/2005/09/lessig_on_the_r.html, JD Lasica, “Courts on DMCA: You can’t improve products”, Darknet (2005), http://www.darknet.com/2005/09/courts_on_dmca_.html
 “About JD Lasica”, http://www.jdlasica.com/aboutjd.html
 Ourmedia.org is the global home for grassroots media. Visit http://www.ourmedia.org/
 JD Lasica, “Darknet mini-book: introduction”, Darknet (2005), http://www.darknet.com/2005/05/darknet_miniboo.html
 Dan Gilmor, 'From Tom Paine to Blogs and Beyond' from We the Media: Grassroots Journalism by the People, for the People. Sebastopol: O'Reilly Media, 2004, pp. 4 http://www.oreilly.com/catalog/wemedia/book/ch01.pdf
 JD Lasica, “Darknet mini-book: introduction”, (2005)
 JD Lasica, “Darknet mini-book: introduction”, (2005)
 Visit http://bayosphere.com/blog/dangillmor
 Lessig is another well known author that has written articles and books on free culture and creative commons. Visit http://www.lessig.org/blog/
 Sam Howard-Spink, "Grey Tuesday, Online Cultural Activism and the Mash-up of Music and Politics." (2004)
 Examples of excerpts taken from Lessig and posted on Darknet blog. JD Lasica, “Lessig on the imperilled public domain”, Darknet, (2005), http://www.darknet.com/2005/09/lessig_on_the_i.html
 Dan Gilmor, 'From Tom Paine to Blogs and Beyond', (2004), pp. 1-22
 Tama Leaver, “The Mediascape and the London bombing”, Ponderance (2005), http://ponderance.blogspot.com/2005/07/mediascape-
iGeneration Critical Evaluation: The Daily Source Code – Adam Curry
Patterns of media consumption have been profoundly altered by a succession of new media technologies which enable average citizens to participate in the archiving, annotation, appropriation, transformation, and recirculation of media content. Participatory culture refers to the new style of consumerism that emerges in this environment. – Henry Jenkins
Adam Curry hosts and produces The Daily Source Code (DSC) podcast, the first of its kind, which began in August 2004. Podcasting is a new form of audio broadcasting that was developed in 2003 by Adam Curry and Dave Winer. Podcasts are syndicated digital audio shows similar in style to traditional radio broadcasts, but with a few notable exceptions: you can listen to them anywhere and anytime on your portable music device; they can be produced by anyone with access to a computer, microphone and internet access. The core technology behind podcasting is syndicated feeds built using RSS (Really Simple Syndication) and aggregators in the form of Curry’s original iPodder, and more recently Apple’s iTunes. In 2003, Curry was dissatisfied with audio streaming due to the high cost of bandwidth usage that it involved, it restricts you to sitting at the computer, and you can’t save streaming audio for when you want to listen to it. Curry thought about the delivery of audio files and spoke to Dave Winer about RSS feeds, which led to Winer developing RSS Enclosures. With the technology available to deliver subscription style mp3s, Curry went about trying to create an ‘aggregator’, (i.e. a “…standalone application that would download these mp3 files and automatically store them on my iPod”), and using the basic programming tool Applescript he developed the first podcast aggregator iPodder. From this The Daily Source Code was born, initially as a “…proof of concept for iPodder” but also as a way to attract developers and encourage them to make iPodder better. Curry, once a famous MTV host and radio DJ, is still the most notable celebrity behind the podcasting ‘revolution’. Although some have become bitter due to Curry’s enthusiasm for taking all the limelight and credit at times. Nevertheless, his Daily Source Code explores issues relating to its development and future, promotes other podcasts, as well as functioning as a lifestyle show, even discussing his family’s hilarious forays in day to day life.
Curry’s DSC is one of the central forces behind podcasting. His show highlights what podcasting is all about, as well as debating some of the larger issues and new innovations required to take the podcasting medium further into the future. Curry makes it quite obvious in every show that the DSC is not produced from a studio, but simply through his laptop and portable workstation. As Annalee Newitz of Wired Magazine witnessed firsthand, podcasting can be done anywhere, even by Curry in his car.
One of the major potentials of podcasting as a medium is its development as a ‘grassroots’ media phenomenon. Prior to podcasting, blogs took advantage of syndication and everyday citizens with access to computers began to take on the role of ‘grassroots journalism’ or reporting. Now, podcasting is the next logical step, focusing not on text but audio. As Tod Maffin, a producer of CBC radio states on his blog,
They are podcasters: citizen broadcasters who arm themselves with rudimentary recording tools, free software, and a speedy internet connection. And like the bloggers before them, they are changing the nature of the medium. Podcasters may indeed revitalize the art of radio itself.
