Before digital streaming platforms, art was usually experienced through physical or scheduled channels: cinema screenings, broadcast television, radio, galleries, concerts, books and recorded media. After platforms such as Netflix and Spotify became widespread, art became immediate, portable, searchable and personalized, but more dependent on algorithms and internet access.
This comparison belongs to the IB Digital Society cultural context and applies to SL and HL. It connects change, expression, media, algorithms and space.
| Feature | Before streaming | After streaming |
|---|---|---|
| Access | Audiences followed schedules, visited venues or bought physical copies. | Large libraries are available on demand through connected devices. |
| Choice | Broadcasters, cinemas, publishers and shops strongly shaped visibility. | Catalogues expand choice, but recommendation algorithms influence discovery. |
| Experience | Art was often tied to a place, time or physical object. | Art can be experienced privately, repeatedly and across locations. |
| Participation | Audiences were mainly consumers, although independent creation existed. | Users can comment, share, remix and produce content. |
The main mechanism is a shift in time, space and control. Streaming separates art from fixed locations and broadcast schedules. It also generates data about viewing and listening behaviour, which platforms process to recommend content. This may help lesser-known artists reach audiences, but it may reinforce existing preferences or prioritize commercially valuable work.
Spotify's recommendation system is a specific real-world example. It uses listening data and algorithms to personalize music discovery. Its impacts include convenient access, global circulation and new exposure for artists; its implications include risks involving artist income, cultural diversity, platform power, ownership and unequal internet access.
In an IB response, avoid the misconception that streaming made audiences completely passive or completely free. Name affected people and communities, consider both opportunities and risks, and evaluate whether streaming represents an evolution of earlier distribution or a transformation of artistic experience.
