INTERMEDIALITY AND MEDIA CHANGE

Growth of this book was developed through research and collaboration of the Finnish Academy of Sciences funded in the medium term of the continuation and change of Finnish media development (INTERMEDIA project) during 2008-2010 period. The project is currently the front department of journalism and mass communication at Tampere University, and is currently a school of communication, media and drama. Tampere's research team consists of project leaders Taisto Hujanen and Marko Ala-Fossi, Seppo Kangaspunta and Eeva Mäntymäki. This team also includes members from two Finnish universities, the University of Helsinki, Juha Herkman (Department of Development), Maiju Kannisto, Paavo Oinonen, and Turku University of Hannu Salmi (Department of Cultural History).

The project organized a series of consultations, seminars and workshops to help collect articles in this book. I would like to express my gratitude for consultation with Professor Sandra Brahman of the University of Wisconsin-Milwaukee communication department and research team when I visited Tampere in May 2008. Next, in May 2009, we held a seminar on architecture and issues at the University of Turku.

Since the 1980's, mediation became a theoretical framework, and it can be applied effectively to the constellation between various media and art form and the boundary between media. From a temporal and a temporal point of view such as literary works, visual art works, performing arts, music works, you can deepen your understanding of the process of making meaning with a specific cultural composition. Studies on intermediary practice are particularly decisive for deciding "how people communicate: the past and the communication with others" (Bal 169).

Wolf and Rajewsky propose intermediate concepts and subcategories that allow you to systematically describe the relationship between various art forms in lemonade. First, Rajewsky defines "Media Combination" as "a concept of communication symbols based on a combination of at least two media types" (a phenomenon that Wolf calls "multiple or plural") (Rajewky 53; Wolf 2005 255). Second, her model's "media transposition" "converts a given media product or its foundation to another media". Finally, "intermediate reference" refers to imitating or triggering media of another media. Wolff has integrated these three intermediate formats into a larger framework in which the intersection of the media boundaries and the internal media (the relationship in the same media) are present. This work refers to different music. Ironic or story (Wolf 2014 20-25)

The concept of 'mediator' now widely adopted in Europe is focused on art form rather than restoration, it avoids the inherent advantage of this term. As observed by Wolf (2008), brokerage can be considered in a narrow sense in a broad sense. Roughly speaking, it is an essential equivalent between texts covering the violation of boundaries between different media. In a narrow sense, it means that multiple media or sensory channels participate in a particular work. For example, opera uses gesture, language, music, and visual stage settings to achieve interactive functions. If intermediaries are widely interpreted, other terms, including narrow new terms, must be forged to distinguish between those different forms.