Category Archives: Academic Work

Still Forgetting OOO

I am presenting a workshop on assemblages today primarily for the PhD students in one of our research centres. I have set two readings, one of which is Ian Buchanan’s chapter “The ‘Clutter’ Assemblage” (here is another version of the essay) in The Schizoanalysis of Art.

A brief passage in the essay reminded me of my Forget OOO post from almost 5 years ago encouraging graduate students to not get caught up in the internet hype of OOO. The 2006 post was triggered by Levi Bryant’s reading of ‘desiring machines’ in terms of OOO’s ‘objects’. Buchanan’s chapter addresses the use of schizoanalysis to understand how desire is productive in the context of artistic work. The passage extracted below explains better than I did why reading ‘desiring machines’ in terms of ‘objects’ as a move to some how escape from Kantianism is profoundly ill-advised. (Of course, there is another dimension to the below that Buchanan does not emphasise, which I indicate in my Forget OOO post pertaining to the ‘machinic’ or what I think is best described as the ‘milieu of singularities’):

Desiring-production is the process and means the psyche deploys in producing connections and links between thoughts, feelings, ideas, sensa- tions, memories and so on that we call desiring-machines (assemblages). It only becomes visible to us in and through the machines it forms. While both these terms were abandoned by Deleuze and Guattari in subsequent writing on schizoanalysis, the thinking behind them remains germane throughout. This is by no means straightforward because Deleuze and Guattari cast their discussion of desiring-production in language drawn from Marx, which has the effect of making it seem as though they are talking about the production of physical things, which simply is not and cannot be the case. The truth of this can be seen by asking the very simple question: if desire produces, then what does it produce?

The answer isn’t physical things. The correct answer is ‘objects’ – but ‘objects’ in the form of intuitions, to use Kant’s term for the mind’s initial attempts to grasp the world (both internal and external to the psyche). That is what desire produces, objects, not physical things. Kant, Deleuze and Guattari argue, was one of the first to conceive of desire as production, but he botched things by failing to recognize that the object produced by desire is fully real. Deleuze and Guattari reject the idea that superstitions, hallucinations and fantasies belong to the alternate realm of ‘psychic reality’ as Kant would have it (Deleuze and Guattari 1983: 25). The schizophrenic has no awareness that the reality they are experiencing is not reality itself. They may be aware that they do not share the same reality as everyone else, but they see this as a failing in others rather than a flaw in themselves. If they see their long dead mother in the room with them they do not question whether this is possible or not; they aren’t troubled by any such doubts. That is the essential difference between a delusion and a halluci- nation. What delusionals see is what is, quite literally. If this Kantian turn by Deleuze and Guattari seems surprising, it is never- theless confirmed by their critique of Lacan, who in their view makes essentially the same mistake as Kant in that he conceives desire as lacking a real object (for which fantasy acts as both compensation and substitute). Deleuze and Guattari describe Lacan’s work as ‘complex’, which seems to be their code word for useful but flawed (they say the same thing about Badiou). On the one hand, they credit him with discovering desiring-machines in the form of the objet petit a, but on the other hand they accuse him of smothering them under the weight of the Big O (Deleuze and Guattari 1983: 310). As Zizek is fond of saying, in the Lacanian universe fantasy supports reality. This is because reality, as Lacan conceives it, is fundamentally deficient; it perpetually lacks a real object. If desire is conceived this way, as a support for reality, then, they argue, ‘its very nature as a real entity depends upon an “essence of lack” that produces the fantasized object. Desire thus conceived of as production, though merely the production of fantasies, has been explained perfectly by psychoanalysis’ (Deleuze and Guattari 1983: 25). But that is not how desire works. If it was, it would mean that all desire does is produce imaginary doubles of reality, creating dreamed-of objects to complement real objects. This subordinates desire to the objects it supposedly lacks, or needs, thus reducing it to an essentially secondary role. This is precisely what Deleuze was arguing against when he said that the task of philosophy is to overturn Platonism. Nothing is changed by correlating desire with need as psychoanalysis tends to do. ‘Desire is not bolstered by needs, but rather the contrary; needs are derived from desire: they are counterproducts within the real that desire produces. Lack is a countereffect of desire; it is deposited, distributed, vacuolized within a real that is natural and social’ (Deleuze and Guattari 1983: 27).

