"Virtual reality is immersive, which means that it is a medium whose purpose is to disappear." (Bolter, 2000, p. 21)
Immediacy media is the attempt to try and convince the user of the technology that it is not a machine but is instead just a natural process of life. It attempts to hide any evidence that it is a machine doing different functions but is a living organism that can do what you want it to in the easiest possible way it can. It leads you into a false sense that it is not in fact going through designed programmes that it has been made to follow but instead, seamlessly does them as if it was breathing for you or I.
Furthermore other technologies such as smart phones we can also witness the seamless nature that we have become use to in our devices. With the touch screen that the majority of smartphones use today we can do whatever we want with just one swipe of out finger. As use the touch screen it feels a though the movements of our fingers on it is more natural than pressing a button. We now do not see it as a device but as an extension of ourselves.
"... ten years ago we thought of computers exclusively as numerical engines... we now think of them also as devices for generating images..." (Bolter, 2000, p. 23)
Computers now appear to us to be more like canvas' to create new pieces of art, instead of the powerful calculators that they originally were designed as. We begin to see them as creative tools that we can use to help express ourselves in new ways. We can use them to create pieces of art that appear to be as realistic as possible without having to use another piece of technology such as a camera to take a photograph with. Tecnology has evolved over the years to become more than a machine, it can now be seen as a brand new creative organism.
Bibliography:
Bolter, J. D., (2000) Remediation: Understanding New Media, MIT Press
Showing posts with label Old Media. Show all posts
Showing posts with label Old Media. Show all posts
Wednesday, 6 November 2013
Remediation, Hypermediacy and Immediacy
Bolter talks of remediation as new media keeping certain roots to its developed past. Remediation being "rivalry between the new media and the old" (Bolter, 2000 p.45) . Bolter suggests older mediums can be accessed through digitization on a computer screen but being transparent allowing the viewer to attempt to have the same experiences as they would with the original medium. Manovich argues that New Media is the digitization through numerical representation, modularity automation, variability and transcoding. If using Manovich's suggested principles of new media, Bolter couldn't argue his case for an original experience from an older media reprocessed on a new medium.
Having access to so many forms of media, from old to new, manifests into Hypermedia. An example would be through the use of new media technologies such as watching Television, Surfing the web and listening to music at the same time. Older mediums hympermediacy would be physical and representational through "stained glass, relief statuary, and inscriptions" (Bolter, 2000 p.34). Bolter also suggests we can see hypermedia within paintings much like a desktop of the computer. The example given is in Dutch "art of describing" being "absorbed and captured multiple media and multiple forms in oil. Much like the oil paintings, computers emphasis the idea of hypermedia, using multiple windows, and multiple recreations of images, pictures and paintings.
Taking from Debra Shaw's Technoculture, the idea that media creates ideologies through the development of technologies. Our hypermedia society we live in with the over crowded market of ideologies created by immediacy through the likes of musicians. Musicians such as Bruce Springsteen or Beyonce. Bruce Springsteen with his muscular but sensitive presence, and Beyonce with a strong feminine prowless. Like with the dutch oil paintings and technological advancements allowing corporations to go after ideologies "sought to satisfy this same desire" (Bolter, 2000 p.24). With digital technology it still uses the same immediacys although in a dffferent stance. Using the same connotations as we would use in everyday life, "Trash" or "Recycle Bin" for a digital files to be deleted, we put food and paper in to there respective trash cans or recycle bins.
Bibliography
Bolter, J.D., (2000). Remediation: Understanding New Media New Ed., MIT Press.
Shaw, D. (2008). Technoculture: The Key Concepts; Oxford Berg Press
Manovich, L. (2001). The Language of New Media. MIT Press.
Having access to so many forms of media, from old to new, manifests into Hypermedia. An example would be through the use of new media technologies such as watching Television, Surfing the web and listening to music at the same time. Older mediums hympermediacy would be physical and representational through "stained glass, relief statuary, and inscriptions" (Bolter, 2000 p.34). Bolter also suggests we can see hypermedia within paintings much like a desktop of the computer. The example given is in Dutch "art of describing" being "absorbed and captured multiple media and multiple forms in oil. Much like the oil paintings, computers emphasis the idea of hypermedia, using multiple windows, and multiple recreations of images, pictures and paintings.
Taking from Debra Shaw's Technoculture, the idea that media creates ideologies through the development of technologies. Our hypermedia society we live in with the over crowded market of ideologies created by immediacy through the likes of musicians. Musicians such as Bruce Springsteen or Beyonce. Bruce Springsteen with his muscular but sensitive presence, and Beyonce with a strong feminine prowless. Like with the dutch oil paintings and technological advancements allowing corporations to go after ideologies "sought to satisfy this same desire" (Bolter, 2000 p.24). With digital technology it still uses the same immediacys although in a dffferent stance. Using the same connotations as we would use in everyday life, "Trash" or "Recycle Bin" for a digital files to be deleted, we put food and paper in to there respective trash cans or recycle bins.
Bibliography
Bolter, J.D., (2000). Remediation: Understanding New Media New Ed., MIT Press.
Shaw, D. (2008). Technoculture: The Key Concepts; Oxford Berg Press
Manovich, L. (2001). The Language of New Media. MIT Press.
Are we too far to turn back?
Bolter, speaks of remediation in terms of technology and uses this to make examples. This is something which is not seen as much with theorists such as Jenkins or Manovich. So taking what Bolter is saying about technological mediation, I want to look at how this would transfer into the way our society and culture looks at remediation and how we accept that along side technological advances.
Bolter says remediation is "the representation of one medium in another" (Bolter, 2000: 45). So this is taking one media form, the example he uses is paintings and photography, and representing them in another, digital picture galleries.
When reading through Bolters work, I couldn't help but draw parallels between this and the Convergence Culture which Henry Jenkins writes about (Jenkins, 2008). Although Jenkins talk about the formation of multiple mediums into one.
"By convergence, I mean the flow of content across multiple media platforms" (Jenkins, 2008, p2)
Inline with Bolter's writing, these "multiple media platforms" would show representation of their Old Media forms in this New Media platform. How we can stand beside the Mona Lisa painting and either take a photo of it or download a photo of it will just never be the same.
I came across a video shared on Facebook which outlines how mobile phones have taken over the human existence. Its portrayals different events where humans are on their phones or video recording a gig, when they would enjoy it much more if they didn't use their phone
Its shows the convergence and remediation of going to a concert (Old Media) and capturing it on video (New Media) even though you may never watch it again.
