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"2017 is weird"

A fechar a semana, um recap de peças do meio desta com as principais novidades a reter sobre os auspícios de "mudanças".

I

"2017 is weird. The Reuters Institute’s annual report on digital news contains some surprises."

Do relatório anual da Reuters destacam várias surpresas, das quais destacamos aquelas que nos adivinhamos a continuar comparações. Um mashup, cites a seguir: outros devices surgem como plataformas noticiosas, desafio aos media para se adaptarem - além do texto e vídeo, podemos imaginar que o áudio fará um come back-; o adblocking não foi tão desastroso como previsto, não que o revenue dos ads alguma vez volte a ser relevante ou que isso desconvença o Google de os tentar regularizar para nosso bem; as redes sociais como serviços noticiosos só na América, no resto do mundo parecem ter uma dieta mais equilibrada – kudos a Portugal que regista uma descida, teremos que assumir que parte do sucesso se deve à consciencialização aqui feita nOS POSITIVOS; por outro lado, o declínio das redes sociais corresponderá ao aumento do uso de apps de comunicação; o que, somado, poderá indicar o regresso das apps noticiosas. Esta última combinação de comunicação directa entre utilizadores e o retorno às fontes é todo um capítulo a abrir nas nossas teses se a tendência persistir. E, last but not least, principal surpresa: os leitores estão dispostos a pagar pelas notícias. A persistir essa tendência, teremos que rescrever alguns capítulos.

Voice-activated digital assistants like the Amazon Echo are emerging as a new platform for new.
in "News apps are making a comeback. More young Americans are paying for news. 2017 is weird." 21 jun 2017
The hottest fear of 2015-2016 is subsiding: the growth of adblockers has stalled on desktop and despite industry fears, it has not spread to the smartphone where only less than one in ten (7%) have worked out how to install blockers or browsers that block by default. Another hopeful sign has been the increasing proportion of respondents who have agreed to temporarily turn off their ad blocker for particular news sites.
in "News apps are making a comeback. More young Americans are paying for news. 2017 is weird." 21 jun 2017

Social media for news? Américas, principalmente.

A third of 18- to 24-year-olds (33 percent) across all the countries surveyed now say that social media is their main source of news, bigger than online news sites (31 percent) and TV news and printed newspapers combined (29 percent).

Still, outside the United States and United Kingdom, growth in the use of social media for news seems to be flattening out. In most countries growth has stopped and we have seen significant declines in Portugal (-4), Italy (-5), Australia (-6), and Brazil (-6).

In addition, sharing and commenting on news in social networks has either declined or remained flat in most countries over the last two years. (One exception: the United States, where both practices have risen.)
in "News apps are making a comeback. More young Americans are paying for news. 2017 is weird." 21 jun 2017
WhatsApp? In the U.S., not a lot
Why this [decline]? It could be due to the increased use of messaging apps in other countries… Usage varies a lot by country (Malaysia 51%, US 3%) + the bulk of messaging use for news is currently happening in Asia and Latin America.
in "News apps are making a comeback. More young Americans are paying for news. 2017 is weird." 21 jun 2017
Could news apps be a thing again? After a period of little or no growth, we have seen a jump in the use of news apps in almost all countries…This is much more likely to be about more regular usage by existing app users, rather than by some surge in new installs. Two key factors are likely to be at play: (a) more publishers have enabled deep linking to apps from search, social, and email; (b) the substantial increase in mobile notifications as publishers pursue loyalty strategies and take advantage of new platform capabilities.
in "News apps are making a comeback. More young Americans are paying for news. 2017 is weird." 21 jun 2017
Young Americans are paying for news. The proportion of people aged 18-24 paying for online news rose from 4% in 2016 to 18% in 2017. We see the same pattern by political leaning: some growth within all groups, but particularly from those on the left. The U.S. also had the highest proportion of respondents saying that a key reason they pay for news is that they want to fund journalism.
in "News apps are making a comeback. More young Americans are paying for news. 2017 is weird." 21 jun 2017

A recordar das comparações à América: dois eixos. 1) "crazy cucu!" 'nought said 2) por outro lado, aquilo de estarem na linha da frente de desenvolvimentos que eventualmente conseguem fazer o seu caminho até nós + qualquer coisa sobre uma dominação cultural que nos aflige.

