The book also applies communication theories to the mass media with current examples from journalism, broadcasting, advertising and public relations to clarify the concepts. A new chapter on cyber communications explores the influential new medium, using discussions of mediamorphosis, hypertext, multimedia, interface design, Internet addiction and Internet dependency. An extensively rewritten chapter on media chains and conglomerates addresses key developments in the field. The book also includes unique coverage of media uses and institutions, meant as an alternative way to think about mass communication. For readers interested in exploring mass communication theory.

    He takes us into the secret world of "Survivor" Spoilers, where avid internet users pool their knowledge to unearth the show's secrets before they are revealed on the air. He introduces us to young "Harry Potter" fans who are writing their own Hogwarts tales while executives at Warner Brothers struggle for control of their franchise. He shows us how "The Matrix" has pushed transmedia storytelling to new levels, creating a fictional world where consumers track down bits of the story across multiple media channels.Jenkins argues that struggles over convergence will redefine the face of American popular culture. Industry leaders see opportunities to direct content across many channels to increase revenue and broaden markets. At the same time, consumers envision a liberated public sphere, free of network controls, in a decentralized media environment. Sometimes corporate and grassroots efforts reinforce each other, creating closer, more rewarding relations between media producers and consumers. Sometimes these two forces are at war.Jenkins provides a riveting introduction to the world where every story gets told and every brand gets sold across multiple media platforms. He explains the cultural shift that is occurring as consumers fight for control across disparate channels, changing the way we do business, elect our leaders, and educate our children.

    * The authors provide a clear and comprehensive overview of this phenomenon. The book also includes important contributions by Henry Jenkins and John Hartley, both experts in this field. Full description

    Given the intricacies of the industry, it's also going to be the most resistant to change. Alan Wolk, an industry veteran and longtime analyst and observer, lays out how the television industry is adapting to the digital era, explaining what's really happening in a tone that will appeal to laypeople and insiders alike. In the first section, Wolk takes us through how the industry works today, focusing on how the various players actually make money and who pays who for what. The next section deals with the changes that are taking place in the industry today–everything from time shifting to binge viewing to cord cutting–and how those changes are starting to create some seismic shifts. In the final section, Wolk reveals his predictions for the future and what the industry will look like in ten years time. Andrew Wallenstein, co-editor-in-chief of Variety says "Alan Wolk is one of the most insightful observers writing about the media business today. There's no better expert to help you navigate the confusing, complicated nexus of TV and the Internet." David Zaslav, President and CEO of Discovery Communications says "Alan Wolk has a deep understanding of the complex nature of television today… this is a fantastic primer of the business and one of the most educated perspectives on the future of our rapidly evolving industry."

    But for all the heat of claim and counter-claim, the argument is essentially beside the point: it’s here; it’s everywhere. The real question is, do we direct technology, or do we let ourselves be directed by it and those who have mastered it? “Choose the former,” writes Rushkoff, “and you gain access to the control panel of civilization. Choose the latter, and it could be the last real choice you get to make.” In ten chapters, composed of ten “commands” accompanied by original illustrations from comic artist Leland Purvis, Rushkoff provides cyberenthusiasts and technophobes alike with the guidelines to navigate this new universe.In this spirited, accessible poetics of new media, Rushkoff picks up where Marshall McLuhan left off, helping readers come to recognize programming as the new literacy of the digital age––and as a template through which to see beyond social conventions and power structures that have vexed us for centuries. This is a friendly little book with a big and actionable message. World-renowned media theorist and counterculture figure Douglas Rushkoff is the originator of ideas such as “viral media,” “social currency” and “screenagers.” He has been at the forefront of digital society from its beginning, correctly predicting the rise of the net, the dotcom boom and bust, as well as the current financial crisis. He is a familiar voice on NPR, face on PBS, and writer in publications from Discover Magazine to the New York Times.“Douglas Rushkoff is one of the great thinkers––and writers––of our time.” —Timothy Leary“Rushkoff is damn smart. As someone who understood the digital revolution faster and better than almost anyone, he shows how the internet is a social transformer that should change the way your business culture operates." —Walter Isaacson

