Journal Of Technical Writing Communication -Myassignmenthelp.Com

Question: Discuss About The Journal Of Technical Writing Communication? Answer: Introducation Professionalism is the competence that is expected from a professional and it carries an added advantage on the part of the individual. Professionalism in information and communication technology is not just limited to wearing a proper suit and tie or owning a number of degrees. It refers to something more such as the manner in which one can conduct himself in the business situation. An authentic professional possesses the characteristics of neat appearance, confident demeanor, reliable response, maintaining ethics, competent behavior, being poise in difficult situation, adhering to the etiquette, brief and concise written correspondence, required organizational skills, being accountable for the issue and resolve it (Bourelle, 2014). ICT or information and communication technology is the platform and components that sets up modern computing. With the help of ICT people and organizations all around the world can interact with each other in the digital form. ICT can be considered similar to IT where professionalism plays a major role. ICT is influenced for societal, economic and interpersonal interactions and transactions and the way in which people communicate, work and live (Afshari, Bakar, Luan, Samah, Fooi, 2014). Professionalism is not the job done but how is it done. Due to the rapid changes taking place in ICT, professionalism has come up in the core of the industry. If ICT needs to meet up the potential in making lives better then the significance of professionalism cannot be overstressed. When an ICT industry comprises of the professional individuals then the responsibility which demands less regulation will be acknowledged. References Afshari, M., Bakar, K. A., Luan, W. S., Samah, B. A., Fooi, F. S. (2014). Factors affecting teachers use of information and communication technology. International Journal of Instruction. Bourelle, T. (2014). New perspectives on the technical communication internship: Professionalism in the workplace. . Journal of Technical Writing and Communication, 171-189.