#thedress for journalism educators

Black and Blue? Gold and White? What does #thedress mean for journalism educators?

The Dress Buzzfeed
Original Buzzfeed post has now had 38 million views.

At the time of writing, the original Buzzfeed post has just under over 38m visitors and 3.4m people have voted in poll at the bottom of the post. Slate created a landing page, aggregating all their posts including a live blog. Cosmo copied Buzzfeed. Time produced a quick post that included a cool little audio slideshowWired published a story on the science of why people see the wrong colours (white and gold). How can we use this in our teaching?

Nearly every single student in my big Introduction to Journalism lecture knew what I was talking about when I mentioned #thedress. I used it as a simple example to illustrate some core concepts for operating in a multi-platform or convergent news-based media  environment.

Multi-Platform Media Event

Journalists used to be trained to develop professional expertise in one platform. Until very recently this included radio, television or print and there was a period from the early to mid-2000s when ‘online’ existed as a fourth category. Now ‘digital’-modes of communication are shaping almost all others. We’ve moved from a ‘platform only’ approach to a ‘platform first’ approach — so that TV journalists also produces text or audio, writers produce visuals, an so on — and what is called a ‘multi-platform’ (or ‘digital first’, ‘convergent’ or ‘platform free’) approach.

When with think ‘multi-platform’, we think about how the elements of a story will be delivered across media channels or platforms:

  • Live – presentations
  • Social – Facebook, Twitter, Youtube, etc.
  • Web – own publishing platform, podcast, video, etc.
  • Mobile – specific app or a mobile-optimised website
  • Television – broadcast, narrowcast stream, etc.
  • Radio – broadcast, digital, etc.
  • Print – ‘publication’

‘Platform’ is the word we use to describe the social and technological relation between a producer and a consumer of a certain piece of media content in the act of transmission or access. In a pre-digital world, transmission or delivery were distinct from what was transmitted.

Thinking in terms of platforms also incorporates how we ‘operate’ or ‘engage’ with content via an ‘interface’ and so on. Most Australians get their daily news from the evening broadcast television news bulletin. Recent figures indicate that most people aged 18-24 actually get their news about politics and elections from online and SNS sources, compared to broadcast TV.

#thedress is a multi-platform media event. It began on Tumblr and then quickly spread via the Buzzfeed post to Twitter and across various websites belonging to news-based media enterprises.  It only makes sense if the viral, mediated character of the event is taken into account.  #thedress media event did not simply propagate, it spread at different rates and at different ways. The amplification effect of celebrities meant #thedress propagated across networks that are different orders of magnitude in scale. Viral is a mode of distribution, but it also produces relations of visibility/exposure.

New News and Old News Conventions

Consumers of news on any platform expect the conventions of established news journalism. What are the conventions of established news journalism?

  • The inverted pyramid
  • The lead/angle
  • Sourcing/attribution
  • Grammar: Active Voice, Tense
  • Punctuation
  • Sentence structure
  • Word use
  • Fairness

When we look at #thedress multi-platform media event we see different media outlets covered the story in different ways. Time magazine wrote the most conventional lead out of any that I have seen; the media event is the story:

Everyone on the Internet Wants to Know What Color This Dress Is
The Internet took a weird turn Thursday when all of a sudden everyone started buzzing about the color of a dress. A woman had taken to Tumblr the day before to ask a seemingly normal question: what color is this dress?

Cosmopolitan largely mediated between the two, both framing the story as an investigation into colour, but also reporting on the virality of the multi-platform media event:

Help Solve the Internet’s Most Baffling Mystery: What Colors Are This Dress?
Blue and black? Or white and gold?
If you think you know what colors are in this dress, you are probably wrong. If you think you’re right, someone on the Internet is about to vehemently disagree with you, because no one can seem to agree on what colors these are.

I’ve only include the head, intro and first par for Time and Cosmo and you can see already they are far more verbose compared to Buzzfeed’s original post. The original Buzzfeed post rearticulated a Tumblr post, but with one important variation:

What Colors Are This Dress?
There’s a lot of debate on Tumblr about this right now, and we need to settle it.
This is important because I think I’m going insane.
Tumblr user swiked uploaded this image.
[Image]
There’s a lot of debate about the color of the dress.
[Examples]
So let’s settle this: what colors are this dress?
68% White and Gold
32% Blue and Black

The Buzzfeed post added an ‘action': the poll at the bottom of the post. Why is this important?