    With the new tablet, I absolutely love its many standard features and capabilities, but have found there is so much more that can be done with this amazing gadget. I’ve learned a lot of great things you can do with a Kindle Fire HD and want to help others get more out of their Kindle Fire HDX and HD devices. I've developed a comprehensive guide book to help users along on their device, including tips and tricks to really unlock and unleash the possibilities with the tablet. Here’s just some of the great info you’ll find in this User’s Guide Book: - Getting to know the various settings of your Kindle Fire HDX or HD - Browsing your Kindle and carousel - How to store your favorite content items on the device - Setting up security options to safeguard your device - Setting up your e-mail, contacts and calendar info - Setting up and using wireless networks - How to print from your Kindle Fire HD - How to install the Dolphin Browser with Adobe Flash - How to install the Google Chrome browser on your tablet - Pairing your Kindle Fire HD with a compatible Bluetooth phone or computer - How to set-up FreeTime for your kids to use your Kindle with restrictions - How to listen to the radio on your tablet - How to use your tablet to make phone calls for free! - How to download YouTube videos to your Kindle Fire HD - How to take photos and videos with your Kindle Fire HD camera - How to sideload apps on your Kindle Fire HD - Some of the best apps you can get for your tablet - Suggested apps to take your tablet to the next level! You’ll learn all of the above and more in this book which features color screenshots straight from the Kindle and step-by-step instructions on the processes involved in unleashing more powerful features for your Kindle Fire HD! There's also helpful links throughout the guide to take you right to the apps and websites being discussed. In all, this is a must-have ebook to get for any Kindle Fire HD user who wants to take their device to the next level! Note: Many of the tips and how-to's covered in this guide will also apply to the previous generation of the Kindle Fire HD, released in 2012. Please note this book is for owners of the American version of the Kindle Fire HDX & Kindle Fire HD tablets sold as of October 2013 in the United States.

    Yet there have been relatively few attempts to understand the video game as an independent medium. Most such efforts focus on the earliest generation of text-based adventures (Zork, for example) and have little to say about such visually and conceptually sophisticated games as Final Fantasy X, Shenmue, Grand Theft Auto, Halo, and The Sims, in which players inhabit elaborately detailed worlds and manipulate digital avatars with a vast—and in some cases, almost unlimited—array of actions and choices. In Gaming, Alexander Galloway instead considers the video game as a distinct cultural form that demands a new and unique interpretive framework. Drawing on a wide range of disciplines, particularly critical theory and media studies, he analyzes video games as something to be played rather than as texts to be read, and traces in five concise chapters how the “algorithmic culture” created by video games intersects with theories of visuality, realism, allegory, and the avant-garde. If photographs are images and films are moving images, then, Galloway asserts, video games are best defined as actions. Using examples from more than fifty video games, Galloway constructs a classification system of action in video games, incorporating standard elements of gameplay as well as software crashes, network lags, and the use of cheats and game hacks. In subsequent chapters, he explores the overlap between the conventions of film and video games, the political and cultural implications of gaming practices, the visual environment of video games, and the status of games as an emerging cultural form. Together, these essays offer a new conception of gaming and, more broadly, of electronic culture as a whole, one that celebrates and does not lament the qualities of the digital age. Alexander R. Galloway is assistant professor of culture and communication at New York University and author of Protocol: How Control Exists after Decentralization.

    Terms and phrases such as "the global village" and "the medium is the message" are now part of the lexicon, and McLuhan's theories continue to challenge our sensibilities and our assumptions about how and what we communicate.There has been a notable resurgence of interest in McLuhan's work in the last few years, fueled by the recent and continuing conjunctions between the cable companies and the regional phone companies, the appearance of magazines such as WiRed, and the development of new media models and information ecologies, many of which were spawned from MIT's Media Lab. In effect, media now begs to be redefined. In a new introduction to this edition of Understanding Media, Harper's editor Lewis Lapham reevaluates McLuhan's work in the light of the technological as well as the political and social changes that have occurred in the last part of this century.

    'Here Comes Everybody' is an examination of how the spread of new forms of social interaction enabled by technology is changing the way humans form and exist within groups, with profound long-term economic and social effects, for good and for ill.

    Yet for all the talk about the democratizing power of the Internet, regimes in Iran and China are as stable and repressive as ever. In fact, authoritarian governments are effectively using the Internet to suppress free speech, hone their surveillance techniques, disseminate cutting-edge propaganda, and pacify their populations with digital entertainment. Could the recent Western obsession with promoting democracy by digital means backfire?In this spirited book, journalist and social commentator Evgeny Morozov shows that by falling for the supposedly democratizing nature of the Internet, Western do-gooders may have missed how it also entrenches dictators, threatens dissidents, and makes it harder - not easier - to promote democracy. Buzzwords like "21st-century statecraft" sound good in PowerPoint presentations, but the reality is that "digital diplomacy" requires just as much oversight and consideration as any other kind of diplomacy.Marshaling compelling evidence, Morozov shows why we must stop thinking of the Internet and social media as inherently liberating and why ambitious and seemingly noble initiatives like the promotion of "Internet freedom" might have disastrous implications for the future of democracy as a whole.