Podcasting is all about consumers becoming producers; as Henry Jenkins has argued, “…The Net opened up new space for public discussions of media content and the Web became an important showcase for grassroots cultural production”. Traditional radio producers did not take full advantage of the digital revolution and opportunities created by the internet. Curry notes in DSC episode 217 that radio’s only venture into the online domain was simply audio streaming of their broadcast station. This failed due to the amount of bandwidth required to stream audio, and also the essential pleasure of radio, which is that you do not listen to it in front of the computer, but in your car or by portable device. Curry picked up on this, making use of new technology such as Apple’s iPod to bring radio back to life, with new and innovative content related to today’s online society; the DSC’s introduction calls podcasting “The next generation of radio content in my ear”. Podcasting’s major offering is also its ability to be listened to at anytime, many have described it as ‘TiVo’ for audio, and this has opened up a range of possibilities for audio and video to be mixed as well. This has enabled audio content to be used in conjunction with other media in a previously impossible way, such as the Sci Fi Channel’s Battlestar Gallactica episodic podcast commentaries which have been a great success. While many attempts by TV to take advantage audio have failed, such as CBS simulcast of David Letterman, and the notorious failed Family Guy podcasts, new possibilities for audio are occurring through podcasting.
Curry’s DSC often contains musical segments from the PodsafeMusicNetwork, a collection of copyright free musical tracks produced by unknown or ‘garage’ type bands, set up by Curry and the fellow creators of PodShow.com. As Curry notes, amateur music is often very ‘professional’ sounding, with grassroots bands using the same recording tools as professional recorders. However, mainstream radio rarely promotes new talent, while podcasts on the other hand have a reciprocal type arrangement with new artists; once they have their music in the ‘Podsafe’ any Podcast producer can use it, increasing their audience and fan base, and prompting CD sales. This benefits new musical talent, but also the Podcast producers, as Annalee Newitz notes:
…Partly in political protest and partly out of legal necessity, podcast music tends to favour songs that aren’t policed by the Recording Industry Association of America. Because listeners download each show, producers aren’t eligible for the kinds of broadcast license available to radio stations and webcasters.
However, due to the nature of podcasting in that it is a private download that can be archived by the user, Podcast producers can operate outside the US Federal Communications Commission (FCC) regulations. Curry often makes allusions to this such as in DSC, number 217. This allows Podcasts to act as a medium through which consumers, turned producers, can listen and produce content which would not be allowed on traditional radio. Curry can talk about pornography and openly badmouth Virgin Atlantic (e.g. in DSC 237) while other podcasts such as Whole Wheat’s Kloss contain repeated swearing in their comedic discussions and others can even discuss the latest sex tips. Furthermore, Curry often features ‘Mashups’ from Mashuptown.com in his DSC, something that traditional radio would be unable to due to Copyright Law, notably illustrated in the notorious ‘Grey Album’ incident. However there are still many obstacles and concerns raised about podcasting and music; some producers see it as currently impossible to turn their shows into podcasts due to the legal issues regarding copyright of mainstream music, and furthermore the fear that podcast show music may be pirated leading to another ‘Napster’ instance. Curry’s invention and the DSC ‘proof of concept’ podcasts act as an instance through which many of the problems in participatory culture online can be challenged, and provides a space for new cultural products which traditional media cannot deliver due to outdated or overtly restrictive laws and attitudes.
Adam Curry’s DSC while being a ‘grassroots’ type production still maintains an air of professionalism lacking form many of the current podcasts. Podcasting is noticeable for its informal style of talk, as Stephan Baker suggests, “most [podcasters] lack the technical expertise of radio vets, and they have no pressure to race along”. In both Curry’s DSC 217 and 237, the phone rings in the background and Curry apologises and either ignores or answers. This informality is something unheard of on traditional radio, but often adds to the charm of podcasting and Curry can get away with it far easier than others due to his previous professional experience at MTV and traditional radio. Curry’s podcasting evangelism and professional background are key factors in getting podcasting support added to Apple’s iTunes 4.9 release in June 2005, helping to take ‘podcasting mainstream’. However, as many have noticed iTunes gives preference to the new ‘commercial podcasts’ that have resulted from Apple’s connections and deals with traditional media producers. Curry and his DSC come to podcasting’s aid once more in episode 217, where Curry discusses bandwidth problems for independent or ‘indie’ podcasters. Curry often promotes other podcasters on his DSC, but the downside is that, after a promo is played the promoted podcast tends to get flooded with new users who take up bandwidth. Adam realises that for podcasters the expense of bandwidth and the limits of severs and internet providers could run indie podcasters out of business as podcast popularity grows. In DSC 217 he discusses the idea of podcasts supported by an advertisement or promotion at the beginning or end of the show, but understandably Curry wonders if this commercialisation will sit well with indie podcast producers. He suggests that if the popularity of podcasting grows, the podcaster may even get a cut of the advertising if his show is successful. This idea appears to be directly linked to the recently developed Podshow.com site, which Curry has co-created and is designed to be an informative and useful tool for not only podcast listeners but also producers. While iTunes did a lot to bring the world of podcasting into mainstream awareness, it did not however educate or provide much help for the ‘indie’ podcasters or those new to the ‘Podcast Revolution’. Curry it seems is once again, through his DSC and his other internet projects working in support of podcasting, helping to overcome the remaining obstacles preventing podcasting reaching every possible online user.
