Trekkies and Trekkers alike gets starry-eyed over this eclectic mixture of essays at the groundbreaking unique celebrity Trek sequence. megastar Trek writers D. C. Fontana and David Gerrold, technological know-how fiction authors corresponding to Howard Weinstein, and diverse lecturers proportion behind-the-scenes anecdotes, talk about the show's enduring attraction and impression, and view many of the vintage positive factors of the express, together with Spock's irrationality, Scotty's pessimism, and the inability of seatbelts at the company. The effect of the cultural phenomenon on next science-fiction tv courses is explored, in addition to how the exhibit laid the root for the technology fiction style to damage into the tv medium.
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Responding to a television programme (broadcasting) via an online (telecommunications) website that measures viewer responses and votes (computing) is a basic form of convergence. Being able to do all of this via a single device is a further possible result of convergence. The adaptability of digital information has enabled a particular type of industry restructuring. Service industries, including broadcasting and telecommunications, have traditionally operated in domestic markets with industries centred on standardised services delivered to mass markets.
Referring to ‘information-rich’ and ‘information-poor’ may be more relevant when considering new power arrangements; here it is not class division but the digital divide that is of significance, although new hierarchies of opportunity often map fairly directly onto existing ones. Frow has attempted to reconsider the usefulness of contemporary class identity and analysis. He argues that class should no longer be understood as dependent on economic structures; rather, it should be understood as relational among the economic, political and ideological spheres (1995: 104).
The notion of the bardic function goes beyond this, first in its insistence on the media’s role as manipulators of language, and then in its emphasis on the way the media take their mediating role as an active one, not as simply to reproduce the opinions of their owners, or the ‘experience’ of their viewers. Instead, the ‘bardic’ media take up signifying ‘raw materials’ from the societies they represent and rework them into characteristic forms which appear as ‘authentic’ and ‘true to life’, not because they are but because of the professional prestige of the bard and the familiarity and pleasure we have learnt to associate with bardic offerings.