New Media If print caused an end to speech as we new it, the new media reduced reading to a disjointed narrative of fragments. With the invention of movable type and introduction of massive social changes the medium of print liberalized the flow of ideas and information. As a tactile medium, it creates an illusion of physical presence, which mediates the experience. With the discovery of photographic process in the context of extensive industrial development, the era of mass production established the supremacy of multiples over unique objects and images. The function of an object and an image has lost its uniqueness and authenticity, which Walter Benjamin defines as aura. Print medium has never had such aura, since it was a medium of multiples, though by virtue of its extended existence legitimized itself in the space it serves. As the commerce, science and technology accelerate development and introduce new media ways for social impact and control, media has created an ever-accelerating vortex of mythmaking and above all spectacle, which sucks in even revolutionary grade ideas use to a very mundane ends. According to Guy Debord the only method of eluding, the spectacle is to participate actively into its creation. Media design by its definition is of direct consequence to it. While print is overburdened by heavy vestiges of the past the new media forms assert themselves authoritatively with no such burdens, while still attempting to accomplish both permanence and prominence. As such they introduce new methods of spectacle creation. While print endures and it continues to occupy a distinct niche in our society, most of the other mass media forms are displacing its effectiveness and even social embrace. New media introduces a communication density, which has no historical precedent. The hyper refresh rate of the new forms of communication introduces an overwhelming amount of noise, while drowning much of the substance needed for effective social function. With voices attempting to out-scream each other, the only path remaining for designers is to create a memorable, functional experience and meaning. The accelerated production of cultural/commercial artifacts and body of knowledge posses a real challenge to media designer wishing to inform and/or persuade. While print, by its material nature can allow delayed gratification, the electronic media must not miss a flicker. The screens are so pervasive that newer generations of users re-contextualize their original intent with increasingly accelerated speed. Media designer functioning in such context must understand in great depth not only its own craft, but many adjacent even remote trades. The cross-pollination of craft, technology and ideology leads to an intense practice never experienced by the print media practitioners to that extend in the past. A print practitioner is gradually replaced by an array of specialists united under the TechnoVolksgeist umbrella. While media convergence is still a grand concept with limited tangible expressions, the desire for a single platform of multiple, simultaneous experience is enduring. As David Carson declared - “Print is Dead” – maybe not so fast, though the clock is ticking.