Monthly Archive for November, 2010

On Gathering (without annual detail)

Lunch in the British Library today is devoted to Walter Benjamin and his small text called “maid servant novels of the former century” (Dienstmädchenromane des vorigen Jahrhunderts). Well, it just passed by. I admit, I wasn’t supposed to read it but the subtitles he wrote to the pictures remind me in a weird, wild way of yesterdays student protests, and as they are weird & wild themselves, they also make me laugh.

From ‘Antonetta Czerna, the duchess of wilderness or The revenge of an insulted female heart’, stories from contemporary times of O. G. Derwicz, Pirna without annual detail. These women have dressed themselves up and are gathering with their little shotguns to kill the young man as if they attend a garden party.

Aus »Antonetta Czerna, die Fürstin der Wildnis oder Der Rachegang eines beleidigten Frauenherzens«, Erzählung aus der neuesten Zeit von O. G. Derwicz, Pirna ohne Jahr. Diese Damen haben sich adrett gekleidet mit ihren kleinen Flinten zur Erschießung des junge Mannes wie zu einem Gartenfest eingefunden.

Seems to resonate in a certain way with the aftermath of yesterday’s student protests exactly in two moments: A) the cuts definitely have reached by now people that know how to dress up for a garden party. B) albeit publicly it tried to be hidden in the dress code, we need to think of the difference between violence and vandalism.

Or what do you think this is: This morning I found a note on my seat in which the British Library is informing its readers about the cuts. Among others the press release states: ‘Our annual capital budget has been cut by 50%. This means that by 2014/15 the British Library will be funded at its lowest level in real terms since its creation in 1972″, and that they have to let go 200 people over the next two years.

Vandalism? Or violence?

5 points on digital public & the future of the fourth estate

Social media has come of age, but has it grown up enough to be a ‘digital public’? As we find a new critical voice dealing with a new statistical truth out there, we can consider it has.

When kicking off a new series of long-formed blogs launched by the comment-is-free section in the Guardian, Alan Rusbridger recently asked a crucial question: What’s the future of the fourth estate in this digital age.

In his post, he discussed the relationship of social media to the general news environment as it is being stretched and redefined; also he asked if social media doesn’t need a better name. Oh yes, it does. Actually, this is overdue.

There is no doubt that in the past years social media like blogs, Twitter, or Facebook became part of the public sphere. But what is their role there? Are they just private chatter, or more? Are they just publicly available, or can social media live up to the burden that comes with the notion of ‘the public’?

1 There is a voice out there

Cases like Trafigura, when the British press was gagged, banned from reporting a parliamentary question that was then posted all over Twitter; the outcry to the Daily Mail Moir’s homophobe column regarding the death of Boyzone singer Stephen Gately; or even the live commenting of the spending cuts recently show that there is definitely a voice out there, the voice of a new digital public.

In countries with no free press like Iran or Egypt, Facebook is an important and independent alternative – no wonder that the Egypt government recently considered regulating Facebook.
Contrary to someone like Malcom Gladwell who believes that social media are ‘weak communities’ a lot of governments think differently, and find this loud voice of the new digital public threatening.

As the Committee to Protect Journalism reports, half of all the journalists now in jail are bloggers or online-journalists.
There is a new and strong public digital voice out there, and it might be even more journalistic than it seems at first sight.

2 On a new, statistical truth

It is obvious that there is a lot of commenting and criticizing going on in social media; sometimes we even feel to drown in opinions. However, this new digital public might be more committed to journalism than we think.

If one has a closer look it becomes apparent that much like journalism the digital public consists of two sides: opinion and facts. There are blogs, Twitter and Facebook on one side, but there is also a new place to look up the facts to which social media links: Google.

What the user gets with Google surely isn’t journalism – instead he or she is turned into a journalist himself. On Google we get search results that link to sources. We have to consider different views; much like a journalist we users have to track down the truth.

The digital truth that users are dealing with when searching with Google is surely different than the journalistic commitment to truth. Quality journalism is relying on different sources corresponding, while the truth the digital public operates with can better be described as a ’statistical truth’.

This ’statistical truth’ doesn’t produce a single fact, but delivers a choir of voices as a variety of different sources can be considered. One link might be wrong, but much like in a choir a wrong note doesn’t mean that the people don’t get the melody.

3 Tiny attention span vs. long tail

Furthermore, links give people the ability to dig in deeper. The digital public that spreads from Twitter to Google might have a tiny attention span as it is said persistently, but it also has a long tail; one that doesn’t forget.

Also interesting that Google uses every occasion to insist on being just a platform, and is not producing any content at all. Can we say that Google is imposing itself a division quite similar to the traditional split into editorial content and advertisement we know from journalism?

Still, there is one question apparent: as its search algorithms get tweaked about 20 times a day, who controls Google? Given Google’s importance for getting knowledge today, the digital public needs a controlling balance. Can we consider classic journalism here as of some importance?

4 Don’t trust the new digital public

One doesn’t have to prick up one’s ears to hear a strong distrust in the social media and the new digital public. However, this distrust was always accompanying journalism, too. No matter if a news organisation was state owned or run commercially, journalism was always under the suspicion of a conflict of interest – and that threat was important.

Being under the suspicion of a conflict of interest kept journalism in its neutral role, a role that Walter Lippmann described aptly as an anomaly of our democratic civilisation:

There is nothing else quite like it, and it is, therefore, hard to compare the press with any other business or institution.

It is not a business pure and simple, partly because the product is regularly sold below cost, but chiefly because the community applies on ethical measure to the press and another to trade or manufacture.