An Australian Artist Essay Example For Students

An Australian Artist Essay Dear Inspector Smart, I accept your request in helping you get the safe return of the art work titled Self-Portrait by Julie Dowling. I have attached important information regarding details on the portrait to help you in your case of returning it. Now Inspector, I want to paint my own picture in your mind on what the painting really looks like. Firstly the painting was completed in 2002 and is a synthetic polymer paint, oil and red ochre on a 120 x 100cm canvas. The artists painting is both historical and modern in the way Julie Dowling brings her Australian Aboriginal heritage and modern Australia together. Julie does this by painting her self in the center of the painting with how she is in todays Australia and then in side her, she drew a painting of her ancestors from the time of the dreaming. Inspector, the image in your mind may still be foggy but do not worry I have included much more information. You may not see it yet, but this painting has a huge degree of symbolism and is very representational in the way Julie painted her ancestors before the white invasion, full of freedom, happiness and crowed by family and friends, and then you see Julie herself alone with a barren landscape behind her. All though she painted the same desert landscape behind her in her todays portrait and her ancestors one, shes trying to make the point that its not the land that has changed it is the people. In the presentation of her work, Julie painted the art work in portrait mode not landscape, for a traditional affect. Inspector Smart, as you may know most artists use there art to explain what they are thinking or how they are feeling, and in Julies case thats exactly what she did. The reason Julie painted the image of her family inside of her was to represent that she has not forgotten what used to be and that, which will always remain in her heart. Inspector Smart, here is just a brief outline of the basic looks; in the foreground there is an image of a women with images of people on her shirt. In the background there is a barren desert landscape matching the one behind the images on her shirt with very few signs of grass or animal life. Once the painting has been returned, I ask you should take some time to have a look at this piece of history. Julie was very detailed in her work making the end result complete with high definition. Inspector, In Julies work she different types of media to get different affects across. Julie used lines to recreate the rough landscape of the desert, the horizon and the clouds in the sky. Also line was used mainly to create the images and smaller details such as facial features. Another aspect was the way Julie used shadow, you see Inspector with out shadow the  image would not look 3D and would look flat and unrealistic. Julie used shadows and tones to raze mounds or small hills, or to show age under eyes or lines on the face or even just to show where on the image the sun would hit the painting. In this painting Inspector color was not taking for granted. Julie used a dark tonal brown for her family and a lighter cream brown for her self to show black out breeding and the stolen generation. Color was used also to show the harshness of the desert around them and the light clouds in the sky to signal there wasnt going to be rain anytime soon. .uace0249ae414afe8125a8a039ebdb3ee , .uace0249ae414afe8125a8a039ebdb3ee .postImageUrl , .uace0249ae414afe8125a8a039ebdb3ee .centered-text-area { min-height: 80px; position: relative; } .uace0249ae414afe8125a8a039ebdb3ee , .uace0249ae414afe8125a8a039ebdb3ee:hover , .uace0249ae414afe8125a8a039ebdb3ee:visited , .uace0249ae414afe8125a8a039ebdb3ee:active { border:0!important; } .uace0249ae414afe8125a8a039ebdb3ee .clearfix:after { content: ""; display: table; clear: both; } .uace0249ae414afe8125a8a039ebdb3ee { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uace0249ae414afe8125a8a039ebdb3ee:active , .uace0249ae414afe8125a8a039ebdb3ee:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uace0249ae414afe8125a8a039ebdb3ee .centered-text-area { width: 100%; position: relative ; } .uace0249ae414afe8125a8a039ebdb3ee .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uace0249ae414afe8125a8a039ebdb3ee .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uace0249ae414afe8125a8a039ebdb3ee .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uace0249ae414afe8125a8a039ebdb3ee:hover .ctaButton { background-color: #34495E!important; } .uace0249ae414afe8125a8a039ebdb3ee .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uace0249ae414afe8125a8a039ebdb3ee .uace0249ae414afe8125a8a039ebdb3ee-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uace0249ae414afe8125a8a039ebdb3ee:after { content: ""; display: block; clear: both; } READ: Tolstoy's Three Hermits EssayJulie used shape and size in her painting to show a rock from a small shrub, the nose from the eye, the shirt from the back landscape and Inspector without this there would We would not be able to tell one object from another. The texture in the painting is as similar in importance as shape and size, in the fact that Julie used texture to show the roughness in the landscape, her straw like hair and ageing of the skin. With out this, the image would not be able to give of the harsh expression Julie was aiming for. Inspector, you may start seeing a small image in your mind, well Julies painting is rough and jagged to show the hurt and loneness from the stolen happiness that was left behind when the white invaders took over. Julie put so much detail into the painting to make it seem more like a memory or a photo in which you can see right through her, rather than a painting on canvas. Julie used space and placing to determine the on where about the focus of the painting was to be and the rest are smaller details to set the scene. As you would guess Inspector, Julie herself is the largest image on the canvas making her the focus of the painting then following down to her family hidden inside her shirt. Julie made her painting symmetrical to give even balance, the boldness and basic principles of her art. Inspector, Julie made sure she painted the art for it to look like you were looking inside her and seeing what she feels, for example the way that she wishes in her heart that things were back like the dream crowed by friends and family, but on the out side she is a lone and sad. Movement was used very little in Julies art, she used a bit on her hair to give the affect that the wind was passing through but did not use much because Julie wanted to create a form of stillness and silence to make people think about what she is trying to get you, Inspector to see.

Phil Collin`S In The Air Tonight Essays - Music, In The Air Tonight

Phil Collin`S ?In The Air Tonight? Dec 2000 In The Air Tonight Phil Collins In The Air Tonight is a strophic composition produced by Phil Collins. The aria consists of an electronic drum set an electric guitar and a prophet to add an additional fullness to the song. The exposition of the monody is at an adagio tempo. The electronic drum kit repeats a drum pattern with 12 drum hits in each loop, while accenting on every third beat {eg.1-2-1-2-1-2-1-22-1-2 | 11-2-1-2-1-2-1-22-1-2}. In the middle of the first loop the electric guitar roars a triple stopping that drags on for fifteen seconds, and is quickly followed by the sound of a nymph sounding guitar riff in the background accompanied by the prophet. The prophet presents the main melody of the song. A series of warm instruments accompany the drum pattern followed by the sound of Phil Collinss tenor voice reverbed a tad to add an eerieness to the song. He first announces in a slightly whispered, muffled voice: I can feel it in the air tonight, Oh Lord Ive been waiting for this moment, for all my life, Oh, Lord Can you feel it coming in the air tonight, Oh Lord Oh Lord Afterwards the same guitar roars in for half the time it did before as Mr. Collins proceeds to go into the first verse of the song. After the first verse he returns back to the chorus this time with additional vocals that lags behind his every word and ends with the guitar roar once again that comes predictably at the same time. The first words to his second verse starts with the singers voice tweaked up a bit with the reverb machine. The prophet and a host of warm instruments continuously ascends with every whole note for a total of four measures in a harmonious fashion, but returns back to the tonic key after the fourth keystroke. In closure of the last verse the song increases from a (p) piano to an (mp) mezzo forte. An intense eleven strikes on a live drum set introduces the climax of the song, which then cancels out the sound of the electronic drum set, yet introduces the sound of a brass instrument that appears every two or three measures. With the sound of the vocalist repeati ng the chorus numerous times in an upbeat presentation, the rhythm of the song seems to drift to a strong andante tempo. The volume of this secular song descends as with Phil Collins exclaiming, Ive been waiting for this moment for all my life. In conclusion the song retreats to a complete silence. Music

