- Identify examples of convergence in contemporary life.
- Name the five types of convergence identified by Henry Jenkins.
- Recognize how convergence is affecting culture and society.
It’s important to keep in mind that the implementation of new technologies doesn’t mean that the old ones simply vanish into dusty museums. Today’s media consumers still watch television, listen to radio, read newspapers, and become immersed in movies. The difference is that it’s now possible to do all those things through one device—be it a personal computer or a smartphone—and through the Internet. Such actions are enabled by media convergence, the process by which previously distinct technologies come to share tasks and resources. A cell phone that also takes pictures and video is an example of the convergence of digital photography, digital video, and cellular telephone technologies. An extreme, and currently nonexistent, example of technological convergence would be the so-called black box, which would combine all the functions of previously distinct technology and would be the device through which we’d receive all our news, information, entertainment, and social interaction.
Kinds of Convergence
But convergence isn’t just limited to technology. Media theorist Henry Jenkins argues that convergence isn’t an end result (as is the hypothetical black box), but instead a process that changes how media is both consumed and produced. Jenkins breaks convergence down into five categories:
- Economic convergence occurs when a company controls several products or services within the same industry. For example, in the entertainment industry a single company may have interests across many kinds of media. For example, Rupert Murdoch’s News Corporation is involved in book publishing (HarperCollins), newspapers (New York Post, The Wall Street Journal), sports (Colorado Rockies), broadcast television (Fox), cable television (FX, National Geographic Channel), film (20th Century Fox), Internet (MySpace), and many other media.
- Organic convergence is what happens when someone is watching a television show online while exchanging text messages with a friend and also listening to music in the background—the “natural” outcome of a diverse media world.
- Cultural convergence has several aspects. Stories flowing across several kinds of media platforms is one component—for example, novels that become television series (True Blood); radio dramas that become comic strips (The Shadow); even amusement park rides that become film franchises (Pirates of the Caribbean). The character Harry Potter exists in books, films, toys, and amusement park rides. Another aspect of cultural convergence is participatory culture—that is, the way media consumers are able to annotate, comment on, remix, and otherwise influence culture in unprecedented ways. The video-sharing website YouTube is a prime example of participatory culture. YouTube gives anyone with a video camera and an Internet connection the opportunity to communicate with people around the world and create and shape cultural trends.
- Global convergence is the process of geographically distant cultures influencing one another despite the distance that physically separates them. Nigeria’s cinema industry, nicknamed Nollywood, takes its cues from India’s Bollywood, which is in turn inspired by Hollywood in the United States. Tom and Jerry cartoons are popular on Arab satellite television channels. Successful American horror movies The Ring and The Grudge are remakes of Japanese hits. The advantage of global convergence is access to a wealth of cultural influence; its downside, some critics posit, is the threat of cultural imperialism, defined by Herbert Schiller as the way developing countries are “attracted, pressured, forced, and sometimes bribed into shaping social institutions to correspond to, or even promote, the values and structures of the dominating centre of the system (White, 2001).” Cultural imperialism can be a formal policy or can happen more subtly, as with the spread of outside influence through television, movies, and other cultural projects.
- Technological convergence is the merging of technologies such as the ability to watch TV shows online on sites like Hulu or to play video games on mobile phones like the Apple iPhone. When more and more different kinds of media are transformed into digital content, as Jenkins notes, “we expand the potential relationships between them and enable them to flow across platforms (Jenkins, 2001).”
Nigeria’s Nollywood produces more films annually than any other country besides India.
Paul Keller – nigerian VCDs at kwakoe – CC BY 2.0.
Effects of Convergence
Jenkins’s concept of organic convergence is perhaps the most telling. To many people, especially those who grew up in a world dominated by so-called old media, there is nothing organic about today’s media-dominated world. As a New York Times editorial recently opined, “Few objects on the planet are farther removed from nature—less, say, like a rock or an insect—than a glass and stainless steel smartphone (New York Times, 2010).” But modern American culture is plugged in as never before, and today’s high school students have never known a world where the Internet didn’t exist. Such a cultural sea change causes a significant generation gap between those who grew up with new media and those who didn’t.
A 2010 study by the Kaiser Family Foundation found that Americans aged 8 to 18 spend more than 7.5 hours with electronic devices each day—and, thanks to multitasking, they’re able to pack an average of 11 hours of media content into that 7.5 hours (Lewin, 2010). These statistics highlight some of the aspects of the new digital model of media consumption: participation and multitasking. Today’s teenagers aren’t passively sitting in front of screens, quietly absorbing information. Instead, they are sending text messages to friends, linking news articles on Facebook, commenting on YouTube videos, writing reviews of television episodes to post online, and generally engaging with the culture they consume. Convergence has also made multitasking much easier, as many devices allow users to surf the Internet, listen to music, watch videos, play games, and reply to e-mails on the same machine.
However, it’s still difficult to predict how media convergence and immersion are affecting culture, society, and individual brains. In his 2005 book Everything Bad Is Good for You, Steven Johnson argues that today’s television and video games are mentally stimulating, in that they pose a cognitive challenge and invite active engagement and problem solving. Poking fun at alarmists who see every new technology as making children stupider, Johnson jokingly cautions readers against the dangers of book reading: It “chronically understimulates the senses” and is “tragically isolating.” Even worse, books “follow a fixed linear path. You can’t control their narratives in any fashion—you simply sit back and have the story dictated to you…. This risks instilling a general passivity in our children, making them feel as though they’re powerless to change their circumstances. Reading is not an active, participatory process; it’s a submissive one (Johnson, 2005).”
