The Beat I Was Born Without follows the life of Lenny, a deaf twenty something year old, who exposes the world of sound through her disabled hearing. We follow Lenny to Holland where she goes to a deaf clubbing event that utilises other senses such as smell, sight and touch to create a ‘whole’ experience of a night club. Lenny discusses her relationship with music and ‘beats, explaining her struggle to belong in a world that is conducted mostly through sounds, and how her first Ipod experience and raves like she is at now has shaped her personality.

Hokin, a sign dancer that interprets the music through dance for the deaf audience, explains how his movement is instructed by the diversity of theme and understanding. He states that people with and without hearing dance differently, using his body to exemplify the main differences. Within the community of people that can hear, Hokin uses his body in a mechanical manner that relies on the consistency of beats and timing. When showing how he dances for the deaf audience however, his movements become a lot more fluid, utlizing his hands and face to portray expressions and interpretations of what the music is communicating with him, his audience and surroundings.

Our understanding and development of the way society interacts and views media is crucial as the rise of the internet has shifted the role from broadcast, to the post broadcast era. In order to understand how the modern world should view this transformation we have to identify the main differences that seperate the production of broadcasting to it’s new ‘post’ role now. Addressing Graham Meikle’s question to David Gauntlett ‘What Kind of knowledge do we need now?’ (Gauntlett, D. 2015 Making Media Studies. New York: Peter Lang. Web.) we see that the rise of the internet within the 21st century has set precedents to the study of media with a ‘2.0’. Ironically, Gauntlett’s video Making Media Studies: The Creativity turn in Media and Cultural Studies affirms such questions can be answered by redirecting our ideology behind media’s “what is” questioning and focusing more on it’s presence studied through conversations, inspirations and transformation (Gauntlett, D. MMS 2015. Web). Traditionally in the 1980’s media study was focused on production, amalgamating institutions, the production process, audience and text (Gauntlett, D. MMS 2015, Introduction). Nowadays, Gauntlett suggests that the “study of media has two seperate blobs”(Gauntlett, D. MMS 2015, Introduction). The two aspects being creativity vs. data exploration and surveillance. By acknowledging these two elements role on one another, or perhaps even the separation of the two within Media’s process we adjust to Media 2.0’s ideology on not only how things work, but how media makes us feel, and it’s transformation that makes a difference.