Politicians and people v MSM

Rory Cellan-Jones, the BBC’s admirable Tech expert has a puzzling post on his blog in which he claims that:

So far, it’s been a much better election for the mainstream media – or the “MSM” as they’re described by an often contemptuous blogosphere – than you might have expected. The bloggers hoped they would boss this campaign, breaking stories, setting the mood, and leaving the flat-footed old media types trailing in its wake.

But the newspapers, and in particular the broadcasters have proved far more influential, with the TV debates dwarfing every other aspect of the campaign.

He then goes on to tell a story about a Tory candidate, Joanne Cash, who took exception to an article about her in the Sunday Times by a journalist named Camilla Long. But instead of grinning and bearing it, Ms Cash hit back on Twitter. Rory also cites the way in which the Labour ex-minister, Tom Watson (a formidable twitterer btw) immediately rebutted on his blog an incorrect story about him in a national newspaper.

Rory thinks that these examples illustrate the way in which online media make things different this time. And of course, at one level he’s right. But IMHO they’re just trivial examples and suggest that he’s missing the bigger picture.

Also, on a pedantic note, I’d like to see some evidence for his assertion that denizens of the “contemptuous” blogosphere “hoped they would boss this campaign, breaking stories, setting the mood, and leaving the flat-footed old media types trailing in its wake”. I can’t remember any blogger expressing such sentiments. Or have I just been missing a meme?

Old media, new media and the UK election

One of the more comical aspects of the current UK election is the way ‘old’ media (newspapers and broadcast TV) gloated about how they had ‘transformed’ the election from the venerable two-party slugfest into a supposedly more open contest. There’s a note of triumphalism here: “see”, the dinosaurs are braying, “for all this talk of an ‘online election’, the impact of the Net, social networking, twitter etc. it’s really going to be decided by older, tried-and-trusted media”. There may be a lot of cyberchatter on Twitter and Facebook, the political editors jeer, but it’s not showing up on the doorstep.

Hmmm… I wonder. My perception, sitting as I do far away from Hothouse SW1, is that something’s different this time. It isn’t anything as obvious as the online phenomenon so brilliantly exploited by the Obama campaign. What’s happening is more subtle: it is that there’s been a significant change in the media ecosystem, and the broadcast boys — and much of the print media — haven’t really noticed it. There are two reasons for this. The first is that they are conditioned by the push-media mindset — which essentially assumes that those at the centre who create the messages are the only ones who count and those who receive them at the edges are essentially dumb and passive. The second reason is that they live in the same hermetically-sealed bubble as the political establishment, which to all intents and purposes constitutes a parallel universe to the one inhabited by the rest of us.

The televised debates have brought all this sharply into focus. The gloating, self-satisfaction of the TV crowd is so palpable, and somehow, so pathetic. All the hoopla: it’s like the Cup Final, the Cheltenham Gold Cup and the Oscars rolled into one. The vans with the satellite dishes; the neatly-coiffed and suited news anchors brought down to the West Country [the second debate took place in Bristol] to do ‘pieces to camera’ against the backdrop of the river Avon; the pre-match interviews with the referee, Adam Bolton of Sky — (“are you nervous?” he was asked in one particularly nauseating Radio 4 interview). And so on, ad nauseam.

And then the aftermath backstage in which spin doctors corralled in what Armando Ianucci memorably dubbed “spin alley” where they are solemnly ‘interviewed’ to give them an opportunity to explain why and how their man ‘won’. “The forces of spin in the room are so convulsive”, Ianucci writes,

“that they generate their own satellite spinners; last week, the shadow Home Secretary Chris Grayling was heard spinning that, in the practice debates where he was pretending to be Gordon Brown, he outclassed the real David Cameron. This week, a Labour sub-spinner spun that David Miliband would be replacing Peter Mandelson as the spinner for Gordon Brown, therefore reflecting the fact they were placing less emphasis on spin. If Dr Seuss ever wrote a stage play, it would look and sound like this.

Meantime, all the broadcast networks set up little pens inside which their reporters try to unspin what’s been spun in front of them and for the benefit of live TV cameras. Walking down the row, listening to the collective chirruping, it’s hard not to think that is what it would be like being locked inside a battery farm for the night.”