Remediation is really in the advancement of technology, but this advancement can often be for the worst. We can get so engaged in finding ways to interact with the media easier that we start to lose the sense of our own human beings. Soon they will be lost in cyberspace, forever
Bibliography
Jenkins, H., 2008. Convergence Culture: Where Old and New Media Collide Revised., NYU Press.
Bolter, J.D. (2000) Remediation: Understanding New Media (Cambridge, Mass.; London: MIT Press)
CharstarleneTV, (2013) I forgot my phone [Online Video] 22 August. Available from; <http://www.youtube.com/watch?v=OINa46HeWg8> [Accessed: 6 November 2013].
Bolter says remediation is "the representation of one medium in another" (Bolter, 2000: 45). So this is taking one media form, the example he uses is paintings and photography, and representing them in another, digital picture galleries.
When reading through Bolters work, I couldn't help but draw parallels between this and the Convergence Culture which Henry Jenkins writes about (Jenkins, 2008). Although Jenkins talk about the formation of multiple mediums into one.
"By convergence, I mean the flow of content across multiple media platforms" (Jenkins, 2008, p2)
Inline with Bolter's writing, these "multiple media platforms" would show representation of their Old Media forms in this New Media platform. How we can stand beside the Mona Lisa painting and either take a photo of it or download a photo of it will just never be the same.
I came across a video shared on Facebook which outlines how mobile phones have taken over the human existence. Its portrayals different events where humans are on their phones or video recording a gig, when they would enjoy it much more if they didn't use their phone
Its shows the convergence and remediation of going to a concert (Old Media) and capturing it on video (New Media) even though you may never watch it again.
Remediation is really in the advancement of technology, but this advancement can often be for the worst. We can get so engaged in finding ways to interact with the media easier that we start to lose the sense of our own human beings. Soon they will be lost in cyberspace, forever
Bibliography
Jenkins, H., 2008. Convergence Culture: Where Old and New Media Collide Revised., NYU Press.
Bolter, J.D. (2000) Remediation: Understanding New Media (Cambridge, Mass.; London: MIT Press)
CharstarleneTV, (2013) I forgot my phone [Online Video] 22 August. Available from; <http://www.youtube.com/watch?v=OINa46HeWg8> [Accessed: 6 November 2013].
Wednesday, 30 October 2013
Shifting ideas of the self
One of the things Shaw discusses in his chapter
on Technobodies is that new discourses are imposed throughout the changes in
the environment a ‘body’ lives in. A society in which bodies are marked by
social class and work implies different ‘truths’ than living in a society in
which the emphasis is on capitalism, modern subjects and consumption. It actually
comes down to a shift in the cultural consumption (Shaw, 2008, pp. 83-87). This
notion goes back to the words of Creeber, who stated that the historical
periods of postmodernism and modernism imply a shift in media, media
consumption and ways of approaching media (Creeber, 2009, pp. 11-17). As
Jenkins cites Pool’s Technologies on Freedom, there no longer exists a
one-to-one relationship between a medium and its use (Jenkins, 2006, p. 10). So
with New Media being transmitters of multiple messages and carrying out
different functionalities, we should consider the way it influences a subject’s
notion of how to act and what to be.
Furthermore, this shift in discourses also implies a change in which we would define ourselves as humans. When Shaw states that “the concept of ‘human’ is unthinkable without technology” he might be right in the sense that, in a contemporary culture, the mentioned discourses happen in connection with technology (Shaw, 2008, pp. 81-82). This means that with New Media making their way into our lives, and coexisting with Old Media (Jenkins, p. 14), we could consider their role in the change of this self-definition. The way we define ourselves happens in the extent of what (new) media offer us. When technology is so engaged with the body, it will manipulate the body in a significant way, in that it offers us the necessary information about the body and determines what and how the body is. This makes us think of the body as a primarily ‘technology’ structure, with ‘technological’ processes coordinating it (Shaw, 2008, pp. 88-89).
Bibliography
Creeber, G. & Royston, M. (2009). Digital Theory: Theorizing New Media: digital cultures. Berkshire: Open University Press.
Jenkins, H. (2006). Convergence Culture, where old and new media collide. New York: New York University Press.
Shaw, D. (2008). Technoculture: The Key Concepts. Oxford: Oxford Berg Press.
Furthermore, this shift in discourses also implies a change in which we would define ourselves as humans. When Shaw states that “the concept of ‘human’ is unthinkable without technology” he might be right in the sense that, in a contemporary culture, the mentioned discourses happen in connection with technology (Shaw, 2008, pp. 81-82). This means that with New Media making their way into our lives, and coexisting with Old Media (Jenkins, p. 14), we could consider their role in the change of this self-definition. The way we define ourselves happens in the extent of what (new) media offer us. When technology is so engaged with the body, it will manipulate the body in a significant way, in that it offers us the necessary information about the body and determines what and how the body is. This makes us think of the body as a primarily ‘technology’ structure, with ‘technological’ processes coordinating it (Shaw, 2008, pp. 88-89).
Bibliography
Creeber, G. & Royston, M. (2009). Digital Theory: Theorizing New Media: digital cultures. Berkshire: Open University Press.
Jenkins, H. (2006). Convergence Culture, where old and new media collide. New York: New York University Press.
Shaw, D. (2008). Technoculture: The Key Concepts. Oxford: Oxford Berg Press.
Wednesday, 23 October 2013
New Media/ Mass Culture
New Media is more readily available and more largely produced than ever before. It is created as quickly as we the audience can take it in and enjoy it. This mass culture that we are so use to and live by today was not favoured by some in its early days.
The Frankfurt School fled Germany during the Second World War to America and once there they were confronted with the mass culture that was engulfing America which was not to their tastes. The Frankfurt School was shocked when they arrived to discover how "... American mass culture shared many similarities with the products of mass production." (Creeber, 2009, p.12). They likened it to how Henry Ford was successful to produce his automobiles in mass quantities. They believed that as this culture was being mass produced it would have serious negative effects on the mass audiences who consumed this media.
Moreover on the belief that the Frankfurt School saw mass culture as being negative influence on the mass audience that ingested it. The hypodermic needle theory was that, "...as wholly defenceless and constantly 'injected' by media messages, as if it were some form of mind-altering narcotic." (Creeber, 2009, p.13). Mass culture no matter what form it was packaged in was seen to be of no use or benefit to its audience but more of a nuisance.
