Monthly Archive for March, 2010

Would the Holocaust have happened if there would have been the internet?

While scoops and investigative reporting is generally very important in journalism everywhere, there is no country which sets it more into praxis than the UK. France has bright heads enlightening the newspaper readers with intellectual essays, the US is devoted to not being-biased accompanied by double, triple or even better quadrouple fact checking, Germany is best in the Feuilleton dedicated to cultural reviews, and the UK is very much into investigative reporting.

Investigative reporting is with no doubt affected by digitalisation, so recently my aim was to pin down how investigative reporters makes use of the internet - read more about it here. First, you might think that an investigation isn’t able to use an open medium like the internet, because it needs to be done secretly in the background before coming out in the open. Well, not anymore. Crowd sourced approaches make it possible for journalists to get much more information than they reveal.

Paul Lewis, who just was named reporter of the year at the prestigious British Press Award for uncovering the involvement of the police in the dead of Ian Tomlinson during G20, says about his use of Twitter: “Twitter is not just a website and not micro-blogging, it is an entirely different medium – like email, fax ore even newspapers. The way in which information travels on Twitter – the shape of it – is different to anything that we’ve previously known.”

He admits that at first he was sceptic about Twitter, but now thinks that the value you get from people knowing that you are working on a story, trumps the slight disadvantage that your rivals also know. Furthermore, while we had coffee downstairs in the canteen of the Guardian, he made a plea for getting real: “There are not too many rivals out there. Who is the competition?”

Ruth Gledhill, who is not only a long-standing journalist and the religious correspondent of The Times but also impressively smart and sympathetic, drew my attention to another point. The fact that the internet makes investigations available for a long time and a global audience while the paper is far more local and thrown away on the next day anyhow, makes a difference.

The internet makes documents and sources available online, while before people had to believe the journalist. Observing how the abuse scandal of the catholic church came into light, she says: “Many of these cases we are hearing about now are historic, and I can’t help thinking that the internet made a big difference. Documents were becoming available online.”

And then Ruth Gedhill suddenly said this sentence, and I think both of us were a bit baffled by its evidence.

“Would the Holocaust have happened if there would have been the internet? Could the evidences have been denied in the same way?”

According to documents which were meanwhile declassified under the Nazi War Crimes Disclosure Act of 1998, American and British military intelligence authorities have been aware of Hitler’s “Final Solution” plan for the “eradication” of the Jews of Europe as early as 1942. Could the Nazis have continued their horror that long if these documents had been available online?

Not getting it – are really the stubborn print journalists to blame?

When recently CNN set up a meeting with KC Estenson in order to talk about their online milestones, their young and bright senior vice-president and general manager of CNN.com said one sentence that immediately struck me as evident.

As we were discussing the change that news organisations have to manage in order to survive, he said: “What got you to where you are, is not necessarily where you have to go now.” Exactly. Being a big traditional news brand doesn’t necessarily bring you success on the web. And news organisations are getting it slowly. At least some.

“The New York Times is now as much a technology company as a journalism company,” its executive editor Bill Keller told his staff a couple of months ago in a meeting (video worthwhile watching here).

Here we go: Some important key players finally understand that they need to change profoundly in order to survive, and over here at the Guardian I explain a bit more detailed how CNN and the New York Times try to keep up with the technology companies.

The best thing, in terms of journalism their outcome is impressive. Introducing further technological development and devoting more staff to it, CNN is taking crowd sourced reporting to the next level. Being the first news organisation to professionalise it and take it seriously, it enriches their coverage as could be recently seen with the Haiti earthquake. And the New York Times is about to set beautiful milestones regarding future ways of reading, as the publisher is eager to make the transition from print to multi platform distribution.

Both news organisations are a very good example for the following: For journalism today, getting the platform right is as important as the quality of the content. In fact, it is about high time that news organisations manage the bridge between their editorial and technological departments.

Now, we all know that won’t be easy. And I have the feeling, stubborn print journalists won’t be the only ones to blame.

In fact, the online-journalist and former early adopter is facing a transition as well, the transition from being a pioneer to becoming a central member of the journalistic community. So he or she or me is about to lose the exceptional status, the funky, fuzzy R&D feeling, and has to face the burden of responsibility.

At least, this is what I intend to do, stop murmuring that they don’t get it, and understand that it is up to me to explain it a bit better.

God, I go Gaga

Next step blurring editorial and promotional content in a sexy way. Yes, kind of well done. High fashion goes to jail to meet film, Madonna copying, a lot of product placement, while Beyoncé looks kind of lost as it reminds her of 1998 and Destiny’s Child, where they video-framed her, too. Story looks lost. Doesn’t matter. Let’s put a couple of dead people in there, Thelma. Or was it Louise? Very 2030. Or is B right, and it is too 1998? I mean Polaroid, come on! Anyhow, what is your favorite moment, honeybee?

Let’s get visual

Seems like the visuality of music enters a new heydey. And hey! I like, even though not always for the music. First of all there is the amazing production of L’Ogre who filmed art history topics with the french-american band “Hold your horses”. Brilliant video. Go on, test your bourgousie factor: Can you name all the artists and titles? Oh, you even know where they hang? Impressed.

70 Million by Hold Your Horses ! from L'Ogre on Vimeo.

Equally fascinating is the last video of the German band Tocotronic. I have to admit that musically I am much more into their singer’s other project, Phantom Ghost. Very much so (and the tracks I love most are of Phantom Ghost/Efdemin). However, this video is amazingly beautiful. The lyrics diss the fluffy tinkering project culture that came up with the internet, and asks instead for professionalism. Fair enough. While Holm Friebe’s book “Marke Eigenbau” (->”by do it yourself”) mentioned in the beginning of the song might propose something right (uprising of the masses against the mass market), it really didn’t chose the right title. The fluffy crafting of digital project culture sucks. People should not say yes to be parked somewhere on their own by capitalism.

However that wasn’t what I wanted to draw your attention to. I am stunned by visual concept of the video. Already in “Wir sind hier nicht in Seattle, Dirk” did Dirk von Lotzow and the band play a role, now uncovered totally by his switch of performance. Yes, Brian Ferry, and perfectly so. And super cool dance movements, Dirk. :)

And last but not least my weak side, “Eyes of Mars” of Marion Cotillard and Franz Ferdinand. This video attracts my attention not so much because of the visual style (which is ok). It’s the mingeling of fashion advertisment, acting and music that fascinate me here, and the fact that the sell out is sung about. As always with Franz Ferdinand, I love the lyrics, their cold, sharp, obtruding presence, the tweaking of words, their precision. Thank you, pop!

So what is your favorite?

The Mass Medium


Sometimes you just have to love Krautrock for their achievment of most weird approach ever. And apart from rubbing my, eh, ears regarding their experimental music, I really love the cover.