Mass Media and Society, graciously, has co-ordinated its information to epitomize the production values of our mass media forums, delivering proclamations about the industry and organizational frontiers in combination with the resulting meaning for audiences and political/sociological spectrums. Whilst my forays within those chapters have dissected media image content amongst other varying items of produce, it’s time to brake to a grinding halt and assess the exposition of media technology in its evolution; the processes, the ways and means, methodology behind the history and enterprise. If we’re to credit television’s revitalization for feature, broadcast and aesthetics purposes, we’re to appreciate the groundbreaking explorations that aided its revolution. The reliance of mass media on its mediums integrates relevance to the apparatus constructed, and the appreciation of the consumer cannot be shortsighted when reviewing this.
An initial point of reference for technological mediums exist within the capabilities of their output. We take for granted the advancement of sound’s projection (literally); music is a visual as much as it is sound, showing intertwining combinations within the field of technology and the production within its value, by emitting through radio, tv sets and sound specific technological devices i.e a CD player, or an iPod. Whilst advancements have seen the evolution of singular-serving communication platforms manifest as multi-platform interfaces, we’re prone to forget how recent generations have been affected in a relatively short period of time. “Media Technology” may not have perpetrated my Thursday, but it’s a throwback nonetheless; I recall my first iPod – plucked from a frenetic hubbub of tourists, who were infiltrating the niche corners in downtown Hong Kong like a virus – and bought the genuine Apple product for a cut-price 900 Hong Kong dollars (equates to $116.15). Brand new and freshly stolen (probably), I was ignited by its contents: black and grey software, 80gb, no imagery and purely music. And this was years past the turn of the century – the Millennium had supplied this updated MP3 system by voluminous storage of thousands of songs, approximately 10 years ago. I remember its aesthetics: silver, with the white Apple logo, and the dimensions and weight of a small brick (fast-forward those very 10 years and size apparently “does matter” and we’re brick-laying once again, but I digress – that’s for another post, perhaps). To think that, now, the iPod product contains extraordinary capabilities with endless apps, a messaging system and – yes – colour and imagery, all of a sudden we have a make-shift phone. In fact, through FaceTime or Viber etc, the iPod can call, proving that it can practice anything the iPhone deploys (or any phone, if Apple feels convenient in its example). 4G is the only alteration, but now we have an iPad that bridges that gap just in case our technological anxiety worsens.
We don’t need to consign ourselves to one-dimensional concentration when analyzing a base product like an iPod; think of it alternatively, by other media technological bridges. The camera was a singular-serving product designed to capture instant imagery with precision and exacted detail. Whilst its own evolution has occurred, its perhaps stuttered in comparison to the aforementioned music technology; cameras now exhibit the ability to acquire multiple snapshots in sole clicks, which phones are hot on the tails towards. In pixelation, built-in cameras for phones rival its competitors; and that’s what it is – competition. If the manufacturing quality and production is poised for implementation, why not dominate the market? “Media Technology” designates its chapter content to parading the advancement of all mediums, but we feel the market trends and political absolution radiate within each word. New media – i.e the Internet, digitization – specify alternative ways to the mass media revolution in providing a technological determinism: the pertinence to social change. As illustrated through the iPod, social change or reformation appears symbolically; the inability to do one thing per occasion, necessitating our time to multi-platform media and engaging through multi-task, and disengaging the single-serving product for good.