Wednesday, March 26, 2014

structure of all india radio and dd

ORGANIZATIONAL STRUCTURE OF ALL INDIA RADIO &DOORDARSHAN


ORGANIZATIONAL STRUCTURE OF ALL INDIA RADIO &DOORDARSHAN

Prasar Bharati (Broadcasting Corporation of India) is the public service broadcaster in the country, with Akashwani (All India Radio) and Doordarshan asits two constituents. It came into existence on 23rd November 1997.

Prasar Bharati Board functions at the apex level ensuring formulation andimplementation of policies of the organization and fulfillment of the mandate interms of the Prasar Bharati Act, 1990. The Executive Member functions as the Chief Executive Officer (CEO) of the Corporation, subject to the control and supervision of the Board. The CEO, the Member (Finance) and the Member (Personnel) perform their functions from the Prasar Bharati headquarters at
Parliament Street, New Delhi.

All important policy matters relating to finance, administration and personnel are submitted to the CEO and the Board through the Member (Finance) and the Member (Personnel) as required, for the purpose of advice, implementation of  proposals and decisions thereon. Officers from different streams working in the Prasar Bharati Secretariat assist the CEO, the Member (Finance) and the Member (Personnel) in integrating actions, operations, plans and policy implementation aswell as look after the budget, accounts and general financial matters of theCorporation. Prasar Bharati also has a unified vigilance set up at the headquarters, headed by aChief Vigilance Officer.

 To facilitate decision making, the Policy & Executive Committee (earlier known asManagement Committee) chaired by the CEO, has been constituted for bothDoordarshan and AIR.

The Directors General heads the Directorate General of All India Radio and theDirectorate General of Doordarshan.

They function in close association with theMember (Finance), the Member (Personnel) and the CEO, in carrying out the day-to-day affairs of AIR and Doordarshan. Both in AIR and Doordarshan, there are broadly four different wings responsible for distinct activities viz. Programme, News, Engineering and Administration & Finance.

AIR (All India Radio)
All India Radio comes under the Ministry of Information and BroadcastingGovernment of India. A secretary and four joint secretaries who are supposed to dothe following jobs assist the minister of information and broadcasting:
•Policy
•Broadcasting
•Financial Advisor and
•Film

Radio stations come in all sizes and generally are classifies as being either small,medium or large market outlets. The size of the community that a station servesusually reflects the size of its staff. For example, the station in a town of fivethousand residents may have six to eight fulltime employees in the station.

Medium markets are set up in more densely populated areas and in this type of station; there are twelve to twenty employees. Mostly, overlapping of duties occur in the larger stations, positions are usually limited to specific areas of responsibility. Large stations may employ as many as sixty to hundred people andas few as twenty depending on the nature of their format.In All India Radio, Director General is the head of the organization, and thereforeit is a sensitive post requiring a wide cultural background, initiative, tact,administrative abilities, sound judgment of matters and people, a deep commitmentto broadcasting and qualities of leadership of a high order.

Occasionally, Indian Administration Service Officers are assigned an additionaltask of Director General of All India Radio and since independence; there have been around 15 IAS officers who have performed the task of Director General of AIR.
There are Additional Director General and Deputy Director Generals also who help the Director General is assisted by Director of Programmes.

A Director whose rank is equivalent to Deputy Director General heads news Division. The Director is assisted by Chief News Editor, News Editor, Joint Director, etc. others employed in the news department of the radio station are the News Readers, Announcers, Translators and others.

The Engineering Division of AIR is looked after by Engineer- in-Chief and is assisted by Chief Engineer and Regional Engineers. The Regional Stations of AIR is under the control of Station Director who is assisted by Assistant Station Directors and Programme Executives.

B.G. Verghese Committee has also proposed an organizational structure for AIR, which has the following posts of General Managers:1.GM Legal Services2.GM Planning3.GM InformationThe committee also proposed a Central News Room consisting of a GeneralManager, Editor, Foreign Editor, Editor Monitoring. This committee has also proposed the creation of the posts of Station Manager, Accounts and Personnel Officer, Programme Officer, Extension Officer, etc

Modern Radio production and community radio

This below link will provide the modern radio production set up and the community radio setup


Modern radio production
http://portal.unesco.org/ci/fr/files/16165/10884079491Configuration_Manual.pdf/Configuration%2BManual.pdf



Community Radio
https://www.caluniv.ac.in/Global%20mdia%20journal/DOCOUMENT-june2010/BECIL%202002.pdf

Radio Production glossary of terms


GLOSSARY



A B C D E F G H I J K L M N O P Q R S T U V W X Z
A TOP

ABC  American Broadcasting Company; network
AC  Adult contemporary format.
Account Executive   Station or agency salesperson.
Actives  Listeners who call radio stations to make requests and comments or in response to contests and promotions.
Actuality  Actual recording of news event or person(s) involved.
ADI  Area of Dominant Influence; Arbitron measurement area.
Adjacencies  Commercials strategically placed next to a feature.
Ad lib  Improvisation. Unrehearsed and spontaneous comments.
Affidavit  Statement attesting to the airing of a spot schedule.
AFTRA  American Federation of Television and Radio Artists; union made up of broadcast performers: announcers, deejays, newscasters.
Aircheck  Tape of live broadcast.
Amortization  The structure under which a loan is repaid; the structure of time payments and interest.
Amplification  Electronically increasing the power of a signal.
AM  Amplitude Modulation; method of signal transmission using Standard Broadcast band with frequencies between 535 and 1705 kHz.
Announcement  Commercial (spot) or public service message of varying length.
AOR  Album-Oriented Rock radio format. Also called Classic Rock.
AP  Associated Press; wire and audio news service.
Arbitron  Audience measurement service employing a seven-day diary to determine the number of listeners tuned to area radio stations.
ASCAP  American Society of Composers, Artists, and Performers; music licensing service.
Ascertainment  The formal process of determining a community's needs.
Attribution  Statement of the source of information in a news item.
Audio  Sound; modulation.
Audition tape  Telescoped recording showcasing talents of air person; listen off-air.
Audition channel  Monitoring point separate from program that allows for off-air listening.
Automation  Equipment system designed to play prepackaged programming.
Availability  Vacant air slot for commercial announcement.
Average quarter-hour (AQH)  Rating measurement used to estimate the size of a station's audience during any fifteen minute period.
AWRT  American Women in Radio and Television.
B TOP

