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.
Flipboard is a real digital magazine now — it comes with ads. Flipboard was one of the first iPad apps to really take advantage of the touch-and-swipe interface of the device to create a kind of digital magazine, made up of users’ Twitter feeds and Facebook streams, combined with RSS feeds and curated content from traditional media outlets.
PAYWALL. La stratégie du New-York Times marche ! Depuis le 28 mars, The New-York Times a choisi de se doter d'un paywall, c'est à dire de faire payer l'accès à son contenu (à partir de 20 articles, c'est détaillé ici).
Plus de trois mois après, il est semble-t-il possible de répondre à la question posée fin mars : non, le "paywall" du journal américain n'est pas trop compliqué. Ou, en tout cas, sa complexité permet au site de rester suffisamment poreux pour ne pas rebuter les lecteurs gratuits (une majorité), qui passent par les réseaux sociaux et les moteurs de recherche, et récupérer la petite minorité prête à payer. Et ceci, sans affecter les revenus publicitaires. D'après une étude de la Columbia Journalism Review, rapportée par ReadWriteWeb, le journal a déjà réussi à rassembler 224.000 abonnés, sans compter les 57.000 abonnés iPad.
Auquel il faut ajouter les abonnés du print, qui disposent d'un accès Web, au nombre de 750.000. 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.
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. It is only scratching the surface of the storytelling that is possible on the web. In the last few years, we’ve seen some progress in new approaches to the story format on the web, but much of it has included widgets and tools tacked on for experimentation. 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. 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.