French newspapers: The revolution at Le Monde. Data journalism at the Guardian: what is it and how do we do it? Data journalism.
What is it and how is it changing? Photograph: Alamy Here's an interesting thing: data journalism is becoming part of the establishment. Not in an Oxbridge elite kind of way (although here's some data on that) but in the way it is becoming the industry standard. Two years ago, when we launched the Datablog, all this was new. Meanwhile every day brings newer and more innovative journalists into the field, and with them new skills and techniques.
These are some of the threads from my recent talks I thought it would be good to put in one place - especially now we've got an honourable mention in the Knight Batten award for journalistic innovation. 1. Flipboard is a real digital magazine now — it comes with ads. PAYWALL. La stratégie du New-York Times marche ! Brad Colbow - Independent Web Designer, Illustrator - The Brads - This is Why Your Newspaper is Dying. Data Visualization: Journalism's Voyage West. Arlington Hyperlocal Picks Its Own Patch, Turns a Profit. Last week I was among the questioners at a panel of hyperlocal news sites in the DC region called, “Up Next – Hyperlocal Coverage: Neighborhood Blogs, Community Websites, and the Future of the News” at the National Press Club.
If you click the link you’ll see folks from DCist to borderstan.com were on the panel, as was Brian Farnham, the editor-in-chief of Aol’s Patch (video here). Discussion floated among the usual hyperlocal topics while most the smaller sites seemed to restrain themselves from poking at Patch. Farnham did his best to explain that while Patch is now a large network with over 800 sites each is individual trying to co-exists in the local space alongside their independent brethren — “there’s room for everyone” he seemed to be saying. In fact, Patch president Warren Webster later said over email: “This is arguably the most exciting time in the history of local media, as companies large and small help shape the rapidly changing landscape.
Facebook, Twitter, Youtube et Google : nouvelles armes de la politique extérieure américaine au Maroc et dans le Monde arabe. L’ascension de Barack Obama qui l’a mené à la présidence des États-Unis en 2009 s’est jouée sur l’impopularité grandissante des deux guerres (Irak et Afghanistan) dans lesquelles le pays était engagé.
Aux premiers jours de la mandature d’Obama, et conformément à son programme de candidat, le président demande au Pentagone – ministère de la Défense – de lui proposer des plans de désengagement progressif des conflits irakiens et afghans, et au State Department - le Département d’État , centre névralgique de la diplomatie américaine – de réfléchir à une alternative crédible et innovante pour poursuivre les agendas américains (lutte contre le terrorisme et démocratie au Moyen-Orient) à moindres couts (soft power). « America’s image and influence had declined in recent years and the United States have to move from exporting fear to inspiring optimism and hope » comme le résumait Joseph S.
Nye, théoricien du Soft Power. L’événement aurait pu en rester là. #netfreedom. Vadim Lavrusik: Five key building blocks to incorporate as we’re rethinking the structure of stories. If we could re-envision today’s story format — beyond the text, photographs, and occasional multimedia or interactive graphics — what would the story look like?
How would the audience consume it? Today’s web “article” format is in many ways a descendent from the golden age of print. The article is mostly a recreation of print page design applied to the web. Stories, for the most part, are coded with a styled font for the headline, byline, and body — with some divs separating complementary elements such as photographs, share buttons, multimedia items, advertising, and a comments thread, which is often so displaced from the story that it’s hard to find. How the BBC lost 60,000 Twitter followers to ITV. Back in March, I wrote this piece looking at the ownership issues around Twitter profiles used for professional purposes.
I noted that sensible consensus seemed to be that a personal feed (with no inclusion of a company or brand name) is owned entirely by the individual behind it, whilst a corporate feed (with no inclusion of an employee name) is owned entirely by the organisation to which it makes reference. However, the post raised the issue of Twitter profiles that combine both employee and employer names.
At the time, I mentioned that the account of the BBC’s Chief Political Correspondent, Laura Kuenssberg, was the perfect example of this – @BBCLauraK. What would happen, I asked, if she left the BBC for a rival media outlet? Would the BBC keep her Twitter account and reassign to her successor, or would she be permitted to take it with her?
Last week we got our answer. I disagree. What Legacy Media Can Learn from Eastman Kodak. What do you do when your industry is changing?
What do you do when your innovations are fueling the changes? Those problems have plagued Eastman Kodak Co. for three decades and the company’s experience provides some lessons for those running legacy media businesses. Eastman Kodak’s success began when it introduced the first effective camera for non-professionals in the late 19th century and in continual improvements to cameras and black and white and color films throughout the twentieth century. Its products became iconic global brands. The company’s maintained its position through enviable research and development activities, which in 1975 created the first digital camera.
Digital photography created a strategic dilemma for the company. Today, the company has just 15% of the employees it once had and its stock prices are about 15% of what they were before it finally stripped out its production capacity and distribution systems.