Furthermore those who condemned mass culture were themselves consumers of high culture ans so therefore saw this new mass culture a threat to their way of life. The first direct General of the BBC, John Reith believed, "... Broacasting should be used to defend 'high culture' against the degrading nature and influence of mass culture." (Creeber, 2009, p.13). Even if mass culture is a threat to high culture or even if it is a negative influence on its audience the 'medium is the message' (Creeber quoting McLuhan, 2009, p.15) and therefore it should speak for itself on these issues and we can interrupt in our own way.
Bibliography
Creeber, G. and Martin R. (2009) Digital Cultures (Maidenhead:Open University Press)
The Frankfurt School fled Germany during the Second World War to America and once there they were confronted with the mass culture that was engulfing America which was not to their tastes. The Frankfurt School was shocked when they arrived to discover how "... American mass culture shared many similarities with the products of mass production." (Creeber, 2009, p.12). They likened it to how Henry Ford was successful to produce his automobiles in mass quantities. They believed that as this culture was being mass produced it would have serious negative effects on the mass audiences who consumed this media.
Moreover on the belief that the Frankfurt School saw mass culture as being negative influence on the mass audience that ingested it. The hypodermic needle theory was that, "...as wholly defenceless and constantly 'injected' by media messages, as if it were some form of mind-altering narcotic." (Creeber, 2009, p.13). Mass culture no matter what form it was packaged in was seen to be of no use or benefit to its audience but more of a nuisance.
Furthermore those who condemned mass culture were themselves consumers of high culture ans so therefore saw this new mass culture a threat to their way of life. The first direct General of the BBC, John Reith believed, "... Broacasting should be used to defend 'high culture' against the degrading nature and influence of mass culture." (Creeber, 2009, p.13). Even if mass culture is a threat to high culture or even if it is a negative influence on its audience the 'medium is the message' (Creeber quoting McLuhan, 2009, p.15) and therefore it should speak for itself on these issues and we can interrupt in our own way.
Bibliography
Creeber, G. and Martin R. (2009) Digital Cultures (Maidenhead:Open University Press)
Auto-cultivation
In Creeber’s chapter “Digital theory: theorizing New Media”, he draws a line between old and new media by situating them into different historical periods of time, namely modernism and postmodernism. Old media is positioned in modernism, which is combined with a pessimistic theoretical framework approach, carried out by the Frankfurt School. A cultural shift occurred to postmodernism, in which new media play the main role. Postmodernist theory suggests an active audience with a developing public sphere (cf. Habermans)(Creeber, 2009, pp. 11-17).
Both in Creeber’s and Jenkins’ work, the notion of New Media combined with participatory culture is ubiquitous (Creeber, 2009, p. 19 & Jenkins, 2006, p. 3). This interactivity of the consumers, such as Web 2.0., implies a difference in the consumption of media (Jenkins, 2006, p. 17). The ‘audience’, creating their own content with relatively equal power as the ‘media producers’, now face new opportunities, but also challenges to keep the content flow. In this respect, taking into account the Cultivation Theory by Gerbner might be useful. With old media, it was clear that, as Creeber states it too, one dominate ideology was cultivating the audience. However, applying this theory to New Media results in the understanding that now, audience have to cultivate themselves. With an unequal access to the New Media and less possibility to gate keep the information flow, those who have greater abilities to participate in this emerging culture (Jenkins, p. 3), which are usually the higher socio-economic classes, become the beholders of the ‘truth’, deciding what content will be consumed.
Furthermore, the Old Media theory of the hypodermic needle effect model should not be neglected. Media, whether old or new, do not differ in the fact that they both exercise consistent effects on those receiving it. But important to recognize is that the nature of the effects are changing. With the ‘audience’ as the main content provider, the content of the media is differing, which is usually stated by critics as a decline in quality. And off course, it is self-evident that different content implies different influences.
Bibliography
Creeber, G. (2009) DIGITAL THEORY: Theorizing New Media & Cubitt, D. (2009) Case Study: Digital Aesthetics in Ed. Creeber, G. & Royston, M. (2009) Digital Cultures: Understanding New Media; Maidenstone, Open University Press
Jenkins, H. (2006). Convergence Culture: where old and new media collide. revised version. NYU Press.
Both in Creeber’s and Jenkins’ work, the notion of New Media combined with participatory culture is ubiquitous (Creeber, 2009, p. 19 & Jenkins, 2006, p. 3). This interactivity of the consumers, such as Web 2.0., implies a difference in the consumption of media (Jenkins, 2006, p. 17). The ‘audience’, creating their own content with relatively equal power as the ‘media producers’, now face new opportunities, but also challenges to keep the content flow. In this respect, taking into account the Cultivation Theory by Gerbner might be useful. With old media, it was clear that, as Creeber states it too, one dominate ideology was cultivating the audience. However, applying this theory to New Media results in the understanding that now, audience have to cultivate themselves. With an unequal access to the New Media and less possibility to gate keep the information flow, those who have greater abilities to participate in this emerging culture (Jenkins, p. 3), which are usually the higher socio-economic classes, become the beholders of the ‘truth’, deciding what content will be consumed.
Furthermore, the Old Media theory of the hypodermic needle effect model should not be neglected. Media, whether old or new, do not differ in the fact that they both exercise consistent effects on those receiving it. But important to recognize is that the nature of the effects are changing. With the ‘audience’ as the main content provider, the content of the media is differing, which is usually stated by critics as a decline in quality. And off course, it is self-evident that different content implies different influences.
Bibliography
Creeber, G. (2009) DIGITAL THEORY: Theorizing New Media & Cubitt, D. (2009) Case Study: Digital Aesthetics in Ed. Creeber, G. & Royston, M. (2009) Digital Cultures: Understanding New Media; Maidenstone, Open University Press
Jenkins, H. (2006). Convergence Culture: where old and new media collide. revised version. NYU Press.
Wednesday, 16 October 2013
I Am Transcoding
Is New media really as new as we know it is, or does transcoding
change the definition? Manovich identifies the commercial effect on
New media stating that "since on one level New media is an Old
media which has been digitized" (Manovich, 2002, p65). We can
see throughout Manovich's train of thought that digitization controls
"mass media and data processing [through] the complimentary
technologies of a modern mass society" (Manovich, 2002, p46). We
are transcoding and we don't want it to be hidden inside mass data
programming, as it helps us work with convergence to create one media
object from several formats.
