TRADITIONAL MEDIA AND NEW MEDIA TECHNOLOGY
4.0. Objective of the lesson :
The objective of this lesson is to assist you in understanding the
- Difference between verbal and non verbal communication
- Concept of traditional media
- New Media Technology
Structure of the lesson :
- Verbal and non verbal communication
- Traditional media
- New Media Technology
- Summary
- Technical Terms
- Model Questions
- Refernce Books
“Nonverbal communication involves those nonverbal stimuli in a communication setting that are generated by both the source [speaker] and his or her use of the environment and that have potential message value for the source or receiver [listener]. Basically it is sending and receiving messages in a variety of ways without the use of verbal codes (words). It is both intentional and unintentional. Most speakers/listeners are not conscious of this.
Nonverbal communication
(NVC) is usually understood as the process of communication through sending and receiving wordless messages. Such messages can be communicated through gesture; body language or posture; facial expression and eye contact; object communication such as clothing, hairstyle or even architecture; symbols and infographics; prosodic features of speech such as intonation and stress and other paralinguistic features of speech such as voice quality, emotion and speaking style.
Scholars in this field usually use a strict sense of the term “verbal”, meaning “of or concerned with words,” and do not use “verbal communicate” as a synonyn for oral or spoken communication. Thus, sign lan- guages and writing are generally understood as form of verbal communication, as both make use of words
- although like speech, bothe may contain paralinguistic elements and often occur alongside nonverbal Nonverbal communication can occur through any sensory channel – sight, sound, smell, touch or taste.
Nonverbal communication is distinguished from unconscious communication, which may be verbal or non- verbal.
According to Mehrabian, these three elements account differently for our liking for the person who puts forward the message: words account for 7%, tone of voice accounts for 38%, and body language accounts for 55% of the liking. They are no often abbreviated as the “3 Vs” for Verbal, Vocal & Visual.
For effective and meaningful communication about emotions, these three parts of the message need to support each other – they have to be “congruent”. In case of any “incongruency”, the receiver of the message might be irritated by two messages coming from two different channels, giving cues in two different directions.
The following example should help illustrate incongruence in verbal and non-verbal communication.
Verbal : “I do not have a problem with you!”
Non-verbal : person avoids eye-contact, looks anxious, has a closed body language, etc.
It becomes more likely that the receiver will trust the predominant form of communication, which to Mehrabian’s findings is non-verbal (38+55%), rather than the literal meaning of the words (7%).
It is important to say that in the respective study, Mehrabian conducted experiments dealing with communi- cations of feelings and attitudes (i.e., like-dislike), and that the above, disproportionate influence of tone of voice and body language becomes effective only when the situation is ambiguous. Such ambuigity ap- pears mostly when the words spoken are inconsistent with the tone of voice or body language of the speaker (sender).
“Nonverbal communication involves those nonverbal stimuli in a communication setting that are generated by both the source (speaker) and his or her use of the environment and that have potential message value for the source or receiver (listener). Basically it is sending and receiving messages in a variety of ways without the use of verbal codes (words). It is both intentional and unintentional. Most speakers/listeners are not conscious of this. It includes – but is not limited to:
- touch
- glance
- eye contact (gaze)
- volume
- vocal nuance
- proximity
- gestures
- facial expression? pause (silence)
- intonation
- dress
- posture
- smell
- word choice and syntax
- sounds (paralanguage)
Broadly speaking, there are two basic categories of non-verbal language:
nonverbal message produced by the body;
nonverbal message produced by the broad setting (time, space, silence)
Why is non-verbal communication important?
Basically, it is one of the key aspects of communication (and especially important in a high-context cul- ture). It has multiple functions:
Used to repeat the verbal message (e.g. point in a direction while stating directions.
Often used to accent a verbal message. (e.g. verbal tone indicate the actual meaning of the specific words).
Often complement the verbal message but also may contradict. E.g: a nod reinforces a positive message (among Americians); a “wink” may contradict a stated positive message.
