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The Future of Journalism

800px-Dead_sea_newspaper On Friday evening I attended and spoke at the ‘Future of Journalism’, an event organised by the Media Alliance & Walkley Foundation which was styled as a “Blueprint for progress”, featuring healthy discussion and debate about the future of paid journalism and, amongst other topical issues, whether news consumers would actually start paying for content they’ve already been enjoying for free.

I was part of the final panel for the night, joining Ralph Nicholson (formerly with Reuters, now the publisher and editor of The Beach Times, a free newspaper in Costa Rica), Jo McManus (who has 30 years experience as a journalist and now lectures the next generation at ECU/WAAPA), and Australian political blogger William Bowe (the Poll Bludger) for a very spirited conversation chaired by Jonathan Este, the Media Alliance’s director of communication.  We were briefed that the discussion would be pretty informal, which held true, but it was very wide-ranging, discussing everything from possible business models for online news through to the role of social media and blogging both by, and in opposition to, traditional journalists.

From the outset, I should by saying I have no idea what the best business model for journalism is in the online age, but I am quite certain it is not putting all content back behind a paywall.  That way, I’d suggest, lies disaster, one the reasons for which I outline a little below. 

There isn’t time to touch on everything that was discussed, but I wanted to re-visit three points that were raised during our panel (or earlier, and to which our panel then responded):

[1] The relationship between bloggers and paid journalists.  For whatever reason, the ‘bloggers’ (or ‘amateur bloggers’ now, since so many journos write blogs) still attract the ire of professional journalists because the bloggers are seen as a vast, untrained, amateur army of low-quality content creators who aren’t bound by a code of ethics but do get read by people who should be reading proper journalism.  To be fair, many of the people who spoke didn’t share this view, but at least a few did, and there were plenty of barbed asides to be heard.  Let me reiterate what I said on the night: there are certainly some bloggers who write as well as journalists, are just as ethically-driven as good journalists and who can research and investigate as well as paid and trained journalists. However, the vast majority of bloggers do not consider themselves journalists, do not seek to compete with journalists and still value (and enjoy) quality journalism done by paid professionals.  Despite what Rupert Murdoch might now believe, bloggers are not the enemy and those who do engage in debate with, or commentary on, professional journalism are usually amongst the strongest supporters of good journalism as a profession.  Indeed, a  blog post written by blogger and journalist Steven Johnson back in 2006 called ‘Five Things All Sane People Agree On About Blogs And Mainstream Journalism (So Can We Stop Talking About Them Now?)’ did a far more elegant job of making this point. Perhaps a few more people should read it.

[2] Digital media tools are not names to be feared, but rather processes than can be readily understood.  There were a lot of comments from old hands in the industry about the difficulty keeping up with the latest new technology – the main mentions were MySpace to Facebook, and now to Twitter.  MySpace, Facebook and Twitter all share many commonalities: they’re all about making sharing ideas, conversations, links and media (broadly defined).  Rather than asking how Facebook is different from MySpace, or Twitter different from the first two, what might be more fruitful is to ask what the latest technology does that’s similar to something you are familiar with.  Rather than treating Twitter as something new, and thus something alien, if it’s examined as primarily replicating the conversational style of Facebook, but without anything else from that platform (including those annoying applications) then you start to come to terms with what it is.  Sure, it takes a little while to become familiar with a new tool, but starting to use these tools, rather than spending copious time fearing them and lamenting all these new-fangled technologies, is surely a better use of peoples’ time. Many journalists have embraced Twitter, for example, and it’s paying real dividends.  It is, of course, important to verify any ‘facts’ gathered via Twitter, but that’s true of each and every source. During our panel I suggested that people interested in journalism can become part of the media conversation long before they become active professionals or even before any formal training using social media tools – tomorrow’s journalists can sharpen the skills they’ll need via Facebook, Twitter or whatever comes next, and that should, in my opinion, be seen as an asset.

[3] The relationship between social media and news. Many more entrenched journalists seem to think that social media tools, like blogging or Twitter, might be valuable since they let journalists talk to their audience, but they still seem to see the gap between themselves and the audience as a chasm; their audience, by contrast, is increasingly thinking of themselves as participating in a conversation, and often a conversation amongst equals.  That doesn’t mean everyone thinks they’re a journalist, but the era when journalists were set apart by their training and ethics has by and large ended thanks to a lot of very bad journalism in the world and a lot of very smart people in that audience. Indeed, the word audience might just need to be rethought altogether. As Dan Gillmor, amongst others, have eloquently described the change: “Journalism is evolving from a lecture to a conversation, and the first rule of good conversation is to listen.” This, incidentally, is the main reason I think putting news behind a paywall will fail: stopping people from participating in the conversation about the news you report or create will reduce the impact and spread of that news.

