The paper focuses on researching the way in which the appearance of new digital media technologies is influencing changes in the style of the media material placed online and cites rules for creation of the material that is adjusted to digital environment and a changed reader’s attention. Material digitalization, its placement in proper form and style, its consumption, as well as the multimedia content management and cost benefit are presented in this document.
Large expansion of information technologies (IT), especially the Internet, has led to a general social interaction and exchange, from which arises the Information Society as a very real but yet unexplored dimension. For all these new issues arising from this progress in human relations and communication, a question of moral behavior in this new virtual world also arises – the question from which cyber-ethics is born. Genesis of virtual community is sociologically explained by the fact that normal social life of a person is divided into three environments or spaces: the space where we live, space where we work, and the space for socializing with other members of society. Virtual community is by many considered to be ‘a place for socializing’, as it does not pose barriers that exist in everyday human communication. It does not specify age, gender, political or religious affiliation nor does it take family characteristics into account. This paper analyzes this “third space” where people gather for the purpose of socializing which has become very cramped in the contemporary society.
Viral marketing is a set of marketing techniques that use existing social networks (both real and virtual) to achieve specific marketing objectives, through viral processes that resemble the spread of computer viruses. The central part of this process are the users, or potential audiences, which in certain way become marketing managers, constantly recruiting new marketing managers. It was necessary to fulfill one important prerequisite in order to reach the moment when the boundaries between different media formats are no longer of that much importance – erasing the boundaries between the real and the virtual space, creating a hybrid space, the so-called “real virtuality”. This article tries to cover recent US media practices related to viral campaigns in the film and television production, and other forms of media expression through media channels that are intertwined, denying borders between them, making members of the audience interactive and integral participants in this collaborative process.
Contemporary researchers believe that, in the near future, a convergence will be developed towards all portable networks having sufficient capacity to transmit all kinds of messages – from data to video, in real time, and towards a choice of devices allowing certain contents to be followed depending on circumstances. In other words, all content will be available on all types of terminals. News will be followed on PCs, e-mails sent from TV receivers and databases will be searched on mobile phones. Moreover, it seems that viewers will create their programmes, programme schedules and receive information when suitable to them. “On demand” services will be dominant services in future. This situation leads towards the division of the audio-visual sphere into two categories: on the one side, there are creators and owners of content and on the other there are transmitters of content. If we know that each portable channel and terminal device has its own characteristics, we can conclude that a producer and an owner of content have to process it in such a way that it can be adapted i.e. easily adapted for distribution over various channels and reception at various terminals. At the moment, televisions and production houses still have a certain type of monopoly over the production of audio-visual programmes. Exploiting and sustaining this advantage is one of the important challenges imposed by the development of digital communication. Due to everything mentioned above, the authors of this paper are conducting a survey on consumers of the media content. So far the pilot survey is carried out only in Vojvodina, and the purpose of the survey is to find out whether respondents are familiarized with the digitalization process.
Defined mostly as anonymous and homogenous mass consuming the content from the small screens, in theoretical discussions, television audience has passed the long way from being defined as passive observers, i.e. mere recipients of the messages in the initial researches, through active interpreters who use television to satisfy certain needs and to the latest predictions about “viewsers” as active, individual creators of programmes in the context of new digital era. Development of new information technologies that lead to digitalization of television and convergence of the media environment has placed the demand on audience researcher to find new theoretical perspectives, not only related to the “activity” of television audience, but also related to redefining the very meaning of television and its various uses. The paper presents and analyses these theoretical contributions to understanding of the reception side of the digital television.
The digitization rush has left the hypertext as a computer-generated text in its wake. The broadening of the hypertext concept brings us to the possibility of a new interpretation not only of artistic practice, but of the theory and politics of that practice, correspondingly. When the sign (iconic, indexical, symbolic) became “fundamental” for thinking, the status of knowledge changed. With artistic practice as an example, that can be seen in the reconstruction/destruction/deconstruction of a work into a text and of the text into a hypertext. The rhetorical figures of the hypertext bring about a new hermeneutics of the code. The code, as a mode of linking lexias (units of reading), past traces of the archive or the database, translates the entire Gutenberg Galaxy into a Hypertextual Galaxy. The event of remedialisation or the digital McLuhan, reminds us that an artistic practice has always been an emphasized (hyper) process of virtualization and of creating the artistic as a media/discursive construct. The hypertext thus becomes a broad platform for reading/writing both in science and education on the one hand, and in literature, film, visual arts, theatre, fashion, nutrition and photography on the other hand. The work of art/text/hypertext can also be viewed as a paradigm in the construction of knowledge.
Tense but fruitful relationship between literature and technology springs from the impression of writers and literary scholars that their activities are irreconcilably different. However, literature and science are not the worlds apart, since many critics nowadays resort to explaining narrative experiments and revolutionary representational practices in literature as attempts to come to terms with the theories of Einstein or Heisenberg. The paper examines revolutionary changes brought by digital technologies into the realm of reading, writing and textual interpretation, with the introduction of hypertext. The application of informational technology in reading, writing and teaching literature is impossible without understanding the theory and practice of hypertext. The Internet as a research tool in teaching literature and literary studies in general changes the book, since it ceases to exist only as a printed text and part of the literary canon, and turns into a hypertext which offers new strategies of research, elaborated in the paper.
The media are no longer a “mirror of society” but constructors of social reality and manufacturers of consciousness. The new technological age gives a strong stimulus to this transformation which further marginalizes the point and cognitive value of the message. These technologies emphasize the technological aspects, sensations of the new, spectacles of the form and the design, which are becoming a purpose in itself. Adding to all this the already observed concentration of information and the difficulty in content selection, the training for media usage and their maintenance on the socially acceptable and constructive level becomes a highly important topic. At the same time, the concepts of “the media education” and “education for the media” oscillate in their implications, alternately going back and forth in their meaning. This paper is trying to determine the evolution of the idea about correlation between the media performance and the educational process, in which at least two approaches are possible: the ability to increase the level of knowledge with the help of the media and the need for gaining skills in order to handle the digitalized media so they can be used to full potential.
The approach to contemporary digital media technologies has two general orientations – “techno-optimistic” and “techno-pessimistic”. The author takes a middle position and tries to bring together the arguments of the humanistic philosophy of education and media theory. New media influence our perception of reality and ability to articulate that perception, and thereby shape the reality itself. The educational system includes new media through the “media education” and its application as educational technology. The main postulates of this article are: (1) digital media technologies are not the purpose, but a tool in the educational process, (2) those tools influence changing of the educational process characteristics and (3) the specific purpose of humanistic education process is not lost despite those changes.