Buzzfeed, Tumblr and the Relative Value of a Page View

Buzzfeed COO Jon Steinberg addressed the question of the Buzzfeed business model by posting a link to this article back in 2010:

Some of its sponsored “story unit” ad units have clickthrough rates as high as 4% to 5%, with an average around 1.5% to 2%, BuzzFeed President Jon Steinberg says. (That’s better than the roughly 1% clickthrough rate Steinberg says he thought was good for search ads when he worked at Google.) BuzzFeed’s smaller, thumbnail ad units have clickthrough rates around 0.25%.

The main difference now is the importance of mobile. In a 2013 post to LinkedIN Steinberg wrote:

At BuzzFeed our mobile traffic has grown from 20% of monthly unique visitors to 40% in under a year. I see no reason why this won’t go to 70% or even 80% in couple years.

Importantly, Buzzfeed’s business model is still organised around displaying what used to be called ‘custom content’ and what is now commonly referred to as ‘native advertising’ or even ‘content marketing’ when it is a longer piece (like these Westpac sponsored posts at Junkee).

Buzzfeed
Image via Jon Steinberg, LinkedIN

On the other hand, Tumblr is a visual platform; users are encouraged to post, favourite and reblog all kinds of content, but mostly images. For example, .gif-based pop-culture subcultures thrive on tumblr and tumblr icons are those that perform gestures that are easily turned into gifs (Taylor Swift) or static images (#thedress).The new owners of Tumblr, Yahoo, are struggling to commercialise Tumblr’s booming popularity.

I had a discussion with the Matt Liddy and Rosanna Ryan on Twitter this morning about the relative value of the 73 million views of the original Tumblr post versus the value of the 38 million views of the Buzzfeed post. Trying to make sense of what is of value in all this is tricky. At first glance the 73 million views of the original Tumblr post trumps the almost 38 million views of the Buzzfeed post, but how has Tumblr commercialised the relationship between users of the site and content? There is no clear commercialised relationship.

Buzzfeed’s business model is premised on a high click-through rate for their ‘native advertising’. Of key importance in all this is the often overlooked poll at the bottom of the Buzzfeed post. Almost 38 million or even 73 million views pales in comparison to the 3.4 million votes in the poll. Around 8.6% of the millions of people who visited the Buzzfeed article performed an action when they got there. This may not seem as impressive an action as those 483.2 thousand Tumblr uses that reblogged #thedress post, but the difference is that Buzzfeed has a business model that has commercialised performing an action (click-through), while Tumblr has not.

Nieman Lab 2015 Predictions for Journalism

Last week I delivered the first lecture in our Introduction to Journalism unit. I am building on the material that my colleague, Caroline Fisher, developed in 2014. One of the things about teaching journalism is that every example has to be ‘up to date’. One of the things that Caroline discussed in the 2014 lecture were the predictions for 2014 as presented by the Nieman Lab.

The Nieman Lab is a kind of journalism think tank, clearing house and site of experimentation. At the end of each year they ask professionals and journalism experts to suggest what they think is going to happen in journalism the next year.

Incorporating these predictions into a lecture is a good way to indicate to students what some professionals and experts think are going to be the big trends, changes and events in journalism for that year. (The anticipatory logic of predictions about near-future events has become a genre of journalism/media content that I briefly discuss in a forthcoming journal article. See what I did there.)

To analyse the the 65 predictions for 2015 in a lecture that only goes for an hour would be almost impossible. What I did instead was to carry out a little exercise in data journalism to introduce students to the practical concepts of ‘analytics’, ‘website scraping’, and the capacity to ‘tell a story through data’.

Nieman Lab
Nieman Lab 2015 Predictions

I created a spreadsheet using Outwit Hub Pro that scraped the author’s name, the title of the piece, the brief one or two line intro and the number of Twitter and Facebook shares. I wanted to know how many times each prediction had been shared on social media. This could then serve as a possible indicator of whether readers though the prediction was worth sharing through at least one or two of their social media networks. By combining the number of shares I could then have a very approximate way to measure which predictions readers of the site had the most value.