Ainda no $$$, já a adiantar no detalhe.

We should always keep in mind that most people still do not pay for online news [mas!] interestingly, when asked about the type of content that had most influenced their decision to pay, across all 36 markets breaking news (41%) and reporting on recent events (38%) come out top. In-depth analysis (34%) and commentary (29%), which tend to be distinct to the news source, are next on the list. The importance of breaking news is perhaps surprising, given that in most countries people can get the same breaking news from a number of free alternatives.
in "News apps are making a comeback. More young Americans are paying for news. 2017 is weird." 21 jun 2017

E esta porque é sempre engraçado e! importante notar. Mais tarde desenvolveremos.

Comparatively few people (23%) pay for access to entertaining or amusing news context.
in "News apps are making a comeback. More young Americans are paying for news. 2017 is weird." 21 jun 2017

II

Mais surpresas dos young American (jornalists): a sindicalizar-se!

No mesmo dia, outra peça, outra surpresa. Entre os maiores precários que o sistema cospe cá para fora, uma luz ao fim do túnel. Mashup:

Over the past two years, online newsrooms have organized at a pace that would have made the Newspaper Guild’s legendary co-founder, Heywood Broun, beam with pride. "Organizing is the hip new thing to do"
News unions are back. They never really went away, of course, but for the first time in memory they are proactive rather than on the defensive. (...) This sudden spurt of union activity is a surprise, given the beleaguered reputation of newspaper unions, which have seen their ranks plummet as employment has fallen.

Long roster of largely new-media outfits: [entre outros o extinto] Gawker, Fusion, Salon, Vice, MTV News, ThinkProgress, The Guardian US, Jacobin, The Intercept, Thrillist, Slate...

They are strong on promoting diversity and editorial independence, and often provide impressive raises, but tend to skimp on traditional worker protections—overtime pay and even just-cause firing—because they aren’t seen as that important to the new generation of newspeople.
in "An unlikely big player in digital media: unions" 21 jun 2017

Nova geração. Ah, os teens a crescerem e a chegarem-se à frente.

In a sense, the new generation of union activists is giving their bosses an intense course in Management 101. Or to put it more cynically, young news employees are bearing the brunt of their employers’ incompetence.

People in their twenties tend to be more pro-union than their older peers. Young people realize how volatile the field of journalism is, and I think they have a desire to be more protected. They recognize the value of organizing. This is a whole generation of young people who were basically sold a lie. They were going to good schools and get good jobs. Then they enter the job market and they see how grim the prospects are, especially for journalists.

The union campaigns are also aided by heightened employee political awareness. "We have a workforce that is very thoughtful about environmentalism and feminism, about things like Black Lives Matter, and since the election the concept of resistance.

Aplica-se a habitual dualidade: conservative outlets "are the ones that usually don’t go anywhere", vs "the preponderance of more liberal news organs among the organized" ainda que se aplique a mesma regra de sempre: nenhum patrão quer um sindicado na sua loja.

It wasn’t like these super-liberal news outlets were rolling out the red carpet.
in "An unlikely big player in digital media: unions" 21 jun 2017

"Red carpet"... funny. Dizem-nos que é uma tendência para continuar. Estamos a despachar os resumos, mas, a persistir, e a vingar, aqui começa a possiblidade de outra conclusão às nossas teses.

The mood is shifting away from the bad old days of defensiveness and toward a more aggressive stance [and] unions are continuing to scope out potential "hot shops" ripe for organizing.
in "An unlikely big player in digital media: unions" 21 jun 2017

III

Really, really weird -or, back to normal? Tha new normal!

