These new forms of companies correspond well to the notion of pooling the tool
Posted: Sun Jan 26, 2025 11:01 am
The consecration of experience The metaverse is often presented as a 3D virtual world, persistent and operating as a more or less fictional double of the real world. The particularity is to offer an experience based on the manipulation of visual signs, the 3D object for example. The 3D can be integral as in virtual reality or it can be juxtaposed with the video image captured by the phone's camera, in augmented reality.
Thus, any work of staging journalistic information gambling data brazil responds to different logics from traditional media. If we complete the adage: the radio announces, the television shows, the press explains, the metaverse offers the experience. However, an experience is above all subjective although produced. If we look at the side of entertainment companies, the rule is to establish fictional universes to frequent, in which everyone will be invited to spend as much time as possible. More prosaically, before answering the question of the metaverse, we should ask ourselves if a media can create an amusement park or an information museum.
The paradigm shift is already at this level. This great fluidity translates into a portability of information, whatever its formats, of which the narrator-broadcaster will no longer be the media (support and editorial) but the individual. The fragmented narration of the transmedia of the 2010s is accelerated with a central role of the "reader-actor", the "specter-actor" in the recomposition of the framework according to the modes and times of frequentation of these spaces. The metaverse thus consecrates the sign and the non-linearity of the production and circulation of information.
Thus, any work of staging journalistic information gambling data brazil responds to different logics from traditional media. If we complete the adage: the radio announces, the television shows, the press explains, the metaverse offers the experience. However, an experience is above all subjective although produced. If we look at the side of entertainment companies, the rule is to establish fictional universes to frequent, in which everyone will be invited to spend as much time as possible. More prosaically, before answering the question of the metaverse, we should ask ourselves if a media can create an amusement park or an information museum.
The paradigm shift is already at this level. This great fluidity translates into a portability of information, whatever its formats, of which the narrator-broadcaster will no longer be the media (support and editorial) but the individual. The fragmented narration of the transmedia of the 2010s is accelerated with a central role of the "reader-actor", the "specter-actor" in the recomposition of the framework according to the modes and times of frequentation of these spaces. The metaverse thus consecrates the sign and the non-linearity of the production and circulation of information.