Mass Communication

 To prepare for this Reflection:

· Review the articles “The New Media Age” and “Building Creative Communities: The Role of Art and Culture.”

· Consider how you intend to use mass communication to achieve your personal and/or professional goals.

· Reflect upon what you can do to help your current or prospective company or organization make the best use of mass communication.

· Consider how this course has made you more conscious of the message, medium, and modes through which you absorb mass communication. How will this consciousness affect the ways in which you choose to dispense media?

· Reflect upon how your opinions, beliefs, and philosophies about mass communication have changed since the beginning of this course. What were the changes?
Write a 1- to 2-page composition focused on one trend of mass communication  that may affect your current or prospective career goals in Human Resources Management. How will this trend change how you pursue your career goals, how you may work in your chosen career, and how you will interact with others (on both a small and a large scale) while in your chosen career?

See attachments for articles

The New Media Age
End of the Written Word?

People in the developed world are spending
less time reading books and more time
interacting with visual media—television,
podcasts, and video games—than ever
before. According to the National
Assessment of Education, the proportion
of 17-year-olds who read for enjoyment
“almost every day” fell from 31% to 22%
between 1984 and 2004. Meanwhile,
television watching continues to rise
about 3% a year, and almost 87% of kids
aged 8 to 17 now have a video-game
player in their home. What do these
evolving trends mean for the future?
In this special section, Mind
Set! author John Naisbitt,
along with Michael Rogers,
William Crossman,
Edward N. Luttwak, Joe
Lambert, Peter Wagschal,
and Christine Rosen
explore what our
emerging visual culture
means for the written
word and the future of
civilization.

— Patrick Tucker,
assistant editor

IMAGES COURTESY OF KATJA DE BRUIJN-GOVORUSHCHENKO / ISTOCKPHOTO.COM / PHOTOS.COM

THE FUTURIST March-April 2007 www.wfs.org 23

©2007 World Future Societ y • 7910 Woodmont Avenue, Suite 450, Bethesda, MD 20814, U.S.A. • All rights reserved.

Cities across the globe are strug-
gling today to reinvent themselves
for the postindustrial economy
anticipated by sociologist Daniel Bell
and others in the 1960s.

Many communities have been
adapting their communications
infrastructure to meet the needs of
an age in which information is the
most valuable commodity. Most of
these initiatives, such as the U.S. Na-
tional Information Infrastructure and
Singapore’s Intelligent Island, focus
on the technological aspects of the
postindustrial economy.

San Diego even commissioned a
City of the Future committee in 1993
to make plans to build the first fiber-
optic-wired city in the United States
in the belief that, just as cities of the
past were built along waterways,
railroads, and interstate highways,
the cities of the future will be built
along “information highways”—
wired and wireless information
pathways connecting every home,
office, school, and hospital and,
through the World Wide Web, mil-
lions of other individuals and insti-
tutions around the world.

These new information
infrastructures are un-
doubtedly important. But
creating a twenty-first-
century city is not so much
a question of technology as
it is of jobs, dollars, and

quality of life. A community’s plan
to reinvent itself for the new,
knowledge-based economy and
society therefore requires educating
all its citizens about this new global
revolution in the nature of work. To
succeed, cities must prepare their
citizens to take ownership of their
communities and educate the next
generation of leaders and workers to
meet the new global challenges of
what has now been termed the “Cre-
ative Economy.”

At the heart of such an effort is
recognition of the vital roles that art
and culture play in enhancing eco-
nomic development and, ultimately,
defining a “creative community”—a
community that exploits the vital
linkages among art, culture, and
commerce. Communities that con-
sciously invest in these broader
human and financial resources are at
the very forefront in preparing their
citizens to meet the challenges of the
rapidly evolving, and now global,
knowledge-based economy and
society.