A different way of thinking about this is that many people engage with news not by visiting a newspaper’s website, but by coming across a link via Google or, increasingly, a link that a friend or contact has posted using a social media tool.  These are conversational contexts, and any media links posted in these contexts are seen as things to be discussed. In the coming months, this will be even more pronounced thanks to Google’s newest invention, Google Wave.  As I understand it, Google Wave is about taking all of the disparate bits of conversation that can happen using online communication tools and making it possible to retain and continue the conversations, regardless of where it starts (be that email, a blog, or wherever else).  Thus, for Google Wave, conversation is content.  While we’ll need to see how Google Wave works once it’s officially launched, we know today that newspapers are already put in a lot of effort into trying to gain solid Google rankings. In the coming months, that may very well involve being more conscious of news as a conversation rather than a lecture.  I can understand how that might sound daunting to journalists and the industry, but figuring out how to be part of more conversations may very well be part of successful business models for the quality journalists of tomorrow.

Those points aside, I must admit I enjoyed that Future of Journalism event; the very fact that the night was organised shows that news journalists in Australia are trying to figure out new, sustainable ways of plying their trade in the digital age.  Moreover, while there were definitely a few dinosaurs in the room, some of the newer faces of journalism, including Tim Burrowes from mUmBrella (his response to the event here), and Stephen Brook from the Guardian, showed that many journalists are definitely already in tune with the tides of the digital world in which they operate.

[Photo: ‘Dead sea newspaper’; CC BY SA]

On the Importance of Dating Felicia Day’s Avatar in Australia!

If you’ve glanced at YouTube, or your iTunes store, or Twitter, or even Facebook in the last few days you may very well have noticed people talking about and linking to this video:

What you might not have realised if you’ve only just heard of The Guild or Felicia Day, is that this little video represents something of a leap forward in terms of indie-based web productions finding a way to make a healthy amount of money while still giving away their content predominantly for free.  For those of you who’ve not come across The Guild before, it’s a comedy web series created and written by Felicia Day (of Dr Horrible and Buffy fame), looking at the ‘real’ lives of six  MMO (videogame) players.  The ‘game’ is never explicitly named, but the characters and situations are largely based on play in and around World of Warcraft.

Anyway, one of the most important things is that after the first season of The Guild, Day very cleverly managed to strike a deal with Microsoft which would allow them to co-produce The Guild and thus season two was initially, exclusively available via the Xbox Live, MSN and Zune websites.  Significantly, Day retained all intellectual property regarding The Guild, meaning that the show remains under her ownership and control (about which Day is rightly proud).  Indeed, just striking that deal is a significant business move for an indie web media creator.  Of course, Day ensured that episodes also appeared on YouTube and other venues after a period of time, ensuring fans could access The Guild in whichever manner they preferred. The Guild has built a very healthy following (as has Day herself, with over a million Twitter followers) and after initially being available for free, Day released DVDs of season one and two via Amazon, which have sold reasonably well.

However, the music video which I’m focusing on today is The Guild’s ‘(Do You Wanna Date My) Avatar’ which was written by Felicia Day, features the cast of The Guild, and was directed by Jed Whedon (one of Joss’ brothers, who also co-wrote Dr Horrible).  Initially revealed at Comic-Con, the music video playfully engages with pretty much every stereotype that there is about gamers, electronically dancing a fine line between knowing parody and unadulterated fandom.  Following the deal with Microsoft, ‘Avatar’ was available exclusively on the Xbox and Zune websites for a week, before hitting the rest of the web both for free on YouTube and as paid download via iTunes stores, Amazon and elsewhere.  And that’s where the story gets impressive, as  the music video has hit number one on the US iTunes store and on Amazon as an mp3 download. More to the point, Day has learnt from the successes and problems that Dr Horrible hit last year.

