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Posts Tagged ‘future’


This is what it has come to: I can’t see an Oscar-winning movie without finding parallels in journalism’s changing landscape. In this case, while watching “The Artist” I was struck by the remark by the lead character, a star of silent film as talkies begin to sweep the movie industry, quoted in a newspaper that he would not do talkies because he was an artist. He dismissed the emerging technology of film as crass and lowbrow, less worthy of notice. The sentiment was very familiar; I’ve heard or read it a thousand times from traditional journalists about the idea of (pick any): blogging the news, aggregation, raw video, frequent (or sometimes any) web updates, Facebook, Twitter, engaging with reader comments, and probably a few that I can’t recall right now.

The at the end of “The Artist” you get, in the only spoken lines of the whole movie, why he really dismissed talkies. In case you haven’t seen it, without giving the whole thing away I will just say it came down to an ability. But the way he coped with that and adapted to the new medium was a different skill that had not been utilized by the silent films. He could act, but in the new world acting was not enough. But he had something else to add, and the combination worked.

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I had two thoughts as I read, belatedly, Megan Garber’s piece from last month for Nieman Journalism Lab about the new political team at Buzzfeed and how they approach reporting. First: Wow, that really sounds like exactly the right model for the online world. Second: How the hell are they going to make money from that? Which of course is the eternal Underpants Gnomes issue of online news.

But then it occurred to me that the Buzzfeed strategy may be a key part of how more traditional news organizations might survive into the digital future. More on that in a minute. First, what Buzzfeed is doing, from Garber’s article:

“The idea is to continue the type of work he’s been doing at Politico — reported blogging — and to combine that content with the social elements of Buzzfeed. So: Reporting, amplified. Reporting, viral-ized. … [The political team] will be starting from the premise … that people are now mostly (and increasingly) getting their news from social sources like Twitter, Facebook, and aggregators. Journalism is increasingly part of the social web.

“… And within the social space, Smith points out, one of the things people most like to share is news that is actually, you know, new. … [P]eople are increasingly aware of themselves not just as consumers of content, but as curators of it. They increasingly appreciate the role they play as, if not breakers of news, then disseminators of it.”

Buzzfeed’s aim is to “build the first true social news organization … the definitive social news organization.”

An early return, from Philip Bump at Mediaite, is positive – the headline is “What Buzzfeed’s New Politics Team Is Doing Right.”

It helps, of course, not to have to worry about doing all that while still producing a traditional news product such as a newspaper or TV show. But what if you started from the premise of reporters doing as Buzzfeed envisions? From there, part of the role of an editor could be pulling items out of the stream to cobble them into what is needed for the traditional product. Of necessity, that might well look very different than a traditional news story – but as I often argue and Bump’s piece at Mediaite points out, the traditional news story isn’t always needed:

“The long news story is an artificial construct, one largely predicated on filling a certain amount of printed space. Articles often don’t need to be 400-500 words with compelling intros and robust context – they certainly don’t always need to be.”

The result could be an organization with the nimbleness to operate in the online environment and build the kind of audience engagement that keeps people coming back, both to the short updates you get in social media and whatever more you produce on your main site, in the paper or on the air.

That’s where the Gnomes come in.

This morning I was reading Clay Shirky’s thoughts about the “leaky paywall” or threshold model for news sites, which lets visitors see a set number of free articles before requiring a payment for any subsequent articles. Shirky is among those who have long been skeptical that an absolute paywall – requiring a payment for any and all viewing of content – would work for news sites, but he clearly sees merit in setting a threshold. But his main purpose in the post is examining how the threshold model might end up reshaping the content of news sites. This stems from the fact that a small minority of the online users are paying the freight, so keeping that audience engaged is key:

“Threshold charges subject the logic of the print bundle — a bit of everything for everybody, slathered with ads — to two new questions: What do our most committed users want? And what will turn our most frequent readers into committed users? Here are some things that won’t: More ads. More gossip. More syndicated copy. … When a paper abandons the standard paywall strategy, it gives up on selling news as a simple transaction. Instead, it must also appeal to its readers’ non-financial and non-transactional motivations: loyalty, gratitude, dedication to the mission, a sense of identification with the paper, an urge to preserve it as an institution rather than a business.”

In other words, most people do not – and will never – pay for content, but some will pay for some specific content, and much more importantly that small number of people will pay to ensure that the general type of content you produce is around when they need it, because they enjoy it or they think it makes their world a better place, or they just can’t imagine their world without you around.

That last part, at least, is something that traditional journalists can identify with.

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The Storm Collection from Storm Collection on Vimeo.

The above is a video telling, from the perspective of future historians, the evolution from pre-history to the early 21st century, not more than a few years from now, of how people receive their news. The co-creators, Matt Thompson and Robin Sloan, previously made a video that gained wide circulation, Epic 2014, which depicts from a future historian’s perspective the events that led to all news media except the New York Times being consumed in an all-everything incarnation of Google, but even the Times was driven by it to remove itself from the Web. (That’s an oversimplification; watch the video.) Where “Epic” dealt with the evolution of the production of news, the new one, “The Storm Collection,” focuses on the consumer.

I don’t know whether it’s a measure of how coccooned in my daily work I am lately that it took a week for me to come across this new one or it’s just that the above video doesn’t strike as many people as striking as close to the bone as “Epic 2014,” but I suspect it’s the latter. “Storm” is not as slick and seems rather slow-moving and padded, not so much of a story, as though they had an end point — the ultimate news-consumption device, depicted in the video as a pair of glasses by Apple with displays embedded in the lenses — and tried to find a way to build to it — which is essentially what they wind up saying in a Society of News Design presentation was the case. (In the video of their presentation, the “Storm” video starts 5:30 in, and the actual 19-minute presentation/discussion starts about 14:40 in.)

However, what’s really interesting is not the “Storm” video but how they explain in the SND presentation what they are thinking. It really IS hard to think how to make a video depicting it. They describe technology enabling a proliferation of small opportunities for people to seek out and receive information – instead of the 30 minutes with the morning paper or the 30 minutes with the evening news on TV, it’s many smaller bits throughout the day, and the challenge for people who produce the news is find ways to make their presentation compelling. One comparison they make is to NPR’s so-called “driveway moments,” when people hear a story on the radio as they drive, reach their destination but remain in the car to finish hearing it. “These moments are emerging all around us,” with advancing technology creating ever more seamless points of entry into people’s attention.

I’m not sure I like their depictions of some possible future technologies – one of the least intrusive, but still creepy: an electronic frame you have on your desk displaying a picture of your sweetheart along with a display of that person’s most recent status update. But I know I’m not that future news consumer. I’ll be the dinosaur who’s clinging to a tablet and reading at a table in the coffee shop instead of getting all my news through my glasses while riding in my self-driving car.

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