Regulate interactions (non-verbal cues covey when the other person should speak or not speak). May substitute for the verbal message (especially if it is blocked by noise, interruption, etc) – i.e. gestures (finger to lips to indicate need for quiet), facial expression (i.e. a nod instead of a yes).
Note the implications of the proverb: “Actions speak louder than words.” In essence, this underscores the importance of non-verbal communication. Non-verbal communication is especially significant in intercul- tural situations. Probably non-verbal differences account for typical difficulties in communicating.
Cultural Differences in Non-verbal Communication General Appearance and Dress
All cultures are concerned for how they look and make judgements based on looks and dress. Amercians, for instance, appear almost obsessed with dress and personal attractiveness. Consider differing cultural
Body Movement
We send information on attitude toward person (facing or learning towards another), emotional statue (tapping fingers, jiggling coins), and desire to control the environment (moving towards or away from a person).
More than 700,000 possible motions we can make – so impossible to categorize them all! But just need to be aware the body movement and position is a key ingredient in sending messages.
Posture
Consider the following actions and note cultural differences:
Bowing (not done, criticized, or affected in US; shows rank in Japan) Slouching (rude in most Northern European areas)
Hands in pocket (disrespectful in Turkey)
Sitting with legs crossed (offensive in Ghana, Turkey) Showing soles of feet. (Offensive in Thailand, Saudi Arabia)
Even in US, there is a gender difference on acceptable posture?
Gestures
Impossible to catalog them all. But need to recognize: 1) incredible possibility and variety and 2) that an acceptable in one’s own culture may be offensive in another. In addition, amount of gesturing varies from culture of culture. Some cultures are animated; other restrained. Restrained cultures often feel animated cultures lack manners and overall restraint. Animated cultures often feel restrained cultures lack emotion or interest.
Even simple things like using hands to point and count differ.
Pointing : US with index finger; Germany with little finger; Japanese with entire hand (in fact most Asians consider pointing with index finger to be rude)
Counting : Thumb = 1 in Germany, 5 in Japan, middle finger for 1 in Indonesia.
Facial Expressions
While some say that facial expressions are identical, meaning attached to them differs. Majority opinion is that these do have similar meanings world-wide with respect to smiling, crying, or showing anger, sorrow, or disgust. However, the intensity varies from culture to culture. Note the following:
Many Asian cultures suppress facial expression as much as possible. Standards on what is attractive in dress and on what constitutes modesty. Note ways dress is used as a sign of status? Many Mediterranean (Latino/Arabic) cultures exaggerate grief or sadness while most American men hide grief or sorrow.
Some see “animated” expressions as a sign of a lack of control. Too much smiling is viewed in as a sign of shallowness.
Women smile more than men.
Eye Contact and Gaze
In USA, eye contact indicates: degree of attention or interest, influences attitude change or persuasion, regulates interaction, communicates emotion, defines power and status, and has a central role in manag- ing impressions of others.
Western cultures – see direct eye to eye contact as positive (advise children to look a person in the eyes). But within USA, African-American use more eye contact when talking and less when listening with reverse true for Anglo Americans. This is a possible cause for some sense of unease between races in US. A prolonged gaze is often seen as a sign of sexual interest.
Arabic cultures make prolonged eye-contact. – believe it shows interest and helps them understand truthfulness of the other person. (A person who doesn’t reciprocate is seen as untrustworthy)
Japan, Africa, Latin American, Caribbean – avoid eye contact to show respect.
Touch
Queston: Why do we touch, where do we touch, and what meanings do we assign when someone else touches us?
Illustration: An African-American male goes into a convenience store recently taken over by new Korean immigrants. He gives a $20 bill for his purchase to Mrs Cho who is cashier and waits for his change. He is upset when his change is put down on the counter in front of him.
What is the problem? Traditional Korean (and many other Asian countries) don’t touch strangers., espe- cially between members of the opposite sex. But the African-American sees this as another example of discrimination (not touching him because he is black).