Spreadsheet shares
Here is the spreadsheet created through Outwit Hub Pro,

I have uploaded the table of the Nieman Lab Journalism Predictions 2015 to Google Drive. The table has some very quick and simple coding of each of the predictions so as to capture some sense of what area of journalism the prediction is discussing.

The graph resulting from this table indicates that there were four predictions that were shared more than twice the number of times compared to the other 61 predictions. The top three stories had almost three times the number of shares.

combined social shares
The four predictions with the highest number of shares clearly standout from the rest.

Here are the four stories with the total number of combined shares:

  1. Diversity: Don’t talk about it, be about it                              1652
  2. The beginning of the end of Facebook’s traffic engine 1617
  3. The year we get creeped out by algorithms                        1529
  4. A wave of P.R. data                                                                             1339

I was able to then present these four links to my students and suggest that it was worth investigating why these four predictions were shared so many more times than the other 61 predictions.

In the most shared prediction, Aaron Edwards forgoes the tech-based predictions that largely shape the other pieces and instead argues that media organizations need to take diversity seriously:

I guess I could pivot here to talk about the future of news in 2015 being about mobile and personalization. (I would geek out about both immensely.) I suppose I could opine on how the reinvention of the article structure to better accommodate complex stories like Ferguson will be on every smart media manager’s mind, just as it should have been in 2014, 2013, and 2003.
But let’s have a different kind of real talk, shall we?
My prediction for the future of news in 2015 is less of a prediction and more of a call of necessity. Next year, if organizations don’t start taking diversity of race, gender, background, and thought in newsrooms seriously, our industry once again will further alienate entire populations of people that aren’t white. And this time, the damage will be worse than ever.

It was a different kind of prediction compared to the others on offer. Most people who work in the news-based media industry have been tasked with demonstrating a permanent process of professional innovation. Edwards piece strips back the tech-based rhetoric and gets at the heart of what media organizations need to be doing so as to properly address all audiences.  “The excuse that it’s ‘too hard’ to find good journalists of diverse backgrounds is complete crap.”

The second most shared piece, on the limitations of over-relying on Facebook as a driver of traffic, fits perfectly with the kind of near-future prediction that we have come to expect. Gnomic industry forecasting flips the causal model with which we are  familiar — we are driven by ‘history’ and it is the ‘past’ (past traumas, past successes, etc) that define our current character — so that it draws on the future as a kind of tech-mediated collective subconscious. Rather than being haunted by the past, we are haunted by possible futures of technological and organisational change.

My favourite piece among all the predictions is Zeynep Tufekci who suggests that things are going to get weird when our devices start to operate as if animated by a human intelligence. She suggests that “algorithmic judgment is the uncanny valley of computing“:

Algorithms are increasingly being deployed to make decisions where there is no right answer, only a judgment call. Google says it’s showing us the most relevant results, and Facebook aims to show us what’s most important. But what’s relevant? What’s important? Unlike other forms of automation or algorithms where there’s a definable right answer, we’re seeing the birth of a new era, the era of judging machines: machines that calculate not just how to quickly sort a database, or perform a mathematical calculation, but to decide what is “best,” “relevant,” “appropriate,” or “harmful.”

The Australian Newspaper Outrage Cycle

Media editor of The Australian, Sharri Markson, has produced an article titled ‘Activism a threat to journalism‘. In it she draws on sources to argue that ‘activist journalism academics’ on ‘social media’ are a threat to journalism. She paraphrases her boss and Australian newspaper editor, Chris Mitchell:

Editor-in-chief of The Australian, Chris Mitchell, said the greatest threat to journalism was not the internet or governments and press councils trying to limit free speech, but the rise of the activist journalist over the past 25 years and the privileging of the views of activist groups over the views of the wider community.

Worse than the figure of the ‘activist journalist’ is the ‘modern journalism academic’. Here Markson introduces a Mitchell quote so as describe the ‘modern journalism academic’ as someone with opinions on political issues:

Mr Mitchell, who has edited newspapers for more than 20 years, said media academics who were vocal about ideological issues on social media were part of the problem.

“This is at the heart of my disdain for modern journalism academics. And anyone who watches their Twitter feeds as I do will know I am correct,’’ he said.

