The Internet and the Emergence of a new Matrix of Media, AOIR conf 2008 (original) (raw)

Mediatization Theory and Digital Media

In the 20th century, the term "media logic" was introduced to denote the influence of independent mass media on political systems and other institutions. In recent years the idea has been reworked and labelled "mediatization" to widen the framework by including new media and new areas of application. In Section Two the paper discusses different conceptualizations. It is argued that even if they bring new insights, they cannot be unified into one concept, and that they also lack a consistent definition of digital media. Section three provides a definition of digital media in order to identify new trajectories made possible by these media, which have led into a new media matrix built around the internet and mobile devices. It will be argued that the new media matrix cannot be understood from a point of view defined by the framework of 20th century mass media because digital media open new trajectories and because in the new matrix the previously existing media have had to transform themselves.Finnemann, NO 2011, 'Mediatization Theory and Digital Media' Communications, vol 36, no. 1, pp. 67-89., 10.1515/COMM.2011.004

The End of Media

Advances in media, entertainment and the arts (AMEA) book series, 2017

In the network society and the age of media convergence, media production can no longer be isolated into channels, formats, technologies, and organizations. Media Studies is facing the challenge to reconceptualize its foundations. It could therefore be claimed that new media are the last media. In the case of digital versus analog, there is no continuity between new media and old media. A new and promising proposal has come from German scholars who attempt the precarious balance between media theory and a general theory of mediation based on Actor-Network Theory. Under the title of Actor-Media Theory (Akteur-Medien-Theorie) these thinkers attempt to reformulate the program of Media Studies beyond assumptions of social or technical determinism. Replacing Actor-Network Theory with Actor-Media Theory raises the question of whether exchanging the concept of "network" for the concept of "media" is methodologically and theoretically advantageous.

Understanding Media Relations in the Age of Convergence: A Metatheoretical Taxonomy

Between, 2020

Multimediality, crossmediality, intermediality, transmediality. Over the last three decades, media (as well as comparative) studies have been characterized by the emergence of new categories, aimed at describing and analysing the variety of relations established by different media in the age of convergence. Despite their widespread diffusion in many research fields, however, these categories still lack a shared and stable meaning, having eluded any attempt of theoretical systematization so far. As a consequence, they tend to overlap semantically, making it impossible for scholars to share a common vocabulary. The objective of this paper is to propose a meta-theoretical rearrangement of the abovementioned categories, with the aim of outlining a systematic taxonomy in which each term can find a definition and a position.

New Media Theory From Medium Theory to the Second Media Age

Although the practice of theorizing new media has a history as long as communication studies itself, the turn to new media theory has only formalized itself since the 1990s. The accelerated diffusion of digital media from telecommunications and information technology sectors in the 1990s has led media and communication studies to be defined by new objects of investigation. New forms of media demand exploration in their own right at the same time as the remediation of traditional media becomes open to investigation.

Technological Progress: Generator of Changes in the Media Field

2022

The digitalisation of the media implies a multi-aspectual approach, which, in a general framework, aims at the continuous and direct process of technologicalisation and in a particular one - the transfiguration of the traditional mass media and the emergence of new media, native digital. The basic features of the new media refer to: the fact that a single object responds to more and more functions, memory and storage space, sometimes even unlimited, speed and removal of com­munication barriers, the degree of user participation that can interact directly with other users and/or the author of a material. Digital media communication allows the simultaneous and inter-cognitive perception of collective experiences. New media, in a relationship of complicity with social media have become a fertile ground for experiencing direct communication, through a more colloquial language, which can cover different segments of the population and is represented by a new methodology, namely the "s...

A Companion to New Media Dynamics

2013

Media studies lies at a crossroads between several disciplines, as reflected in the multiple names of academic departments dealing in media. This typically undisciplined discipline arose in a concatenation, still unresolved, of scholars from several traditions in the humanities and social sciences-ethnographers of everyday life, US and European communications scholars, interpersonal and commercial communications specialists, literary scholars, sociologists of subcultures-and today includes a range of activities whose approaches include economics and political economy, regulation, technology, textual analysis, aesthetics, and audience studies. There is no single canon of defining theoretical works, and only a loose assumption as to which media are to be studied, often defined by institutional matters: which media are studied may be circumscribed by the existence of journalism, pubishing, photography, or music schools claiming title to those media forms, as more frequently art history, literary, and linguistic studies bracket off their specific media formations. By media studies we presume the study of the technical media as they have arisen since the nineteenth century, in four broad categories: print, recording, broadcasting, and telecommunications. Given the typical shapes of neighboring disciplines studying specific media such as literature and music, a common concentration has been on industry, governance, and audience, with a specific address to aesthetics only in the case of the technical media. A specific change then for new media studies has been that the genres and business models once regarded as proper to each of these categories have, with the rise of digital media, converged aesthetically and economically. This has not posed a significant challenge to most of the schools of enquiry that have grown up over the past century that have taken technical media as their focus. In fact, the hybrid origins of the field of study have tended to produce a surprisingly holistic sense of mission: to understand media we need to understand their materiality as objects and systems,

Introduction: "Worship at the Altar of Convergence" : A New Paradigm for Understanding Media Change

2007

Extrait de l'introduction « Un nouveau paradigme pour mieux comprendre l'évolution des médias » L'histoire suivante circulait au cours de l'automne 2001 : Dino Ignacio, lycéen américano-philippin, avait fait, à l'aide de Photoshop, un montage d'images tirées de la série télévisée, Sesame Street (1970) où le personnage de Bert dans l'épisode « Bert is evil » discutait avec le terroriste Oussama Ben Laden, puis il mit ces images sur sa page d'accueil (fig. 1). D'autres images montraient Bert

Mediatization of the Net and Internetization of the Mass Media

Gazette, 2005

To measure the impact of the internet on the traditional media, researchers usually begin by considering their presence and use online. The hypothesis of this article is that the most crucial measure of the impact of the internet on the classic media does not depend on the moreor-less forced invasion of the internet by the press, radio and television, but is to be sought in other processes. More exactly, it is to be found in the mediatization of the net, both fixed (computer/internet) and mobile (internet/mobile phone), and in the 'internetization' of the classic mass media. These two processes at the same time enable one to measure the impact of traditional media on the internet, making it possible to trace the succession of thrusts and counter-thrusts, modifications and reciprocal incursions, for which the traditional means of communication and the internet have been responsible.

Balbi, G. (2015). Old and New Media. Theorizing Their Relationships in Media Historiography. In S. Kinnebrock, C. Schwarzenegger, & T. Birkner (Eds.), Theorien des Medienwandels (pp. 231-249). Köln: Halem.

This chapter aims to provide a theoretical framework in order to systematize old and new media relationships. In particular, I propose to split the political, economic, technological and cultural relations between old and new media into four coexisting and at times overlapping steps (imitation, specification, change, and continuity) and, for each stage, to give examples from the media history of the last two hundred years. Reflections on the media life cycles, media change, intermediality, “new” as digital in the conclusion helps understanding that the old and the new is not a dichotomy.