Basic answer: Touch is culturally determined! But each culture has a clear concept of what parts of the body one may not toucch. Basic message of touch is to affect to control – protect, support, disapprove (i.e.hug, kiss, hit, kick).
USA – handshake is common (even for strangers), hugs, kisses for those of opposite gender or of family (usually) on an increasingly more intimate basis. Note differences between African-Americans and Anglos in USA. Most African American touch on greeting but are annoyed if touched on the head (good boy, good girl overtones).
Islamic cultures generally don’t approve of any touching between genders (even hand shakes). But consider such touching (including hand holding, hugs) between same-sex to be appropriate.
Many Asians don’t touch the head (Head houses the soul and a touch puts it in jeopardy).
Basic patterns: Cultures (English, German, Scandinavian, Chinese, Japanese) with high emotional re- straint concepts have little public touch; those which encourage emotion (Latino, Middle-East-Jewish) accept frequent touches.
Smell
USA – fear of offensive natural smells (billion dollar industry to mask objectionable odors with what is perceived to be pleasant) – again connected with “attractiveness” concept.
Many other cultures consider natural body odors as normal (Arabic).
Asian cultures (Filipino, Malay, Indonesian, Thai, Indian) stress frequent bathing – and often criticize USA of not bathing often enough!
Paralanguage
Vocal characterizers (laugh, cry, yell, moan, whine, belch, yawn). These send different messages in different cultures (Japan – giggling indicates embarrassment; India – belch indicates satisfication)
Vocal qualifiers (volume, pitch, rhythm, tempo, and tone). Loudness indicates strength in Arabic cultures and softness indicates weakness; indicates confidence and authority to the Germans; indicates impolite- ness to the Thais; indicates loss of control to the Japanese. (Generally, one learns not to “shout” in Asia for nearly any reason!) Gender based as well: women tend to speak higher and more softly than men. Vocal
segregates (un-huh, shh,uh, ooh, mmmh, humm, eh, mah, lah). Segregates indicate formality, accep- tance, assent, uncertainty.
NON-VERBAL COMMUNICATION : CUES, SIGNALS AND SYMBOLS
Cues
A cue is a type of communication used by an adult to let a child know what is expected of him/her in a given situation. Cues are a type of receptive communication.
Designing and using a consistent routine is the beginning of teaching cues. Given time in this type of the routine, the child will first begin to anticipate his/her part in the routine. Given more experience with the Touch cues are ways an adult can touch a child to communicate a desired action. For example, an adult may gently pull a child’s arm upward with a grasp at the wrist to cue the child to lift arm during a dressing routine.
A sensory cues is some sensory input used to help a child anticipate an event: For example, a smell of lotion before it is applied to the child’s arm or the sound of water splashing before placing the child in the bathtub.
Object cues are some concrete piece of a routine that is used to represent that routine. For example, a diaper may be an object cue for diaper changing.
When deciding what cues to use with a child, it is important to remember to select cues that the child can easily discriminate one from the other. Otherwise the cues may be confusing to the child.
Signals
Signals are movements the child uses to communicate needs, desires and feelings to adults. Signals are a form of expressive communication.
Signals may start as a behavior that the child is not intentionally using to communicate. But because an adult consistently responds to this behavior, the child begins to understand that producing this behavior causes a particular event to occur.
For example, a child may inadvertently clap hands with an adult. If hand clapping is enjoyable for the child and the adult consistently responds by hand clapping with the child may signal for more hand clapping by clapping the adults hand again. Signals are usually first seen within an already occuring activity. As the child becomes more sophisticated, he or she may produce the signal to initiate the activity.
Symbols
Symbols are representations of an event, action, object, person, or place that can be used to communi- cate about the event, action, object, person, or place. Symbols can be used for both receptive and expres- sive communication. Objects, parts of objects, pictures, print, actions, gestures, signs, and speech can all be symbols.
