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Transistor kills the radio star?

Novos meios versus velhos meios (sincrónicos e asincrónicos)

«But television is not dead, just television as we know it - a rigid, one-way medium delivered by networks that schedule programming according to their estimates of likely viewership. Those who view the Net as another TV channel have got it backward. Sometime early in the next century, television programs will become accessible through the Net. Rather than talking about TV versus the Net, we will talk about stored access of content versus real-time access. In stored (asynchronous) access, the user picks up previously stored content (information, music video, a drama, sitcom, news program) when convenient. In real-time (synchronous) use, people access content (a sports game, election reporting) as it is occurring.» (Tapscott, 1997: 27)

«The gap is highlighted by the fact that media panics over new forms of media are spread by old forms of media. That broadcast and print coverage of the internet in newsapapers and on television has often been so negative can also be explained through Drotners historical analysis of media panics. "Those who have invested most an accepted cultural capital," Drotner writes, "are also the principal victims in capital loses its currency"[Drotner, Kirsten (1992) Modernity and Media Panics. In Michael Skovmand & Kim Christian Schrøder (Eds.), Media Cultures: Reappraising Transnational Media (pp. 42-62). London: Routledge.. p. 57 ]. Since the Internet has been the primary means displacing time formerly spent watching television and has provided yet another option for information gathering in place of newspapers, Drotner's words have a special emphasis in our current media panic. Parents are worried about losing control of children while newspapers and television broadcasters are worried about losing their audiences and so each anxiety comes to fuel the other. This should not surprise us. People become hostile and defensive when threatened by something new and which they don't understand» (Tapscott, 1997: 49) 

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