Culture Jamming - Definition and Examples

Culture Jamming s Culture jamming is the practice of disrupting the mundane nature of everyday life and the status quo with surprising, often comical or satirical acts or artworks. The practice was popularized by the anti-consumerist organization Adbusters, which often uses it to force those who encounter their work to question the presence and influence of advertising and consumerism in our lives. In particular, culture jamming often asks us to reflect on the pace and volume at which we consume and the unquestioned role that the consumption of goods plays in our lives, despite the many human and environmental costs of global mass production. Key Takeaways: Culture Jamming Culture jamming refers to the creation of images or practices that force viewers to question the status quo.Culture jamming disrupts social norms and is often used as a tool for social change. Activists have used culture jamming to raise awareness of issues including sweatshop labor, sexual assault on college campuses, and police brutality. The Critical Theory Behind Culture Jamming Culture jamming often involves the use of a meme that revises or plays off of a commonly recognized symbol of a corporate brand (such as Coca-Cola, McDonalds, Nike, and Apple, to name just a few). The meme is typically designed to call into question the brand image and values attached to the corporate logo, to question the consumer relationship to the brand, and to illuminate harmful actions on the part of the corporation. For example, when Apple launched the iPhone 6 in 2014, the Hong Kong-based Students and Scholars Against Corporate Misbehavior (SACOM) staged a protest at a Hong Kong Apple Store where they unfurled a large banner that featured the image of the new device sandwiched between the words, iSlave. Harsher than harsher. Still made in sweatshops. The practice of culture jamming is inspired by the critical theory of the Frankfurt School, which focused on the power of mass media and advertising to shape and direct our norms, values, expectations, and behavior  through unconscious and subconscious tactics. By subverting the image and values attached to a corporate brand, the memes deployed in culture jamming aim to produce feelings of shock, shame, fear, and ultimately anger in the viewer, because it is these emotions that lead to social change and political action. Sometimes, culture jamming uses a meme or a public performance to critique the norms and practices of social institutions or to question political assumptions that lead to inequality or injustice. The artist Banksy is a notable example of this type of culture jamming. Here, well examine some recent cases that do the same. Emma Sulkowicz and Rape Culture Emma Sulkowicz launched her performance piece and senior thesis project Mattress Performance: Carry That Weight at Columbia University in New York City  in September  2014, as a way to draw critical attention to the universitys mishandling of disciplinary proceedings for her alleged rapist, and its mishandling of sexual assault cases in general. Speaking about her performance and her experience of rape, Emma told the Columbia Spectator that the piece is designed to take her private experience of rape and shame in the aftermath of her attack into the public sphere and  to physically evoke the psychological weight she has carried since the alleged attack.  Emma vowed to carry the weight in public until her alleged rapist was expelled or left campus. This never happened, so Emma and supporters of the cause carried her mattress throughout her graduation ceremony. Emmas daily performance not only brought  her alleged assault  into the public sphere, it also jammed the notion  that sexual assault and its consequences are private matters, and illuminated the reality that they are often  hidden from view by the shame and fear that survivors experience. Refusing to suffer in silence and in private, Emma made  her fellow students, faculty, administrators, and staff at Columbia face the reality of sexual assault on college campuses by making the matter visible with her performance. In sociological terms, Emmas performance served to vanish the taboo on acknowledging and discussing the widespread problem of sexual violence by disrupting the social norms of daily campus behavior. She brought rape culture into sharp focus on Columbias campus, and in society in general. Emma received a heap of media coverage for her culture jamming performance piece, and fellow students and alumni of Columbia joined her in carrying the weight on a daily basis. Of the social and political power of her work and the widespread media attention it received, Ben Davis of ArtNet, the leader in global news about the art world, wrote, I can hardly think of an artwork in recent memory that justifies the belief that art can still help  lead a conversation  in quite the way  Mattress Performance  already has. Black Lives Matter and Justice for Michael Brown At the same time that Emma was carrying that weight around Columbias campus, halfway across the country in St. Louis, Missouri, protesters creatively demanded  justice for 18-year-old Michael Brown, an unarmed Black man  who was killed by a Ferguson, MO police officer Darren Wilson on August 9, 2014. Wilson had at that point yet to be charged with a crime, and since the killing occurred, Ferguson, a predominantly Black city  with a predominantly white police force and a history of police harassment and brutality,  had been raked by daily and nightly protests. Just as intermission concluded during a performance of  Requiem  by Johannes Brahms by the St. Louis Symphony on October 4, a racially diverse group of singers stood from their seats, one by one, singing the classic Civil Rights anthem, Which Side Are You On? In a beautiful and haunting performance, protesters addressed the predominantly white audience with the songs titular question, and implored, Justice for Mike Brown is justice for us all. In a recorded video of the event, some audience members look on disapprovingly while many clapped for the singers. Protesters dropped banners  from the balcony commemorating Michael Browns life  during the performance  and chanted Black lives matter! as they peacefully exited the symphony hall at the conclusion of the song. The surprising, creative, and beautiful nature of this culture jamming protest made it particularly effective. The protesters capitalized on the presence of a quiet and attentive audience to disrupt the norm of audience  silence and stillness  and instead made  the audience the site of a politically engaged performance. When social norms are disrupted in spaces in which they are usually strictly obeyed, we tend to quickly take notice and focus on the disruption, which makes this form of culture jamming successful. Further, this performance disrupts the privileged comfort that members of a symphony audience enjoy, given that they are primarily white and wealthy, or at least middle class. The performance was an effective way of reminding people who are not burdened by racism that the community in which they live is currently under assault by it in physical, institutional, and ideological ways  and that, as members of that community, they have a responsibility to fight those for ces. Both of these performances, by Emma Sulkowicz and the St. Louis protesters, are examples of culture jamming at its best. They surprise those who bear witness to them with their disruption of social norms, and in doing so, call those very norms, and the validity of the institutions that organize them  into question. Each offers a timely and deeply important  commentary on troubling social problems  and forces us to confront that which is more conveniently swept aside. This matters because viscerally confronting the social problems of our day is an important step in the direction of meaningful social change.