Symbols may start as cues and signals. If a child recognizes a cue out of context, that cue may be acting as a symbol. If a child uses a signal or an object cue to communicate about an event, action, object, person or place out of context, the child may be using that signal or cue as a symbol.
The more a symbol resembles what it represents, the more concrete that symbol is. The less a symbol resembles what it represents, the more abstract that symbol is. An example of a concrete symbol would be a spoon, used during mealtimes, to represent mealtime. A less concrete (or more abstract) symbol would be a small line drawing of a person eating.
The spoken phrase “time to eat” would be the most abstract because those sounds don’t look, smell, or feel like food or the action of eating. Concrete symbols are more easily associated with what they repre- sent than are abstract symbols. When determining how closely a symbol resembles an event, action, object, person, or place it is important to consider how the child perceives that event, action, object
person, or place. For example, a symbol based on visual similarities may not be as concrete for a person with a visual impairment as it would be for an individual who is fully sighted. A symbol based on an action may be abstract for an individual with physical impairment such that he/she had never performed that action.
Verbal Communica
Verbal Communication is communication that occurs through sound or the use of human speech. It has already been dealt with in lesson 1 of Unit 1.
Traditional media comprise the indegenous communication forms of a particular region. These are also called as cultural forms ranging from simple song and dance forms to complex classical expressions of theatre arts and puppetry. Traditional media are expected to relate to the audience as it is closer to their way of living and culture. Some poppular traditional media of Andhra Pradesh includes Burrakatha, Harikatha, puppetry, Janapada Geethalu (folk songs) and dance forms like kuchipudi and lambadi.
The urge to express, communicate, and share something beautiful gave birth to performing arts such as folk and traditional media. In the process, the living progressive impulse to the timeless universal got a coherent shape in creative designs. Folk performing arts have changed structure continuously over centuries, modifying to the needs of changing situations, yet continuing to be functionally relevant to society. “Tradition” suggests a process of the transmission of age-old values and the contextual manifesta- tion and interpretation of the universal. Tradition is not only a repetitive behavioural pattern or some persistent symbol or motif in community culture; it is also an assertion of an identity, a revival and regen- eration of the life-force of the community. Traditional media rely on this cultural support and context.
90% of the world’s population lives in developing countries and 70% of them live in rural areas. Mass media such as newspapers, television, and the internet do not effectively reach these people, or as many research studies show, these media do not have the required impact in terms of motivating change and development. The high rate of illiteracy added to the inadequate reach of mass media impede almost 80% of India’s population who reside in the rural areas. Folk arts and traditional media are the aesthetic compo- nents of the concepts of belonging and affinity in a cultural context. In traditional societies, art is an integral part of the process of living in the community.
For social change and development, what is required is a change in the beliefs and the value systems of individuals, thus making them more adaptive and responsive to organic evolution and growth. The role of the development communicator is to find communicative ways to influence these beliefs and value sys- tems.
The communication potential of Indian traditional performing arts has been proven time and again through- out history: Alha, the popular ballad of Uttar Pradesh, and its counterparts like Laavani of Maharashtra.
Gee-gee of Karnataka, Villupaattu of Tamil Nadu, and Kabigan of Bengal (which changed their content and focus depending on the contemporary need), were effective in arousing the conscience of the people against the colonial rule of the British; traditional media became effective in the many political and social campaigns launched by Mahatma Gandhi; and, after independence, the Union government continued to utilise these traditional performing arts to convey messages and generate awareness of development programmes in the rural areas.
Unlike Western theatre, folk performance is a composite art in India; it is a fusion of elements from music, dance, pantomines, versification, spic and ballad recitation, graphic and plastic arts, and religious and festival pageantry, it encompasses ceremonial rituals, beliefs and social value systems. It has deep religious and ritualistic overtones and it can project social life, secular themes, and universal values.