Cyberspace and Cyberplace
The mammoth global network of

computer systems collectively re-
ferred to as the Internet has blos-
somed from an obscure tool used by
government researchers and aca-

18 THE FUTURIST March-April 2006 www.wfs.org

Building Creative
The Role of Art and Culture
A leading authority on information technology argues that cities must

nurture the creative potential and community engagement of their citizens.

By John M. Eger

The Intelligent Community
Forum recently selected the
city of Sunderland, England,
as one of the world’s “top seven
intelligent communities of 2005.”
The Forum’s judging was based
on such factors as the availabil-
ity of broadband infrastructure,
the presence of a knowledge-
based workforce, a communal
focus on innovation, and a pro-
gressive social and political
culture.

ONE NORTHEAST / LONDON PRESS SERVICE

©2006 World Future Society • 7910 Woodmont Avenue, Suite 450, Bethesda, MD 20814, U.S.A. • All rights reserved.

demics into a worldwide mass com-
munications medium. The Internet is
now recognized as the leading car-
rier of all communications and fi-
nancial transactions affecting life
and work in the twenty-first century.

Internet usage statistics point to
one billion users worldwide, with a
growth rate of 15% per month. The
World Wide Web, the Internet’s most
popular component, is being inte-
grated into the marketing, informa-
tion, and communications strategies
of almost every major corporation,
educational institution, charitable
and political organization, commu-
nity service agency, and government
entity in the developed world. No

previous communications advance
has been adopted by the public so
widely so rapidly.

Many people are concerned about
where this phenomenon ultimately
will lead. Predictions range from
electronic “virtual communities,” in
which individuals interact socially
with like-minded Internet users
around the world, to fully net-
worked dwellings in which elec-
tronic devices and other appliances

THE FUTURIST March-April 2006 www.wfs.org 19

Communities:

Cyberspace to cyberplace: Communities
in which citizens are connected and creative
will become stronger and more vital in the
Creative Economy.

PHOTOS.COM

respond to the spoken commands of
residents.

In recent years, people habitually
have referred to the domain in which
Internet-based communications oc-
cur as cyberspace, an abstract commu-
nications space that exists both
everywhere and nowhere. But until
flesh-and-blood humans can be digi-
tized into electronic pulses in the
same way that computer scientists
transform images and data, the
denizens of cyberspace will have to
continue living in some sort of real
physical space—a home, a neighbor-
hood, and a community.

Many communities, often without
being directly conscious of it, are be-
ginning to design the initial blue-
prints for the cyberplaces of the
twenty-first century. As early as 1976,
the French government launched an
aggressive plan called Télématique,
which sought to place computers on
every desktop and in every residence
in France. Singapore’s Intelligent Is-
land plan includes the world’s first
nationwide broadband network,
Singapore ONE. Japan is working
toward an electronic future known
as Teletopia, with 150 municipalities
transforming themselves into “cyber-
cities” specializing in various indus-
trial applications of information
technology. Dubai has launched its
Internet City, and Torino, Italy, has
its Infoville initiative. In the United
States in the mid-1990s, the Clinton
administration unveiled the ambi-
tious National Information Infra-
structure initiative, with the goal of
linking every school and school-age
child to the Internet by the turn of
the century.

The state of California in 1996
launched its statewide Smart Com-
munities program, recognizing that
electronic networks like these will
play an increasingly important role
in the economic competitiveness of
its municipalities. The underlying
premise of the California initiative is
that smart communities are not, at
their core, exercises in the deploy-
ment and use of technology, but
rather active tools in the promotion

of economic development, job
growth, and higher living standards
overall. In other words, technological
propagation in smart communities is
not an end in itself, but rather a
means to a larger end with clear and
compelling benefits for communities.

We have learned a great deal about
the challenges that cities face in a
new global “information economy,”
an economy based on something
other than the production of goods
and services or agriculture. Al-
though these basic industries con-
tinue, the new economy relies on the
production, use, and transfer of in-
formation and knowledge.