What’s changed is that this kind of thing — which used to be the essence of TV election coverage in the old days — now looks, well, both comical and pathetic. I mean to say, here are these guys telling us how the debate that we have all just watched ‘went’, as if we were dopes incapable of having our own responses. Further, they are telling us how we will respond (or have already responded via instant polling techniques) to it. What they don’t know is that I have been watching the debates alongside my Twitter buddies, and I have been attending — and contributing to — that backchannel throughout the debate and its aftermath. They don’t know, for example, that at one point someone tweeted that while watching the debate on HD he had suddenly wondered if David Cameron was trying to grow a moustache. In no time at all this meme had flourished and led to this.

Further, what the TV guys don’t know either is how ludicrous they have begun to seem in this new media environment, or the extent to which we are laughing at them. Suddenly a commentator like Nick Robinson [the BBC’s Political Editor] has begun to look like a politician giving a lecture to a school Assembly, the members of which have noticed — as he has not — that his flies are undone.

What old media seem to have forgotten, as Peter Preston points out in a coruscating Observer column this morning, is that

“The point of the debates is to let viewers see for themselves, and decide. Cue maybe an instant poll or five. Self-serving guff shouldn’t be on the menu.

But, alas, too many newspapers take us for mugs. Here’s the Sun, hailing “The Cam Back Kid”. Here’s the Mirror proclaiming that “Hapless Cam flops again”. Here’s the poll that happens to fit your prejudices, however vestigially. And here, trailing across the bottom of too many pages, are mini-verdicts from Sun security advisers, Sun cabbies and sundry predictable players, all parroting a script you could have written before the train left for Bristol.

Pause and ponder a potentially defining moment. Something has happened since this campaign began, something that’s turned the polls and assumed certainties topsy-turvy. You can scoff along Clegg/Obama/Churchill lines. You can wait for the balloon to burst. But meanwhile the old routines look crude, going on insulting.”

“Do what you do best and link to the rest” is Jeff Jarvis’s (excellent) advice to journalists and editors who are puzzled about how they should respond to the challenge of online media. What TV did best, in this particular context, was to stage the debate: only a broadcast (few-to-many) medium could do that. But where it struggles is in attempting to add value to that broadcast event. To date, it has fallen back on the old, pre-Internet, staples (studio discussions with bigwigs, spinmeisters and columnists) leavened with a smattering of new tech tools (for example, second-by-second reaction tracking). But, actually, the value added is trivial compared with what’s available on the Web and in social media. And the reason for that is simple: TV is a push medium; and the intellectual bandwidth of push media is inherently very narrow. As Neil Postman observed many years ago (and James Fallows also showed in his lovely book, Breaking the News), you can’t do philosophy with smoke signals.

The ancient art of blogging

Lovely talk by Joshua Benton of the Nieman Lab showing that many of the dodgy practices attributed by print journalists to bloggers have a venerable history — in the print media.

Should be viewed in conjunction with Nick Davies’s Flat Earth News, and a nice antidote to print journalism’s attempt to occupy the high moral ground.

Going Out of Print

Perceptive Tech review column by Wade Roush.

For book publishers, color screens are interesting but probably not revolutionary. Vook titles like The Breakaway Japanese Kitchen ($4.99), a cookbook that bundles recipes with related instructional videos, provide a taste of what's possible. But with most long-form writing, the words are paramount. If their purpose is to stimulate the mind’s eye, then color and animation are overkill, which is why I doubt that the iPad will wholly undercut the market for the Kindle-­style devices.

For magazine, newspaper, and textbook publishers, on the other hand, the iPad and the wave of tablet devices just behind it create enormous opportunities. Magazines are distinguished from books not merely by their periodical nature and their bite-size articles but by their design. If digital-age readers still want information that’s organized and ornamented in the fashion of good magazines–and there’s no reason to think they don’t–then devices that mimic the form and ergonomics of old-fashioned print pages will be needed to deliver it.

But to succeed on the new platforms, publishers will have to innovate, not simply imitate established media: they will have to move beyond the current crop of static digital magazines. The problem with most of the publications built on e-­magazine platforms from Zinio, Zmags, and other startups is that they are simply digital replicas of their print counterparts, perhaps with a few hyperlinks thrown in as afterthoughts. Publishers should look for better ways to use tablet screens such as the iPad’s, with its multitouch zooming and scrolling capabilities, and to make their content interactive.