Ethically a newspaper is judged as if it were a church or a school.

Albeit news organisations were often fallen angels, it was important that they remained angels. Fallen or not, telling the truth is the ethos that accompanies journalism, it is the attitude that defines journalism, or as Walter Lippmann once put it:

There can be no higher law in journalism than to tell the truth and shame the devil.

Being committed to an ideal, however difficult that might be, is fundamental to the logic of journalism. A journalist has to be committed to accuracy, objectivity, impartiality, fairness and public accountability, as well as to consider a limitation of harm with news reporting and to be transparent about its conflict of interest.

This is, however, not only the ethic of journalism, it describes partly the ethic of a democratic society. It may be of no surprise that within the digital public its participants, the people, watch and correct each other, if they fail – and much like journalists from time to time they do.

Finally …

While the digital public sincerely has a journalistic aspect, there is a conflict of interest written into its skeleton: It might be biased.

Its immediacy feels utterly democratic, but we have to ask ourselves if social media really is so. Isn’t social media a case for the one’s that can express themselves fairly well? Isn’t it a middle class medium? Currently, 9 million Britons never have been on the internet.

There is obviously a digital divide that must be considered. Twitter and other platforms feel democratic, but they are not representative. Reporters, on the other hand, leave their desks to go beyond those digital borders to listen to voices otherwise not heard.

In the future, the digital public will be an important voice within the fourth estate, one voice that is a gain for journalism – equally used, and observed by it.

This new digital public already enriches traditional journalism, but it isn’t replacing it. Traditional reporting, leaving the desk, will remain an important balance to the digital public; one we can’t do without.


Links:
Alan Rusbridger on the Future of the Fourth Estate

Egypt considers to regulate Facebook

The Guardian: Twitter can’t be gagged. On the online outcry over Guardian/Trafigura order

Malcom Gladwell does not like the internet anymore, and wrote a book about it

Committee to Protect Journalist 2009 Prison Census

It’s life long learning. Who needs an education?

Over 50,000 students all over from the UK came to march the streets of London to protest against the cuts in higher education, far more than the 24,000 expected – I already blogged about the disgusting situation this imposes upon humans here.

To quiesce the university i.e. smart people there seems to be several tactics at work nowadays.

The German one can be described as ‘divide at impera’, divide and rule: While some universities and departments are awarded as a ‘cluster of excellence’ to be showered with money, most others are force into third-party funding which means no thinking but a lot of administration. Two days ago an email of my friend B informed me that Austria is also planning deep cuts in its research funding.

Hence, shutting down higher education seems to be not just an UK issue, but in general a European thing; if so the question must be asked is what this logic of capitalism is that we can here see at work.

Clearly, the cuts put a lot of pressure on humanities and arts, fear is that they will become a preserve for the most privileged students while medicine and engineering is likely to be protected.

One could state the obvious, the cuts are imposed to shut down the centres of critical thinking. However, this argument feels sort of shallow, like an imposed distraction, apart from being quite arrogant against the other faculties – I know that there is also critical thinking within mathematics, medicine, or even management studies. I am not buying it.

I wonder. Why are we hindering the departments where students are explicitly supposed to learn a thinking that doesn’t behave in the supposed way, and why are we doing this in a moment when the computers/networks/algorithms start to be able to do skilled work, and the automatization of knowledge in this post-Google world is about to come of age?

From this arrises the next question: Why is it more important for capitalism to give people a fierce lesson that they need to adapt to the job market?

… to be continued.

When the world turns into objects #GracefulAlienation

Too many thoughts are waiting to be developed and spin in my head, among them such different things as muses (why is there no version for females?), paywalls (TimesOnline just posted their 50,000 monthly subscriber figure), and ‘we-goverments’ (an up and coming thing). However, let’s turn to music for a minute.

It’s worth it.

Ever since I stumbled across James Blake’s way of composing electronic tracks his music has fascinated me. He has developed this new way of taking musical elements apart; he pushes, transforms and changes the single parts carefully a bit, until they become their own objects which he sets together anew in an abstract and wonderful way. I barely ever came across such a graceful way of alienating something.

Take ‘Limit to your love’: A beautiful video by Martin de Thurah, a calm song that gives you lots of room, room that gets even wider when a bass wall sets in at minute 0.55 to add another layer. Yes. Music. Isn’t it an amazing thing? Make sure you are connected to a good stereo, or use your headphones, otherwise you wouldn’t get what I mean.

Does an award make you feel old, or push you forward?

As you can easily see by it’s charming ugliness, this is a real award. It’s ancestral line is actually quite impressive, maybe suppressive: It was given to heavy weights such as the anchor Sabine Christiansen or TV historian Guido Knopp.

This only unsettles me a bit. I am sure I owe half of it to the internet – thank you internet! -, and the other half for having the ability of stubbornly insisting to kill a hostile environment with charm, which is apart from love and respect for technology the fundamental feature you need to have if you are into digital journalism. It can be very exhausting, ask my friends. But I don’t want to whine at all. The question ‘What are you actually doing here?’ is obviously very dear to me; I guess without it I would feel utterly bored.

What else do we learn? Humans have understood that the internet won’t go away. Good. And: I am getting old. The week the journalist committee DFJV told me I will be awarded, I got translated from English to German by someone else. Well, I’ll try to get over it, and cling to the sentence that Holm Friebe handed me in his truly lovely laudatio: ‘Il faut être absolutement modern.’ That’s a priceless remark; and why not.