Geert Goiris photographer working in Belgium.
In the traditional theory of political communication political influence through the media is largely determined by the interaction between the political elites (in their plurality) and professional journalists.
Media act as gatekeepers of the information flows that shape public opinion. Elihu Katz (1997) emphasized the transformation of the media environment through the fragmentation of the audience, and the increasing control that new communication technologies give to the consumers of the media. The growing role of on-line, multimodal social networking accelerates this transformation.
According to Williams and Delli Carpini (2004), the new media environment disrupts the traditional “single axis system” of political influence and creates a fluid “multiaxity” of power in three ways:
(1) The expansion of politically relevant media and the blurring of news and entertainment has led to a struggle within the media itself for the role of authoritative gatekeeper of scandals.
(2) The expansion of media outlets and the move to a 24-hour news cycle have created new opportunities for non-mainstream political actors to influence the setting and framing of the political agenda (as in the case of Matt Drudge bypassing the mainstream media via his Drudge Report on-line, to start the Monica Lewinsky scandal that CBS and other media suppressed for about two weeks). Twenty-four hour cable news outlets now not only gather news as fast as possible but also broadcast it rapidly as well, effectively eliminating the role of editors in the news production process.
And (3) this changed media environment has created new opportunities and pitfalls for the public to enter and interpret the political world. According to Williams and Delli Carpini, the rise of cell phones, videogames, ipods, and other new technologies has broken down the binary between media and the rest of everyday life on which most of political communication used to rest.
Index and credits:
1. A Libyan honor guard stands at attention during the arrival of U.N. Special Envoy to Libya Bernardino Leon in Tripoli.
2. Deer rut in the early morning frost in Richmond Park in London, England. (Rob Stothard/Getty Images)
3. A generator in a powerhouse during the inauguration of the Stung Russey Chrum Krom hydro-electric dams in Koh Kong province. (AFP / Getty Images)
4. Trial jump at the third stage of the four hills ski jumping tournament in Innsbruck, Austria. (Matthias Schrader /AP Photo)
5. Penguins swim in their pool during the annual stock take at London Zoo, Monday. (Kirsty Wigglesworth /AP Photo)
Tom Adams is for sure one of my best finds in 2014. Long list of time breaking tunes and unexpected treasured remixes.
Tom Adams is a UK based multi instrumentalist composer. His self released new EP ‘In The Constant Noise’ is out now. Tom also recently composed the OST for the Universal Pictures feature film ‘The Knife That Killed Me’.2 hearts
This collaboration was part of Animation Breakdown’s Free For All program at Cinefamily. The mighty Paul Fraser created the amazing music track first, not knowing what imagery was to go with it. Participants turned in GIFs not knowing what would happen. Then I edited the GIFs to the music.
So music was done BEFORE the edit, which if you think about it is kind of crazy but it magically came together (I think). Can’t thank everyone enough for trusting me with their work and taking part in this fun experiment!
In November 2014 Hoefler & Co. released Quarto.
Quarto is a modern adaptation of the Van den Keere style, designed for use at sixteen point and above. We selected Van den Keere’s Two-Line Double Pica Roman of 1570–1573 as a foundation for the family, an arresting design marked by striking dramatic tensions.
Its consistently dark strokes are offset by bright, crisp serifs; its resolute verticality is punctuated by moments of lavish roundness. This theme of “controlled contrast” helped propel Quarto into territory unexplored by Van den Keere, including an italic whose fluid motions are checked by a steadfast rhythm, and heavier weights whose density is invigorated by sudden geometric turns and sharp corners.
Like the Baroque models that inspired it, Quarto’s large x-height, short descenders, and trim serifs invite both tight tracking and solid leading, making it an excellent choice for headlines both in print and on screen.3 hearts