One type of folk art, puppetry, is indigenous to India; from time immemorial, it has been a popular and appreciated from of entertainment throughout India. The stylised Vocabulary of puppet theatre in India carries relevant messages of social awareness, historical and traditional identity, and moral value systems. Puppet theatre is fully integrated in the ritual observances and the social milieu of the rural people in India. Puppet theatre has shown remarkable staying power as societies have changed.
The 1947 New Delhi seminar of the United Nations Educational, Scientific and Cultural Organization (UNESCO). focused specifically on the potential of the various forms of traditional media and the tech- nique of the production as well as their integration with mass media for motivational purposes. This particular seminar was notable because it generated a number of guiding principles on how to use tradi- tional or folk media for motivational purposes and for promoting development programmes.
Folk media should be an integral part of any communication programme for rural development. Wherever possible, these should be integrated with mass media but in all cases, integration with ongoing extension work is vital. The prerequisites to the use of folk media are:
- an understanding of the rural audience; and
- the use of these media to provide rural people with entertainment in order to attracrt their attention and to ensure their participation in developmental
The significance of folk arts in social and political communication was felt and recognised by Jawaharlal Nehru who one said, “I am greatly interested in the development of a people’s theatre in India. I think there is a great room for it, provided it is based on the people and their traditions. Otherwise it is likely to function in the air. It is a people’s approach. Nevertheless, I think an effort should be made in the direction.” (IPTA bulletin, 1943).
For example, in the 1940s, the traditional theatre of Bengal became a symbol for the anti-colonial struggle, and the Bengali elite who had previously ignored or denigrated traditional theatre began to give importance to these performing arts. Rabindranath Tagore and others advocated the use of traditional theatre in programmes of cultural revival and anti-colonial protest in the context of rural fairs and festivals.
In the 1920s the playwright Mukunda Das transformed the rural folk form of Jatra, which had earlier dealt with historical or mythological themes, and created a new form of Swadeshi or Nationalist Jatra which dealt with contemporary themes of colonial injustice, caste oppression and feudal exploitation. The colo- nial government sent him to prison. The Indian People’s theatre Association (IPTA) was formed at this same time. This operated all over India but its strongest contingent was in Bengal.
In 1943, during the Bengal famine in which five million people starved to death, the Bengal IPTA troupe traveled all over India performing a play exposing hoarders and black-marketeers and launching a cam- paign to save food.
The Ramalila of Ramnagar near Varanasi is one theatrical genre which currently provides an opportunity for the young and old, rich and poor to come together for 16 to 20 days preceding the Dussehra to witness a vast pageant of human life. Each section of the city constructs raised platforms or transforms streets, terraces, or gardens into palaces, woods, and streams.
The whole city is the stage, the arena, of the performance. The play moves sequentially day after day and the audience moves with it from locale to locale.
Puppets are increasingly being used as a strategy for addressing varied development issues such as educating children, encouraging scientific methods of farming, promoting the use of fertilizers, etc. The Song and Drama Division of the Government of India makes wide use of puppets in its campaigns to promote various government projects, and Life Insurance Corporation of India used puppets to educate the rural masses about life insurance, enlisting the help of the Literacy House in Lucknow.
During the general elections, members of the various political parties used folk songs for campaigning and presented humorous skits to ridieule the opposition’s candidates and win support for their own candidates. Swang and Ragini have been effectively utilised by political parties in Haryana. Kabigaan and Tarza have been used by IPTA groups to support candidates of the communist parties in Bengal. Tamasha and Lavani in Maharashtra have been extensively used for political propaganda in the State.
The utilisation of folk media in communication programmes should be viewed not only from the perspec- tives of political and socio-economic development but also from that of cultural development. Folklore needs to retain social authenticity.
Source : www.comminit.com
The folk forms have evolved gradually, and wherever they are flexible they retain appeal to the rural people. Not all folk forms can be used for development communication purposes; thus, they should be carefully studied from the points of view of content and characterisation for their possible adaptation for development purposes. Folk media productions should be consistent with the needs of the social context and related to the customs and beliefs of the local communities. Since folk media have sociological roots, their utilisation should be related to local events and their function in the local communications strategy should be properly assigned.