As a new form of digital community, we become the transcoders. In doing so we identify with the convergence of New media data and its advantage over Old media data. "While from one point of view computerized media still displays structural organization which makes sense to its human user" (Manovich, 2002, p63). At this moment we can characterize the human user within the "cultural layer" (ibid) found in the recuse of the users mind. Cultural layers fall inside the mental identity of Old media such as photography and radio, through their use of storytelling in a physical format. At this stage we begin to see a character transformation from the users mental state (the cultural layer) to the "computer layer" (ibid) which performs the mass data programming and processing found in the basics of transcoding.
Transcoding isn't about separation, but about a collective nature in which both states of mind; be that human or computer, they can come together to form and intelligence of New media. Both these layers combine the Old media such as photography with the New media. In doing so we store and relive that side media. With a culture nature and a computer intellect, the digitization of media is created to the format of how we become the the converged Old media.
Bibliography:
Manovich, L (2002) What is New Media and Principles of New Media from the Language of New Media (Cambridge, Mass :London MIT Press)
As a new form of digital community, we become the transcoders. In doing so we identify with the convergence of New media data and its advantage over Old media data. "While from one point of view computerized media still displays structural organization which makes sense to its human user" (Manovich, 2002, p63). At this moment we can characterize the human user within the "cultural layer" (ibid) found in the recuse of the users mind. Cultural layers fall inside the mental identity of Old media such as photography and radio, through their use of storytelling in a physical format. At this stage we begin to see a character transformation from the users mental state (the cultural layer) to the "computer layer" (ibid) which performs the mass data programming and processing found in the basics of transcoding.
Transcoding isn't about separation, but about a collective nature in which both states of mind; be that human or computer, they can come together to form and intelligence of New media. Both these layers combine the Old media such as photography with the New media. In doing so we store and relive that side media. With a culture nature and a computer intellect, the digitization of media is created to the format of how we become the the converged Old media.
Bibliography:
Manovich, L (2002) What is New Media and Principles of New Media from the Language of New Media (Cambridge, Mass :London MIT Press)
New Media Variability
Manovich states that new media has five different forms, numerical representation, modularity, automation, variability and transcoding. As each of these form play a developing role of new media has a vast variety of new content, which can be accessed almost anywhere by consumers, this content can be altered accurately more that several times.
"A new media object is not something fixed once and for all but can exist in different, potentially infinite, versions."(Manovich, 2002, p56).
With the impact of new media focusing on variability, this gives rise to individuals to create their own versions of media objects. However this is often created by using a computer format, whereas old media involved a "human creator" from industries that could make copies of the original, although it would be an exact duplicate, whereas different consumers would have their own versions.
"Numerous copies could be run off from the master"(Manovich, 2002, p56).
Modularity can be linked with variability without this process, consumers wouldn't be able to store any media text. This is done by the breaking down of pixels that are then recalled when an image comes onto the screen.
"Variability would also will not be possible without modularity"(Manovich, 2002, p56).
As consumers connect onto the internet there are often various items that will appear that will appeal that will appeal to their interests, as they browse through the platform the computer takes note of where they are throughout the search online. As the computer can then start to identify the content that is appropriate for the individual, where everyone's online media experience is different.
"The information about the user can be used by a computer program to automatically customize the media composition"(Manovich, 2002, p57).
This can also be seen as software updates are generated automated, by checking the internet for updates to software that maybe located on their computer. These can be all done without the user having to give too much input, an example would be editing software Photoshop, as the late program or feature update are improved.
Bibliography
Manovich, Lev, 2002, The Language of New Media,(Cambridge, Mass, :London MIT Press)
"A new media object is not something fixed once and for all but can exist in different, potentially infinite, versions."(Manovich, 2002, p56).
With the impact of new media focusing on variability, this gives rise to individuals to create their own versions of media objects. However this is often created by using a computer format, whereas old media involved a "human creator" from industries that could make copies of the original, although it would be an exact duplicate, whereas different consumers would have their own versions.
"Numerous copies could be run off from the master"(Manovich, 2002, p56).
Modularity can be linked with variability without this process, consumers wouldn't be able to store any media text. This is done by the breaking down of pixels that are then recalled when an image comes onto the screen.
"Variability would also will not be possible without modularity"(Manovich, 2002, p56).
As consumers connect onto the internet there are often various items that will appear that will appeal that will appeal to their interests, as they browse through the platform the computer takes note of where they are throughout the search online. As the computer can then start to identify the content that is appropriate for the individual, where everyone's online media experience is different.
"The information about the user can be used by a computer program to automatically customize the media composition"(Manovich, 2002, p57).
This can also be seen as software updates are generated automated, by checking the internet for updates to software that maybe located on their computer. These can be all done without the user having to give too much input, an example would be editing software Photoshop, as the late program or feature update are improved.
Bibliography
Manovich, Lev, 2002, The Language of New Media,(Cambridge, Mass, :London MIT Press)
New Media
Media and technology have been growing and ever changing along side one another for many, many decades. They have also influenced how one and another has been developed and precised over these many, many years. Whenever technology is enhanced it can help lead to new and varied ways that we can produce and also consume media in our lives. Then in turn as we produce and consume more and more media we then try to invent new technologies to help us do so in easier, better ways and also even new ways. So this back and forth between media and technology has helped they both grow over the year.
Furthermore due to this continuous back and forth between technology and media that causes them to enhance the other further they help to then create new media. This also helps to create new ways in which we enjoy and consume our media. Also as it has helped to create new media much easier and effects that we add to various media texts. On such computer programmes as Photoshop makes it as simple as clicking a single button to create the desired effect who wish to add to your media text. So it then removes much of the involvement we human put into our media texts. "Thus human intentionally can be removed from the creative process, at least in part." (Manovich, p.53). Technology and media have developed so far together that they now come in hand in hand with one another.
Moreover new media, thanks to the interweaving of technology and media over the decades, has lead to use to use our technology to consume our media texts. We can use our technology to develop a device that we can use to ingest several forms of media at once. This is down to media and technology becoming one and the same over their long history together.
Bibliography:
Manovich, L (2002) What is New Media and Principles of New Media From The Language of New Media
Furthermore due to this continuous back and forth between technology and media that causes them to enhance the other further they help to then create new media. This also helps to create new ways in which we enjoy and consume our media. Also as it has helped to create new media much easier and effects that we add to various media texts. On such computer programmes as Photoshop makes it as simple as clicking a single button to create the desired effect who wish to add to your media text. So it then removes much of the involvement we human put into our media texts. "Thus human intentionally can be removed from the creative process, at least in part." (Manovich, p.53). Technology and media have developed so far together that they now come in hand in hand with one another.