Back announce  Recap of preceding music selections.Balance sheet  A summary of a station's assets and liabilities.
Barter  Exchange of airtime for programming or goods.
BEA  Broadcast Education Association.
Bed  Music behind voice in announcement.
Bi-directional pickup pattern  Microphone pattern that is sensitive to sound from the front and back but not the sides.
Blasting  Excessive volume resulting in distortion.
Blend  Merging of complementary sound elements.
Book  Term used to describe rating survey document; "Bible."
BM  Beautiful Music radio format. One of the first formats on FM.
BMI  Broadcast Music Incorporated; music licensing service.
BPME  Broadcast Promotion and Management Executives.
Bridge  Sound used between program elements.
BTA  Best Time Available, also Run of Schedule (ROS); commercials logged at available times.
Bulk eraser  Tool for removing magnetic impression from recording tape.
C TOP

Call letters  Assigned station identification generally beginning with W east of the Mississippi and K west.Capstan  Shaft in recorder that drives tape.
Cardiod pickup pattern  Microphone pattern where sound is picked up from front and rejected from the rear.
Cart  Plastic cartridge containing a continuous loop of recording tape.
Cash flow  Operating profit before taxes, depreciation and interest are subtracted.
Cassette  Two reels of tape in a plastic housing.
CFR  Code of Federal Regulations.
Chain broadcasting  Forerunner of network broadcasting.
CHR  Contemporary Hit Radio format.
Clock  Wheel indicating sequence or order of programming ingredients aired during one hour.
Cluster  Group of announcements; stop set. (see Spot set)
Cold  Background (music bed) fade on last line of copy.
Combo  Announcer operating own board, engineering show; also refers to co-owned AM/FM operation.
Commercial  Paid advertising announcement; spot.
Compact disk (CD)  Digital recording using laser beam to decode surface.
Compensation  Combination of salary and fringe benefits paid to an employee.
Condenser microphone  Microphone with a capacitative electrical element.
Console  Audio mixer consisting of inputs, outputs, toggles, meters, sliders and/or pots; board.
Consultant  Station advisor or counselor; "format doctor."
Control room  Center of broadcast operations from which programming originates; air studio.
Cool out  Gradual fade of bed music at conclusion of spot.
Co-op  Arrangement between retailer and manufacturer for the purpose of sharing radio advertising expenses.
Copy  Advertising message; continuity, commercial script.
Copywriter  One who writes commercial or promotional copy.
Cost Per Point (CPP)  Estimate of how much it costs an advertiser to reach one rating point worth of listeners.
Cost Per Thousand (CPM or Cost Per Mil)  Estimate of how much it costs an advertiser to reach 1,000 listeners.
CPB  Corporation for Public Broadcasting. Funds NPR and PBS.
Crossfade  Fade out of one element while simultaneously introducing another.
Cue  Signal for the start of action; prepare for airing.
Cue burn  Distortion at the beginning of a record cut resulting from heavy cueing.
Cume  Ratings measurement, the number of people who have sampled a radio station.
D TOP

DAB Digital Audio Broadcasting. There are two competing systems. IBOC favored by the US. Eureka147 favored by Canada and Europe.DAT  Digital audio tape.
Dayparts  Periods or segments of broadcast day: 6-10a.m., 10a.m. - 3p.m., 3- 7p.m.
Dead air  Silence where sound usually should be; absence of programming.
Deejay  Host of radio music program; announcer; "disk jockey."
Demagnetize  remove magnetic impressions.
Demographics  Audience statistical data pertaining to age, sex, race, income, and so forth.
Direct Broadcast Satellite (DBS)  Powerful communications satellites that beam programming to receiving dishes at earth stations.
Directional  Station transmitting signal in a preordained pattern so as to protect other stations on the same or adjacent frequency.
Donut spot  A commercial in which copy is inserted between segments of music.
Double billing  Illegal station billing practice in which client is charged twice.
Drivetime  Radio's primetime: 6-10 a.m. and 3-7 p.m.
Dub  Copy of recording; duplicate (dupe).
E TOP

EBS  Emergency Broadcast System.
 (now EAS)  Emergency Alert System.Edit  To alter composition of recorded material; splice.
ENG  Electronic news gathering.
Erase  Wipe clean magnetic impressions; degauss, bulk, deflux, demagnetize.
ERP  Effective radiated power; tape head configuration: erase, record, playback
ET  Electrical transcription.
Ethnic  Programming for minority group audiences.
Eureka147 Digital Audio Broadcasting System being used by Canada and Europe.
F TOP

Fact sheet  List of pertinent information on a sponsor.Fade  To slowly lower or raise volume level.
FCC  Federal Communications Commission; government regulatory body with authority over radio operations.
Fidelity  Trueness of sound dissemination or reproduction.
Fixed position  Spot routinely logged at a specified time.
Flight  Advertising air schedule.
FM  Frequency Modulation; method of signal transmission using 88-108 MHz band.
FMX  System used to improve FM reception.
Format  Type of programming a station offers; arrangement of material, formula.
Frequency  Number of cycles-per-second of a sine wave.
Fulltrack  Recording utilizing entire width of tape.
G TOP

Gain  Volume; amplification.Generation  Dub; dupe, tape-recording.
Grease pencil  Soft-tip marker used to inscribe recording tape for editing purposes.
Gross impressions  Total number of exposures to a schedule of announcements.
Gross Rating Points (GRP)  Representation of the total number of exposures to a schedule of announcements, expressed as a percentage of all possible listeners.
Ground wave  AM signal traveling the earth's surface; primary signal.
H TOP

HD-Radio (see IBOC)
Headphones Speakers worn directly over the ears; headsets, cans.
Hertz (Hz)  Cycles per second; unit of electromagnetic frequency. (named after Heinrich Hertz).
Hot  Overmodulated. also uptempo AC.
Hot clock  Wheel indicating when particular music selections are to be aired.
Hype  Exaggerated presentation; high-intensity, punched.
I TOP

IBEW  International Brotherhood of Electrical Workers; union.IBOC In-Band On-Channel. System that would allow digital broadcasting over current AM and FM frequencies. Major companies promoting IBOC included Lucent and USADR USA Digital Radio, Inc. These companies have merged and are now know as Ibiquity. IBOC is now refered to as HD-Radio.
ID  Station identification required by law to be broadcast as close to the top of the hour as possible; station break.
Input  Terminal receiving incoming current.
Institutional  Message promoting general image.
IPS  Inches per second; tape speed: 1 7/8, 3 3/4, 7 1/2, 15, 30 IPS.
ITU  International Telecommunications Union; world broadcasting regulatory agency.
J TOP

Jack  Plug for patching sound sources; patch-cord, socket, input.Jingle  Music commercial or promo; signature, aural-logo.
Jock  see Deejay.
K TOP

KDKA  First radio station licensed by the Department of Commerce.Key (keying)  Turning a sound source on or off from the console.
Kilohertz  One thousand cycles per second; AM frequency measurement, kilocycles.
L TOP