Efforts should be made to preserve the originality of each folk form; adaptation need not alter nor destroy the form. For effective community-level communication strategies, the integrated and planned use of both folk and mass media is necessary for achieving optimum impact and for obtaining desired feedback.
Collaboration between the folk artists and the media producers is absolutely essential for the successful integration of folk media and mass media communication strategies for development pruposes.
Peasants, agricultural labourers, bonded labourers, women, tribals, and other oppressed groups are rediscovering the potential of folk and traditional performing arts as a weapon in their struggle for land, better health status, better working and living conditions, and human rights. Many development planners in the Third World are beginning to appreciate the use of folk media as a mode of communication to explain development programmes. Government agencies, international organisations, and donor agencies should progressively use this important and powerful communication tool as a means for mobilising people for economic and social development.
New media refers to forms of human and media communication that have been transformed by the creative use of technology to fulfill the basic social need to interact and transact. Although the technologies for new media have been in existence for decades, it is only in recent years that these technologies have become intuitive enough for non-experts to use. Improved usability, coupled with innovative uses of new media, have resulted in its increased popularity. The new media buzz is also fed by spirals of new media innovations.
Although definitions of the term vary, it is sometimes assumed to imply two consistent characteristics:
Uniquely individualized information can simultaneously be delivered or displayed to a potentially limitless number of people . All involved (publishers, broadcasters and consumers) share equal or reciprocal control over content. A broader view, which seems to fit the number of companies and organisations describing themselves as new media, is that the term can refer to any type of media that is used for public relations or marketing, if it is more electronically sophisticated than an animated flashing neon sign. Such organisations may be seeing “new media” as another term for digital media, whilst those discussing the term tend to see it as more related to a hypothetical future of digital media.
What counts as new media is often debated, and is dependent on the definitions used. The following are fairly firmly established as part of the remit of at least some companies that claim to deal in new media:
- Video games and virtual worlds as they impact marketing and public
- Multimedia CD-ROMs
- Software
- Web site including brochurware
- Corporate blogs and wikis
- Email and attachments
- Electronic kiosks
- Interactive television
- Mobile devices
- Podcasting
- Hypertext fiction
Old media and new media
The distinction between “new media” and old media is not distinct. From 1995 to 2004, old media started to expand into producing new media, thus blurring the boundaries between the two. Much old media content was re-purposed in a new digital format. but with little substantial change, but ‘old media’ produc- ers are now starting to make content specifically for new media audiences. In a sense, the oldest media have never died, but the tools we’ve used have. Recorded sound is content of artistic expression, CDs and records are merely delivery technologies: media to deliver the content.
The term ‘new media’ gained popular currency in the mid 1990s as part of a marketing pitch for the proliferation of interactive educational and entertainment CD-ROMs. One of the key features of this early new media was the implication that corporations, not individual creators, would control copyright. The term then became far more widely used as the mass consumer internet began to emerge from 1995 onwards.
New media can be seen to be a convergence between the history of two separate technologies: media and computing. These technologies both began back in the 1830s with Daguerre’s daguerreotype and Babbage’s Analytical Engine.
Computers (for performing calculations) and modern media technologies (e.g. celluloid film, photographic plates, gramophone records) started to become inter-connected during the 20th Century and these trajectories began to converge by the translation of existing media into binary information to be stored digitally on computers.
Therefore, new media can now be defined as “graphics, moving images, sounds, spaces, and texts that have become computable; that is, they comprise simply another set of computer data.”
Nonverbal communication (NVC) is usually understood as the process of communication through sending and receiving wordless messages. Such messages can be communicated through gesture; body language or posture; facial expression and eye contact; object communication such as clothing, hairstyles or even architecture; symbols and infographics; prosodic features of speech such as intonation and stress and other paralinguistic features of speech such as voice quality, emotion and speaking style.