An urban precedent explaining why your choice of city illustrates Essay

An urban precedent explaining why your choice of city illustrates appropriate qualities necessary in a sustainable city - Essay Example The central theme of the Cliff City project is ‘green’ architecture, meaning that it firmly lays emphasis on sustainability and preservation of surrounding ecology. Apart from the usual urban provisions for a library, pub and cafà ©, the project features such innovations as roof-top gardens and has equipment installed for tapping wind and solar energy. Examples such as these not only point the future direction of urban architecture, but also expose the deficiencies of conventional methods of design and construction that was insensitive to the demands of the environment. For example, urban planners throughout the twentieth century paid very little attention to how their constructions will interact with the enveloping environment. The design of Cliff City project near Portland, Dorset breaks away from this tradition, in that it sees architecture as an organic enterprise. It is also informed by the drawbacks of traditional styles of architecture, as it attempt to incorpora te remedial measures toward preservation of organic world. In this respect, the Cliff City stands as a near-perfect model for the perusal of urban planners. Planet Earth is already being damaged by industrial effluents, over-exploitation of water resources, alarming levels of toxic pollutants like carbon monoxide and the phenomenon of Global Warming. In the backdrop of humanity’s appalling record at preserving the natural environment, projects such as the Cliff City, serve as ideal examples of how urban architecture should to be approached in the future. Cliff City’s more relevant today than at any time in the past, as planet earth is confronted with problems of over-population, increased urbanization, genetically modified seeds in agriculture, rising sea levels, etc. A good starting point for mitigating this precarious situation would be the adoption