E, no tópico de surpresas outro spin à realidade como a conhecemos. O Twitter, aquele antro decadente de nazis e trolhas? Afinal, repleto de boas pessoas e as melhores intenções. A propósito das recentes campanhas de pressão sobre sponsors de programas para estes se distanciarem de conteúdos ou personalidades pró-Trumpa, ou qualquer comportamento considerado ofensivo. Exemplo Uber: "a swirl of negative branding took on a life of its own — and ultimately could not be ignored."

Online campaigns against brands have become one of the most powerful forces in business, giving customers a huge megaphone with which to shape corporate ethics and practices.
in "How Battling Brands Online Has Gained Urgency, and Impact" 21 jun 2017

$$$ is politics.

The effects of these campaigns go beyond business. In a nation where politics have grown pitched and sclerotic, fighting brands online suddenly feels like the most effective political action many of us can take. Posting a hashtag — #deleteUber, for instance, or #grabyourwallet — and threatening to back it up by withholding dollars can bring about a much quicker, more visible change in the world than, say, calling your representative.
in "How Battling Brands Online Has Gained Urgency, and Impact" 21 jun 2017

Minorias no Twitter.

The mechanics of social media suggest it will be the cultural and political left, more than the right, that might win the upper hand with this tactic — especially when harnessing the power of brands to fight larger battles for racial and gender equality.
in "How Battling Brands Online Has Gained Urgency, and Impact" 21 jun 2017

Diz-nos Shannon Coulter "a marketing consultant who co-founded Grab Your Wallet, a campaign aimed at urging retailers to stop selling Trump-branded products":

Women and people of color have gravitated to social media and were early adopters of it, social media is actually a lever for social justice. It’s a way of leveling the playing field. Women tend to dominate social media. On most metrics, including sharing and usage, they outrank men online. Women are also more deeply enmeshed in the consumer economy than men.
in "How Battling Brands Online Has Gained Urgency, and Impact" 21 jun 2017

Que os porcos chauvinistas do Twitter percam o seu lugar às mulheres é de aplaudir e parece-nos justiça divina. Mas este mesmo processo permite o seu inverso quando minorias e mulheres que procuram igualdade cedem a sua vez a um backlash conservador a boicotar o avanço da humanidade, e temos "worries that brand boycotts could chill art and journalism", ie, censura.

But Ms. Coulter, of Grab Your Wallet, argued that even so, they were legitimate expressions of political sentiment. "I think it’s ultimately healthy and positive even when I don’t agree with it — it’s healthy and positive that consumers are making themselves heard," she said.
in "How Battling Brands Online Has Gained Urgency, and Impact" 21 jun 2017

Se ela o diz. Mesmo assim, não estamos descansados. Da moralidade das maiorias, ler OS POSITIVOS, qualquer entrada. Da moralidade das minorias, já registámos antes também.

No tópico de novidades que trespassam as redes sociais, além das aqui enunciadas, outra novidade em outra frente parece querer demonstrar-nos que elas não nos fecham em bolhas mas abrem-nos novas possibilidades de distributed discovery. Para outro dia mas fica o teaser para ruminarem enquanto fechamos excertos da peça em mãos:

We live in an era dominated by the unyielding influence of social feeds. Just about every cultural sentiment — even what to think about a piece of corporate messaging — comes to you filtered through a social feed.
We must first understand why brands are suddenly more vulnerable to consumer sentiment than they once were. It all comes down to one thing: social media is the new TV.

In the era when television shaped mainstream consumer sentiment, companies enjoyed enormous power to alter their image through advertising. Then came the internet, which didn’t kill advertising, but did dilute its power. Brands now have little say over how their messages get chewed up through our social feeds.

Yes, they can run ads on Facebook, Twitter, Snapchat and everyplace else. But social media elevates consumers over corporate marketing; suddenly what matters isn’t what an ad says about a company, but what your friends think about that company.
in "How Battling Brands Online Has Gained Urgency, and Impact" 21 jun 2017
Twitter shapes the news. On social media, there’s no room for nuanced portrayals of complex artistic treatments. There are only quick snatches of graphic imagery in your scrolling feed.