In fact, one distinct possibility is
that cities of the future will not be
cities in the usual sense, but rather
powerful regional economies.
Kenichi Ohmae, author of The Bor-
derless World (1999), suggests we are
witnessing the resurgence of the age-
old concept of the city-state or, as he
prefers, the “region-state.” The new
region-state has the power and au-
thority to take ownership of its own
future and establish a governing
process reflecting a new model of
government for the digital age.

Civic engagement and new civic
“ c o l l a b o r a t o r i e s ” ( c o l l a b o r a t i ve
projects and endeavors) will also be

needed to help reinvent our great
cities to reclaim the sense of place
and civic pride they once possessed,
as well as to ensure that no one is left
behind. In The Magic of Dialogue:
Tr a n s f o r m i n g C o n f l i c t i n t o C o –
operation (1999), Daniel Yankelovich
argues that there is a “struggle
between two one-sided visions of
our future: the vision of the free mar-
ket and the vision of the civil
society.” Citizens need to create the
“social capital” that distinguishes
their communities, and in the
process close the gap between the
electorate and those they elect, as
Robert D. Putnam put it in his semi-
nal work Bowling Alone (2000).

Cities of the future no doubt will
be “creative communities” in the
sense that they recognize art and cul-
ture as vital, not only to a region’s
livability, but also to the prepared-
ness of its workforce. Future cities
will understand that art-infused ed-
ucation is critical to producing the
next generation of leaders and work-
ers for the knowledge economy.
While art, music, and all things cul-
tural have been enjoyed and appreci-
ated by every generation, there has
often been an often unspoken as-
sumption that they were nonessen-
tial, even frills. Today, the demand

20 THE FUTURIST March-April 2006 www.wfs.org

Many communities, often without being
consciously aware of it, are already
designing the initial blueprints for the
“cyberplaces” of the twenty-first century.

PHOTOS.COM

for creativity has outpaced the abil-
i t y o f m o s t n a t i o n s t o p r o d u c e
enough workers simply to meet their
needs.

Jobs in the Creative Age
Worrying about the lack of quali-

fied workers in this day and age may
sound odd. With the globalization of
media and markets in full bloom,
America, for example, is beginning
to see the outlines of yet another out-
migration of jobs, unleashing new
concerns about rising unemploy-
ment. Many economists are alarmed
that the latest round of losses, unlike
the earlier shift of manufacturing
jobs to Taiwan and less-developed
East Asian countries, will have a dra-
matic impact on America’s wealth
and well-being.

Twenty years ago, it was fashion-
able to blame foreign competition
and cheap labor markets abroad for
the loss of U.S. manufacturing jobs,
but the pain of the loss was softened
by the emergence of a new services
industry. Now that the service sector
has also widely automated itself,
banking, insurance, and telecommu-
nications firms are eliminating layers
of management and infrastructure.
The traditional corporate pyramid is
disappearing, replaced by highly
skilled professional work teams.
S t a t e – o f – t h e a r t s o f t w a r e a n d
telecommunications technologies
now enable any kind of enterprise to
maximize efficiency and productiv-
ity by employing foreign workers
wherever they are located, making
the service-sector jobs even more
precious. Forrester Research Inc., a
market-research firm, estimates that
some 3.3 million service jobs will
move out of the United States over
the next 10 to 15 years. Others put
that number at 15 million and say
the results will be devastating for the
U.S. economy.

While CEOs, economists, and
politicians are telling us that these
are short-term adjustments, it is clear
that the pervasive spread of the
Internet, digitization, and the avail-
ability of white-collar skills abroad
mean potentially huge cost savings
for global corporations. Conse-
quently, this shift of high-tech ser-
vice jobs will be a permanent feature

of economic life in the twenty-first
century—but this does not necessar-
ily mean the news is all bad for
workers in the United States and
other developed countries.

Some economists believe that
globalization and digitization will
improve the profits and efficiency of
American corporations and set the
stage for the next big growth-gener-
ating breakthrough. But what will
that be?