Moreover new media, thanks to the interweaving of technology and media over the decades, has lead to use to use our technology to consume our media texts. We can use our technology to develop a device that we can use to ingest several forms of media at once. This is down to media and technology becoming one and the same over their long history together.
Bibliography:
Manovich, L (2002) What is New Media and Principles of New Media From The Language of New Media
What Makes New Media Different
"A new media object is not something fixed once and for all but can exist in different, potentially infinite, versions" (Manovich, 2002, pg.56)
When copies are made of old media, they are all identical, however this is not the case with new media where many different versions of a piece of media can exist.
As Manovich states (Manovich, 2002, pg.56), variability can't exist without modularity, allowing each element of new media to exist independently. This allows the various individual parts to be compiled in multiple ways to create new things each time with each new media each time with each new combination, each combination can be considered new variations of the same pieces of media.
Variations of media can include several edits of one video or photo. These variations are all from the same source file that has been edited, making them essentially the same despite their minor differences.
As New Media exists as data, it can be transferred and viewed from almost any electronic device and the media we see can be customised for things like browser compatibility or the location found in the users IP address can be used to provide location specific information.
When media made the transition from analogue to digital, the possibility for variability increased. It can be argued that analogue media isn't dead, not yet anyway, ie. groups of camera enthusiasts still use old cameras and develop their photographs in a dark room using the chemicals that digital cameras left behind. It's increasingly uncommon to find analogue media today as digital is more convenient.
Variations can also be created automatically by computers, ie. an image can be matched to the scale of the viewing platform being used by the viewer. This links the idea of automation, where computers can create media with very little human interaction, to that of variation.
All of the aspects mentioned here are important in determining what New Media is, rather than just one of them.
Bibliography
Manovich, L (2002) What is New Media and Principles of New Media from the Language of New Media (Cambridge, Mass :London MIT Press)
When copies are made of old media, they are all identical, however this is not the case with new media where many different versions of a piece of media can exist.
As Manovich states (Manovich, 2002, pg.56), variability can't exist without modularity, allowing each element of new media to exist independently. This allows the various individual parts to be compiled in multiple ways to create new things each time with each new media each time with each new combination, each combination can be considered new variations of the same pieces of media.
Variations of media can include several edits of one video or photo. These variations are all from the same source file that has been edited, making them essentially the same despite their minor differences.
As New Media exists as data, it can be transferred and viewed from almost any electronic device and the media we see can be customised for things like browser compatibility or the location found in the users IP address can be used to provide location specific information.
When media made the transition from analogue to digital, the possibility for variability increased. It can be argued that analogue media isn't dead, not yet anyway, ie. groups of camera enthusiasts still use old cameras and develop their photographs in a dark room using the chemicals that digital cameras left behind. It's increasingly uncommon to find analogue media today as digital is more convenient.
Variations can also be created automatically by computers, ie. an image can be matched to the scale of the viewing platform being used by the viewer. This links the idea of automation, where computers can create media with very little human interaction, to that of variation.
All of the aspects mentioned here are important in determining what New Media is, rather than just one of them.
Bibliography
Manovich, L (2002) What is New Media and Principles of New Media from the Language of New Media (Cambridge, Mass :London MIT Press)
Automated media, rise of the machines?
Lev Manovich has identified how factors, such as computerisation, have changed medias function and social significance while new media takes its place as the staple of the digital age. Manovich "reduces all principles of new media to five: numerical representation, modularity, automation, variability and cultural transcoding", identifying the key factors which differentiate old and new media (Manovich, 2002, pg.44). All new media is now made up of "digital code" and so "becomes programmable", allowing computers to store, produce and distribute our media (Manovich, 2002, pg.49). Before technology was just a tool for media, just a calculator which aided us but with technological advancements it now shares in the creative production process.
Manovich notes how "human intentionally can be removed from the creative process, at least in part", software such as Photoshop, creates, edits and filters our content for us at the click of a button, taking most human interaction out of new media (Manovich, 2002, pg.53). Are we being limited by computers? By relying on automated technology, we take a back seat in creating media compared to the manual processes of old media. We live in a society "now concerned as much with accessing and re-using existing media as with creating new one" (Manovich, 2002, pg.55). If everyone is re-using existing media, this may stunt the creative possibility's of new media, leaving us with ideas that will never be imagined.
Artificial intelligence becomes ever more real, as computerised controls such as "software agents" filters our media for what it deems relevant, using our information and profiles to adapt new media around us (Manovich, 2002, pg.55). Creating a Big Brother mentality, as we are being monitored, controlled and restricted by computer technology. Although as seen in video games, this control is merely an illusion by "AI engines" which "use a variety of approaches to simulate human intelligence", restricting our own choices to fit within the rules of its own digital world (Manovich, 2002, pg.54). Though digitization has also given the user more control over time and media, such as through "random access"(Manovich, 2002, pg.67). By rejecting the "human-centered" order of old media such as the fixed order of videotapes, it allows time to be "managed, analysed and manipulated more easily"(Manovich, 2002, pg.67).
Bibliography
Manovich, L. (2002) The Language Of New Media, (Cambridge, Mass, :London MIT Press)
Manovich notes how "human intentionally can be removed from the creative process, at least in part", software such as Photoshop, creates, edits and filters our content for us at the click of a button, taking most human interaction out of new media (Manovich, 2002, pg.53). Are we being limited by computers? By relying on automated technology, we take a back seat in creating media compared to the manual processes of old media. We live in a society "now concerned as much with accessing and re-using existing media as with creating new one" (Manovich, 2002, pg.55). If everyone is re-using existing media, this may stunt the creative possibility's of new media, leaving us with ideas that will never be imagined.
Artificial intelligence becomes ever more real, as computerised controls such as "software agents" filters our media for what it deems relevant, using our information and profiles to adapt new media around us (Manovich, 2002, pg.55). Creating a Big Brother mentality, as we are being monitored, controlled and restricted by computer technology. Although as seen in video games, this control is merely an illusion by "AI engines" which "use a variety of approaches to simulate human intelligence", restricting our own choices to fit within the rules of its own digital world (Manovich, 2002, pg.54). Though digitization has also given the user more control over time and media, such as through "random access"(Manovich, 2002, pg.67). By rejecting the "human-centered" order of old media such as the fixed order of videotapes, it allows time to be "managed, analysed and manipulated more easily"(Manovich, 2002, pg.67).