CONTINUAR

"respeito, porra!"

The Library of Congress has discovered webcomics and is going big

No tópico de webcomics e das coincidências: acabadinhos de rever um período histórico destes, e sai o anúncio que a Library of Congress dos américas vai começar a arquivar estes. Damn!

The library will announce Tuesday that the Webcomics Web Archive is officially launching at loc.gov as part of its growth in "born-digital" collections. The first phase of the webcomics online collection will include nearly 40 titles, including such long-running works as Josh Lesnick’s "Girly" and Zach Weiner’s "Saturday Morning Breakfast Cereal."
in "Webcomic fans, rejoice: Library of Congress is launching a new archive for you" 13 jun 2017

Da seleção feita no arranque do arquivo:

The webcomics archive includes a focus on diversity in terms of both cartoonists and characters [and] also political content, including Matt Bors’s "The Nib" archive, as well as comics representing diverse narratives on human sexuality, including Erika Moen’s "DAR" and Jess Fink’s "Chester 5000 XYV." The longevity and acclaim of the webcomics are also criteria in culling the initial archive.
in "Webcomic fans, rejoice: Library of Congress is launching a new archive for you" 13 jun 2017

Entre outros,

Allie Brosh ("Hyperbole and a Half"), Kate Beaton ("Hark! A Vagrant"), Melanie Gillman ("As the Crow Flies"), Meredith Gran ("Octopus Pie"), Lucy Knisely ("Stop Paying Attention"), Katie Cook ("Gronk") and Noelle Stevenson ("Nimona")
in "Webcomic fans, rejoice: Library of Congress is launching a new archive for you" 13 jun 2017

- mas como escrevem no Fleen a propósito da notícia:

It’s a hell of a job of curation, too. A lot of the listed comics are award winners or nominees (Eisners, NCS, etc); some are no-brainers, like the Library of Congress including the library-themed Unshelved, and the importance of politcal cartooning makes The Nib a shoo-in. But how to explain the presence of As The Crow Flies, Chester 5000, or DAR!, except that somebody over at The LOC really pays attention to work in a wide variety of genres and story styles, over the past decade, from creators of all backgrounds?
in "Respectability, Dammit" 13 jun 2017

Palavra ao about oficial da coleção:

www.loc.gov/collections/webcomics-web-archive/

This collection focuses on comics created specifically for the web and supplements the Library of Congress’ extensive holdings in both comic books, graphic novels, and original comic art.

Webcomics are an increasingly popular format utilized by contemporary creators in the field and often includes material by artists not available elsewhere. Webcomics selected for this collection include award-winning comics (Eisner Awards, Harvey Awards, Eagle Awards, and Shuster Awards) as well as webcomics that have significance in the field due to longevity, reputation, and subject matter.

This collection includes work by artists and subjects not traditionally represented in mainstream comics, including women artists and characters, artists and characters of color, LGBTQ+ artists and characters, as well as subjects such as politics, health and human sexuality, and autobiography.

The content of these websites is captured as it was originally produced and may include content that is not suitable for all ages.
in "Collection Webcomics Web Archive" s/d mas anunciado a 13 jun 2017

E seguem-se os nossos told-u-sos. Três apenas, não queremos estar a maçar-vos demasiado no tópico - aquela coisa dOS POSITIVOS terem sempre razão já mais que deve ter feito mossa por esta altura. First, all things digital:

The library also announced the launch of its Web Cultures Web Archive, "a representative sampling of websites documenting the creation of emergent cultural traditions on the web such as GIFs, memes and emoji".
in "Webcomic fans, rejoice: Library of Congress is launching a new archive for you" 13 jun 2017

Artsy-farsty no papel: já nem tem piada bater no ceguinho. Segundo, arsty-fartsy no Facebook a contar para o digital? Nigga please, depois de tudo o que já dizemos antes? A Library do Congresso está a arquivar os webcomics com uma "Wayback Machine-like archive": adivinha lá o que resta aos teus posts nesta? Nada. Zero. Nunca exististes. Não nos entendas mal: o estar fora do radar tem o seu mérito, mas apenas quando essa parte da intenção - não um acidente e muito menos quando te esforças no inverso como -uh, I dunno- grosso modo é o caso de quem posta no FB. Terceiro e último: boa sorte em encontrar algo parecido à realidade nacional, seja no acto de arquivar, seja no objecto. Voltando e terminando com citações da nossa entrada anterior, a repensar à luz das novidades:

Websites don’t last forever, after all (...) Webcomics don’t even need websites anymore.