A number of think tanks, includ-
ing Japan’s Nomura Research Insti-
tute, argue that the elements are in
place for the advance of the Creative
Age, a period in which free, demo-
cratic nations thrive and prosper
because of their tolerance for dissent,
respect for individual enterprise,
freedom of expression, and recogni-
tion that innovation, not mass pro-
duction of low-value goods and ser-
vices, is the driving force for the new
economy.

The new economy’s demand for
creativity has manifested itself in the
emergence and growth of what
author Richard Florida has termed
the Creative Class. Although Florida
defines this demographic group very
broadly, he does a convincing job of
underscoring the facts of life and
work in the new knowledge econ-
omy. As he points out, “every aspect
and every manifestation of creativ-
ity—cultural, technological, and eco-
nomic—is inextricably linked.”

By tracking certain migration pat-
terns and trends, Florida did a huge
service for those struggling to rede-
fine their communities for the new
knowledge economy. However,
many questions remain. Can the
community, through public art or
cultural offerings, enhance the cre-
ativity of its citizens? And if the new
economy so desperately demands
the creative worker and leader, what
should schools and universities do to
prepare the next generation of cre-
ative people?

Recent U.S. Initiatives
U.S. investing in the arts them-

selves is already a $134 billion indus-
try, according to the Washington,
D.C., based advocacy organization
Americans for the Arts. But the real
benefit is that the arts are “a potent

source for economic development,”
according to a report by the National
Governors Association. NGA credits
Philadelphia, Newark, and Charleston,
South Carolina, as cities that “have
used the creation of arts districts as
centerpieces in efforts to combat
increasing crime and suburban flight
by restoring vitality to downtown
areas.”

The governors’ report vividly
showed that arts funding reliably
generates positive revenue. For ex-
ample, Virginia collected $849 mil-
lion in arts-related revenue in 2000.
That year, more than 245,000 arts-
based jobs were created in the six
states of New England. Michigan
earned a tenfold return for every
dollar invested in the Council for
Arts and Cultural Affairs.

In the last three years, the Los An-
geles County Board of Supervisors
has developed Arts for All—a
Regional Blueprint for Arts Educa-
tion. The program’s objective is for
every public-school student in the
county to receive an effective K-12
education, of which the arts are an
important component. Under this
plan, each school district will ac-
knowledge that exposure to and

THE FUTURIST March-April 2006 www.wfs.org 21

Students at the Kipp Star elementary
charter school in New York, New York,
hone their music-making abilities. The Kipp
Star charter schools are run by the U.S.
Department of Education within the public
school system.

RICHARD B. LEVINE / PHOTOGRAPHER SHOWCASE / NEWSCOM

participation in the arts strengthens
a child’s academic development and
growth as an individual, prepares
the child to feel a part of and make a
positive contribution to the commu-
nity, and ensures a creative and com-
petitive workforce to meet the eco-
nomic opportunities in both the
present and the future. Thus, se-
quential instruction in multiple arts
disciplines will be scheduled into
each school day and accounted for in
the budget of every Los Angeles
County school district.

I first realized that we were doing
something fundamentally wrong in
K-12 education when I was asked to
chair California’s then governor Pete
Wilson’s Commission on Informa-
tion Technology in 1996. About the
same time, the governor had a sub-
committee on education technology,
which I also chaired. Participating in
that effort were such luminaries as
one of the founders of the personal
computer industry, Alan Kay; Larry
Ellison, founder and chairman of Or-
acle Corporation; Joanne Kosburg,
former president of Californians for
the Arts and secretary of state and
consumer affairs under Wilson; and
Jeff Berg, chairman and CEO of
International Creative Management
Inc.

Early on in our deliberations Larry
Ellison suggested our goal should be
“to put a personal computer in the
backpack of every K-12 student by
the year 2001.” It was a big, startling
idea and captured everyone’s atten-
tion regarding the enormity of our
task. California in 1996 was about
fiftieth among the 50 states in com-
puters per pupil.