Leader tape  Plastic, metallic, or paper tape used in conjunction with magnetic tape for marking and spacing purposes.Level  Amount of volume units; audio measurements.
Licensee  Individual or company holding license issued by the FCC for broadcast purposes.
Line  Connection used for transmission of audio; phone-line.
Line-of-sight  Path of FM signal; FM propagation.
Liner cards  Written on-air promos used to ensure adherence to station image; prepared ad-libs.
Live copy  Material read over air; not prerecorded.
Live tag  Postscript to taped message.
Local channels  Class IV AM stations found at high end of band: 1200-1600kHz.
M TOP

Make-good  Replacement spot for one missed.Market  Area served by a broadcast facility; ADI.
Master  Original recording from which dubs are made.
Master control see Control room.
MBS  Mutual Broadcasting System; radio network.
Megahertz (MHz)  Million cycles per second; FM frequency measurement, megacycles.
Mixdown  Integration of sound elements to create desired effect; production
Monitor  Studio speaker; supervise on-air sound; aircheck.
Mono  Single or fulltrack sound; monaural, monophonic.
MOR  Middle-of-the-Road radio format.
Morning Drive  Radio's most listened-to daypart: 6:00-10:00 a.m.
MSA  Metro Survey Area; geographic area in radio survey.
Multiplexing  Impressing two or more signals on one carrier as in FM stereo.
Multitracking  Recording sound-on-sound; overdubbing, stacking tracks.
Music sweep  Several selections played back-to-back without interruption; music segue.
N TOP

NAB  National Association of Broadcasters.Narrowcasting  Directed programming; targeting specific audience demographic.
NBC  National Broadcasting Company; the first radio network.
Network  Broadcast combine providing programming to affiliates: CBS, ABC, Mutual, etc.
Network feed  Programs sent to affiliate stations.
News block  Extended news broadcast.
NPR  National Public Radio
O TOP

Omnidirectional pickup pattern  Microphone pickup pattern that picks up sound equally well from all directions.O and O's  Network or group owned and operated stations.
Off-mike  Speech outside normal range of microphone.
Out-cue  Last words in a line of carted copy.
Output  Transmission of audio or power from one location to another; transfer terminal.
Overdubbing  see Multitracking.
Overmodulate  Exceed standard or prescribed audio levels; pinning VU needle.
P TOP

Packaged  Canned programming; syndicated, prerecorded, taped.Passives  Listeners who do not call stations in response to contests or promotions or to make requests or comments; the silent majority.
Patch  Circuit connector; cord, cable.
Patch panel  Jack board for connecting audio sources: remotes, studios, equipment; patch bay.
Payola  Undercover illegal payment to a disc jockey or radio station programmer for playing or plugging a record.
Persons using radio (PUR)  Measurement of the number of persons listening to stations in a market.
Pinch roller  Rubber wheel that presses recording tape against the capstan.
Playback  Reproduction of recorded sound.
Playlist  Roster of music for airing.
Plug  Promo; connector.
Popping  Breakup of audio due to gusting or blowing into mike; blasting.
Positioner  Brief statement used on-air to define a station's position in a market.
Pot  Potentiometer; volume control knob, gain control, fader, attentuator, rheostat.
PSA  Public Service Announcement; noncommercial message.
PRI  Public Radio International.
Production  The use of studio equipment to combine sounds into a finished product. See Mixdown.
Psychographics  Research term dealing with listener personality, such as attitude, behavior, values, opinions, and beliefs.
Punch  Emphasis; stress.
Q TOP

Quadraphonic  four speaker/channel sound reproduction; surround sound.R TOP

RAB  Radio Advertising Bureau.Rack  Prepare or set up for play or record: "rack-it-up"; equipment container.
RADAR  Nationwide measurement service by Statistical Research, Inc.
Rate card  Statement of advertising fees and terms.
Rating  Measurement of the total available audience.
Reach  Measurement of how many different members of an audience will be exposed to a message.
RCA Radio Corporation of America; NBC parent company.
Recut  Retake; re-record, remix.
Reel-to-reel  Recording machine with feed and take-up reels.
Remote  Broadcast originating away from station control room.
Reverb  Close echo; redundancy of sound.
Rewind  Speeded return of recording tape from take up reel.
Ride gain  Monitor level; watch VU needle.
Rip 'n' read  Airing copy unaltered from newswire.
rpm  Revolutions per minute: 33 1/3, 45, and 78 rpm.
RTNDA  Radio and Television News Directors Association.
Run-of-station (ROS)  Bulk commercial buying plan where station's traffic department will fit the commercials into available time locations. See BTA
S TOP

Satellite  Orbiting device for relaying audio from one earth station to another; DBS, Comsat, Satcom.SBE  Society of Broadcast Engineers.
SCA  Subsidiary Communication Authority; subcarrier FM.
Secondary service area  AM skywave listening area.
Segue  Uninterrupted flow of recorded material; continuous.
SESAC  Society of European Stage Authors and Composers; music licensing service.
SFX  Abbreviation for sound effects.
Share  Percentage of station's listenership compared to competition; piece of audience pie.
Signal  Sound transmission; RF.
Signature  Theme; aural logo, jingle, ID.
Simulcast  Simultaneous broadcast over two or more frequencies.
SIRIUS  One of two national satellite radio services. (See also XM)
Sky wave  Radio wave that bounces off the ionosphere.
Sound bite  Audio portion of interview. See Actuality.
Sound hour  Term referring to the programming strategy with an hour of broadcasting.
Spectrum  Range of frequencies available to broadcasters.
Spec tape  Specially tailored commercial used as a sales tool to help sell and account.
Splice   To join ends of recording tape with adhesive; edit.
Splicing bar  Grooved platform for cutting and joining recording tape; edit bar.
Sponsor  Advertiser; client, account, underwriter.
Spots  Commercials; paid announcements.
Spot set  Group or cluster of announcements; stop set.
Station  Broadcast facility given specific frequency by FCC.
Station identification  Station call letters immediately followed by city of license. for example: WVUD Newark
Station log  Document containing specific operating information as outlined in Section 73.1820 of the FCC Rules and Regulations.
Station rep  company acting in behalf of local stations to national agencies.
Stereo  Multichannel sound; two program channels.
Stinger  Music or sound effect finale preceded by last line of copy; button, punctuation.
Straight copy  Announcement employing unaffected, nongimicky approach; institutional.
Stringer  Field or on-scene reporter; freelance reporter.
Subliminal  Advertising or programming not consciously perceived; below normal range of awareness, background.
Sweep link  Transitional jingle between sound elements.
Syndication  Programs sent to a network of users.
Syndicator  Producer of purchasable program material.
T TOP