A 2010 book by Nicholas Carr, The Shallows: What the Internet Is Doing to Our Brains is more pessimistic. Carr worries that the vast array of interlinked information available through the Internet is eroding attention spans and making contemporary minds distracted and less capable of deep, thoughtful engagement with complex ideas and arguments. “Once I was a scuba diver in a sea of words,” Carr reflects ruefully. “Now I zip along the surface like a guy on a Jet Ski (Carr, 2010).” Carr cites neuroscience studies showing that when people try to do two things at once, they give less attention to each and perform the tasks less carefully. In other words, multitasking makes us do a greater number of things poorly. Whatever the ultimate cognitive, social, or technological results, convergence is changing the way we relate to media today.
Video Killed the Radio Star: Convergence Kills Off Obsolete Technology—or Does It?
When was the last time you used a rotary phone? How about a street-side pay phone? Or a library’s card catalog? When you need brief, factual information, when was the last time you reached for a volume of Encyclopedia Britannica? Odds are it’s been a while. All of these habits, formerly common parts of daily life, have been rendered essentially obsolete through the progression of convergence.
But convergence hasn’t erased old technologies; instead, it may have just altered the way we use them. Take cassette tapes and Polaroid film, for example. Influential musician Thurston Moore of the band Sonic Youth recently claimed that he only listens to music on cassette. Polaroid Corporation, creators of the once-popular instant-film cameras, was driven out of business by digital photography in 2008, only to be revived 2 years later—with pop star Lady Gaga as the brand’s creative director. Several Apple iPhone apps allow users to apply effects to photos to make them look more like a Polaroid photo.
Cassettes, Polaroid cameras, and other seemingly obsolete technologies have been able to thrive—albeit in niche markets—both despite and because of Internet culture. Instead of being slick and digitized, cassette tapes and Polaroid photos are physical objects that are made more accessible and more human, according to enthusiasts, because of their flaws. “I think there’s a group of people—fans and artists alike—out there to whom music is more than just a file on your computer, more than just a folder of MP3s,” says Brad Rose, founder of a Tulsa, Oklahoma-based cassette label (Hogan, 2010). The distinctive Polaroid look—caused by uneven color saturation, underdevelopment or overdevelopment, or just daily atmospheric effects on the developing photograph—is emphatically analog. In an age of high resolution, portable printers, and camera phones, the Polaroid’s appeal to some has something to do with ideas of nostalgia and authenticity. Convergence has transformed who uses these media and for what purposes, but it hasn’t eliminated these media.
- Twenty-first century media culture is increasingly marked by convergence, or the coming together of previously distinct technologies, as in a cell phone that also allows users to take video and check e-mail.
- Media theorist Henry Jenkins identifies the five kinds of convergence as the following:
- Economic convergence is when a single company has interests across many kinds of media.
- Organic convergence is multimedia multitasking, or the natural outcome of a diverse media world.
- Cultural convergence is when stories flow across several kinds of media platforms and when readers or viewers can comment on, alter, or otherwise talk back to culture.
- Global convergence is when geographically distant cultures are able to influence one another.
- Technological convergence is when different kinds of technology merge. The most extreme example of technological convergence would be one machine that controlled every media function.
- The jury is still out on how these different types of convergence will affect people on an individual and societal level. Some theorists believe that convergence and new-media technologies make people smarter by requiring them to make decisions and interact with the media they’re consuming; others fear the digital age is giving us access to more information but leaving us shallower.
Review the viewpoints of Henry Jenkins, Steven Johnson, and Nicholas Carr. Then, answer the following questions. Each response should be a minimum of one paragraph.
- Define convergence as it relates to mass media and provide some examples of convergence you’ve observed in your life.
- Describe the five types of convergence identified by Henry Jenkins and provide an example of each type that you’ve noted in your own experience.
- How do Steven Johnson and Nicholas Carr think convergence is affecting culture and society? Whose argument do you find more compelling and why?
Carr, Nicholas The Shallows: What the Internet Is Doing to Our Brains (New York: Norton, 2010).
Hogan, Marc. “This Is Not a Mixtape,” Pitchfork, February 22, 2010, http://pitchfork.com/features/articles/7764-this-is-not-a-mixtape/2/.
Jenkins, Henry. “Convergence? I Diverge,” Technology Review, June 2001, 93.
Johnson, Steven Everything Bad Is Good for You (Riverhead, NY: Riverhead Books, 2005).
Lewin, Tamar “If Your Kids Are Awake, They’re Probably Online,” New York Times, January 20, 2010, http://www.nytimes.com/2010/01/20/education/20wired.html.
New York Times, editorial, “The Half-Life of Phones,” New York Times, June 18, 2010, http://www.nytimes.com/2010/06/20/opinion/20sun4.html1.
White, Livingston A. “Reconsidering Cultural Imperialism Theory,” TBS Journal 6 (2001), http://www.tbsjournal.com/Archives/Spring01/white.html.
This is a derivative of Understanding Media and Culture: An Introduction to Mass Communication by a publisher who has requested that they and the original author not receive attribution, which was originally released and is used under CC BY-NC-SA. This work, unless otherwise expressly stated, is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.