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S史蒂文·约翰逊的新书, 的地狱 Machine: A True Story of Dynamite, Terror, and the Rise of the Modern Detective, has been justly acclaimed for packing all of the punch of great detective fiction. But Johnson’s modern detectives aren’t interro­gation room intimidators. They’re a handful of early 20th-century 信息 science pioneers who brought data-driven detective work to the NYPD. 这些原始数据架构师不仅彻底改变了打击犯罪的方式, but they also planted the seeds of our modern data- saturated surveillance state.


One of the book’s most memorable scenes concerns the trial of burglar 查尔斯Crispi in 1911, in which detective Joseph Faurot introduced fingerprint evidence for the first time in an American courtroom. Faurot had built a card catalog of fingerprint data categorized by various ridge patterns that enabled him to match a collected fingerprint with any print on file within 6 minutes. 虽然福罗知道他已经把克里斯皮抓得死死的, convincing a jury using entirely unfamiliar science presented a unique challenge.


在花了4个小时煞费苦心地解释了螺旋的科学原理之后, 拱门, 而陪审团只会茫然地看着他, 福罗提出了一个魔术:趁侦探不在房间里, 法庭将采集所有12名陪审员的指纹, 然后从随机抽取的陪审员身上提取第二组指纹. 警探随后回来,几秒钟内就确认了匹配指纹的身份, 迅速使他们都皈依.


数据采集的讨论, 应用程序, and monetization that would have seemed like the most mind-blowing magic to denizens of other eras proved ever-present at 纽约流媒体, the reimagined and rebooted 流媒体 event that made its raucously well-received return to Manhattan in May. The first 流媒体 event to emphatically position itself (by way of new conference chair Evan Shapiro) as a stock-taking, industry-recalibrating follow-on to the previous week’s TV advertising industry upfronts, 纽约流媒体 deftly steered clear of data discussion-as-信息-science-semi­nar and hewed closer to the magic trick vibe.



在一个 激烈的人工智能辩论 这有助于拉开这场秀的序幕, General Creativity CEO Robert Tercek painted a striking picture of how far we’ve come from a few thousand fingerprints classified in card catalogs: “As you walk around New York City with a phone in your pocket, you’re leaving a trail of data smog that’s being collected by hundreds of companies,他说. “关于 300 companies know that we are all in this room because our phones are in close proximity. 他们在收集资料. And they know that we have some things in common because we’re in this room together. 这些数据对营销人员来说非常有用.”


在他的 动画闭幕主题, eschewing the increasingly fossilized “data as the new oil” metaphor, Shapiro put a fresher analogy in circulation: “In our media universe, I think we have to really get our heads around the idea that data is the bloodline—that everybody has content, 但(我们很难)理解这些内容是如何被使用的, 如何让内容被发现, 以及如何保持内容的相关性.”


If using data to drive streaming monetization was the week’s overarching theme, misusing data took center stage in 纽约流媒体’s curtain call: “Who here has seen the same ad many, many times across multiple services in on-demand video in the course of one night?夏皮罗问道. “那是我们的错. 这是对数据的错误使用. The people in this room have access to technology to fix this user experience problem. 广告的过度频繁对我们的生态系统来说是一件坏事. 这对用户不利, 这对广告商不利, 这对平台不利, 这对品牌不利. 没有人是赢家,也没有任何借口.”


Personalizing user experiences is arguably streaming media’s signature magic trick, 我们有数据和工具来实现这一目标. 不要再找借口.

现在就订阅 最新一期 过去的问题


周一, 5月20日, 纽约流媒体 hosted four debates on two topics that represented a fantastic programming win for the conference. The first half of the day was dedicated to AI and covered the full range of topics from authorship to copyright to privacy and more. 第二个 half of the day featured two panels debating the definition of premium content, the value of social media as well as the question of how CTV measures up against mobile as an advertising platform. 继续往下读,了解更多.

SMNYC Highlight: Fireside Chat With Roku President Charlie Collier and Media Cartographer Evan Shapiro

周三, 5月22日, 2024, 在纽约流媒体, 媒体制图师埃文·夏皮罗接受了查理·科利尔的采访, Roku Media的总裁,AMC的前总裁, for a deep dive discussion about the development and current dominance of Roku, 美国第一流媒体电视平台. They talked about how Roku's UI brings "simplicity and delight" to their EPG, Roku与其他平台和出版商合作的方式, and the need for a new media ecosystem to support creative risk-taking in the streaming era.

SMNYC主题演讲亮点:击败BUZZR & 品牌与. 零售

周二, 5月21日, 在纽约流媒体, a series of morning keynotes featuring leading industry figures covered a wide range of topics, including how Microsoft and Fremantle are gamifying FAST and capitalizing interactive TV, 以及与Crackle关于品牌与零售的激烈辩论, 超级广告, IAB, 和维茨关于她.


周一, 5月20日, 在纽约流媒体, two lively debates on the topic of AI in Media and Entertainment showcased leading industry figures. 第一个,“人工智能:恩惠还是泡沫?,研究了人工智能进入媒体各个领域的方式, 业务, 和科技世界, 它还探讨了人工智能的反叛在多大程度上是一种时尚, 其中有多少是流媒体的未来. 第二个, 《百家乐软件app最新版下载》," explored the fearmongering around the idea that "AI is coming for our jobs," and focused on how AI/ML might make workflows more efficient and effective, 扩大或改进覆盖面, 并有助于提高利润.


最近的“订阅战争”报告是由美国政府委托编写的.K.-based digital payments tech company Bango points to consumer dissatisfaction with the fractured state of subscription services in general and the increasing appeal of indirect subscription options and super-bundles of aggregated services sold through telcos like Optus in Australia. Perhaps it's another sign of less-than-inspiring times that the best thing consumers say streaming services can do for them is to stop standing out from the crowd and start disappearing into it.