Bibliography
Manovich, L. (2002) The Language Of New Media, (Cambridge, Mass, :London MIT Press)
Going Down The River in a Cardboard Box
"In contrast to analog media where each successive copy loses quality, digitally encoded media can be copied endlessly without degradation" (Manovich, 2001, 69)
Manovich begins by looking at William J. Mitchell's 'The Reconfigured Eye' (1982), In which Mitchell talks about how analog media "cannot be transmitted or copied without degradation" (Mitchell, 1982: 6) At the time of writing, Mitchell was living in a world where digital media was a break through in technology and it was looking like it was about to completely revolutionise the way media artefacts where accessed, developed and broadcast. It looked like nothing could destroy digital media and that anything which was digitally accessed was safe from complete destruction.
Mitchell goes on to refer to his view of digital media and how he believes it is completely lossless, "a digital image that is a thousand generations away from the original is indistinguishable in quality from any one of its progenitors".
He believes that digital media is invincible through generations of being passed down. For example. An old photograph will stain of the years with age and use, but if a digital image is stored on a hard drive for the same amount of time, it will be in the same condition and quality as when it was taken.
However, Manovich, speaking nearly twenty years after Mitchell, and being in the middle of the digital revolution, knows how digital media can be just as short-termed as analog media. "A single digital image consists of millions of pixels. All this data requires considerable storage" (Manovich, 2001: 70)
Even another decade later and we still cannot say that we have confidence in how computers store our media files. With technologies like DropBox, GoogleDrive and SkyDrive, surely we are just bypassing the problem instead of eliminating the problem which we built.
Bibliography
Mitchell, W.J., The Reconfigured Eye (Cambridge, Mass.: The MIT Press, 1982)
Manovich, L., The Language of New Media (Cambridge, Mass.: The MIT Press, 2001)
Manovich begins by looking at William J. Mitchell's 'The Reconfigured Eye' (1982), In which Mitchell talks about how analog media "cannot be transmitted or copied without degradation" (Mitchell, 1982: 6) At the time of writing, Mitchell was living in a world where digital media was a break through in technology and it was looking like it was about to completely revolutionise the way media artefacts where accessed, developed and broadcast. It looked like nothing could destroy digital media and that anything which was digitally accessed was safe from complete destruction.
Mitchell goes on to refer to his view of digital media and how he believes it is completely lossless, "a digital image that is a thousand generations away from the original is indistinguishable in quality from any one of its progenitors".
He believes that digital media is invincible through generations of being passed down. For example. An old photograph will stain of the years with age and use, but if a digital image is stored on a hard drive for the same amount of time, it will be in the same condition and quality as when it was taken.
However, Manovich, speaking nearly twenty years after Mitchell, and being in the middle of the digital revolution, knows how digital media can be just as short-termed as analog media. "A single digital image consists of millions of pixels. All this data requires considerable storage" (Manovich, 2001: 70)
Even another decade later and we still cannot say that we have confidence in how computers store our media files. With technologies like DropBox, GoogleDrive and SkyDrive, surely we are just bypassing the problem instead of eliminating the problem which we built.
Bibliography
Mitchell, W.J., The Reconfigured Eye (Cambridge, Mass.: The MIT Press, 1982)
Manovich, L., The Language of New Media (Cambridge, Mass.: The MIT Press, 2001)
Wednesday, 9 October 2013
Second Gen Convergence
We are no longer living in a world that denies any involvement of convergence, yet we also don't fully intend to use convergence to its full potential. As the human race, we work and develop in new generations (groups of people with new intentions on the world) and in doing so, we look at convergence as an essential part of your lives the same way we need air to breath.
A generation of convergence starts to grow from an "individual consumer and through their social interactions with others" (Jenkins, 2008, p3). This is were we identify the acknowledgement of generation convergence such as, the ideals of a blog. We find a new generation in the forms of blog literacy, in formations that use images to tell and story and add anchorage to involve a community on such blog databases.
"Some functions will take root; others will fail" (Jenkins, 2008, p4). We see how the collective process pulls away and grows towards new media and its many platforms. We can see this in how a tablet can now be used as a mobile phone with instant messaging software. This new identified platform could be seen as a creation of what we understand as convergence. This uses the intelligence of a consumer to make a new market in which they combine with the collective. These ideals are not only found imbedded into the minds of one individual but in the new generation that has no priory engagement with Old and even New Media but are indebted to the ever growing state of the convergence found in mass volume, such as; "TV converged with the nickelodeon, the word-processing program converged with the typewriter" (Jenkins, 2008, p5) and so on.
As we find here convergence will not simply disappear. With every new generation convergence will get stronger and will proceed to overcome all new forms of media with a united front. In doing so we are in convergence culture.
Bibliography:
Jenkins, H., 2008. Convergence Culture: Where Old and New Media Collide revised., NYU press.
A generation of convergence starts to grow from an "individual consumer and through their social interactions with others" (Jenkins, 2008, p3). This is were we identify the acknowledgement of generation convergence such as, the ideals of a blog. We find a new generation in the forms of blog literacy, in formations that use images to tell and story and add anchorage to involve a community on such blog databases.
"Some functions will take root; others will fail" (Jenkins, 2008, p4). We see how the collective process pulls away and grows towards new media and its many platforms. We can see this in how a tablet can now be used as a mobile phone with instant messaging software. This new identified platform could be seen as a creation of what we understand as convergence. This uses the intelligence of a consumer to make a new market in which they combine with the collective. These ideals are not only found imbedded into the minds of one individual but in the new generation that has no priory engagement with Old and even New Media but are indebted to the ever growing state of the convergence found in mass volume, such as; "TV converged with the nickelodeon, the word-processing program converged with the typewriter" (Jenkins, 2008, p5) and so on.
As we find here convergence will not simply disappear. With every new generation convergence will get stronger and will proceed to overcome all new forms of media with a united front. In doing so we are in convergence culture.
Bibliography:
Jenkins, H., 2008. Convergence Culture: Where Old and New Media Collide revised., NYU press.
Convergence Culture is here... Ready or not.
"By convergence, I mean the flow of content across multiple media platforms..." (Jenkins, P.2)
Just over a decade into the 21st Century the way in which we now consume our media has come along within leaps and bounds. We are at the forefront of a digital age that has rapidly developed the way in which we live our day to day lives. None more so than how it has helped us consume media. We can all now go online, watch a film, listen to radio, listen to our music, read books and communicate with others while we do these.