Pois.

CONTINUAR

"one of those things"

Nem de propósito: a revisitar a história dos webcomics encontrámos a respeito do ill-fated "Modern Tales" de Joey Manley uma moral que se estende a outro nosso domínio de interesse: a imprensa. Dessa peça, e como o falecido Joey procurou criar um hub financeiramente viável para suportar os criadores que neste participavam - Jesse Hamm, Gene Luen Yang, Dirk Tiede. Lark Pien, Jason Shiga, Lea Hernandez, Chuck Whelon, Joe Zabel, John Barber, Jim Zubkavich, Chris Shadoian, Cat Garza, Tom Hart et al., o "American Elf" do James Kochalka corria num sítio específico mas com uma entrada no MT.

Circa 2013, webcomics.

"Joey had a plan for making money". We came tantalizingly close sometimes, but we never reached that goal.
What we were doing was smart and beautiful and funny and raunchy and tragic and cool, and color was free and courage didn’t cost much, and there was no reason we couldn’t take over the world. Did we? Now Modern Tales is shuttering its virtual doors, after a run of ten years and change. I suppose I always knew that one of these days I’d be writing its obituary; websites don’t last forever, after all.
in "One of Those Things" 18 abr 2013

E onde a fábula -again, 2013- se estende ao presente, noutros sets.

In this, the second dot-com boom, webcomics collectives are out. Instead of joining together, we’re decentralizing, diffusing into social media and multiple platforms, turning from collectivist to libertarian. Webcomics don’t even need websites anymore.
in "One of Those Things" 18 abr 2013

Do historial dos webcomics como empreendimento económico viável encontramos as mesmas tendências actuais que estilhaçam a imprensa. Do $$$, a modelos de subscrição, agregação, dispersão aos sete ventos pós-Facebook em perda total de qualquer referência original... circa 2017, facebook, web-comédia: também a press se descentraliza, que no seu caso começa pela desmaterialização física da mesma, a ponto de se tornar questionável o próprio termo quando da imprensa há cada vez menos prensa. Nem de propósito, dizíamos, saídos da leitura anterior no tópico de um boom que implode, deparamo-nos com esta notícia de ontem:

Guardian Media Group (GMG), the parent company of the Guardian and Observer print and digital businesses, has decided to move from its Berliner newspaper format to the smaller size as part of a major cost-saving drive.
in "Guardian and Observer to relaunch in tabloid format" 13 jun 2017

E poderíamos não acrescentar nada à peça, mas depois de imersos em leitura no longo historial de portais webcomics que sucumbiram aos hábitos digitais, é-nos impossível ler o puff-piece que acompanha a notícia sem a cortar ao meio e remoer nos floreados. Antes, o quem-como-porquê.

The Guardian has signed a contract for Trinity Mirror, publisher of the Daily Mirror, Sunday Mirror and Sunday People, to print the titles from early next year. GMG’s three specially commissioned £80m printing presses in London and Manchester will be sold or scrapped. The move to outsource is expected to generate millions of pounds in savings annually. The plan is for GMG to break even, or at least for losses to be at a sustainable level, by April 2019.
in "Guardian and Observer to relaunch in tabloid format" 13 jun 2017

Agora, as interpretações possíveis. Por Katharine Viner, editor-in-chief, Guardian News and Media e David Pemsel, chief executive, Guardian Media Group:

"The print industry continues to evolve, and we must evolve with it."
The introduction of the Berliner format in 2005 was a historic moment for the Guardian, and we won award after award for our world-class design and innovation, including world’s best-designed newspaper twice in three years. It is a beautiful format. But declining circulations mean that printing the Berliner is becoming increasingly expensive. Moving to a tabloid format will allow us to be far more flexible in responding to changing print demand. It will allow us to save millions of pounds each year, helping us to become financially sustainable so that we can keep investing in the most important thing: Guardian journalism.
We have spoken to print readers who have told us clearly that it is the great journalism, photography, graphics and design that they value, not the shape and size of the newspaper.
in "Guardian journalism goes from strength to strength. It's just our shape that's changing" 13 jun 2017

A nota é de esperança, mas o entrelinhas não augura nada de bom. Primeiro, aquilo do papel, esse começa a custar demasiado e afinal é possível separar as notícias do seu formato.

The Guardian’s average circulation in April was 154,000 compared with 341,000 in the same month in 2005, when the titles started printing in Berliner format, meaning over the years the presses have become increasingly expensive to run.
in "Guardian journalism goes from strength to strength. It's just our shape that's changing" 13 jun 2017
But we know that it is our award-winning, quality, independent journalism that our readers value most, rather than the shape or the size of the newspapers
in "Guardian and Observer to relaunch in tabloid format" 13 jun 2017

Também nos 2005 os nossos webcomics estavam no auge do seu optimismo. Fastforward uma década, igualmente a imprensa morde a língua:

The move has been prompted by a number of factors including continuing sharp falls in the print advertising market and the rising cost of publishing newspapers as consumers move towards digital media. This has been exacerbated by a slowing in digital revenue generation as Google and Facebook hoover up the lion’s share of the online advertising market.
in "Guardian and Observer to relaunch in tabloid format" 13 jun 2017

Chegados então ao digital. O mesmo é dizer, o inevitável - apenas os termos deste estão por decidir. Diz-nos o Financial Times, aquele baluarte de ideologias aprazíveis:

The Guardian had no plans to stop printing and follow the lead set by its rival The Independent by becoming a web-only news platform.
in "Guardian newspaper considers shift to tabloid format" 24 jan 2017

Acreditamos que não. Tal com a longa lista de portais de webcomics pré-Facebook que ficaram pelo caminho também não tinham planos alternativos a um modelo económico baseado em ads. Depois cenas-e-tal aconteceram... Nem os webcomics precisam mais de websites, como os newspapers começam a dispensar o paper.

The web industry continues to evolve, and we must evolve with it.

respeito!

CONTINUAR

a nostalgia de rotinas que se desvanecem

Nostalgia provides reassurance and self-gratification, but it is also intellectually and socially stultifying. It is time to move on.
The contemporary context is marked by rapid and widespread innovation, including in the research about, and practice of, journalism. This feeling of great transformations can be unsettling and paralyzing, yet also exhilarating and liberating. A renewed sense of agency might actually be the ultimate beauty of writing about our digital age.
in "When certainties fade: The changing state of academic research into the changing world of news" 12 jun 2017

A propósito de "Remaking the News - Essays on the Future of Journalism Scholarship in the Digital Age" editado por Pablo J. Boczkowski and C. W. Anderson sobre o estudo do jornalismo. Citamos amplamente das suas conclusões em entrada óbvia para arquivo a propósito do zeitgeist, e cruzem-nas à literatura -e postura- que os urs truly vos reúnem neste espaço para vosso deleite.

Things are different, to put it mildly, than they used to be.

Innovation as a keyword and a buzzword. Innovation as an ideology and a sign of the times. All the while, the questions, theories, and methods for studying journalism were also changing, spurred in part by the challenge of the evolving news environment. Yet the frantic pace of knowledge production had somewhat prevented scholars to engage in a collective process of sensemaking about what had been accomplished and what might lie ahead.
in "When certainties fade: The changing state of academic research into the changing world of news" 12 jun 2017

Academia, favor acompanhar os novos tempos. Como em, "em acelerado sff". A propósito de décadas de "journalism scholarship", os seus editores destacam três eixos:

Years later — while much in academia has changed, what has barely been altered is the time it takes to get a book conceived, written, revised, edited, and printed!
  • Alternative modes of telling the story often afford novel arguments while rekindling the passion for the craft.
  • Diversity and conflict are a source of strength and innovation for both newspeople and researchers.
  • Nostalgia, in either journalism or the academy, is not productive; the present moment is ripe for reflecting on the past as a way to imagine new futures.