Nonverbal communication is distinguished from unconscious communication. which may be verbal or non- verbal.
According to Mehrabian, these three elements account differently for our liking for the person who puts forward the message: words account for 7% tone of voice accounts for 38%, and body language accounts for 55% of the liking. They are often abbreviated as the “3 Vs” for Verbal, Vocal & Visual.
There are several cultural differences in non verbal communication that invovles facial expressions, gestures, posture, body movements, etc. A cue is a type of communication used by an adult to let a child know what is expected of him/her in a given situation. Cues are a type of receptive communication.
Signals are movements the child uses to communicate needs, desires and feelings to adults. Signals are a form of expressive communication.
Symbols are representations of an event, action, object, person, or place that can be used to communi- cate about the event, action, object, person, or place. Symbols can be used for both receptive and expres- sive communication Objects, parts of objects, pictures, print, actions, gestures, signs, and speech can all be symbols. Symbols may start as cues and signals. If a child recognizes a cue out of context, that cue may be acting as a symbol. If a child uses a signal or an object cue to communicate about an event, action, object, person or place out of context, the child may be using that signal or cue as a symbol.
Traditional media comprise the indegenous communication forms of a particular region. These are also called as cultural forms ranging from simple song and dance forms to complex classical expressions of theatre arts and puppetry. Traditional media are expected to relate to the audience as it is closer to their way of living and culture Some poppular traditional media of Andhra Pradesh includes Burrakatha, Harikatha, puppetry, Janapada Geethalu (folk songs) and dance forms like kuchipudi and lambadi.
Utilisation of folk media in communication programmes should be viewed not only from the perspectives of political and socio-economic development but also from that of cultural development. Folklore needs to retain social authenticity. The folk forms have evolved gradually, and wherever they are flexible they retain their appeal to the rural people.
Not all folk forms can be used for development communication purposes; thus, they should be carefully studied from the points of view of content and characterisation for their possible adaptation for develop- ment purposes. Folk media productions should be consistent with the needs of the social context and related to the customs and beliefs of the local communities. Since folk media have sociological roots, their utilisation should be related to local events and their function in the local communication strategy should be properly assigned.
New media refers to forms of human and media communication that have been transformed by the creative use of technology to fulfil the basic social need to interact and transact.
Although the technologies for new media have been in existence for decades, it is only in recent years that these technologies have become intuitive enough for non-experts to use. Improved usability, coupled with innovative uses of new media, have resulted in its increased popularity. The new media buzz is also fed by spirals of new media innovations.
Although definitions of the term vary, it is sometimes assumed to imply two consistent characteristics:
Uniquely individualized information can simultaneously be delivered or displayed to a potentially limitless number of people. New media can be defined as “graphics, moving images, sounds, shapes, spaces, and texts that have become computable; that is, they comprise simply another set of computer data.”
Therefore, new media can now be defined as “graphics, moving images, sounds, shapes, spaces, and texts that have become computable; that is, they comprise simply another set of computer data.”
Nonverbal communication : The process of communication through sending and receiving wordless messages
Cue : a cue is a type of communication used by an adult to let a child know what is expected of him/her in a given situation. Cues are a type of receptive communication.
Signals : Signals are movements the child uses to communicate needs, desires and feelings to adults. Signals are a form of expressive communication.
Symbols : Symbols are representaton of an event, action, object, person, or place that can be used to communicate about the event, action, object, person, or place.
Verbal Communication : Communication that occurs through sound or the use of human speech.
Traditional media : Media that comprise the indegenous communication forms of a particular region.
New Media : New media refers to forms of human and media communication that have been transformed by the creative use of technology to fulfil the basic social need to interact and transact.
- Distinguish between verbal and non verbal
- Elaborately describe non verbal communication with
- What are traditional media? How can they be used in development communication?
- What are new media? Give