While Dr Horrible was a huge hit in the US iTunes store, there were problems even viewing Dr Horrible outside of the US for the first few days, and it took months before Australians had a legal option to purchase Dr Horrible onlineaustralia_itunes_musicvids_19Aug2009.  In contrast, Day seems acutely aware that The Guild’s fans are spread all across the globe and that all ‘national’ versions of the iTunes store (all of which have separate licensing agreements) should be ready to spread The Guild’s musical talents.  [Update: To distribute the mp3 versions, Day used the Tunecore service which lets artists release their mp3s across a range of international stores simultaneously for a small fee.] The image visible on the left shows today’s Top Music Videos in the Australian iTunes store, with (Do You Wanna Date My) Avatar [feat. Felicia Day] sitting proudly at the top of the charts; it also topped the UK iTunes store (and elsewhere across the globe, too, I’m sure).  While there was a delay of a day or so getting some versions of the music video or mp3 into particular national online stores, Day has no doubt affirmed the loyalty of fans across the globe by ensuring they have access to ‘Avatar’ for free, or to buy, on exactly the same terms as fans in the US. While we may never know exactly how much ‘Avatar’ earns (or even what the music video cost to make) even the $2.59 a pop for the music video in Australia, or $1.69 for the mp3 single, will surely combine with sales across the globe to make a very respectable amount.  Indeed, I’d guess it could make more than a full season of The Guild webisodes!

Most importantly, though, Felicia Day has shown the sort of foresight that comes from being a clever media creator in the digital era: rather than bowing to the tyranny of digital distance, and letting the globe be arbitrarily cut into different regions in which different media companies can license and re-sell content, Day clearly views her loyal fans as a truly global, participative audience who all deserve equal access to the highly enjoyable media she creates! Felicia Day is someone who understands that digital media can, and should, also mean global media.

Now, after all that, if you’ve not done so already, stop listening to me, and check out ‘(Do You Wanna Date My) Avatar’!

News & the Net: Two Steps Backwards …

Local citizen journalism evangelist, Bronwen Clune, often describes the news media corporations and mechanisms as ‘control media’.  While this is certainly a striking expression, and no doubt fair when thinking about the likes of Rupert Murdoch, I’ve wondered if it’s at times a bit of a harsh brush with which to paint the news media in general .  However, the Associated Press (AP) seems to be doing out its way to take the idea of control media literally, which has not been embraced by the interwebs at large; AP recently described a system of Digital Rights Management (DRM) to police the uses of its news content online.  Their explanatory graphic and been, how shall we say, reinterpreted by the public they’re expecting to pay for AP’s services:

AP_DRM

[Source for the top half of the image: AP’s Press Release “Associated Press to build news registry to protect content”; source for the full image: “What the AP really meant to convey”. Via Boing Boing]

At the same time, Chris Anderson on the promotion trail for his new book Free, has been enjoying himself by being as provocative as possible in interviews (conducted, oddly enough, by journalists).  For example:

In the past, the media was a full-time job. But maybe the media is going to be a part-time job. Maybe media won’t be a job at all, but will instead be a hobby. There is no law that says that industries have to remain at any given size. Once there were blacksmiths and there were steelworkers, but things change. The question is not should journalists have jobs. The question is can people get the information they want, the way they want it? The marketplace will sort this out. If we continue to add value to the Internet we’ll find a way to make money. But not everything we do has to make money.

While change is definitely in the air, suggesting that journalism is a redundant profession is going too far.  We need good journalism; we need people who are willing to take risks and invest huge amounts of time into investigative reporting; and they need to be paid.  I’m not suggesting the status quo even means anything any more, and the last few years have definitely forced the news industry to decide whether it’s just an entertainment business or something more, but amongst all of that I think we need to try and figure out sustainable models that support journalism (but not sensationalism).  I think unpaid citizen journalism and random acts of journalism by netizens will definitely play a significant role in the news media landscape that’s developing, but I don’t every think the culmination of citizen journalism will ever be enough by itself.  I can’t live without the ABC or SBS, and I’m delighted they’re mainly government funded, but I know that’s not the only answer.  And I also realise that answers aren’t readily available yet.  We should, however, be looking for them.  While the news industry is definitely having a rough time, and the future is uncertain, I also don’t think AP’s approach hard core ‘lock it all up’ approach, or Anderson’s dismissive suggestion the all journalists need to get real jobs and write news as a hobby, are really helping the debate.  Not one little bit.