"Ready or not, we are already living within a convergence culture." (Jenkins, P.16)
We truly do live within a convergence culture whether we like it or not. We may not like it but we come into contact with it on a daily basis. As we watch television we are now reminded to follow the programmes we enjoy on Facebook or Twitter so as we are kept up to date. Some television channels inform us to watch episodes again by going online on websites such as 4oD and iPlayer. As we enjoy socializing on Facebook pages we have liked of our favourite music artists link us to their lastest music video upload onto YouTube or to tell us we can download their album online from such sources as the all mighty iTunes store.
We seem to be connected to all forms of media even if at that moment in time we only want the function of one. This does not seem as if it will stop at anytime soon as the new generation of technology is trying to become more multi-functional than the previous. An example is the Xbox One. It is by no mean the first Xbox, it is 12 years late for that title. It is called this as it is the all in 'one' home entertainment system and there is likely more to follow.
Bibliography
Jenkins, H (2008) Convergence Culture: Where Old and New Media Collide (New York University Press)
Convergence culture
Convergence culture is about the old and the new technologies that come with it, but it also draws upon old media that shows how they interact with each other.
"By convergence, I mean the flow of content across multiple media platforms,"(Jenkins, 2008, p.3)
Today's social media is moving faster than ever before providing quicker access instantly to consumers, whereas old media devices such as radio and television kept the consumers waiting. Consumers have the need to search for information that appeals to their interests, for example a new console game or box set, which will provide the latest updates online.
"Instead, convergence represents a cultural shift as consumers are encouraged to seek out new information" (Jenkins, 2008, p.4)
Convergence culture changes the ways in which consumers consume media. The theory Jenkins talks about is the black box fallacy of all the devices that are used to entertain or inform consumers, for example mobile phones now have cameras, mp3 players, games and access to the internet, instead of associating phones with just calls. Jenkins goes on about the numerous boxes that are placed in our homes that are used for various subject of information or entertainment.
"Once central device that did everything for you (a la the universal remote)" (Jenkins, 2008, p.21)
However, the old media on their own are still used because the purpose of their function works best to their own strength's, in conjunction with new media were as the multiple options found in one device, gives quicker access to the same outcome. Consumers are limited to how much they know themselves, even though there is range of information provided on demand, as old media, for example, television broadcast and the news can often spark interests of convergence culture, therefore working with new media to strive for their own information research. These shifts in culture can allow the consumer to view or read the topics live as it happens.
"Yet, history teaches us that old media never die" (Jenkins, 2008, p.19)
With the change in media, consumers engaged with their new media device. Producers changed their interaction to the audience at home, for example the million pound drop allows viewers to interact with the show by playing along with the game.
"convergence involves both a change in the way media is produced and a change in the way media is consumed." (Jenkins, 2008, p.23)
Bibliography
Jenkins, H, 2008. Convergence Culture: Where Old and New Media Collide Revised, NYU Press.
"By convergence, I mean the flow of content across multiple media platforms,"(Jenkins, 2008, p.3)
Today's social media is moving faster than ever before providing quicker access instantly to consumers, whereas old media devices such as radio and television kept the consumers waiting. Consumers have the need to search for information that appeals to their interests, for example a new console game or box set, which will provide the latest updates online.
"Instead, convergence represents a cultural shift as consumers are encouraged to seek out new information" (Jenkins, 2008, p.4)
Convergence culture changes the ways in which consumers consume media. The theory Jenkins talks about is the black box fallacy of all the devices that are used to entertain or inform consumers, for example mobile phones now have cameras, mp3 players, games and access to the internet, instead of associating phones with just calls. Jenkins goes on about the numerous boxes that are placed in our homes that are used for various subject of information or entertainment.
"Once central device that did everything for you (a la the universal remote)" (Jenkins, 2008, p.21)
However, the old media on their own are still used because the purpose of their function works best to their own strength's, in conjunction with new media were as the multiple options found in one device, gives quicker access to the same outcome. Consumers are limited to how much they know themselves, even though there is range of information provided on demand, as old media, for example, television broadcast and the news can often spark interests of convergence culture, therefore working with new media to strive for their own information research. These shifts in culture can allow the consumer to view or read the topics live as it happens.
"Yet, history teaches us that old media never die" (Jenkins, 2008, p.19)
With the change in media, consumers engaged with their new media device. Producers changed their interaction to the audience at home, for example the million pound drop allows viewers to interact with the show by playing along with the game.
"convergence involves both a change in the way media is produced and a change in the way media is consumed." (Jenkins, 2008, p.23)
Bibliography
Jenkins, H, 2008. Convergence Culture: Where Old and New Media Collide Revised, NYU Press.
Critical reflection on the introductory chapter of Convergence Culture by Henry Jenkins
Reading
through the Introduction of Convergence Culture by Henry Jenkins, it is
noticeable that Jenkins does not think of convergence as being a principally technologically
driven mechanism. Moreover, he states that a cultural shift is occurring whereby
the media producers are losing their power at the expense of the media users. It
is of course self-evident that consumers play a significant role in the process
of convergence, as they decide how media content and media technology will be used,
but can we truly state that an active “participatory culture” is more important
than the technology and the media producers carrying out the convergence in the
first instance? It might be better to put it in a way that these three
components are all equally important in the phenomenon of convergence: on the one
hand, media producers integrate the voice of the public, use this to develop
new ideas and set out the lines of the media offer. On the other, however,
media consumers contribute by evaluating
the content or product and deciding for themselves what to do with it.
The fact that the media audience is not the exclusive crucial part in this convergence development became clear by reading through Jenkins’ review on the New Orleans Media Experience. People knew little about the coming changes and the event seemed to be set up for the media industry only to inform the public about what was ahead of them.
The fact that the media audience is not the exclusive crucial part in this convergence development became clear by reading through Jenkins’ review on the New Orleans Media Experience. People knew little about the coming changes and the event seemed to be set up for the media industry only to inform the public about what was ahead of them.
In this
context it is worth noticing that although it might seem as an exclusively
positive phenomenon that the broad media offer allows a wide variety of
possibilities both for the producers and the consumers, it also should be taken into account that the process of
convergence causes some new sort of difficulties. For instance, producers now
experience a new kind of stress caused by their new multifunctional
responsibilities.
Bibliography
Jenkings, H. (2006). Convergence Culture: where old and new media collide, revised version. NYU Press.
Bibliography
Jenkings, H. (2006). Convergence Culture: where old and new media collide, revised version. NYU Press.
Convergence culture, An Introduction.