Tag  Postscript to taped message.Talent  Radio performer; announcer, deejay, newscaster.
Talk  Conversation and interview radio format.
TAP  Total Audience Plan; spot package divided between specific dayparts; 1/3 AAA, 1/3 AA, 1/3 A.
Tape speed  Movement measured in inches per second. See IPS.
Telescoping  Compressing of sound to fit a desired length; technique used in audition tapes and concert promos, editing.
TFN  Till Further Notice; without specific kill date.
Time spent listening (TSL)  Measurement of average amount of time spent by average listener tuned to a station.
Toll broadcasting  Precursor to commercial radio.
Total Survey Area (TSA)  Geographic area in radio survey.
Trade-out  Exchange of station airtime for goods or services.
Traffic  Station department responsible for scheduling sponsor announcements.
Transmit  To broadcast; propagate signal, air.
Turnover  Measurement of how often listenership changes from time period to time period.
Turntable  Ancient device used to play records :-)
U TOP

Underwriter  Program sponsor; noncommercial financial sponsor.Underwriting  Method by which noncommercial stations seek financial support from commercial sponsors.
Unidirectional mike  Microphone designed to pick up sound in one direction; cardiod, studio mike.
V TOP

VOA  Voice of America. U.S. International broadcast service.Voice-over  Talk over sound.
Voice-track  Recording of announcer message for use in mixdown.
Volume  Quality of sound; audio level.
Volume control Pot; fader.
VU Meter  Gauge measuring units of sound.
W TOP

WARC  World Administrative Radio Conference; international meeting charged with assigning spectrum space.Wheel  Program tool indicating sequence or order of programming ingredients aired during one hour.
Windscreen  Microphone filter used to prevent popping and distortion.
Wireless telegraphy  Early radio used to transmit Morse code.
Wire service  News gathering organization; for example:AP.
Wow  Distortion of sound created by inappropriate speed; miscue.

X TOP

XM  One of two national satellite radio services. (See also Sirius)
Z Z-TOP

Zone I  Region of the country where class B FM stations are located.


References
O'Donnell, L. M., Hausman, C., Benoit, P. (1989) Radio station operations: Management and employee perspectives. Wadsworth: Belmont, CA.
Keith, M. C. and Krause, J. M. (1989). The Radio Station Focal Press: Boston.

I bsc Electronic Media Previous sample questions Radio production











Friday, February 21, 2014

Media Organisation Unit 1 addons

The Media as a Social Institution

At the end of PS: Chapter 9, McIntyre says that some sociologists argue that the “media” should now be thought of as a social institution, while others have not (see Chapter Review question #3).  Those who don’t regard the media as a separate institution often point to the fact that the media is comprised of businesses with a profit motive, and so it should be categorized under “economy.”  Others who do think the media constitutes a separate institution point out that it influences, and is influenced by, other powerful institutions.  Furthermore, its “products” (information) are often free to the consumer; it makes its profits by charging organizations for access to the consumer (advertising messages).

MSL 38: “The Mass Media as a Power Institution”

Clearly, Marger takes the second view, that the mass media has become a social institution in its own right.  Our goal in analyzing this article is
1) to connect its evidence and arguments with those we have already encountered, and
2) to draw an informed conclusion regarding whether the mass media is or is not a social institution.

1.  Connections with other concepts/theories/ideas:
·        Functions of the media:  One idea encapsulated in the functionalist paradigm (see PS p. 38) is that an analysis of some phenomena should begin with identifying its functions.  Marger does that, presenting the manifest and latent functions on pp. 452-453.  Which of the following are manifest functions, and which are latent functions?
o   Agent of socialization
o   Source of information
o   “Propaganda mechanisms” for government and business
o   “Agents of legitimacy” fostering in acceptance of dominant political and economic institutions

·        The media constitutes an oligopoly (p.454).  We haven’t come across this term before.  An oligopoly exists when very few companies control the major share of an industry.  Marger describes the ownership of mass media outlets.  Another example of an industry that is considered an oligopoly is the automobile industry.  What are some possible effects of having an oligopoly rather than an industry where ownership and control is distributed across a much larger number of owners?

·        Marger points out that ownership of the media is only one concern; the question of who has access to the media is equally important (p. 455).  Both Mills (“Power Elite”) and Clawson, et.al. (“Dollars and Votes”) also discussed the importance of access, even if total control is not present.  Do these three authors see the idea of access in a similar way?  Explain.

·         Mills discussed the “triangle of power” as being made up of three institutions: the economy, politics, and the military.”  Marger also discusses links between three institutions (p. 455).  What are they?  Is Mills’ idea of the “triangle” applicable to the way that Marger talks about the relationships between the institutions he discusses?  Why or why not?

·        Because they select out the information we will see and hear, the media engages in “defining the situation” for the rest of us (see p. 457).  They may do this consciously or unconsciously.  Explain why it happens whether they intend it or not.  Also, speculate on whether the content of this definition across the industry as a whole might differ if the mass media were not an oligopoly.

·        On pp. 456-457, Marger discusses the consequences for society of the process by which the media “define the situation” for their viewers.  We can think of these as more latent functions:
o   The goal of maximizing profits encourages media businesses to take into account the interests of dominant groups (who pay for advertising)
o   The least expensive way to collect information (“news”) is from government representatives; going against the interests of government threatens media access.  So, the media takes into account the interests of political elites, who then have the opportunity to shape the news in ways that support their own agendas.

·        In considering these latent functions, several concepts that we have already seen are useful in thinking about their effects on society as a whole (especially on us, the consumers).  Let’s explore them:
o   Ideology (beliefs that are shaped by the interests of some group)
o   Culture as a product of action
o   Culture as a conditioning element of further action.
·        After thinking about these last latent functions, do you think that that conflict paradigm might also be useful in thinking about the relationship between the mass media and the rest of society?  Explain.

2.  Is the “mass media” a social institution”?



MSL 39: “Media Magic: Making Class Invisible”

In this article, Mantsios focuses his analysis on ways that the mass media functions to uphold and legitimize our dominant ideology.  Do this:
1.  Mantiosis basically says that the mass media functions to foster belief in the idea that we live in an egalitarian society.  Why is this idea important with respect to the dominant ideology? 
2.  Identify one example of how the media does this.  One example should refer to portrayals of the poor, one should refer to portrayals of the wealthy, and one to the middle class.
3.  Think of an example from news story, TV show or movie (the whole story, or a scene from it), commercial, etc that you have seen that furnishes an image of class (whether it be lower class, middle class, or upper class).  What was the content of that image?  Was the embedded meaning constituent with Mantiosis’ description?  Explain.



