Mozart’s jocular whims and freaks. “Oh!” explained the capering composer, “we can’t afford fuel, so we are dancing to keep ourselves warm!” It was a bitterly cold winter morning, and it was not long ere the worthy Deiner had fetched in a goodly store of wood.
Persona by Ingmar Bergman, an epiphany of light and shadow.
The tears of the world are a constant quantity. For each one who begins to weep, somewhere else another stops. The same is true of the laugh. (He laughs.) Let us not then speak ill of our generation, it is not any unhappier than its predecessors. (Pause.) Let us not speak well of it either. (Pause.) Let us not speak of it at all. (B.B.)2 hearts
Holding pattern from Lauren O’Neill.
I’ve been fascinated by airports for as long as I can remember — there’s something about the comings + goings, the organization + operation … ultimately the systems of design at play … that’s so intriguing to me. Whether DCA, JFK, or the little municipal airport, I’ve always lived in a direct flight pattern of an airport.
Day-to-day, I glance out my window and watch planes circle about waiting to land.
Illustrator based in Bangkok Eakkarlak Stu_P.
According to Jenkins (2006), the convergence of culture and the divergence of platforms create new opportunities for media corporations because content that succeeds on one platform can be repackaged across others.
Media organizations can maximize their advertising revenue through expanding their potential audiences by moving content across delivery platforms. In 2006, global spending on advertising topped $466 billion (Future Exploration Network, 2007).
However, while spending on advertising continues to increase, media continues to fragment.
In other words, advertising revenue is raised across an increasing number of platforms and channels. For example, in 1995 there were 225 shows in British television that reached audiences of over 15 million, by 2005 there were none.
A.H.A, M.C.4 hearts
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.
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