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The following six fundamental principles of mediamorphosis flow from the hypotheses discussed in this chapter:
1. Coevolution and coexistence: All forms of communication media coexist and coevolve within an expanding, complex adaptive system. As each new form emerges and develops, it influences, overtime and to varying degrees, the development of every other
existing form.
2. Metamorphosis: New media do not arise spontaneously and independently-they emerge gradually from the metamorphosis of older media. When newer forms emerge, the older forms tend to adapt and continue to evolve rather than die.
3. Propagation: Emerging forms of communication media propagate dominant traits from earlier forms. These traits are passed on and spread through communicatory codes called languages.
4. Survival: All forms of communication media, as well as media enterprises, are compelled to adapt and evolve for survival in a changing environment. Their only other option is to die.
5. Opportunity and need. New media are not widely adopted on the merits of a technology alone. There must always be an opportunity, as well as a motivating social, political, and/or economic reason for a new media technology to be developed.
6. Delayed adoption: New media technologies always take longer than expected to become commercial successes. They tend to require at least one human generation (20-30 years) to progress from proof of concept to widespread adoption.

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Research conducted at the Santa Fé Institute has led to several insights central to the mediamorphic process. As scientists studied the behavior of complex systems, they discovered that the richness of the interactions that occur within living systems allows them to undergo spontaneous self-organization in response to changing conditions. In other words, complex systems are adaptive, in that "they don't just passively respond to events the way a rock might roll around in an earthquake. They actively try to turn whatever happens to their advantage.v"

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A central tenet of contemporary chaos theory is the
notion that seemingly insignificant events or slight initial variations within chaotic systems, such as the weather and the economy, can trigger cascades of escalating, unpredictable occurrences that ulti mately lead to consequential or catastrophic event.

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During periods of great change, such as we are now experiencing, everything around us may appear to be in a state of chaos and, to a
large extent, it is.

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Within the broadest definition of the term, most printed newspapers and magazines qualify as forms of multimedia because they convey information through a blend of written words, photography, and graphics displayed on a paper medium. However, the visions of multimedia popularized in the past two decades have tended to dismiss paper as an "old" medium. The preferred "new" medium for displaying blended content is the electronic screen. With an electronic display medium, such as a computer monitor or television
screen, new multimedia systems are capable of conveying information through various blends of full-motion video, animation and sounds, as well as still images and written word.

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Since the origin of written language, the forms of media have coevolved along three distinct paths that I refer to as domains. These domains, which will be described in the next chapter, have propagated specific sets of media traits that have remained relatively stable for nearly six millennia.

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Specific forms of media, as with species, have life cycles and eventually do die out, but most of their defining traits will always remain part of the system. Just as biological characteristics are propagated from one generation to another through
genetic codes, media traits are embodied and carried forward through communicatory codes that we call languages. Languages have been, without compare, the most powerful agents of change in the course of human evolution.

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All forms of ommunication are, as we shall see, tightly woven into the fabric of the human communication system and cannot exist independently from one another in our culture.

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The transformation of communication media, usually brought about by the complex interplay of perceived needs, competitive and political pressures, and social and technological innovations.

Mediamorphosis is not so much a theory as it is a unified way of thinking about the technological evolution of communication media.

The metamorphosis principle, as well as several other key principles of mediamorphosis, derive from three concepts: coevolution, convergence, and complexity.

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However, FM owes a great deal of its ultimate success to rock 'n' roll music and to teenagers in the late 1950s and 1960s. Because of AM's broad reach and large undifferentiated audiences, stations tended to broadcast only Top 40 popular music and avoid so-called underground recordings, such as rock 'n' roll, jazz, and blues. The smaller FM stations could afford to target niche audiences, which allowed them to satisfy the musical tastes of teenagers and to provide an outlet for small, independent recording studios.

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The resolution in the mid-1960s of patent infringement suits finally removed a serious legal impediment to FM's development. But even more important was the 1967 Public Broadcasting Act. This regulatory action established National Public Radio (NPR) as a production center for educational and public affairs broadcasting and reserved space on the FM dial for new public radio stations.

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Advances in recording and playback technologies, significant improvements in home equipment, and the growing popularity of hi-fi and stereo recordings created the need and demand for high-quality broadcasting technology,
which FM readily provided.'? Stereo, introduced on FM in 1961,offered radio audiences yet another incentive to switch. The miniaturization of electronic components also made it possible for radio manufacturers to combine AM and FM technologies in more compact receivers, whicb, in turn, increased the demand for FM stations and new equipment.