Adam Curry’s Daily Source Code is perhaps the ‘holy grail’ of the podcasting world, it was the original ‘proof of concept’ podcast, and today functions as a central discussion area for almost everything related to the world and politics of podcasting. Podcasting is still in its infancy, and some have criticised it for not trying to be more than simply ‘radio’, but I think it is trying to do more than that, and as a medium has far more potential than ‘traditional radio’. Curry is the most notable celebrity of podcasting, it’s ‘pin-up boy’ and hero, and he is still there promoting his fellow podcasters, increasing the medium’s popularity, and aiding its continued growth through such future initiatives as Podshow.com and it affiliates.
By Hilary Wheaton
 Henry Jenkins, "Quentin Tarantino's Star Wars?: Digital Cinema, Media Convergence and Participatory Culture," in David Thorburn and Henry Jenkins (eds.) Rethinking Media Change (
 “Adam Curry”, Wikipedia, http://en.wikipedia.org/wiki/Adam_Curry and Adam Curry, Daily Source Code, http://dailysourcecode.com/ (last accessed 10.09.05)
 Broadcasting is not technically the correct way to describe podcasting, the term ‘norrowcasting’ is some times used since podcasts aren’t transmitted via airwaves, but via internet connection in specific downloads. However, for the purposes of explaining the basics of podcasting I find it easier to go with an already known term, especially since it reminds the reader of previous audio in the form of traditional radio.
 Adam Curry, “History”, iPodder.org, (2004) found at http://ipodder.org/history (last accessed 11.09.05)
 Podcasting has not overcome this problem yet, but as I mention later in my evaluation, Curry is interested in overcoming the bandwidth restrictions that podcasting faces, and urges other podcasters to try and think of solutions.
 Adam Curry, “History”, iPodder.org. An explanation of RSS is available from Wikipedia, “…The technology behind RSS allows you to subscribe to websites that have provided RSS feeds, these are typically sites that change or add content regularly [i.e. blogs]. To use this technology you need to set up some type of aggregation service. Think of this aggregation service as your personal mailbox. You then have to subscribe to the sites that you want to get updates on. Unlike typical subscriptions to pulp-based newspapers and magazines, your RSS subscriptions are free, but they typically only give you a line or two of each article or post along with a link to the full article or post.” From “Rss File Format”, Wikipedia, (2005), at http://en.wikipedia.org/wiki/RSS_%28file_format%29 (last accessed 13.09.05)
 Adam Curry, “History”, iPodder.org
 Annalee Newitz, “Adam Curry Wants to Make You an iPod Radio Star”, Wired Magazine, 13.03, (2005) found at http://wired-vig.wired.com/wired/archive/13.03/curry.html/ (last accessed 11.09.05)
 Adam Curry, “History”, iPodder.org
 Annalee Newitz, Wired Magazine
 For information on Curry’s own self promotion, an example interview causing problems is Xeni Jardin ,“Audience With the Podfather”, Wired News, (2005) at http://www.wired.com/news/culture/0,1284,67525,00.html (last accessed 13.09.05) and Charles Cooper, “Who invented podcasting? Who cares?”, CNET News.com, 2005 at http://news.com.com/2061-10787_3-5717598.html
 Annalee Newitz, Wired Magazine
 BusinessWeek Online notes: “…The heart of the podcasting movement is in the world of blogs…in a blogsphere that has grown largely on the written word, podcasts add a soundtrack…what’s special about podcasts is that they’re dispatched directly to users who ask for them” Stephan Baker, “The Lowdown on Podcasting”, BusinessWeek Online, (2005) found at http://www.businessweek.com/technology/content/may2005/tc20050524_9688_tc_211.htm (last accessed 11.09.05)
 Tod Maffin, iloveradio.org, “How Podcasting Will Save Radio”, (2004) found at http://radio.blogware.com/blog/_archives/2004/10/5/155523.html (last accessed 11.09.05) Emphasis added in quote.