Tens of thousands of people, including journalism students and those starting their career in the industry, follow media academics Jenna Price, Wendy Bacon and journalist Margo Kingston on Twitter. All are opinionated on political issues.

Through its Media section the Australian newspaper is running a small-scale ‘moral panic’ about the loss of efficacy of legacy media outlets, like the print-based Australian newspaper. Most of the people who work at the Australian newspaper have been to university and would’ve more than likely come across the concept of a moral panic. Even if they haven’t, as savvy media operators that should be familiar with the concept.

The concept of the ‘moral panic’ once belonged to the academic discipline of sociology, but has now largely leaked into everyday language. A moral panic is a diagnostic tool used to understand how fears and anxieties experienced by social group often about social change is projected onto and becomes fixated around what is called a ‘folk devil’.

A ‘folk devil’ is a social figure who may be represented by actual people, but functions to gather fear and anxiety. I have a book chapter on the folk devil figure of the ‘hoon’. There are actual ‘hoons’ who are a road safety issue, but the hoon moral panics that swept across Australia 10 years ago were completely out of proportion to the actual risk presented by hoons. The figure of the hoon represented fears and anxieties about how young people use public space particularly in areas with high retiree and tourist populations.

Clearly, the ‘activist journalist’ and ‘modern journalism academic’ are the folk devil figures. What fears and anxieties do ‘activist journalists’ and ‘modern journalism academics’ represent? ‘Social media’ is used as a collective term in Markson’s piece to describe technologies and social practices that threaten not only the commercial existence of the Australian newspaper, but also its existential purpose. As Crikey reported last week, the Australian newspaper is losing money hand over fist, but I think this ongoing effort to attack ‘activist journalists’ and ‘modern journalism academics’ indicates that the anxiety has a greater purchase than mere commercial imperatives in the Australian newspaper workplace.

Sharri 2
An example of ‘print enthusiast’ Sharri Markson’s advocacy work on social media.

Markson has been a vocal activist for print-based publication and it is clear from her advocacy work on social media that she is a ‘print media’ enthusiast. Indeed, Markson and Mitchell could be described as what are the ‘moral entrepreneurs‘ of the ‘moral panic’ in this particular example. A ‘moral entrepreneur’ is a person or group of people who advocate and bring attention to a particular issue for the purposes of trying to effect change. In traditional moral panic theory this is largely local politicians who try to effect legislative change to compensate for the social changes that triggered the moral panic in the first place.

The Australian newspaper’s ongoing response to the perceived existential threat of ‘social media’ (as an inaccurate collective term to describe far more complex and longer term shifts in the media industry) is a useful example for thinking about the cyclical character of these outbursts. They are small-scale moral panics because they never really spread beyond a limited number of moral entrepreneurs. The latest round is merely another example of the media-based culture wars that began with the so-called ‘media wars‘ in the late 1990s. Again, journalism academics were central in the conflict over what counted as ‘journalism’ and/or ‘news’. More recently, the Australian newspaper attacked journalism programs and their graduates.

The ‘Outrage Cycle’

The concept of a ‘moral panic’ is a bit clunky and doesn’t really capture the cyclical character of these ideological battles over perceived existential threats. Creator of the ‘moral panic’ concept, Stanley Cohen, included some critical comments about the concept as a revised introduction to the 2002 third edition of his iconic Folk Devils and Moral Panics book. About the possibility of a “permanent moral panic” Cohen writes:

A panic, be defintion, is self-limiting, temporary and spasmodic, a splutter of rage which burns itself out. Every now and then speeches, TV documentaries, trials, parliamentary debates, headlines and editorials cluster into the peculiar mode of managing information and expressing indignation that we call a moral panic. Each one may draw on the same stratum of political morality and cultural unease and — much like Foucault’s micro-systems of power — have a similar logic and internal rhythm. Successful moral panics owe their appeal to their ability to find points of resonance with wider anxieties. But each appeal is a sleight of hand, magic without a magician. (xxx)

A useful model for understanding the cyclical character of the relation between anxiety (or what we call ‘affect’), greater media attention (or what we call, after Foucault, ‘visibility’) and an exaggerated sense of social norms and expectations is Gartner’s ‘Hype Cycle’ model.