And an interesting (and much longer) New Yorker piece by Ken Auletta, which suggests that the real significance of the eBook boom will be a radical rethinking of the publishing business.

Tim O’Reilly, the founder and C.E.O. of O’Reilly Media, which publishes about two hundred e-books per year, thinks that the old publishers’ model is fundamentally flawed. “They think their customer is the bookstore,” he says. “Publishers never built the infrastructure to respond to customers.” Without bookstores, it would take years for publishers to learn how to sell books directly to consumers. They do no market research, have little data on their customers, and have no experience in direct retailing. With the possible exception of Harlequin Romance and Penguin paperbacks, readers have no particular association with any given publisher; in books, the author is the brand name. To attract consumers, publishers would have to build a single, collaborative Web site to sell e-books, an idea that Jason Epstein, the former editorial director of Random House, pushed for years without success. But, even setting aside the difficulties of learning how to run a retail business, such a site would face problems of protocol worthy of the U.N. Security Council—if Amazon didn’t accuse publishers of price-fixing first.

It’s the old story: digital technology means having to rethink more or less everything:

Jason Epstein believes that publishers have been handed a golden opportunity. The agency model, he says, is really another form of the consortium he proposed a decade ago: “Publishers will be selling digital books directly to the iPad. They are using the iPad as a kind of universal warehouse.” By doing so, they create opportunities to cut payroll and overhead costs. Epstein said that e-books could also restore editorial autonomy. “When I went to work for Random House, ten editors ran it,” he said. “We had a sales manager and sales reps. We had a bookkeeper and a publicist and a president. It was hugely successful. We didn’t need eighteen layers of executives. Digitization makes that possible again, and inevitable.”

Auletta closes his piece with speculation that Amazon (and maybe, one day, Apple) will move to exclude publishers from the process and deal directly with authors. After all, most readers don’t buy books because they’re published by a particular publishing house. For them, the author is the brand.

Interesting stuff.

Mandy’s Dangerous Downloaders Act

This morning’s Observer column.

The trouble is that in Westminster (or on Capitol Hill) nobody speaks for the future or for the wider needs of society. So we wind up with biased legislation framed in a rearview mirror. The fact that the internet makes it easy to copy and remix does indeed pose a challenge for IP regimes framed in the era of print. But that should be a spur for rethinking the regime, not for switching off the net – because that’s what we will have to do in order to stop what’s now going on.

The dangerous downloaders act won’t stop file-sharing, but it will certainly inhibit online creativity. This government has legislated in haste; it will be for the next one to repent at leisure.

Online business models: the nub of it

If you’re thinking of sustainable business models for the future then it comes down to something very simple. Either (i) you arrange that your online revenues exceed the costs of creating content; or (ii) you reduce your costs to the point where they’re lower than revenues.

There: that wasn’t hard, was it?

The thought was prompted by a typically insightful post by Clay Shirky. “About 15 years ago”, he writes,

the supply part of media’s supply-and-demand curve went parabolic, with a predictably inverse effect on price. Since then, a battalion of media elites have lined up to declare that exactly the opposite thing will start happening any day now.

To pick a couple of examples more or less at random, last year Barry Diller of IAC said, of content available on the web, “It is not free, and is not going to be,” Steve Brill of Journalism Online said that users “just need to get back into the habit of doing so [paying for content] online”, and Rupert Murdoch of News Corp said “Web users will have to pay for what they watch and use.”

Diller, Brill, and Murdoch seem be stating a simple fact—we will have to pay them—but this fact is not in fact a fact. Instead, it is a choice, one its proponents often decline to spell out in full, because, spelled out in full, it would read something like this:

“Web users will have to pay for what they watch and use, or else we will have to stop making content in the costly and complex way we have grown accustomed to making it. And we don’t know how to do that.”

Yep. Shirky’s post was prompted by an inquiry from TV executives about how they would make money in the future.

Some video still has to be complex to be valuable, but the logic of the old media ecoystem, where video had to be complex simply to be video, is broken. Expensive bits of video made in complex ways now compete with cheap bits made in simple ways. “Charlie Bit My Finger” [a YouTube video which, to date, has had over 176 million viewers] was made by amateurs, in one take, with a lousy camera. No professionals were involved in selecting or editing or distributing it. Not one dime changed hands anywhere between creator, host, and viewers. A world where that is the kind of thing that just happens from time to time is a world where complexity is neither an absolute requirement nor an automatic advantage.

