The dimensions of streaming: toward a typology of an evolving concept

Abstract

Based on research on the development of streaming solutions across media forms and industries, this article traces the dynamics and dimensions of the notion of streaming. It theorizes streaming as an evolving concept, and argues against strict, set and limited definitions such as those suggested by Lotz and Herbert et al. A short substantive and industrial history of streaming is provided, recognizing its many manifestations and variations. Five key dimensions are identified, and trends and traits within each of them discussed: (1) professional versus user-generated streaming, (2) legal versus piracy streaming, (3) on-demand versus live streaming, (4) streaming on dedicated versus multi-feature platforms, and (5) niche versus general-audience streaming. The article concludes by pointing out how streaming is a concept that metaphorically unites media research across industries, practices, and media forms, encouraging more comparative research.

How streamification challenges the Royal Danish Library’s collection of cultural heritage

“…Streaming has moved from the periphery to the centre of internet development, and aff ected all traditional media industries in doing so, which resulted in a multitude of variants (Spilker & Colbjørnsen, 2020, p. 1215. It is worth noting that the remote control and the VCR predate streaming video on-demand as technological solutions that reconfi gured user agency (Burroughs, 2019).…”

“…YouTube). In these broad terms streaming tends to signify a highly dynamic and interconnected ecology of digital distribution, with its associated websites and apps that give access to, and even mix, VOD, fl ow-TV, and video-sharing that can be either formally commercial or informal, or even illegal (Lobato, 2019;Lobato & Th omas, 2015;Spilker & Colbjørnsen, 2020).…”

“…Streaming also exhibits adaptive powers in the way it settles into, or occupies, the existing digital media ecology. Spilker and Colbjørnsen (2020) analysed the dynamics of fi ve dimensions of streaming as a way to outline its evolution. Streaming borders and distinctions are under negotiation and in fl ux: (1) between legal and illegal, (2) between live and on-demand, (3) between user-generated and professional content, (4) between single-Andreas Lenander AEgidius Article: How streamifi cation challenges the Royal Danish Library's collection of cultural heritage purpose and multi-purpose services, and (5) between niche and general audiences.…”

“…Streaming borders and distinctions are under negotiation and in fl ux: (1) between legal and illegal, (2) between live and on-demand, (3) between user-generated and professional content, (4) between single-Andreas Lenander AEgidius Article: How streamifi cation challenges the Royal Danish Library's collection of cultural heritage purpose and multi-purpose services, and (5) between niche and general audiences. Niche appeal, for example, can be determined by language or geography, as well as an audience's preferences for content genre (Spilker & Colbjørnsen, 2020, p. 1221. For example, Netfl ix distributes three seasons of the Danish language post-apocalyptic youth TV-series Th e Rain as a Netfl ix Originals Series (Potalivo & Kirkskov, 2020).…”

Lyden av digitalisering: Preludium ommusikk og medier

“…Overgangen til 2010-tallet markeres også av at strømming i løpet av få år (i hvert fall i Skandinavia) tar over fra fildeling som den dominerende distribusjonsteknologien for musikk. I utgangspunktet kan strømming foregå -og foregår -både sentralisert og distribuert, lovlig og ulovlig (Burroughs, 2015;Kjus, 2016;Spilker & Colbjørnsen, 2020). Når vi snakker om 1.…”