HypeCycle

It is not a ‘theoretical’ or even a ‘scientific’ tool; rather, it serves as a kind of rule of thumb about the reception of technological change for the purposes of creating business intelligence. New technologies tend to be hyped so take this into account when making business decisions about risks of investment. (Each year I use the ‘Hype Cycle’ to introduce my third year unit on technological change ; the way it represents technology is useful for understanding social relations and technology beyond technology being an ‘object’.) There is something similar going on with the Australian newspaper’s constant preoccupation with other journalists and in particular the role of journalism academics in society. Rather than the giddy ‘hype’ of the tech press and enthusiasts about technological change, the Australian newspaper’s cycle is organised around ‘outrage’. The Australian newspaper’s ‘Outrage Cycle’ is a useful way to frame how Western societies constantly mobilise to engage with perceived existential threats. The actual curve of the ‘Hype CYcle’ itself is less important than the cyclical character of trigger and response, which is also apparent in ‘moral panic’ theory:

OutrageCycle 2014

I’ve changed the ‘zones’ of the Hype Cycle. ‘Maturity’ did not seem like the most appropriate measure of the X-axis, so I changed it to ‘time’ which Gartner also sometimes uses. I’ve made a table for ease of reference:

Hype Cycle

Outrage Cycle

Technology Trigger

Existential Threat

Peak of Inflated Expectations

Peak of Confected Outrage

Trough of Disillusionment

Trough of Realism

Slope of Enlightenment

Slope of Conservatism

Plateau of Productivity

Plateau of Social Norms

 

Existential threat: In the case of the Australian newspaper, the existential threat is not so much activist journalists and modern journalism academics, but the apparent dire commercial position of the newspaper and the accelerated decline in social importance of a national newspaper. The world is changing around the newspaper and it currently survives because of cross-funding arrangements from other sections of News Corp. The moral entrepreneurs in this case are fighting for the very existence of ‘print’ and the institutional social relations that ‘print’ once enjoyed. A second example of this involves ‘online piracy’, which serves as a perceived existential threat to the current composition of media distribution companies.

Peak of Confected Outrage: It is unclear who is actually outraged besides employees of News Corp about so-called ‘activist journalists’ and ‘modern journalism academics’ in general. There are specific cases, just like with ‘moral panics’, where specific people have triggered the ire of some social groups. They serve as representative ‘folk devils’ for an entire social identity. Similarly, ‘pirates’ serve as an example of ‘bad internet users’ who are part of the disruptions of the legacy media industry. There is a more sophisticated point to be made about reporting on ‘outrage’ and other affective states like ‘fear’ and ‘anxiety’. They become their own sources of newsworthiness.

Trough of Realism: In the case of the Australian newspaper, this is where legacy media advocates face up to the unfortunate reality of the shifting media industry.  It is not clear to me, at least in this example, that this will actually happen. (Perhaps after the Australian newspaper folds?) In terms of ‘online piracy’ facing reality includes companies like Foxtel currently working to create online client versions of their pay TV business. It is basically at this point that proponents have to ‘face reality’.

Slope of Conservatism: In Gartner’s original version, technologies become adopted and companies learn how to use them appropriately. In the ‘Outrage Cycle’ the Slope of Conservatism is ironically named as it signals social change. In some ways, Markson’s advocacy of ‘print’ is a bad example of this. A better example is the way sports fans learn how to adapt to the commodification of broadcast sporting events.

Plateau of Social Norms: The constant change in social values and relations that have characterised Western societies for the last 300 years continues unabated, indicated by the increasing ‘liberalisation’ of normative social values, but societies often pass thresholds of organisational composition where certain norms are dominant. Heterosexual patriarchal social values and racist social values were normative up until the postwar period in Australia, then they began a very slow process of changing and we are still in the midst of these shifts. Most people who work in the media industry are learning to operate in the new norms that characterise contemporary expectations regarding the production, distribution/access and consumption of media and journalistic content. Recent examples of this include the popularity of the ‘home theatre’ as the most recent evolution of domestic cinema culture that become part of mass popular cultures with the VCR.

