Wherever we look at the world, what is perceived is a dynamic process of deconstruction of what were its main paradigms for many decades, including the press and journalism.
Beginning with the fine arts, none of its most emblematic expressions has remained unscathed by the wave of transformations that, at the same time, have impacted the social models that marked the pre-internet era.
The famous sonatas by Vivaldi, Beethoven, Bach and other great masters of classical music became, after the pun,
instrumentalized by “heavy metal”, with a different order.
From the famous dances, tango, waltz or merengue, we move on to crazier and more uninhibited forms, such as the perreo, and from the masterpieces of the seventh art, the cinema, to productions with special effects, given the lack of good actors.
From expressionist, realistic and perfectionist painting we gradually moved to abstract art, the one in which an angry painter’s brushstroke or whatever doodle he added to it, constituted a masterpiece.
Like these, we could find more examples of disruptions just by comparing the models of before and those of now.
The press and journalism could not remain oblivious to the successive innovations that, to date, have changed their business model, their audiences, their work platforms, their rhythms and languages, their ways of connecting with the public that has passed from being a reader. to be a user.
It was unthinkable that we would witness the progressive decline in the use of paper in newspapers. And that technology favored the faithful and clear reproduction of his diagrams on the digital platform where, by the way, he has found a stimulating source of support.
In the flurry of changes, the truth has also suffered attacks, since now technology massifies and globalizes the “fake news” and creates the world of post-truth, where nothing is as it seems, but as the viewer or user wants to admit it. .
Even the stereotypes of the masculine and the feminine have been shaken by a deconstruction that allows a man to believe himself to be a woman, and vice versa, and many others to identify with different “variants” so as not to feel like they are.