When ecosystems change and inflexible institutions collapse, their members disperse, abandoning old beliefs, trying new things, making their living in different ways than they used to. It’s easy to see the ways in which collapse to simplicity wrecks the glories of old. But there is one compensating advantage for the people who escape the old system: when the ecosystem stops rewarding complexity, it is the people who figure out how to work simply in the present, rather than the people who mastered the complexities of the past, who get to say what happens in the future.

Much of the problem with the current debate about all this is that people who have prospered (or been conditioned in) the old ecosystem just cannot imagine things being radically different from the way they used to be. And of course they are (understandably) distressed by the thought that some of the good/great things enabled by the old ecosystem might disappear (which they will). But that’s creative destruction for you.

LATER: We all (me included) use the term “content” too casually. The old publishing industries think that content is what they produce, which is why the concept of user-generated content is — to them — an oxymoron. But — as Jeff Jarvis points out here — ‘content’ is what everyone produces all the time: as email messages, tweets and, yea, even blog posts.

iPad=AOL Release 2: computing for couch potatoes

Revealing post from the Columbia Journalism review about the WSJ and NYT Apps on the iPad. The author finds it “worrisome” (quaint word) that the two papers “think they can partially return to the cloistered existence of the pre-Web days. That’s clearly a mistake.”

Yep!

One big missing feature in the WSJ and NYT iPad apps: You can’t copy text. Take a screen cap[ture] of it all you want, but you can’t get the actual text. That’s a basic function on a computer, and the iPad has a clever cut-and-paste function, but it doesn’t work here.

That would seem to be a conscious decision and not just a missing feature in these quasi-beta apps. If so it will make it hard to blog or email about a story. Of course, it will also make it harder for people to rip off whole stories on splogs, and it could lesson the relevance of aggregators.

Neither paper embeds links in their stories. While nytimes.com links to a U.S. embassy news release in the third paragraph of its Pakistan attack story today, the Times app has no links.

It’s also worth noting that you can’t comment on stories in either the Journal or Times apps.

The absence of these features is not accidental. Forward to the past.

LATER: Gosh! The steam media crowd still don’t get it:

Three days into the Apple iPad’s launch, many magazine customers are embracing the new format for print but howling over what they consider excessive prices for single issues.

“Come on, guys, help us help you,” read one typical customer comment, on Apple’s iTunes store, in response to Popular Science’s iPad app. The app, a digital replica of the monthly magazine, is priced at $4.99 per single issue, the same as the print. “… This is the future of magazines. This is how I want all of my magazines. But I will not pay $5 per issue.”

Magazines are pinning their hopes on the iPad and other, forthcoming tablets and e-readers helping offset a decline in circulation and ad revenue. But as the early feedback shows, they may be paying the price for the industry’s longstanding practice of charging steep discounts for subscriptions. As a result, consumers are well aware of the per-issue discrepancy between subscriptions and single issues.

As one customer of Time magazine’s app ($4.99 single issue) wrote, “Not to put too fine a point on it, but they’re … passing the savings on distribution and raw materials to themselves. I can get 56 issues of the paper version for $20. How am I supposed to feel about this?”

Making matters worse, some customers of magazine apps thought they were downloading a subscription when what they got was a single issue. (To date, magazines that are sold through Apple’s app store are available on a single-copy basis only, although publishers said their titles would be available on a subscription basis in the coming weeks.)

The Flickr effect

This morning’s Observer column.

Because Flickr is so prominent, it’ll get most of the blame for the destruction of yet another venerable profession. But in fact the rot had set in long before the site launched in February 2004. The main culprit was the idiot-proof digital camera, which enabled almost anyone to take a decent photograph, or at any rate one that was accurately exposed, in focus and sharp — and to delete it and try again if it hadn’t turned out right.

Digital cameras had a powerful ‘levelling-up’ impact on amateur photography. Once upon a time, only professionals could consistently deliver images that were technically excellent. And even then, analogue technology often let them down. I’ve just been looking through a book of Henri Cartier-Bresson’s collected portraits, for example. Out of 94 images, only 66 approach contemporary standards of sharpness and focus. That doesn’t mean that most of them aren’t memorable pictures; but it does illustrate how digital technology has levelled the playing field…