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What this means is to look at online dating as a lead generator. You may have heard that term in a business sales context. When you start to think of online dating this way, it helps to take the personal feelings of rejection and frustration out of the equation.

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T he revolution in digital media continues apace—and, actually, has far exceeded where it was inwhen the first edition of this anthology was published. At the beginning ofTwitter and YouTube had not yet come online, and Facebook was limited to educational institutions.

My own essay about the cellphone said nothing about the iPhone, because it would not be released until The consumer suddenly became, in the act of consumption, a producer as well. The explosion in apps, produced in homes rather than labs, helped propel this process. And apps have in turn further revolutionized the Internet and our lives.

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To consider just one example, look at what Uber has done: people with that free app can summon a taxi, without a penny in their pockets, and be apprised of how soon to the minute the cab will arrive. The criticism of the digital world that it is divorcing us from the real world has never been more vividly disproven. The fact is that digital media, exemplified by Uber, are enabling us to better navigate our flesh-and-blood existences, and live more effectively in the physical world.

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A pillow is generally benign and helpful, but in the hands of someone bent on murder can be used to suffocate the victim. Guns are deed to kill, but they can be used to defend and procure food.

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T he first edition of Digital Media owes its existence to Kathleen Hall Jamieson, Director of the Annenberg Public Policy Center at the University of Pennsylvania, who secured the funds for a conference that led to the publication of the book.

We will always be grateful to Professor Jameson for her generosity and her inspiring leadership. Without her steadfast encouragement and discerning guidance, this new edition would never have seen the light of day. It is a pleasure to have this opportunity to thank her. Our interactions with Peter Lang were also facilitated by the efficient assistance of Sophie Appel, Stephen Mazur, and our anonymous copyeditor, to all of whom we wish to express our appreciation and many thanks.

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We are profoundly grateful to the wonderful group of people whose scholarship resulted in this book, and who contributed such an informative, thoughtful, and vigorously argued collection of essays and studies.

This book is dedicated to Larry Gross. During his long and still active academic career at the two Annenberg Schools, first at the University of Pennsylvania, then at the University of Southern California, Larry Gross has been a visionary administrator, a scholar who has tackled big questions with wisdom and subtlety, and an amazingly generous teacher and mentor. He has also been a powerful force for the application of honest scholarship to the goal of creating a more inclusive, mutually respectful society.

We feel fortunate and privileged to have known and worked with him.

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Is there any meaningful unity in this variety? The use of automation in message production has had some spectacular effects. A prime example is the emergence of photorealistic digital animation in visual media. As far back as the 16th century, artists such as Hans Holbein were able to achieve convincing photorealism in a single picture. However, it took the speed and regularity of digital computers to produce similar in moving images, and to make those images respond in real time to the commands of videogame players cf.


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As for the second consequence of the merger between electronic speed and binary coding, the enhanced control of information transmission has resulted in the exponential expansion of communication networks and has enabled the creation of the networked culture that we associate with digital media today. The distinction between these two features or aspects of digital media—namely, digital production vs.

The first edition of this book was published 10 years ago. The scholars and commentators who contributed to that edition devoted much of their attention to transformations in digital production. This shift in focus may seem to be a mere reflection of media history.

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For example, Adobe Photoshop was launched inand music-recording software Pro Tools followed a year later. Both remain at the top of their respective fields. Twitter and the universal version of Facebook both made their debut inwhile Instagram did not appear until The changes between the first and second edition of this book follow the contours of this timeline, and, in that respect, they can be seen as reflections of the trajectory of technological innovation in digital media.

However, they are also responses to the evolving interests and practices of the users of digital media. Given a choice between more powerful digital tools for the production of messages and more effective ways of sharing messages, the broad public tends to prefer the latter.

This tendency is perhaps most evident in the case of software and apps related to photography. At present, the most popular smartphone app focused primarily on photography is Instagram. According to Nielsen data, in Instagram had some 55, users in the United States, a that earned it the eighth spot in a list of top smartphone apps Tops of Digital, In common with most image-sharing apps, Instagram makes it possible for users to manipulate pictures as well as share them online. It performs the latter function very efficiently, but, beyond providing a fairly extensive set of visual filters, its utility with regard to photo-manipulation is limited Peng, In contrast to Instagram, Adobe Photoshop Express, the free version of Photoshop, contains a more powerful set of photo-editing tools, but is not yet as effective with regard to photo-sharing.

This contrast may be a reason for the finding that Photoshop Express currently has relatively low utilization levels even among smartphone users who already have access to it Shankland, and does not appear in recent lists of top 25 mobile apps.

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The priority that users give to social networking is also evident in the case of Twitter and Vine, both of which have attracted large s of users in the case of Twitter, enough users to vault it into the 14th spot on a comScore list of top mobile apps [Frommer, ]despite the fact that both of them impose severe restrictions on the types of messages that they are equipped to handle.

Another way of thinking about this is to consider the price that people are willing to pay for the ability to publicize their identity to the world at large. In return for the opportunity to post their thoughts or pictures online, substantial s of people subject themselves to such major risks as loss of employment or even criminal prosecution. This type of behavior can be dismissed as mere recklessness or thought of as addiction boyd,pp. The extensive virtual social sphere that has been brought into existence by digital networks is a response to that collective characteristic of the users of digital media.