Organic electronic Essay Example | Topics and Well Written Essays - 1000 words

Organic electronic - Essay Example Traditional electronics, involving the use of inorganic conductors, including copper and silicon, presents a use of materials that are heavier and more expensive than conductive polymers and organic semiconductors include dielectrics, conductors and light emitters that have many and varied applications in the field of electronics (Sun, 2008, Chapter 5) and (Wikipedia, 2010, â€Å"Organic Electronics†). Already, organic electronics based displays using organic light emitting diodes have found their way into car radios, etc., with rapid improvements expected in organic field effect transistors. According to published reports, the market for organic materials will be worth US$ 4.9 billion on 2012, and this will surge to US$15.8 billion in the year 2015 (Allen, 2008, Pp. 6). The previously mentioned author states that new kinds of semiconductor materials, including rubrene, hybrid materials and formulations made of carbon nanotubes will continue to spur the market to grow to US$4.9 billion by the year 2015, with the organic electronic substrate business growing to US$ 6.9 billion. According to NanoMarkets (2007, "Organic Harvest: Opportunities in Organic Electronic Materials"), eighty percent of organic electronic materials will be sold into the RFID, display backplanes and Organic Light Emitting Diode (OLED) lighting and displays applications. However, according to the previously mentioned report, if organic electronics is to continue on the road to success, it will have to emulate the traditional semiconductor industry and invent an organic version of CMOS with its own sta ble material sets. Thus, firms specialising in materials for electronics and organic electronic materials must offer commercial quantities of n-type semiconductors and organic dielectrics. In addition, the previously mentioned report suggests that for

