In film, radio and television, a small number of producers sent information to a large number of consumers. With the incipient introduction of [...] an alternative to the broadcast model [...] will very likely enable a system of multiple producers/distributors/consumers, an entirely new configuration of communication relations in which the boundaries between those terms collapse.
Side 3 i Poster, Mark (1995): The Second Media Age
@roshauw:
@idaaa Jeg syns nivået på norske redaktørers tvitring har hevet seg.
@idaaa:
@roshauw Ja, det er en saklighetskultur som er kjærkommen i den norske bimedialiteten.
@svelle:
@idaaa @roshauw Twitter har ikke flere redaktører enn Klassekampen, sånn historisk sett.
@roshauw:
@idaaa @svelle Kan Klassekampen muligens være det nye TWITTER?
@idaaa:
@roshauw @svelle meget godt poeng.
@orjas:
@idaaa @roshauw @svelle Hva er dette for noe????
@roshauw:
@orjas Oooh, ikke meningen å twråkke twnorges beste twittrer på twærne. @idaaa @svelle
@hustad68:
Dykkar er dumme, heile gjengen! Dummedummedumme. Og vert dere ikkje sure nå, så loggar eg meg av.
@eidsvag:
Twitter er som smaken er som baken. Delt og deilig.
@hustad68:
@eidsvag DU er som baken. Ræva, that is.
@idaaa:
Jeg syns nivået på norske visesangeres tvittring har hevet seg.
Kilde: @roshauw
Often, these changes run against popular views about social and media networks. [...] Networks are not necessarily more 'flat', democratic, open, free, accesible, phsyically unconditional or less socially coherent than other modes of organization and communication
Side 37 i van Dijk, Jan (2006): The Network Society
This frenetic churning of new technologies, uses and meanigns is, of course, another dominant strand in the stories I have sketched: the idea that newness is necessary and valuable, that keeping up is important (and being left behind is to be feared). Things get faster, smaller, more useful, more user-friendly, and this is a good thing - or so one particular type of storytelling says.
Side 7 i Bell, David (2007): Cyberculture Theorists