Cada um agora. Com o primeiro a poderes extrapolar para outras frentes mas por hoje hush little baby...

I

Expanding the storytelling toolkit

For over a decade, media organizations have been experimenting with alternative modes of presenting information and telling stories.

Jornalismo, e academia alike. Os cómico têm aqui novamente o seu silver lining mas como novamente não o declaramos, não o detectam. Academia então - lembram-se quando dissemos que abraçavamos o long read e recordámos o ensaio? Shiiit:

One thing that we learned is that scholars also ought to find new ways to present information and make a case. In particular, we discovered the renewed potential of the essay format. We do not propose that this become the default genre for scholarly communication. But we found out that it fostered intellectual creativity and joy in ways that we do not normally see in the process of writing the dominant genre, namely the journal article.
in "When certainties fade: The changing state of academic research into the changing world of news" 12 jun 2017

Se por vezes nos parece que pregamos no deserto aos peixes - e, sabemos que acabámos de confundir metáforas, mas peixes no deserto a dar-nos da sua atenção reproduz no essencial o sentimento de impotência que nos aflige perante a tão óbvia fraca de resultados conseguidos entre os demais (*) - descobrimos que afinal não estamos sozinhos. Só por essa, excerto na sua totalidade:

* Ou, aquilo dos textos longos.

These types of articles are to academics what the straight news format is to journalists: effective and easy to write templates that convey the essence of complex arguments to audiences increasingly swamped with information. But like all good formulas, they run the risk of becoming, well, formulaic, and sapping creativity and enjoyment from the craft. They can become, to use an exercise analogy, the treadmill option for runners. Writing a peer-reviewed journal article, in our experience, has increasingly become the treadmill running of scholarly writing. It is necessary, practical, beneficial, generates valuable information exchange, and often invites a form of argumentation that serves the process of analysis well. Not doing it would leave you incapable of getting off the couch once winter has drawn to an end.

But it is often overdone. The corporatization of the academy, like the increased bottom-line concerns in the news business, has led to an ever-expanding pressure to publish larger and larger numbers of articles. New journals pop up from one season to the next like wild mushrooms in the forest, and the existing ones move from publishing four times a year to doing it eight times a year. Concurrently, search and promotion committees expect longer lists of publications from scholars. All of this has turned a whole lot of academic life into the hamster wheel: It keeps you in shape but takes the fun out of exercising the mind.

We found that writing an essay has become more like a long run through the woods, by virtue of its fewer genre constraints and its implicit openness, essay writing clears the head, generates creative new approaches to old problems, and gives authors the freedom to draw on our earlier exercise regimen. As editors, it was remarkable to see the level of enthusiasm, commitment, and risk-taking among our authors — something which is quite different from what we experience and hear about the journal publishing process.
in "When certainties fade: The changing state of academic research into the changing world of news" 12 jun 2017

Academic bash aside, o destaque a reter: academia, jornalistas, e comics alike, onde se cruza às teses.

Just as journalists are embracing new ways of telling the story, then, we encourage academics to think about new ways of making a case and communicating their ideas.

The digital age has seen an explosion in different communication modalities and platforms. Much of this work goes beyond the essay format, of course, ranging from social media writing to the interactive visualization work increasingly common in the digital humanities. We would like to see more of all of it.