Media Essays Media Traditional Television

Media Essays Media Traditional Television Media Traditional Television Media convergence is inevitable as new media challenges the dominance of traditional media and traditional media reacts to this challenge. Discuss. Introduction Media convergence has become an issue over the last ten years as new technologies such as the Internet and computers have become intermingled with ‘traditional media’ such as television and newspapers. This media convergence transcends social, cultural, economic, technological and industrial changes, all of which will be discussed in the dissertation (Jenkins, 2006, pp. 3-5). This convergence can happen in a number of ways, but the main focus is on the convergence of types of media technology in society and within the media industry itself (Bell, 2006). This is generally thought of as ‘new media’ such as computers colliding with ‘traditional media’ such as television and print media (Franklin, et al, 2008). Apart from the technological convergence, the dissertation will also look at how audiences are engaging and making sense of these technologies. This is often referred to as ‘cultural convergence’ within media (Jenkins, 2008). The problem to be addressed here is whether or not media convergence within technological and cultural terms is inevitable as new media pushes forward and challenges traditional media forms. Although it is clear that technological convergence is occurring, the problem is more complex than this and also includes transitions within culture, the media industry, markets, genres and audiences (Jenkins, 2004, pp. 37-41). Therefore, the problem posed here is how to look at the challenge to traditional media from new media, and how the traditional media is responding. Is this pattern of challenge and response leading to an inevitable convergence of media in all aspects? Methodology In order to answer this question, the researcher will use the method of document analysis throughout the dissertation. Document analysis is a qualitative method of reviewing the content and meaning of texts, and is appropriate in this case because of the accessibility of documented evidence and opinion on the subject of media convergence. A qualitative method is needed in a subject like this because the key elements of research are focused around cultural trends and opinions, technological changes, and not around specifically quantitative elements. Furthermore, as cultural phenomena, texts are the ideal way to review cultural changes within media (Stokes, 2003, pp. 52-54). However, as a subjective medium it can be difficult to use textual analysis, because a hypothesis needs to be formed before beginning the analysis. This will not be a problem in this case though because the problem of media convergence and its supposed inevitability has already been identified as the focus of the dissertation through initial research. Document analysis also allows the researcher to look at the specific cultural and social context of media documents, as well as using primary, secondary and general documents to create a full picture of the research problem. There will be a large focus on primary documents regarding media convergence, media culture and technology within the research (Altheide, 1996, pp. 3-6). Aims and objectives The aim of this essay to give an answer as to the inevitability of media convergence in light of the challenges from new media to traditional media as well as the response from traditional media to this challenge. Firstly, this will involve fully defining media convergence in its various guises and what media convergence on an industrial, cultural, technological, market-based and audience-based level would constitute (Durham and Kellner, 2006). Then there will be a review of the literature on the emergence of new media and its challenge to traditional media in a technological, industrial and cultural sense (Thorburn, Jenkins and Seawell, 2003, pp. 281-314). The section after this will look at the reaction from traditional media to this challenge, and how this has reshaped traditional media fields such as television and print media (Lawson-Borders, pp. 27-43). A section will then examine the issues of media convergence in light of the challenges and responses between traditional and new media. To illustrate some of these challenges in a real-world setting, the case of China’s media climate will be examined. China has undergone a large number of reforms in media over the last ten years and is the issues of convergence are particularly relevant to such a setting of technological, social and industrial change (Hong, 1998, pp. 41-53). From these chapters a conclusion will be drawn with regards to the future inevitability of media convergence in a variety of contexts – technological, cultural, industrial, market-based, and audience-based. Literature Review The emergence of new media and its challenge The major challenge from new media has come from technological innovation over the last ten years, with the emergence of computer technology and the Internet. For the purposes of this dissertation, there will not be a lengthy discussion about what constitutes ‘new’ or ‘old’ media as put forward by Manovich (2001), but rather it will be content with the idea that new media includes computers, the Internet and digital mobile devices as the standard, whereas ‘traditional’ media encompasses print media, television and radio as standards. This new media has significant functional equivalence with traditional media such as print media and television, and is therefore taking some of this market (Adoni and Nossek, 2001, pp. 76-81). Consequently, the competition for audience numbers and cultural significance began. The old ideals and concepts of traditional media have been put under pressure by the flexibility, innovation and new approaches of new media (McQuail, Siune, and Euromedia Research Group, 1998, pp. 1-3). New media forms such as mobile device streaming (Nilsson, Nulden and Olsson, 2001, pp. 34-36), the Internet (Lister, Dovey and Giddings, 2003, pp. 35-37), and news websites and feeds (Digital Spy, 2008) have changed the parameters of what constitutes media in today’s world. Not only has new media changed the technological parameters, but it has changed the market and cultural climate of media as well. There have been questions about how the market needs to respond to new media in terms of regulations –for example how broadband services should be monitored or regulated in media terms (Blackman, 1998, pp. 166-169). Broadcast licensing rules have had to be adapted or reviewed in light of the explosion of new media sources and types around the world, which has caused controversy and disagreement as to how to handle these new mediums (Weare, Levi and Raphael, 2001, pp. 47-55). There has been a change in the way audiences are now viewing media, and with the media and social culture so closely linked this has helped change social attitudes. The likes of MySpace and YouTube are good examples of the way in which new media is challenging social norms generated by traditional media forms. This has stretched to the realm of politics, where new media is now seen as a potentially more effective tool for furthering democratic process than traditional media, despite the conceptual