Using the Greiner Curve
Surviving the crises that come with growth

Fast growing companies can often be chaotic places to work.
  As workloads increase exponentially, approaches which have worked well in the past start failing. Teams and people get overwhelmed with work. Previously-effective managers start making mistakes as their span of control expands. And systems start to buckle under increased load.   While growth is fun when things are going well, when things go wrong, this chaos can be intensely stressful. More than this, these problems can be damaging (or even fatal) to the organiza tion.

 

 The "Greiner Curve" is a useful way of thinking about the crises that organizations experience as they grow. By understanding it, you can quickly understand the root cause of many of the problems you're likely to experience in a fast growing business. More than this, you can anticipate problems before they occur, so that you can meet them with pre-prepared solutions.
 Understanding the Theory
Greiner's Growth Model describes phases that organizations go through as they grow. All kinds of organizations from design shops to manufacturers, construction companies to professional service firms experience these. Each growth phase is made up of a period of relatively stable growth, followed by a "crisis" when major organizational change is needed if the company is to carry on growing.
 

Dictionaries define the word "crisis" as a "turning point", but for many of us it has a negative meaning to do with panic. While companies certainly have to change at each of these points, if they properly plan for there is no need for panic and so we will call them "transitions".

Larry E. Greiner originally proposed this model in 1972 with five phases of growth. Later, he added a sixth phase (Harvard Business Review, May 1998). The six growth phases are described below:

Phase 1: Growth Through Creativity
Here, the entrepreneurs who founded the firm are busy creating products and opening up markets. There aren't many staff, so informal communication works fine, and rewards for long hours are probably through profit share or stock options. However, as more staff join, production expands and capital is injected, there's a need for more formal communication.

This phase ends with a Leadership Crisis, where professional management is needed. The founders may change their style and take on this role, but often someone new will be brought in.

Phase 2: Growth Through Direction
Growth continues in an environment of more formal communications, budgets and focus on separate activities like marketing and production. Incentive schemes replace stock as a financial reward.

However, there comes a point when the products and processes become so numerous that there are not enough hours in the day for one person to manage them all, and he or she can't possibly know as much about all these products or services as those lower down the hierarchy.

This phase ends with an Autonomy Crisis: New structures based on delegation are called for.

Phase 3: Growth Through Delegation
With mid-level managers freed up to react fast to opportunities for new products or in new markets, the organization continues to grow, with top management just monitoring and dealing with the big issues (perhaps starting to look at merger or acquisition opportunities). Many businesses flounder at this stage, as the manager whose directive approach solved the problems at the end of Phase 1 finds it hard to let go, yet the mid-level managers struggle with their new roles as leaders.

This phase ends with a Control Crisis: A much more sophisticated head office function is required, and the separate parts of the business need to work together.

Phase 4: Growth Through Coordination and Monitoring
Growth continues with the previously isolated business units re-organized into product groups or service practices. Investment finance is allocated centrally and managed according to Return on Investment (ROI) and not just profits. Incentives are shared through company-wide profit share schemes aligned to corporate goals. Eventually, though, work becomes submerged under increasing amounts of bureaucracy, and growth may become stifled.

This phase ends on a Red-Tape Crisis: A new culture and structure must be introduced.

Phase 5: Growth Through Collaboration
The formal controls of phases 2-4 are replaced by professional good sense as staff group and re-group flexibly in teams to deliver projects in a matrix structure supported by sophisticated information systems and team-based financial rewards.

This phase ends with a crisis of Internal Growth: Further growth can only come by developing partnerships with complementary organizations.

Phase 6: Growth Through Extra-Organizational Solutions
Greiner's recently added sixth phase suggests that growth may continue through merger, outsourcing, networks and other solutions involving other companies.

Growth rates will vary between and even within phases. The duration of each phase depends almost totally on the rate of growth of the market in which the organization operates. The longer a phase lasts, though, the harder it will be to implement a transition.

 
Tip:
This is a useful model, however not all businesses will go through these crises in this order. Use this as a starting point for thinking about business growth, and adapt it to your circumstances.
Using the Tool
The Greiner Growth Model helps you think about the growth for your organization, and therefore better plan for and cope with the next growth transitions. To apply the model, use the following steps:
1.      Based on the descriptions above, think about where your organization is now.
  1. Think about whether the organization is reaching the end of a stable period of growth, and nearing a ‘crisis' or transition. Some of the signs of ‘crisis' include:
    • People feel that managers and company procedures are getting in the way of them doing their jobs.
    • People feel that they are not fairly rewarded for the effort they put in.
    • People seem unhappy, and there is a higher staff turnover than usual.

  1. Ask yourself what the transition will mean for you personally and your team. Will you have to:
    • Delegate more?
    • Take on more responsibilities?
    • Specialize more in a specific product or market?
    • Change the way you communicate with others?
    • Incentivize and reward you team differently?

By thinking this through, you can start to plan and prepare yourself for the inevitable changes, and perhaps help other to do the same.
  1. Plan and take preparatory actions that will make the transition as smooth as possible for you and your team.
  2. Revisit Greiner's model for growth again every 6-12 months, and think about how the current stage of growth affects you and others around you.
 www.mindtools.com/pages/article/newLDR_87.htm

Greiner's stage model of Organisational Development



Crisis of leadership: Often, an individual or small group of individuals, with a clear sense of purpose, provide the energy needed to start an organisation: the creativity phase. Some organisations later stall at the point where they have grown and become more complex. Clear direction and a sense of purpose are needed. If the stage is managed and survived, the growth of strong leadership and direction drives the organisation.



Crisis of autonomy: The Direction phase is characterised by clarity of strategy and a clear direction for the whole organisation. As the organisation grows and develops further, so there is pressure to devolve power and decision-making to other levels in the organisation. There may be power struggles between centralised information and decision sources, and others in the organisation. E.g. the leader(s) may be starved of information. This stage can absorb much energy. If the stage is managed and power begins to be devolved, this can happen quickly. Problems can later occur from a lack of co-ordination; the organisation can become fragmented, and lack an overall strategy.



Crisis of control: the bureaucratic machine can begin to establish itself here, as the move to the co-ordination phase occurs. Power is still devolved but in a more regulated and proceduralised way. Accountability becomes a key word. The controls can threaten to stifle the growth and initiatives of the organisation.



Crisis of red tape: Here, there are many ways to develop. The organisation needs to free itself from the clutter of rules and regulations so that it can deal with its customers, market and competitors. To move to the collaboration phase is risky: how to develop a more participative approach without the anarchy of the earlier stages?



Crisis of uncertainty: Sometimes at this stage, the organisation has grown to the extent that a new and clear strategy and mission is required. Maybe the organisation needs to break into smaller sub-units, which have autonomy within a clear overall framework and culture.