    Lessig reveals the solutions to this impasse offered by a collaborative yet profitable “hybrid economy”.Lawrence Lessig, the reigning authority on intellectual property in the Internet age, spotlights the newest and possibly the most harmful culture war—a war waged against our kids and others who create and consume art. America’s copyright laws have ceased to perform their original, beneficial role: protecting artists’ creations while allowing them to build on previous creative works. In fact, our system now criminalizes those very actions. For many, new technologies have made it irresistible to flout these unreasonable and ultimately untenable laws. Some of today’s most talented artists are felons, and so are our kids, who see no reason why they shouldn’t do what their computers and the Web let them do, from burning a copyrighted CD for a friend to “biting” riffs from films, videos, songs, etc and making new art from them.Criminalizing our children and others is exactly what our society should not do, and Lessig shows how we can and must end this conflict—a war as ill conceived and unwinnable as the war on drugs. By embracing “read-write culture,” which allows its users to create art as readily as they consume it, we can ensure that creators get the support—artistic, commercial, and ethical—that they deserve and need. Indeed, we can already see glimmers of a new hybrid economy that combines the profit motives of traditional business with the “sharing economy” evident in such Web sites as Wikipedia and YouTube. The hybrid economy will become ever more prominent in every creative realm—from news to music—and Lessig shows how we can and should use it to benefit those who make and consume culture.Remix is an urgent, eloquent plea to end a war that harms our children and other intrepid creative users of new technologies. It also offers an inspiring vision of the post-war world where enormous opportunities await those who view art as a resource to be shared openly rather than a commodity to be hoarded.

    The men who live through the plane crash must make their way toward the mountains separating NWT from the Yukon Territory while surviving off the land, facing tragedy and the wild, and uncompromising land and animals they come across. This is a story of extreme survival, and a rescue attempt that is beyond belief.

    Digital technology empowers us as never before, yet it has unforeseen consequences as well. Potentially humiliating content on Facebook is enshrined in cyberspace for future employers to see. Google remembers everything we've searched for and when. The digital realm remembers what is sometimes better forgotten, and this has profound implications for us all.In Delete, Viktor Mayer-Sch�nberger traces the important role that forgetting has played throughout human history, from the ability to make sound decisions unencumbered by the past to the possibility of second chances. The written word made it possible for humans to remember across generations and time, yet now digital technology and global networks are overriding our natural ability to forget--the past is ever present, ready to be called up at the click of a mouse. Mayer-Sch�nberger examines the technology that's facilitating the end of forgetting--digitization, cheap storage and easy retrieval, global access, and increasingly powerful software--and describes the dangers of everlasting digital memory, whether it's outdated information taken out of context or compromising photos the Web won't let us forget. He explains why information privacy rights and other fixes can't help us, and proposes an ingeniously simple solution--expiration dates on information--that may.Delete is an eye-opening book that will help us remember how to forget in the digital age.

    Katherine Hayles, where new languages are constantly emerging, proliferating, and fading into obsolescence. These are languages of our own making: the programming languages written in code for the intelligent machines we call computers. Hayles's latest exploration provides an exciting new way of understanding the relations between code and language and considers how their interactions have affected creative, technological, and artistic practices. My Mother Was a Computer explores how the impact of code on everyday life has become comparable to that of speech and writing: language and code have grown more entangled, the lines that once separated humans from machines, analog from digital, and old technologies from new ones have become blurred. My Mother Was a Computer gives us the tools necessary to make sense of these complex relationships. Hayles argues that we live in an age of intermediation that challenges our ideas about language, subjectivity, literary objects, and textuality. This process of intermediation takes place where digital media interact with cultural practices associated with older media, and here Hayles sharply portrays such interactions: how code differs from speech; how electronic text differs from print; the effects of digital media on the idea of the self; the effects of digitality on printed books; our conceptions of computers as living beings; the possibility that human consciousness itself might be computational; and the subjective cosmology wherein humans see the universe through the lens of their own digital age. We are the children of computers in more than one sense, and no critic has done more than N. Katherine Hayles to explain how these technologies define us and our culture. Heady and provocative, My Mother Was a Computer will be judged as her best work yet.