difficulties of putting this into practice (Barnett, 1997, pp. 211-216). Another area that has been changed by this new media challenge is the actual teaching of media and journalism. New media has meant that journalists in traditional media need to understand the new ways of broadcasting and delivering information effectively, particularly in light of how politically controlled the finances and content are of many traditional news media organizations. The education has shifted from traditional media to multi-media (Quinn, 2001, pp. 84-87). Education in other areas is also being influenced by the challenge of new media to traditional media, and has been particularly influential in the field of interactive learning programs (Fallahkhair, 2003). These challenges to traditional media by new media have occurred rapidly, and the effects are wide-ranging. The traditional media world has had to respond to this challenge in order to survive. The reaction from traditional media The reaction from traditional media has not been one of competition or rejection of new media, but an understanding that this type of media is now part of the landscape and needs to be embraced. This is what has led to the so-called ‘convergence’ of media throughout the world over the last ten years. Initially the response from traditional media was one of technological convergence – this was inevitable in the sense that new technologies that can give a competitive edge are always adopted in such an industry where possible. In this case the technological driver was digitalization in terms of television, and the spread of Internet news within printed media (Henten, Falch and Tadayoni, 2003). However, as technology progressed so did cultural and social changes, as well as market changes within the world of media. In order to stay relevant and part of the cutting-edge of culture, traditional media has had to adapt to and converge with new media in terms of policies, techniques and attitude in some area in addition to the technological convergence. The structure for storing media and content has changed as ICT has progressed, and has created the need for traditional media to be more instant in its deployment of content and services (Lindqvist and Siivonen, 2002). Established print media firms have embraced the new media to help expand their services and reach untapped audiences. For example, The Guardian now has a full online media section that allows it to reach a far larger and more varied audience than previously possible through its traditional print publications (Guardian News and Media Limited, 2008). It has also allowed traditional journalists to cover more content than before and express their own views with other journalists. Rather than being run by big business, convergent press forms such as journalism sites are now run by journalists themselves (European Journalism Centre, 2008). The resources available for the consumers and journalists have increased drastically, as has the ease with which information can be accessed (ABC, 2008, and Future Foundation, 2008). This is not simply down to the emergence of new media, but the convergence of new and traditional media. The nature of traditional media advertising has also been changed, with print media companies now creating websites and online services to complement their traditional print forms (WARC, 2008, and Zenith Optimedia, 2008). The industry has also responded by broadening the scope of its regulations and research to encompass these new media types (Advertising Research Foundation, 2008), and in some cases create whole new sites and companies devoted to media convergence and advertising (Haymarket Media, 2008). Media advertising has moved from the realms of print and television to become an interactive, digital and global source online (European Interactive Advertising Association, 2008). The traditional media of television has also responded by converging with new media technologies and attitudes. OFCOM now has a website, and deals with not only traditional TV and radio regulations but now has newer wireless and online communications regulations in place (OFCOM, 2008). Perhaps most crucially the convergence has allowed for television audiences to be more widely recognized and understood. It is now easier to monitor audience trends, and this information is now available not only to traditional media industry professionals but new media consumers, users and creators as well (BARB, 2008, and Screen Digest, 2008). The response from traditional media has not been to fight back on its own, but to merge with new media in order to take advantage of its benefits. Issues of media convergence As can be seen, media convergence is and was inevitable in technological terms because of the need of traditional media to compete with the innovations of new media as well. However, it is not yet clear how far this convergence goes, and whether or not full media convergence on a cultural, market-based, audience-based and industrial level is occurring or will occur. The bar has been set by new media companies in terms of innovation, and it seems that although a number of companies within traditional media are following this example (Lawson-Borders, 2003, pp. 98-99), the traditional media industry itself is perhaps more focused on technological convergence than a complete convergence of attitudes and processes. The major effect of convergence at this time appears to be the digitalization of traditional media. Although this has not completely changed the way in which traditional journalism is handled, it has changed its presentation and also blurred the lines between larger corporations and smaller entities (Kawamoto, 2003, pp. 5-12). Evidence of this can be seen in recent worldwide news stories where new and traditional Medias became visibly interdependent. The Virginia Tech massacre is one such example, perhaps the first of its kind. In this case the new media and traditional media fed off each other for information and opinion, and not just in a technological sense. Whilst some question the strain in ethical boundaries such convergence causes, it is clear that convergence can and will occur in more than just a technological form (Garofoli, 2007). However, it is still not clear whether complete media convergence is in fact inevitable. It seems that much might depend upon the consequences of such a convergence (Anderson and Elckelman, 1999), as well as the reaction from audiences and culture as a whole (Wilkinson, 2008). China, media and convergence China is a good example of how convergence has come about in a real-world setting. As with other areas of the world, China’s convergence issues are seen as convergence of technologies to create multi-media networks (Ure and Xiong-Jian, 1999, p. 17) However, the pace of convergence and change has perhaps been more rapid than in places such as the UK or US, with tighter government controls on media in place. In order to maintain a balance between the traditional and new media, China has had to move further towards complete convergence than some other countries. However, there is still a long way to go in China with regards to convergence, particularly in terms of cultural issues such as the heterogeneous development of cultures and attitudes. 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