The ‘Outrage Cycle’ as a Business Model

In our editorial introduction to the recent ‘Trolling’ special issue of Fibreculture Journal, my colleagues Jason Wilson, Christian McCrea and I wrote:

Major media corporations and tech giants have become bogged down in nymwars, post-hoc jerry-rigging and outright comment bans as they attempt to erase conflict around perenially divisive topics. All the while, as media companies are all too happy to trade on clickbait and outrage, there’s a suspicion that they have appropriated and mobilised the figure of the troll in order to constrain a new outpouring of political speech. Trolling has perhaps displaced pornography as the obscenity which underwrites the demand that the Internet be brought under control.

Jason in particular has emphasised the normative character of particular kinds of outrage. On the topic of a recent research report report from the respected Pew Centre about the normative effect of social media, Jason wrote for the Guardian ‘newspaper’:

In the midst of social media’s perpetual flurries of outrage, we teach one another that the range of acceptable opinion is small, that we are individually responsible for comporting ourselves within these limits, and that the negative consequences are unpredictable, and potentially catastrophic. Accepting cues – from media, government and other authorities – about the dangers of incivility and extremism, we monitor each other’s conduct, ensuring that it doesn’t cross any arbitrary lines.

We can read the perpetual Outrage Cycle of the Australian newspaper as a machine for the production of new normative social values. Without being subsidised by other business areas of the News Corp enterprise, the Australian newspaper would be out of business, so to say that the Australian will inevitably fail is to miss the point that it is already in a state of constant ‘fail’. Unless someone thinks that the Australian newspaper will actually become profitable again (and will do so while its editor-in-chief and media editor are advocating for ‘print’), the social function of the Australian newspaper is not to make money as a commercial journalistic enterprise but to serve a social role that reinforce what its employees perceive to be normative social values.

The Australian newspaper and other News Corp print-based products seemed to be currently organised around using this ‘Outrage Cycle’ as a business model. Isolate a perceived existential threat (religion, class difference, education, etc.) and then represent this on the front page of newspapers in such a way as to create feelings of fear, anxiety and outrage in the community. We know that they do not aim to represent and report on this fear, anxiety and outrage, because otherwise their front pages would be full of articles about readers of their own newspapers.

Vox the News Cycle

vox storystreamInteresting discussion at Nieman Journalism Lab triggered by a recent post by Vox Media’s VP of Engineering, Michael Lovitt, on launching Vox.xom as a nine week development project. Vox.com has some very cool features, not least of which is the threading of topically related stories into ‘StoryStreams’, including the stream of “How We Make Vox“. Co-founder of Vox, Melissa Bell, explains:

If we wanted to build a digital startup journalism entity, we would behave like the technology company Vox Media truly is: launch fast and tweak often.

The launch of Vox.com has been framed in terms of it being a technology company. It would be interesting to see a breakdown of how they actually approach stories and the production of content. Hopefully, it is not like David Eun’s 2011 master plan for AOL.

Eun used an ‘engineering flow’ type approach to integrating SEO and analytics information into the production of news-based media content. Not very many people were happy about this. As one recent commentator described it:

It’s telling that throughout “The AOL Way”, the emphasis is on what managers and technology employees can do to maximize pageviews, and not on actual writing or video production, itself. That is, the presentation implies that AOL management took its content’s quality for granted.

Bell describes the work of Vox.com as addressing the problem of having to catch up after dropping out of the constant flow of the news cycle.  She became aware of this problem after being promoted into her previous role at The Washington Post as ‘director of platforms’ and ‘blog strategy’. From the same Guardian piece:

“It was amazing to me as a reader how quickly I felt I fell off the news cycle,” she says. “If I wasn’t paying attention to the rapid developments, it was difficult for me to understand what was happening in major news stories. When I took that step back I realised the challenge of being a reader.”

What is the news cycle according to Vox.com? There seems to be more or less topical news stories being explained through the website, but there is also “7 things the most-highlighted Kindle passages tell us about American readers” as the ‘most read’ story.

vox kindle

The news cycle used to be organised around the habits of consumers. The evening broadcast television bulletin, the morning newspaper, or the hourly radio bulletin. It was structural to the rhythms of industry and cultural expectations of news consumers. Not unlike the difference between the ranking of books in the New York Time’s Bestsellers list as compared to the highlighting of book passages through Kindle as an index of popularity, has there been a shift in the character of the news cycle?