News-U-Like

This morning’s Observer column.

Way back in 1996, the distinguished American journalist James Fallows published Breaking the News: How the Media Undermine American Democracy, a remarkable study of the pernicious effects of broadcast television on democracy.

Among the phenomena he examined were the relentless trivialisation implicit in soundbite politics, the obsessive insistence that every political issue – no matter how complex – has only two sides and the tendency to treat every political controversy as if it were a football game and every election a horse race. But, en passant, Fallows also highlighted an equally disturbing trend – towards market-driven news: that is, news agendas that are driven not by some professional assessment of what's important and relevant, but by research into what viewers like and respond to. Put crudely, such an approach leads to news programming that plays down politics and economics in favour of coverage of crime, celebrity and sport. News-U-Like, as it were.

Earlier this month, Fallows decided to revisit this territory by embarking on a study of contemporary online news media…

The ‘End of History’ Man — on photography

A story about associative linking that would make Ol’ Vannevar Bush proud.

I’ve been reading reviews of Francis Fukuyama’s new book The Origins of Political Order: From Prehuman Times to the French Revolution and wondering whether to buy it. It looks interesting. And then I came on a Newsweek photo essay about him which included an intriguing photograph of him with his camera case. That’s when I discovered that he was a serious photographer, so of course I then went looking for his pictures, but before I got to any I found this essay by him on WSJ.com.

Let’s begin with how photography has changed. Ansel Adams’s iconic images of the Sierras were taken with an 8-inch-by-10-inch view camera, a wooden contraption with bellows in which the photographer saw his subject upside-down and reversed under a black cloth. Joel Meyerowitz’s stunning photographs of Cape Cod were taken with a similar mahogany Deardorff view camera manufactured in the 1930s. These cameras produce negatives that contain up to 100 times the amount of information produced by a contemporary top-of-the-line digital SLR like a Canon EOS 5D or a Nikon D3. View cameras allow photographers to shift and tilt the lens relative to the film plane, which is why they continue to be used by architectural photographers who want to avoid photos of buildings with the converging vertical lines caused by the upward tilt of the lens on a normal camera. And their lenses can be stopped down to f/64 or even f/96, which allows everything to be in crystalline focus from 3 inches away to infinity. (Ansel Adams, Edward Weston and Imogen Cunningham were part of a group called “f/64” in celebration of this characteristic.)

Perhaps the most important feature of these older film cameras was their lack of convenience. They had to be mounted on tripods; it took many minutes to shoot a single frame; and they were hardly inconspicuous. In contrast to contemporary digital photographers who snap a zillion photos of the same subject and hope that one will turn out well composed, view camera photography is a more painterly activity that forces the photographer to slow down and think ahead carefully about subject, light, framing, time of day, and the like. These skills are in short supply among digital photographers.

Older cameras were far better built. A few years ago I was given a Leica M3 once owned by my uncle, who joined the U.S. Army to get out of an internment camp for Japanese-Americans during World War II. He was sent to Germany where he acquired the Leica around the time I was born. This camera, with its f/2 Summicron, a classic, fast, tack-sharp lens, still takes beautiful pictures. How many digital cameras will still be functioning five years from now, much less 50? Where are you going to buy new batteries and the media to store your photos in 2061?

Where indeed? It turns out that Fukuyama is also an audio buff with strong views on the capacity of MP3 compression to ruin audio quality.

And of course I had to check out what a GigiPan Epic 100 would cost. Answer: £414 on eBAY.

The Windsor-Middleton merger: is anybody interested?

Lovely quote from the Economist.

I HAVE yet to come upon anybody in Britain who is remotely interested in the impending royal wedding, let alone excited by it, and I pride myself on the range of people I talk to. The newspapers keep trying to drum up some excitement (The frocks! The double-barrelled guest lists! The first commoner to marry a royal!), and the great British public responds with a yawn and a scratch.

The French had to resort to the guillotine to get rid of their royal family; perhaps ours will simply expire through lack of interest.

Personally, I hope to be out of the country on the day.

Steven Levy on Google

Here’s an interesting interview with Steven Levy, who has a new book about Google. Sigh: another one for the ‘must read’ pile.

David Pogue on the axing of the Flip

David Pogue has an interesting take on Cisco’s decision to kill the Flip.