Twitter thoughts and blog neglect

Trending_15July2009I realised today that this blog has been rather neglected and while there are the usual way-too-busy reasons (all of which remain true!) I’ve noticed I’m spending more and more time looking at Twitter and less and less actually writing anything here; actually, I’m a fairly tweet-low Twitterer, too, I think – I read a lot more than I write.  As I was pondering this, the core value of Twitter – it’s immediacy – really hit home as I found out about the major earthquake off the cost of New Zealand’s South Island (near Dunedin, where I was born and where my grandparents still live) via Twitter, and the ensuing Tsunami Warning (which makes an earthquake seem a lot scarier!).  It took any mainstream news media, or blogs, that I read more than half an hour, and more than an hour for most, to break this story.  By then, I’d had my little worried moment, reassured myself that the Tsunami (which, thankfully, never happened) wouldn’t hit my grandparents since they live up a hill, and returned to work.  By then ‘New Zealand’ and ‘Tsunami Warning’ were both Trending Topics, second only to Harry Potter on the back of the film debut of the sixth feature.  Of course, following the links from the Trending Topics, I also accidentally hit spoilers regarding tonight’s episode of the Master Chef finals; time to go Justine, it seems (like the US, the East Coast of Australia, is 2 hours ahead those of us in the West, so Twitter is a rather potent spoiler source). 

In turn, I suspect Twitter is rapidly becoming normalised as part of the everyday conversation for all sorts of folks, not just social media addicts.  Indeed, I was amused to read Melissa Gregg’s post about an episode of Desperate Housewives including a character who fails to get a job due to their lack of Twitter-knowledge!  Perhaps in a future episode said character might change their fortune by stumbling across this useful History(ish) of Twitter diagram.  In the mean time, I’ll see if I can work out a better balance between the lifestreaming deluge of Twitter and my neglected but still loved blog. 

Dr Horrible, Brisbane & ANZCA 2009

anzca2009

Just to reassure you all that I’ve not turned into a automated link-posting robot, I thought I’d make an actual post since I’m about to head to Brisbane for The Australian and New Zealand Communication Association 2009 conference, held at QUT this week.  It should be a great conference, with a number of my Internet Studies colleagues presenting, lots of great sounding papers and the Oxford Internet Summer Doctoral Programme folks also around QUT at present, making for a pretty vibrant atmosphere, I’m sure!

For those of you interested (or looking at the 5 parallel streams of papers, trying to decide which one looks interesting) here is the abstract for my talk, ‘What Dr Horrible Can Teach Media Creators About Participatory Culture’:

During the 2007/2008 US Writer’s Guild of America strike writer-director Joss Whedon came up with the notion of a one-off online “show” made outside of the studio system, on a miniscule budget, and entirely publicised using the web and social networks. Thus, Dr Horrible’s Sing-Along Blog, a three-act online musical comedy centred on a flawed supervillian, was conceived. In promoting Dr Horrible, Whedon and his team used both official websites and presences on Facebook, MySpace, Twitter, Digg as well as engaging with Whedon’s existing legion of fans via fansites such as Whedonesque.com. Moreover, far from using these websites purely as one-way advertising delivery platforms, the producers, writers and some Dr Horrible actors engaged fans in meaningful dialogue via these platforms.

Fan discussion and remixing of the show emerged rapidly; within weeks of its release there were hundreds of fan sing-along videos on YouTube, joined by everything from fan-created artwork and wallpaper to unofficial sheet music. Far from shunning these unofficial creations, the Dr Horrible producers actively congratulated and promoted the best fan creations. Despite Dr Horrible initially being available for free in its first week, subsequent sales via the iTunes store, and later on DVD, at times rivaled all but the most successful Hollywood blockbusters. Thus, in an era where media companies and startups are increasingly becoming concerned about brand loyalty, not just Nielsen ratings, Dr Horrible may serve as a model for producers and fans interacting in mutually beneficial ways as part of participatory culture. This paper will attempt to examine the way Whedon and his team utilised participatory culture in promoting Dr Horrible, asking which elements built on the foundation of Whedon’s past successes, but even more importantly what lessons Dr Horrible has for both existing and emerging media creators.

And here are the slides I’ll be using:

I’ll probably be Twittering from the conference (Wed – Fri) and I think the default Twitter hashtag will be #anzca2009.

Annotated Digital Culture Links: May 4th 2009

Links for April 29th 2009 through May 4th 2009:

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