condescension to "pop kulch" and "mass entertainment." It was in this spirit of bulldog opacity that the scholastic philosophers failed to meet the challenge of the printed book in the sixteenth century. The vested interests of acquired knowledge and conventional wisdom have always been by-passed and engulfed by new media. The study of this process, however, whether for the purpose of fixity or of change, has scarcely begun. The notion that self-interest confers a keener eye for recognizing and controlling the processes of change is quite without foundation, as witness the motorcar industry. Here is a world of obsolescence as surely doomed to swift erosion as was the enterprise of the buggy- and wagon-makers in 1915. Yet does General Motors, for example, know, or even suspect, anything about the effect of the TV image on the users of motorcars? The magazine enterprises are similarly undermined by the TV image and its effect on the advertising icon. The meaning of the new ad icon has not been grasped by those who stand to lose all. The same is true of the movie industry in general. Each of these enterprises lacks any "literacy" in any medium but its own, and thus the startling changes resulting from new hybrids and crossings of media catch them unawares. To the student of media structures, every detail of the total mosaic of the contemporary world is vivid with meaningful life. As early as March 15, 1953, Vogue magazine announced a new hybrid, resulting from a cross between photograph and air travel: This first International Fashion Issue of Vogue is to mark a new point. We couldn't have done such an issue before. Fashion only got its internationalization papers a short time ago, and for the first time in one issue we can report on couture collections in five countries. The advantages of such ad copy as high-grade ore in the lab of