Gizmodo puts it, “Cisco just axed Flip, yeah, but the blame should be aimed squarely at the smartphone in your pocket.”

Which sounds logical—until you realize there is a far more satisfying explanation.

First, app phones like the iPhone represent only a few percent of cellphone sales. You know who buys app phones? Affluent, East Coast/West Coast, educated, New York Times-reading, Gizmodo-writing Americans.

But most of the world doesn’t buy iPhones. Of the 1 billion cellphones sold annually, a few million are iPhones. The masses still have regular cellphones that don’t capture video, let alone hi-def video. They’re the people who buy Flip camcorders. It’s wayyyyyy too soon for app phones to have killed off the camcorder.

Second, it isn’t true at all that nobody’s buying Flip camcorders. So far, 7 million people have bought them. Only a month ago, I was briefed by a Flip product manager on the newest model, which was to hit the market yesterday. He showed me a graph of the Flip’s sales; Flips now represent an astonishing 35 percent of the camcorder market. They’re the No. 1 bestselling camcorder on Amazon. They’re still selling fast.

Look at it this way: There are plenty of Flip copycats, from Kodak and other companies. They have only a fraction of the Flip’s popularity, but you don’t see them shutting down.

So why did Cisco kill off the flip?

I’ve spoken to a bunch of people in the industry, trying, in my human way, to figure out the logic here. It seems clear that Cisco, whose primary focus is making networking equipment for businesses, was all excited about getting into the consumer electronics game; that’s why it spent $590 million on Flip. But then, as John Chambers, Cisco’s chief executive, put it, the company decided to make “key, targeted moves as we align operations in support of our network-centric platform strategy.”

Which, in English, means, “We had no clue what we were doing.”

All right, fine. Cisco bit of more than it could chew. But why is it killing the Flip and not selling it?

The most plausible reason is that Cisco wants the technology in the Flip more than it wants the business. Cisco is, after all, in the videoconferencing business, and the Flip’s video quality—for its size and price—was amazing. Maybe, in fact, that was Cisco’s plan all along. Buy the beloved Flip for its technology, then shut it down and fire 550 people.

And here’s something we didn’t know:

But there’s a second part of the tragedy, too, something that nobody knows. That new Flip that the product manager showed me was astonishing. It was called FlipLive, and it added one powerful new feature to the standard Flip: live broadcasting to the Internet.

That is, when you’re in a Wi-Fi hot spot, the entire world can see what you’re filming. You can post a link to Twitter or Facebook, or send an e-mail link to friends. Anyone who clicks the link can see what you’re seeing, in real time—thousands of people at once.

Think how amazing that would be. The world could tune in, live, to join you in watching concerts. Shuttle launches. The plane in the Hudson. College lectures. Apple keynote speeches.

Or your relative could join you for smaller, more personal events: weddings. Birthday parties. Graduations. First steps.

And the FlipLive was supposed to ship yesterday. April 13. The day after Cisco killed the Flip.

The Digital Public Library of America Project

From the The Harvard Crimson.

Harvard is solidifying plans to lead one of the largest national efforts to create a digitized public library.

The proposed Digital Public Library of America will serve as an open online collection of digitized books and texts that project leaders hope could one day incorporate every volume ever published.

Guided by a Steering Committee at the Harvard Law School’s Berkman Center for Internet and Society, the project remains in its initial planning phase. But in the wake of a New York District Court’s ruling last month against the Google Books Library Project, citing concerns of monopoly power, the spotlight has fallen on the DPLA, which will allow free access to the volumes.

There is a “need to pivot very quickly from the discussion phase to the implementation phase,” said Harvard Law Professor John G. Palfrey ’94, a co-director of the Berkman Center and a leader in the DPLA project.

The DPLA will be the product of a collaboration between the largest library systems in the nation, already including Harvard, the Library of Congress, the National Archives, and the Smithsonian Institution.

“The promise of the idea is attracting a lot of people at least to be involved even if they are skeptical of our ability to pull it off,” he said. “We have many of the biggest players at the table.”

If implemented successfully, the project will “make the cultural and scientific heritage of humanity available, free of charge, to all,” according to its online concept note.

Well, at least it gives the Crimson something to write about other than who’s suing Mark Zuckerberg at the moment.