 Henry Jenkins, "Quentin Tarantino's Star Wars?: Digital Cinema, Media Convergence and Participatory Culture,"
 Adam Curry, Daily Source Code for
 Adam Curry, DSC 217.
 Daniel Terdiman, “Podcasts: New Twist on Net Audio”, Wired News, (2004) found at http://www.wired.com/news/digiwood/0,1412,65237,00.html (last accessed 11.09.05) TiVo famously allowed consumers to record television shows in a digital format and then skip advertisements, watch shows whenever they wanted, and to archive TV shows in a digital format which could be shared with others online.
 Randy Dotinga, “TV Tries Shaky Hand at Podcasting”, Wired News, (2005) found at http://www.wired.com/news/digiwood/0,1412,68503,00.html (last accessed 11.09.05). The Battlestar Gallactica podcast commentaries are released online at the same time each episode is aired, so consumers can listen to the commentary hours after the show is broadcast, rather than waiting months for a DVD released version. See http://www.scifi.com/battlestar/downloads/podcast/ (last accessed 13.09.05)
 Randy Dotinga, “TV Tries Shaky Hand at Podcasting”
 Annalee Newitz, Wired Magazine
 Annalee Newitz, Wired Magazine. We also have similar conditions for Australian produced podcasts.
 Adam Curry, DSC 217
 Annalee Newitz, Wired Magazine and Adam Curry, Daily Source Code for
 Mash-ups are remixes of more than one song, mixed together to form a new tune. The most famous Mash-up example is DJ Danger Mouse’s “The Grey Album” in which he remixed the music from the Beatles “White Album” and Jay-Z’s “Black Album”. The album was branded illegal due to copyright, and this led to the notorious Grey Tuesday, on which ‘participating Web sites and blogs offered Danger Mouse’s mash-up for download in defiance of EMI’s legal threats’. See, Sam Howard-Spink, “Grey Tuesday, online cultural activism and the mash-up of music and politics”, First Monday, 9.10, (2004) at http://firstmonday.org/issues/issue9_10/howard/ (last accessed 13.09.05). Since then, Mash-ups have occupied a grey area in copyright law, and therefore don’t appear on traditional radio. However, Curry often features them on his podcasts. Curry however is becoming increasingly aware of the problems with copyright associated with music, and in his DSC episode 231, he discusses the problems with licensing, and highlights possible loopholes in the legal restrictions. He also notes that Mash-ups have, at least on his show, led to sales on iTunes of the un-mixed versions of the songs. See Adam Curry, Daily Source Code for
 Michelle Kessler, “Storm clouds gather over podcasting”, USATODAY.com, (2005), http://www.usatoday.com/money/media/2005-08-03-podcasting-usat_x.htm (last accessed 13.09.05) Kessler’s article notes in reference to a specific radio station: “Podcasting is a great way for KEXP to reach thousands of new listeners, especially those outside of Seattle, Richards says. But the station can't podcast programs such as John in the Morning — Richards' variety mix of independent and mainstream music — because record companies haven't provided an easy, affordable way for podcasters to license songs. That's why most podcasts today are talk radio.”
 Stephan Baker, BusinessWeek Online
 Adam Curry, DSC 217 and 237
 “First Look: Apple iTunes 4.9 Podcast Support”, Podcasting News, (2005) found at http://www.podcastingnews.com/archives/2005/06/first_look_appl.html (last accessed 11.09.05). The iTunes music software and its one-click links to the Apple Music Store have ensured that iTunes is the single most popular music management software in the world. Thus, the addition of a podcast directory in iTunes greatly increased public awareness of podcasts, although not necessarily increasing their understanding of the medium.
 “First Look: Apple iTunes 4.9 Podcast Support”, Podcasting News
 Adam Curry, DSC 217
 This is a problem since many podcasters pay for the amount of ‘traffic’ which results from their files being downloaded. If a promotion of the DSC increases the amount of listeners by ten-fold, the resulting bandwidth cost for the show’s producers also increase ten-fold etc.
 Adam Curry, DSC 217
 Adrian Miles, “Podcasting and Vogcasting”, vlog 3.0, (2004) found at http://hypertext.rmit.edu.au/vlog/archives/2004/10/19/podcasting-and-vogcasting/ (last accessed 13.09.05) I think Adrian is being too judgmental of a technology still in its infancy, and if we look at how such podcasting activists as Curry are working within the medium, there is no doubt that within a few years links, video and other media will no doubt be added. Not only this, but podcasts as we have seen in this evaluation can be used in conjunction with other media, such a TV shows, something previously unaccomplished by traditional radio.
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and no, dont worry, I wont do this in PINK!!!