Convergence culture is not simply "the flow of content across multiple media platforms", it cannot be summed up in the action of using a mobile to watch TV (Jenkins, 2008, p2). It is a new media network of shared ideas and knowledge, "a cultural shift as consumers are encouraged to seek out new information and make connections among dispersed media content" (Jenkins, 2008, p3). No longer is the individual a powerless, passive consumer, but instead multitasking, sharing, exploring and interacting with other participants though multiple media, creating the media experience they desire. Without "participatory culture", creating a "buzz", media industry's would lose their power and influence over the masses, decreasing their media contents value (Jenkins,2008, p3). Identifying the significance of social networking where new media community's come together to create a "collective intelligence" (Jenkins, 2008, p4). Although empowering the participant, giving them mediums to share and create. The media industry's still build and control the mediums, using participants for the industry's own gain, such as how Facebook users generate most of the content.
Consumers are significant in "driving the process" of convergence, they are the active core mechanism which determines how to use and connect media platforms for their own media experience (Jenkins, 2008, p8). Identifying how singular platforms no longer maintain interest, no one wants a mobile that's just a mobile; they want a more connective experience. Where each mediums quality's and functions can connect and compensate for another's, such as using "games to explore ideas that couldn't fit within two-hour films"(Jenkins, 2008,p9), creating a richer media experience. This experience is delivered through "delivery systems" which are "only technologies", they become obsolete in our fast past consumer society (Jenkins, 2008, p14). What stays constant is the "media", the "cultural systems", rooted in our culture, our media desires, constantly evolving to meet society's needs (Jenkins, 2008, p14). Convergence resolves our need for on the go access to multiple media quickly and efficiently and will only grow more complex with time.
Although convergence is by no means harmonious, instead a "perpetual tangle" of different "specialized" mediums trying to intertwine and dominate one another (Jenkins, 2008, p15). With different functions, software's and intended uses "There is no single black box", but instead a mass of devices filling our homes (Jenkins, 2008, p16).
Bibliography
Jenkins, H. (2008) Convergence Culture: Where Old and New Media Collide, 2nd revised edition, NYU Press
Consumers are significant in "driving the process" of convergence, they are the active core mechanism which determines how to use and connect media platforms for their own media experience (Jenkins, 2008, p8). Identifying how singular platforms no longer maintain interest, no one wants a mobile that's just a mobile; they want a more connective experience. Where each mediums quality's and functions can connect and compensate for another's, such as using "games to explore ideas that couldn't fit within two-hour films"(Jenkins, 2008,p9), creating a richer media experience. This experience is delivered through "delivery systems" which are "only technologies", they become obsolete in our fast past consumer society (Jenkins, 2008, p14). What stays constant is the "media", the "cultural systems", rooted in our culture, our media desires, constantly evolving to meet society's needs (Jenkins, 2008, p14). Convergence resolves our need for on the go access to multiple media quickly and efficiently and will only grow more complex with time.
Although convergence is by no means harmonious, instead a "perpetual tangle" of different "specialized" mediums trying to intertwine and dominate one another (Jenkins, 2008, p15). With different functions, software's and intended uses "There is no single black box", but instead a mass of devices filling our homes (Jenkins, 2008, p16).
Bibliography
Jenkins, H. (2008) Convergence Culture: Where Old and New Media Collide, 2nd revised edition, NYU Press
Video Did Not Kill The Radio Star
"By convergence, I mean the flow of content across multiple media platforms" (Jenkins, 2008, p2)
Henry Jenkins is introducing to us the convergence, or mixing, of mediums to create new ways for the media audience to interact with different platforms. Although this seems strange to consider a generation of technology where multiple mediums aren't adapted by technology, we have to consider Jenkins' time of writing. In 2008, the first iPhone was only just released. Steve Jobs presented the iPhone as a "revolutionary mobile phone". He talks about three new products, a widescreen iPod with touch controls, a revolutionary mobile phone and a breakthrough internet communications device. However, he soon reveals that these are all in the one product.
Henry Jenkins is introducing to us the convergence, or mixing, of mediums to create new ways for the media audience to interact with different platforms. Although this seems strange to consider a generation of technology where multiple mediums aren't adapted by technology, we have to consider Jenkins' time of writing. In 2008, the first iPhone was only just released. Steve Jobs presented the iPhone as a "revolutionary mobile phone". He talks about three new products, a widescreen iPod with touch controls, a revolutionary mobile phone and a breakthrough internet communications device. However, he soon reveals that these are all in the one product.
(BorisLeeHK, 2012)
The breakthrough of the iPhone is exactly what Jenkins is talking about when he talks about convergence. Jenkins says "Each old medium was forced to coexist with the emerging media (..) printed words did not kill spoken words. Cinema did not kill theatre. Television did not kill radio." (Jenkins, 2008, p14)
Jenkins talks about his living room, "I am seeing more and more black boxes" (Jenkins, 2008 p15) How long is it before we have one device which literally does everything? Considering the technological advances of the past 5 years, we aren't to far away. Mobile phones are a cinema, doctors, supermarket, photo albums, (practically) DSLRs, banks, take aways, bibles, loyalty cards, compasses, book stores and anything we want them to be. What else needs to be converged with our pocket device to make life easier?
The "Black Box Fallacy" (Jenkins, 2008, p13) is when he talks about the technologies which are used to deliver the media, change and update, so for example, the iPhone, 3G, 3GS, 4, 4s, 5, 5s, 5c. These were all updated with new technologies, for example, voice recognition, mobile internet, finger print recognition, etc. "Media, on the other hand, evolve" (Jenkins 2008, p13)
Jenkins doesn't give much away about his opinion on how convergence is affecting our culture in the introduction but he talks technologies which we are using and seeing being developed today. I think that the Cheskin Research which he mentions would have a different view on todays technology, eleven years after their initial research.
"The old idea of convergence was that all devices would converge into one central device that did everything for you (a la universal remote). What we are now seeing is the hardware diverging while the content converges."( Cheskin Research, 2002, p8,9)
Bibliography
Jenkins, H., 2008. Convergence Culture: Where Old and New Media Collide Revised., NYU Press.
Cheskin., 2002. Designing Digital Experiences For Youth
BorisLeeHK. (2012) Steve Jobs - 2007 iPhone Presentation (Part 1 of 2). [Online Video]. 22 April. Available from: https://www.youtube.com/watch?v=Etyt4osHgX0. [Accessed: 8 October 2013].
BorisLeeHK. (2012) Steve Jobs - 2007 iPhone Presentation (Part 1 of 2). [Online Video]. 22 April. Available from: https://www.youtube.com/watch?v=Etyt4osHgX0. [Accessed: 8 October 2013].
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