But Alan Kay shouted across the
room, “Would you give five pencils
to a school, Larry?” The computer,
Alan argued, was nothing more than
a pencil. What about the paper, he
asked, and more importantly, what
about the ideas that must come
when we ask the student to put pen-
cil to paper? Our challenge, he said,
was to better understand how stu-
dents learn, what they needed to
learn to survive and succeed in to-
day’s knowledge economy, and what
our teachers in private and public
learning institutions were doing
about it.

Later that year I was asked to meet

with a senior vice president of the
Los Angeles based Alliance of Mo-
tion Picture and Television Produc-
ers, who were asking Governor Wil-
son to declare a “state of emergency”
to help Hollywood find digital
artists. Silicon Valley, we learned,
also wanted the governor to lobby
Washington for more foreign visas
for the same reason. There were

people aplenty who were computer
literate, they claimed, but could not
draw. In the new economy, they ar-
gued, artistic talents are vital to all
industries dependent upon the mar-
riage of computers and telecommu-
nications.

Sadly, we discovered that art and
music had been cut out of most Cali-
fornia schools over 20 years ago in
our zeal to be number one in the
world in math and science. At the
time this decision was made, the
United States was about eleventh in
the world, according to the Organi-
zation for Economic Cooperation
and Development. Now, the United
States ranks about twenty-fourth in
the world while Singapore, Sweden,
Denmark, and Finland are in the top
10, in part because they have found a
way to underscore the linkages
between music and math, art and
science.

One institution working to prepare
its students for the challenges of the
new millennium and the information
age is the University of California at
San Diego’s Sixth College. The new
college’s themes are art, culture, and
technology. Students will study the
progress of the human species and
its varied cultures and will explore
watershed events in history in which
art, culture, and technology con-
verged. Provost Gabrielle Weinhausen
has noted that the rediscovery of
perspective during the Renaissance
enabled architects and artists to col-
laborate on the creation of maps. The

key to studying events like that,
Weinhausen says, is learning how to
ask the questions that illustrate rela-
tionships and patterns.

Until recently, there has been only
limited evidence of the connection
between education and appreciation
of the arts and success in the post-
industrial age of information. But
now it is becoming increasingly ap-
parent that arts initiatives will be the
hallmarks of the most-successful
schools and universities and, in turn,
the most-successful and vibrant
twenty-first-century cities and re-
gions. One key to this vision is that
we must acknowledge the current
out-migration of high-tech jobs as a
challenge to the status quo. As for-
mer Hewlett-Packard CEO Carly
Fiorina told a panel of governors a
short time ago, “Keep your tax in-
centives and highway interchanges;
we will go where the highly skilled
people are.”

Those communities placing a pre-
mium on cultural, ethnic, and artistic
diversity, and reinventing their
knowledge factories for the creative
age, will likely burst with creativity
and entrepreneurial fervor. These are
the ingredients so essential to devel-
oping and attracting the bright and
creative people to generate new
patents and inventions, innovative
world-class products and services,
and the finance and marketing plans
to support them. Nothing less will
ensure a city’s economic, social, and
political viability in the twenty-first
century. ■■

About the Author
John M. Eger is executive
director of the International
Center for Communications
at San Diego State Univer-
sity and holds the Van Deer-
lin Chair of Communication
and Public Policy. He has

served as a planning expert for CBS Broad-
cast International and as a director of the
White House Office of Telecommunications
Policy. His address is International Center
for Communication, San Diego State Uni-
versity, 5500 Campanile Drive, PFSA 160,
San Diego, California 92182. Telephone
619-594-6910; e-mail jeger@mail.sdsu.edu.

22 THE FUTURIST March-April 2006 www.wfs.org

FEEDBACK: Send your comments
about this article to letters@wfs.org.

“Arts initiatives will be the
hallmarks of the most-success-
ful schools and universities
and, in turn, the most-success-
ful and vibrant twenty-first-
century cities and regions.”