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It is therefore fitting that, with a few notable exceptions e. As these remarks may make clear, one of the premises of this book is that the technological development of media is shaped by the evolving expectations and requirements of their users, rather than being simply a driver of user behavior. We may speak of the changes that digital media have brought about in our lives, but we do so in the belief that the social consequences of media are what we make of them, not what media do to us.

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A case in point is a study in which Lelkes, Sood, and Iyengar investigated the relationship between Internet access and political polarization. Greater access turned out to be associated with increased partisan hostility. In other words, this study found evidence of a causal relationship between the arrival of the Internet in a community and the exacerbation of political differences within that community.

However, it is reasonable to assume that this effect did not occur out of the blue. In short, the effect originated with the users of the new medium, rather than the medium per se. With these qualifications as a backdrop, this book is an attempt to assess some of the more noteworthy changes that have been taking place in the spheres of communication and culture as digital media evolve and proliferate. The book makes no claims to being an encyclopedic survey of all the ways in which digital media are altering earlier modes of communication. Rather, we have sought to achieve some depth of coverage of a more select group of topics that have received particular attention from communication scholars, and we are fully aware that there is much that we had to leave out.

The book is organized into six sections. As Paul Levinson has noted in his preface to this book, the overall approach of these three sections, and especially the one on crossing cultures, is relatively positive or optimistic about the actual or potential influence of digital media. The first two deal with the news. One of the most far-reaching changes that the transition to digital news reporting has brought about is a shift in the sources from which people receive their news.

At the same time, the process of actually gathering and reporting news is gradually devolving from traditional news organizations to a broader range of citizens equipped with lowcost, high-function cameras, computers, and mobile devices.

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On the other hand, might it be possible to use new media as a means of actually improving education? The final chapter in this section of the book takes a broader look at information. Lance Strate is one of the founders of the Media Ecology Association, a scholarly community that explores the ways in which the characteristics of media create the framework for human thought and action Strate, McAllister is a prominent commentator on the cultural implications of advertising e.

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In this chapter, he and his coauthor provide a probing dissection of what the digital shift in advertising is doing to journalism and to our privacy. The advent of digital media has given audiences a succession of tools for evading advertising, ranging from DVR fast-forwarding to ad blocking.

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Aside from enabling ad avoidance, digital media have also posed a potential threat to advertising by making it easier for consumers to broadcast their product evaluations to other potential customers. This section of the book concludes with two chapters, one casting an eye on the past, the other on the future. Edward McQuarrie and Barbara Phillips, researchers who have spent a good part of their careers studying printreflect on their changes that digital media have wrought on our visual environments.

The section that we have labeled Community begins with a major theoretical statement by Keith Hampton. Jessa Lingel launches this discussion by taking us back in time to the online world as it was before the emergence of the familiar social media of the present day. The two chapters that follow Lingel both provide detailed assessments of the devices and platforms through which online engagement occurs. The chapter presents findings from a range of surveys that Thorson has conducted on this issue.

The conclusions that these data point to will probably leave some readers with a discouraging view of the quality of civic engagement fostered by social media. The latter part of this section tackles some of the more contentious questions that the world of digital media has given rise to, including concerns about the social impact of hook-up apps and sexually explicit images e.

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Stefanie Duguay, Jean Burgess, and Ben Light discuss an issue that many culture critics tend to worry about, namely, the impact of hook-up apps. His chapter examines the processes by which online dating can lead to romance and marriage, and he also pays particular attention to the ways in which digital media can contribute to relationship maintenance.

The final chapter in this section of the book deals with the topic of online pornography. Fifty years ago, the only sex act that anyone was likely to witness was one in which he himself, or she herself, was involved directly. This video, which contains a dense set of references to US culture and to US military presence in Iraq, became the occasion for heated debate much of it conducted online about Iraqi national identity and relations with the United States.

Drawing on an analysis of viewer comments about Korean YouTube videos, Oh and his coauthors investigate the capacity of those videos to stimulate international interest in Korean culture and Korean products.

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In his chapter for the present volume, Takeda describes research findings on media-inspired travel to Korea by Japanese tourists. Up to this point, the chapters in this section of the book have all been about the largely unintended consequences of entertainment media.

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The final three chapters are concerned with the uses of digital media that are explicitly intended to affect relationships between people of different cultures. Yair Amichai-Hamburger and Shir Etgar discuss the theoretical foundations for the de of online spaces that promote mutual understanding across cultures. Vivian Chen describes the use of videogames for the promotion of social inclusion among different segments of a culture, and she discusses the theoretical principles that can be applied to such an endeavor. Jennarose Placitella analyzes the rhetorical strategies of videos disseminated over social media by the Islamic State.

In the concluding section of this book, on Surveillance and Privacyfive chapters confront what could be considered the half-hidden costs of the things we gain by interacting with the world of digital media, their creators, their users, their overseers, and their exploiters. This is a topic that engages public attention in periodic eruptions of acrimony whenever some particularly newsworthy event—a major database breach or a new revelation about covert monitoring—comes along.

Yet it would be hard to claim that these spurts of concern have produced any fundamental changes in the vulnerabilities that they bring to light Lucas,