ewers don’t “turn off” so why wouldn’t a great story continue to live on across distributed platforms where consumers are more than willing to engage?

What it is you want them to do or say requires explicit design for each screen.

We use social media primarily for four purposes: 1) engaging with fans and encouraging that two-way conversation; 2) driving tune-in to our programming; 3) driving traffic to our owned-and-operated fansites; and 4) gathering insights about fan preferences and reactions that we can share internally with our network marketing, communications and production partners.

Up until now when users click on a hashtag, they are shown a page littered with tweets which have included that particular hashtag. But in Nascar’s case, Twitter will curate those tweets through an algorithm, and by hand to give users a behind-the-scenes look at the race.

consumers who click on the #Nascar hashtag will be directed to a not-yet-live Twitter page that will aggregate tweets and photos related to the race to create what Nascar svp and CMO Steve Phelps called in a statement a “complementary live race experience.”

Some of the key features of this new medium include:Explosion of user participation through social networkingMore screens, increased portability and interfacesGreater aggregation, discovery and availability of mediaTwo-way streaming that allows users to contribute and become broadcastersScheduling and media assembly moving into the homeBetter understanding of user engagement and greater measurement of behaviour

“Don’t silo your thinking about content in terms of where it will be seen or how it will be delivered — think about all touchpoints, devices and mediums in a cohesive way,” he says.

Soon media will be more about the users than the media creators or the content created

Some are experimenting with facilitating paid-for and free viewer voting in talent shows, via Facebook.