Media E-ship

Media E-ship (short for media entrepreneurship) keeps our media markets competitive and our choices in media broad, varied, accessible and innovative. There are over 110,000 media companies in the U.S. today, and 99% of them are small businesses. Moreover, there are thousands of media companies launching every year. I will post stories and research about media entrepreneurship and welcome responses to the ideas I share in this space.

 

 

Media Entrepreneurs: Missionaries or Merchants?

As part of my ongoing research project on media entrepreneurship, my friend Ben Compaine and I started interviewing media entrepreneurs over a year ago. (That's how I found Bear Cahill, profiled in a previous post.) In analyzing the interview transcripts, we noticed two distinct types of media entrepreneur. One group shared the mindset common to all entrepreneurs; we labeled them merchants. The other group, however, didn't seem to fit -- they hardly seemed like entrepreneurs at all, except that they had started or were in the process of starting a media business. They talked about their reluctance in starting a business. Diving into entrepreneurship seemed, to this group, a last resort because no one else would do it. "It" was a message or mission to carry out. That group we called the missionaries. Ben recalled Ted Peterson's 1964 history of the magazine business in which he described new leaders ("new" referring to 1900 to 1940) as missionaries or merchants. The appeal of alliteration aside, the terms perfectly capture the archetypes we saw emerging. Here's my graphic depicting a continuum, from a pure merchant to missionary to a group we call "citizen-mediamakers,"whom we distinguish from missionaries in that they are not monetizing their media.

Why does it matter that there are two kinds of media entrepreneur? We believe this kind of entrepreneur may be unique to media industries. From a public policy standpoint, there are millions of potential media missionaries out there who should be encouraged to start a media enterprise. Then we'd have tremendous diversity in viewpoints and we could all stop worrying about media concentration.


Media Sector More Entrepreneurial than Other Industries



My research assistant, Sangho, and I have been measuring entrepreneurship across various industry sectors using census data. Seems that several media sectors are more entrepreneurial than almost all non-media sectors. The graph at right shows rates of industry turbulence, the degree of entry and exit in an industry. Turbulence has been linked to economic growth. This metric is particularly relevant to the study of media industries given the dramatic changes wrought by technological innovation. In theory, greater industry turbulence is associated with greater innovation. In media, the analogy is the marketplace of ideas concept -- media innovations (diverse voices, new technologies) compete in the marketplace to determine which products and services are superior (determine “truth”). Even when firms fail (exit), they have made a contribution to that marketplace simply by competing.

In 1990, the media sector experienced an average degree of turbulence in comparison to all U.S. industry sectors (24%). By 2001, it was a great deal more turbulent than average (35% vs. 22%). In fact, when the media sector was compared to all other major industry sectors (not shown), it was the most consistently turbulent industry sector over the entire 11 year period.

What is 'New Media'?

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Posted by Vin Crosbie
[I earlier this week wrote that:
The radical changes the newspaper industry needs to implement arise from a more true understanding by that industry of why newspaper readership began declining well before the Internet was opened to the public; about why one billion people worldwide have gone onto the Internet after it was opened to the public (they didn't do it to read traditional media on computer screens), and about why all that plus the misnamed and illusionary 'fracturing' of media audiences requires semantic solutions.
At the root of that problem is a misunderstanding about what the New Medium actually is; a misunderstanding by almost all companies that broadcast programs or that publish newspapers or magazines.
I've long been reluctant to explain this misunderstanding only because I'll need a long post to explain it. This is that post, a new version of my 1998 essay What is New Media? (which is currently being taught in the journalism, film, technology, and game design courses at several universities in North America and Europe). It's 3,200-words long, but I consider it the most important thing I have ever written except for the original essay. I need to have this new version online because I plan to refer to it in future postings, specifically those about what radical changes that media companies need to implement.]

Misunderstanding 'New Media'

A newspaper isn't a medium, nor are newspapers media. Magazines aren't media nor is a magazine a medium. Television isn't a medium nor is radio nor are radio or television stations media. A website isn't a medium nor is the Internet media.
Companies that broadcast programs or that publish newspapers or magazines are having problems understanding and adapting to why and how one billion consumers are now using Internet-based technologies to receive news, information, and entertainment.
Those companies have the problems simply because they misunderstand the meaning of media or medium. It is that starkly simple. Their misunderstanding of these terms-- not the new technologies that consumers use -- is the root of the companies' problems.
Ask their executives if they work in the 'Mass Media' (the Mass Medium) and they will be correct if they reply yes. But almost all will take that a step further — a misstep — and say that their broadcast, newspaper, or magazine is a medium.
Rhetoricians and cognitive linguists refer to that extra step as metonymy: the use of a well-understood or easy-to-perceive characteristic of something to stand for either a much more complex whole or for some aspect or part of it. (Another example of metonymy is use of the name Hollywood to describe the entire film industry worldwide)
Broadcast and publishing executives mistake Mass Media as a catchall phrase for all possible media, as if no other medium can exist except as a Mass Medium. Moreover, they extend this mistaken meaning of medium to cover their own broadcasts or publications.
So entrenched has the contemporary misunderstanding of the terms media and medium become that the mistake limits the abilities of most publishing or broadcasting executives to comprehend what exactly is a medium or the media in which they work.
So, what are media, what is a medium?
I'll answer, explain how only three media exist and how previously just two did, and define the New Medium ('New Media'). But let's first take a moment to look at how today's colloquial meaning of media or medium is a relatively recent mistake.
If you were to ask a person in the year 1506, 1606, 1706, 1806, or 1906, medium they used for their news, they wouldn't understand what you asked. They simply wouldn't comprehend your use of the word medium. (Indeed, if you had asked anyone in 1506, 1606, or 1706 what medium they used to get their news, they might think you were accusing them of using a witch to tell them about current events -- a serious crime back then!)
According to the Oxford English Dictionary, the colloquial meaning of medium is a latecomer to the publishing industry. It dates only from around 1880 — a quarter millennium after publication of the first daily newspapers and 150 years after publication of the first magazines:
Medium ('mi:diem), sb. and a. Pl. Mediia, -iums. [a. L. Medium, neuter of medius middle, cogn. With MID a.] A. sb 5. a. An intermediate agency, means, instrument or channel. Also, intermediation, instrumentality: in phrase by or through the medium of. spec. of newspapers, radio, television , etc. As vehicles of mass communication . Also attrib. And in pl. (see MEDIA) 1880 Coach Builders' Art Jrnl. I. 63: 'Considering your Journal one of the best possible mediums for such a scheme.'
The colloquial plural media is even more a latecomer. The OED says it dates from only a few years after rise of the first commercial radio stations and is a term borrowed from the advertising industry:
Media ('mi:dia), sb. pl. [Pl. F MEDIUM sb., prob. After mass media.] Newspapers, radio, television, etc., collectively, as vehicles of mass communication. Freq. attrib. or as adj. Also erron. As sing. in same sense. 1923 [see mass medium].
Mass medium (,maes 'mi:diem). [f. MASS sb. + MEDIUM sb.] A medium of communications (such as radio, television, newspapers, etc.) that reaches a large number of people; usu. In pl. mass media.
1923 S. M. FECHHEIMER in N. T. Praigg Advertising & Selling v. 238 (title) Class appeal in mass media. Ibid. The several million readers of a big mass medium. G. SNOW in Ibid. 240 'Mass media represents the most economical way of getting the story over the new and wider market in the least time.'
I'm not playing semantics here. When I state that the publishing and broadcasting industries' colloquial usages of the terms medium and media are wrong, I'm not trying to define new meanings for those terms. Instead, I'm returning to the previous meanings that those terms had had for millennia (prior to the Advertising Industry coining the current colloquialism in 1923). That is the key to understanding what is the New Medium or, even for that matter, what is the Mass Medium.