We are not saying that academics ought to dispense with their treadmill workouts…er, with their journal articles. But we are saying that it is important to take alternative modes of communication seriously and value their contributions in their own right. Different forms of academic, and journalistic, writing complement each other in unique and productive ways. There is much intellectual creativity and personal engagement that can arise from expanding the storytelling toolkit.
in "When certainties fade: The changing state of academic research into the changing world of news" 12 jun 2017

II

Embracing diversity

Dois grupos de confrontação:

  1. The tensions between disciplinary and interdisciplinary approaches to the study of news — this is mirrored, to a certain degree, in the tensions between journalists and technologists in contemporary newsmaking
  2. Between knowledge generated primarily with applied goals in mind, or mainly for scholarly purposes.

Como se diz artsy-farsty em científico? E a tensão entre jornalistas e tecnólogos não passou despercebida. Continuando, o primeiro dividido em dois grupos:

Regarding the tension between "disciplinary" and "interdisciplinary" approaches, scholars in the first group often frame their intellectual arguments in relationship to other pieces of scholarship that also focus on journalism. These scholars are building a discipline while making knowledge; thus they have an investment in the institutional vitality of the news media as a source of legitimation of their scholarly enterprise.

The second group of scholars seemed more interested in "studies of journalism" rather than in journalism studies. These writers usually framed their journalism research as a case of something else — new media, political communication, cultural studies, and so on. Often address[ing] other literatures as much as they addressed scholarship on the news to include arguments for outward disciplinary connections rather than inward disciplinary growth, using journalism as a way of shedding light on cross-cutting social processes and phenomena.
in "When certainties fade: The changing state of academic research into the changing world of news" 12 jun 2017

Os processo sociais, senhores, os processos sociais... E terminando do ponto dois da lista atrás:

A second area of diversity and conflict A second area of diversity and conflict is between scholars who produce action-oriented media research and thinkers who conduct what some philosophers of science call "basic research."
in "When certainties fade: The changing state of academic research into the changing world of news" 12 jun 2017

III

Dispensing with nostalgia

Social scientists, like journalists, are in the business of sensemaking: finding out information about important phenomena and accounting for what happens in ways that are truthful and relevant to our publics. Academics, unlike journalists, study these phenomena but also build theories trying to find the logic behind them.

In the social sciences, theories tend to have an inertia of their own by helping frame the process of inquiry long after the historical conditions that led to their development change.

During periods of historical discontinuity, and especially at the beginning of them, this leads to a nostalgic reflex that is both scholarly and normative: the new phenomena are made sense with theoretical approaches from the past and their implications are assessed, often negatively, in comparison to what was the norm before.

The problem with this kind of nostalgic stance is that it obliterates both theoretical imagination and practical possibilities. Overcoming nostalgia does not mean doing away with the conceptual tools and normative ideals of the past. It means not taking them for granted, and instead revisiting them in ways that do justice to the unique characteristics and potentials of the contemporary moment.
in "When certainties fade: The changing state of academic research into the changing world of news" 12 jun 2017

OS POSITIVOS: movin' forward.


lookin' back: weekend nostalgia

uma daquelas coisas...

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rotinas


Um quick recap com promessa de uma segunda parte: "The Rise of the Machines – Why Automation is Different this Time" 8 jun 2017. Para lá do imediato, outras leituras que se enrolam - o vídeo em si além do seu objecto. $$$ - do tema e do patrocínio que te pedem, do meio que o permite e o suporta. E, finalmente e mais relacionado ao nosso cantinho do mundo: bonecos. Animados, sim, digitais, claro, áudio sincronizado, absolutamente. Mas, repetindo: comunicação visual com bonecos. Há ai um silver lining.


E essa foi para os cómicos, agora daqueles que não podem fugir à luta. Da série de eventos à parte, vamos a Boston pelo Josh Clark, nome habitual entre aqueles que trabalham all thing desi-web. Sumário que podes desenvolver na sua totalidade em "Design in the era of the algorithm" 7 jun 2017

  1. Favor accuracy over speed
  2. Allow for ambiguity
  3. Add human judgment
  4. Advocate sunshine
  5. Embrace multiple systems
  6. Make it easy to contribute (accurate) data
  7. Root out bias and bad assumptions
  8. Give people control over their data
  9. Be loyal to the user
  10. Take responsibility

de rotinas

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