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Competition with television was cutting deeply into the profits of large established AM stations, and their future seemed in doubt. By contrast, the dramatically lower costs
associated with FM broadcasting made the operation of smaller stations that targeted niche audiences quite profitable and appealing to media companies, entrepreneurs, and investors. Manufacturers were
also attracted to FM because it created a new and potentially even larger market for radios.

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Elementos que aceleram e freiam a adoção de uma tecnologia

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Elementos que aceleram e freiam a adoção de uma tecnologia

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Como novas mídias são criadas e se desenvolvem

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Como novas mídias são criadas e se desenvolvem

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Social, political, and economic forces play powerful roles in the development of new technologies.

Inventions and innovations are not widely adopted on the merits of a technology alone.

There must always be an opportunity as well as a motivating social, political, or economic reason for a new technology to be developed. [p.19]

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Silent films owed their quick acceptance to familiarity with photography and vaudeville shows. The recording of images and mechanical music boxes provided the familiar bridges for the phonograph and recorded sound. Commercial radio initially took for its content model recorded music and live stage productions, such as concerts, plays, and vaudeville acts. Radio and audio recordings, in turn, provided the connections for rapid acceptance of the "talkies"-films that synchronized pictures with voices and sounds.
Television was anticipated and quickly accepted as radio with moving pictures. p.18]

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In the history of the human communication system, new forms have rarely been adopted without familiar links to earlier or existing forms. As revolutionary as the inventions of the printing press and movable type may seem today, early printers did not make a sudden break with the past. For decades, they replicated
almost exactly the traditional letter forms and formats of documents produced by hand. Printing was referred to as artificial writing, as opposed to natural writing, well into the sixteenth century and was used primarily as a low-cost means of fulfilling the growing demand for Bibles, ancient texts, and papal indulgences. (A growing market for popular novels and risque books also contributed to the rapid
growth of printing presses in Europe.)
The development of modern books and periodicals was a gradual, evolutionary process. The first newspapers, which emerged more than 150 years after Johann Gutenberg produced the first printed Bibles, took as their model the established forms of newsletters and newsbooks. Even with the introduction of industrial age
technologies, traditional newspaper format did not change significantly until the end of the nineteenth century. [p.16-17]

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Teoria da difusão de inovação - Everret Roger

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Teoria da difusão de inovação - Everret Roger

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Os cinco atributos da inovação definidos por Rogers são:
1- Vantagem Reltiva
2- Compatibilidade
3- Complexibilidade
4- Confiabilidade
5- Visibilidade

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The 30-year rule may not be foolproof, but it does put the development of new technologies into a more realistic perspective. We need to remember, however, that this rule is not intended to fix a precise time frame for the widespread adoption of new technologies. Saffo's essential point is that impressions of spontaneous technological advancements are generally wrong.
This rule can be restated in two different ways: (1) Laboratory breakthroughs and discoveries nearly always take longer than anyone expects to become successful commercial products or services. (2) Technologies that appear to have suddenly emerged as successful new products and services have been. under development for much longer than anyone admits.

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Os telefones celulares passaram começaram a ser comercializados em 1983 e nos anos 2000 já tinham uma adoção pervasiva e hoje podem ser considerados fundamentais para na organização da sociedade.

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Paul Saffo afirma que para que uma tecnologia seja percebida como fundamental para uma sociedade demoram 30 anos até sua criação, disseminação e percepção de ser indispensável para a comunidade

Primeira década: muito entusiasmo, muita confusão, pouca penetração
Segunda década: muita movimentação e começa a penetração na sociedade
Terceira década: é simplemente uma tecnologia padrão que todos tem.

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O livro midiamorfose aborda como as tecnologias são implementadas na sociedade e quais são os elementos que interferem na sua adoção e na relação com as tecnologias consolidadas

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link para download em inglês

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This book is about technological change within human communication and the media. Not technical, this work is an overview and evaluation of new communication technologies. Roger Fidler demystifies emerging media technologies and provides a structure for understanding their potential influences on the popular forms of mainstream media such as newspapers, magazines, television and radio.

Roger Fidler is an internationally recognized new media pioneer and visionary. He is best known for his vision of digital newspapers and mobile reading devices, which he conceived and first wrote about in 1981. As director of new media for Knight-Ridder Inc. in the 1990s, he pursued his vision at the company's Information Design Laboratory in Boulder, Colorado. In 1994, his team at the lab produced a video titled "The Tablet Newspaper: A Vision for the Future" that demonstrated how people might one day read newspapers and magazines on tablets. The video has gone viral on the Web since the announcement of the Apple iPad.

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This book is about technological change within human communication and the media. Not technical, this work is an overview and evaluation of new communication technologies. Roger Fidler demystifies emerging media technologies and provides a structure for understanding their potential influences on the popular forms of mainstream media such as newspapers, magazines, television and radio.