Discard Preconceptions and the Misunderstanding

There is a saying about Einstein's Theory of Relativity: that what makes it difficult for some people to comprehend is its simplicity. That you don't need to acquire more information to understand it, but that you must instead discard preconceived notions that block your understand. There is a similar saying about Quantum Theory.
Understanding the New Medium is like that, too.
To understand the New Medium, discard the colloquial meanings of medium and media. Don't confuse a Medium for its Vehicles. What most people today think are media are actually vehicles within a medium.
A newspaper isn't a medium, nor are newspapers media. Magazines aren't media nor is a magazine a medium. Television isn't a medium nor is radio nor are radio or television stations media.
Likewise, a personal computer connected to the Internet isn't a medium and the millions of computers connected to the Internet aren't media. Neither is a website a medium nor are websites media. The World Wide Web isn't a medium nor is e-mail a medium nor is the Internet itself a medium or media.
Newspapers, magazines, television, radio, telephones, billboards, personal computers, the Internet, the World Wide Web, and e-mail all are vehicles for conveying information within a medium or media. These vehicles aren't the media or a medium in which they operate.
To understand the difference between a vehicle and a medium for information or communication, you merely need to comprehend how the terms medium, media, and vehicles are correctly used when discussing transportation.
Although there are numerous types of vehicles, only three transportation media exist:
Land was the aboriginal transportation medium; it was the first transportation medium. Humans have walked on it since time immemorial. We still do. But we've also built vehicles to help convey us in this medium: carts, chariots, carriages, bicycles, trains, automobiles, trucks and lorries, etc.
Water is the second transportation medium. Human’s usage of it as a transportation medium is almost as old as humanity's use of land, dating from whenever the first human attempted to ride a floating log or to swim across a stream, river, or lake. We've since created vehicles to convey use in this medium: rafts, canoes, barges, sailboats, ships, submarines, etc.
Before I list the third transportation medium, please note some characteristics of these two traditional transportation media, because you'll find that these characteristics have analogues in informational or communicational media:

  • Note first that humans' usage of those two ancient transportation media predate technology. Technology has merely extended our speed and carrying capacities in these media.
  • Also note that humanity's uses of these two media aren't necessarily dependent upon technology. Most of us can walk and swim without using any technology.
  • And note that each of the vehicles for these media is limited by its medium. Trains don't operate on water nor do steamships operate on land. Indeed, land and water have mutually exclusive characteristics as media and reaches. Mutually exclusive advantages and disadvantages. This will become an important point when we bridge — no pun intended — this analogy towards informational and communicational media

For many millennia, anyone who needed transportation faced a choice of using either one of these two transportation media. His choice would have been based upon where that medium reached or its carrying capacity.
For examples, water vehicles have almost global reach but not to landlocked places. Most water vehicles also have much greater carrying capacities than do land vehicles. But most land vehicles can deliver anyone door-to-door, a capability that most water vehicle can't provide (unless they are in Venice).
For almost all of recorded history, humans have used the medium of water and its vehicles for most of their long distance transportation needs, but have used the medium of land and its vehicles for most of their daily transportation needs. A third transportation medium had been inconceivable.
That was until 1903. Or, more accurately, 1783, which was when two French brothers named Montgolfier used their era's technologies to build a vehicle that opened an new transportation medium. Joseph Michel and Jacques Étienne Montgolfier built a huge globe of sackcloth and paper, covered it with a huge fishnet, let hot air from a fire rise beneath it, put their friend Jean-François Pilâtre de Rozier into a basket hung beneath the globe, and then let him rise in this balloon into the sky. Aviation was born. The Sky became a transportation medium.
In 1903, after studying 18th Century experiments by the German Otto Lilenthal with airfoils and gliders, the Wright Brothers married an engine to a glider and made aviation practical for everyday use. Last year, airlines took more than 4 billion passengers through the transportation medium of the sky. Among this medium's vehicles are balloons, parachutes, gliders, airplanes, helicopters, and spacecraft.
Note that this new transportation medium is entirely dependent upon technology, unlike use of the two other transportation media. The sky isn't a natural medium for humans; people can walk and swim without technology, but cannot fly.
Note too that the vehicles of this new transportation medium can operate either of the water or land media go. Anywhere on Earth. Though the transportation media of Land and Water have mutually exclusive reaches, this new transportation medium — the Sky — encompasses the reaches of both land and water. It overcomes the complementary advantages and disadvantages of the two prior, traditional media.
So, let's now take this analogy about media back from transportation to communications and information. What's it to do with the traditional media companies and the problems they have understanding and adapting to why and how one billion consumers have begun using Internet-based technologies to receive news, information, and entertainment?

Only Three Media Exist

Just as only three transportation media exist, only three communications media exist:
As with transportation media, two of these communication media are ancient and people's usage of the two arose independent of technology. However, the third medium is relatively new and is entirely dependent upon technology:
Oddly, the first and earliest of the three communications media is the only one not to have a commonly accepted name, not even misnoner. I call it the Interpersonal Medium.
This aboriginal medium arose in basic animal communications, predating humans and technology. Interpersonal conversation is the basic form of this medium. It is the most heavily used communication medium. Technology has mereely extended its speed and reach. Vehicles that human later built for it include the postal letter, telephone call, and electronic mail.
Just as the transportation medium of Land (or, for that matter, water) has some unique characteristics, so too does the Interpersonal Medium of communications. Its two hallmark are:

  • Each participant in it has equal and reciprocal control of the content conveyed.
  • That content can be individualized to each participant's unique needs and interests.

However, those hallmark advantages have corresponding disadvantages:

  • The equal control, and also the individualization, of the content degrades into cacophony as the number of participants increases. The more people participating in a conversation, the less control each has over its content and how well that content matches the participant's individual needs and interests.

