There is a historical pattern in which content created in an older media technology migrates to the new technology largely intact, with little artistic change. Slowly, the migrates to the different media are integrated so that consumers can move seamlessly back and forth among them, and artists (and producers) learn more about how to deliver content in the new media. Later, the content itself is transformed by the new media as artists learn how to fully exploit the capabilities in the creation process. At this point, content convergence and transformation has occurred-the art is different because of the new capabilities inherent to new tools. For instance, European master painters of the fifteenth century in Italy, France, and the Netherlands (such as van Eyck, Caravaggio, Lotto, and Vermeer) quickly adopted new optical devices such as lenses, mirrors, and early projectors called camera obscura that could cast near-photographic quality images on canvases, and in the process they developed new theories of perspective and new techniques of painting landscapes and portraits. Suddenly, paintings took on the qualities of precision, detail, and realism found later in photographs (Boxer,2001). A similar process is occurring today as artists and writers assimilate new digital and Internet tools into their toolkits. For instance, Garage Band from Apple enables low- budget independent bands (literally working in garages) to mix and control eight different digital music tracks to produce professional sounding recordings on a shoestring budget. Writers of books are beginning to think about video and interactive versions of their books. Online newspapers are changing the news cycle to a 24-hour stream, producing their own video channels, and expanding user comment opportunities on their Web sites.