For those reasons, this medium is generally used for communications only between two people. Some academics that study communications refer to it the 'one-to-one' medium, although many marketers misapply that term to the New Medium.
The Mass Medium is the second communications medium.
Most people mistake the Mass Medium as a byproduct of technology and don't realize how old it really is. Like the Interpersonal, the Mass Medium predates technology. It originated with the utterances and speeches of tribal leaders, kings, and priests. Technology has merely extended its speed and its reach to global dimensions.
Some vehicles in the Mass Medium are oratory, sermons, edicts, , scriptures, plays, books, newspapers, billboards, magazines, cinema, radio, television, bulletin boards, and
webcasting.
Communications in the Mass Medium generally go from a one person (for examples, a leader, a king, priest, publisher, or broadcaster) to many people (the tribe, mass, audience, readership, listenership, viewership). This is why some academics term it the 'one-to-many' medium, but most people colloquially refer to it as Mass Media, despite it being only one medium for communication.
The hallmarks of the Mass Medium are:

  • That exactly the same content goes to all recipients.
  • That the one who sends it has absolute control over that content.

However, the corresponding disadvantages of the Mass Medium are:

  • Its content cannot be individualized to each recipient's unique needs and interests and that the recipients have no control over that content.

Like the Interpersonal, the Mass Medium isn't necessarily dependent upon technology. For example, an actor or speaker can perform before the masses without any technology.
Before I define the third communications medium -- explaining what the New Medium really is -- please again note how the prior two media have reciprocal advantages and disadvantages, similar to how the transportation media of land and water have mutually exclusive characteristics

  • The Interpersonal Medium can deliver an individualized message but generally just to one person at any time.
  • The Mass Medium can simultaneously deliver or display to an almost infinite number of people, but its messages cannot be individualized for each recipient.

Likewise:

  • The Interpersonal Medium allows each participant equal control over the content.
  • The Mass Medium allows control over the content by only one person.

Those mutually exclusive characteristics of the Interpersonal and Mass media had meant that anyone who wanted to communicate faced a choice: He could communicate either the same information to everyone or else custom-tailor the information for just one recipient. He couldn't custom-tailor information to a mass of recipients; that would have been inconceivable.
That was true until about a dozen years ago.

The New Medium

But then -- just like how then-new technologies were used a century ago to make the sky a new and practical medium for transportation -- new technologies have now been used to create the New Medium for communications. It is a new communication medium that, like Sky for prior transportation media, bridges the mutually incompatible characteristics of prior communications media.
Among the technologies needed to create this New Medium were the invention of digital communications during the late 1940s, invention of the Transport Control/Internet Protocol ((TCP/IP) during the late 1960s, ARPANET's creation of the Internet and other people's invention of the personal computer during in the 1970s, and to lesser extents the invention of the HyperText Transport Protocol (HTTP) in the late 1980s, opening of the Internet to the public in 1992, and invention of the graphical browser software later that year. Those and other technological innovations converged to create a new communications medium that has characteristics inconceivable even a decade ago.
The hallmark characteristics of the New Medium are:

  • Uniquely individualized information can simultaneously be delivered or displayed to a potentially infinite number of people.
  • Each of the people involved — whether publisher, broadcasters, or consumer — shares equal and reciprocal control over that content.

In other words, the New Medium has the advantages of both the Interpersonal and the Mass media, but without their complementary disadvantages.

  • No longer must anyone who wants to individually communicate a unique message to each recipient be restricted to communicating with only one person at a time.
  • No longer must anyone who wants to communicate simultaneous messages to a mass of recipients be unable to individualize the content of the message for each recipient.

Again, please note that the New Medium for communications, as with use of the transportation medium of the sky, is entirely dependent upon technology unlike its two preceding media. It is not a natural communications medium for humans; it does something that a human cannot naturally do without technology.
Colloquially known as 'New Media' or 'the New Media', the New Medium is not whatever content or device is used online (or wirelessly, on an iPod, etc.). Any item of content is generally independent of any medium. Likewise, most vehicles and devices are generally independent of medium. (There obviously are exceptions: You won't receive much content plugging newsprint into the Internet or using a canoe as a transportation vehicle on land.)

Some Misapplications

Simply because the New Medium encompasses the characteristics and the reach of both of its predecessors and therefore can easily perform each of those media's capabilities, many people mistake the New Medium as merely an electronic extension previous media.
This misunderstanding is particular prevalent among publishing and broadcast executives or others who've worked in the Mass Medium. They see the New Medium and its vehicles only as a paperless or antenna-less form of Mass Medium — a perspective that neglects the New Medium's full potential.
A website can be a vehicle to display Mass Medium content, which indeed is how most newspapers, magazines, and broadcasts use it. However, that merely replicates online the hallmark limitations of Mass Medium vehicles and doesn't take advantage of the New Medium's ability to display a precise match of specific information to each and every recipient's individual needs and interests, however different those receipients may be.
Moreover, because each recipient in the New Medium shares with all publishers and broadcasters equal and reciprocal control over what that recipient gets — either by each recipient's choices of which publishers' or broadcasters' websites to visit or else increasingly by mechanisms that allow the recipient to aggregate that content without visiting each of those publishers' or broadcasters' sites — these New Medium consumers are leaving behind the traditional Mass Medium's packaging of information.
Each is migrating towards whatever mix of content most precisely matches her own uniquely individual needs and interests. This is why more than one billion consumers have migrated into the New Medium; it allows them more precise satisfaction of their needs and interests. They didn't migrate into the New Medium to read, see, or hear a Mass Medium package of information online — information they were receiving from traditional Mass Medium vehicles in more readily usable forms.
Nevertheless, almost all publishing and broadcasting companies still make the mistake of providing only the traditional Mass Medium package of information online. Many of those companies also mistakenly term themselves interactive merely because they now also operate online.
Interactivity, as long ago defined by Dr. Jonathan Steuer in the Journal of Communications is "the extent to which users can participate in modifying the form and content of a mediated environment in real time." That is a far cry from simply letting the user read Mass Medium newspaper, magazines, or broadcast content that has been shoveled online.
Within the next ten years, most New Medium consumers will be receiving information from each's choice of myriad broadcasters and publishers, perhaps too many for any individual consumer to name or even realize. (Early adopters of tag-driven XML, advanced RSS, and 'peer-to-peer' technologies have already begun making such use). Because these many consumers will be sharing content choices and control with all publisher and broadcasters, the New Medium serves not just a 'one-to-one' or 'one-to-many' medium but a 'many-to-many' one.
Publisher and broadcasters who don't make full use of the New Medium will likely be left behind and wither during this new century.