In breaking or developing news situations, with audiences wanting to know the latest and most up-to-date pieces of information, many news outlets have introduced live streaming approaches to their news output, from liveblogs to more permanent pages dedicated to the streaming of the latest news snippets, images and social media content. The final panel will discuss the different approaches to this real-time reporting of news online, the decision making processes behind it and its impact on process within the newsroom.
With: Jason Mills, editor, web for ITV News; Raju Narisetti, managing editor, Wall Street Journal Digital Network; Patrick Heery, UK editor, BBC News website; Pete Clifton, executive editor, MSN; Ben Schneider, senior director and general manager for CoveritLive, Demand Media. Moderated by Kathryn Corrick, digital media consultant
As news become increasingly social, outlets are using social media to reach out in different ways both to tell stories and to gather videos, photos and feedback from their networks. This session will look at how to engage the title’s community and how individual journalists are building their own personal brands.
With: Luke Lewis, editor, NME.com; Faisal Islam, economics editor, Channel 4 News; Mark Coatney, media outreach director, Tumblr. Moderated by David Hayward, head of journalism programme, BBC College of Journalism.
At the shiny MSN HQ in London, near Victoria, here’s the intro from the News:Rewired site:
A one-day digital journalism conference focused on the latest tools, techniques and tips on how to produce the best journalism online and make it earn its keep, with innovative case studies from the industry.
Welcome address – Pete Clifton, executive producer, MSN
Keynote – Cory Haik, executive producer for digital news at the Washington Post
Keynote panel – Engaging the digital mindset
Digital journalism experts discuss digital-first strategy, how journalism processes and structures are being adapted with digital in mind and ways to encourage others to maximise the opportunities afforded by the digital environment, even when working in legacy print or broadcast media.
With: Joanna Geary, digital development editor, the Guardian; Raju Narisetti, managing editor, Wall Street Journal Digital Network; Martin Fewell, deputy editor, Channel4 News and Alex Gubbay, director, digital platforms, Johnston Press.
got me thinking. I met @Biz (Biz Stone, one of the Founders of Twitter in November 2009, very briefly) I made a short video (which I’ve never published for reasons I’ll tell you if you ask!) of a bit of a talk he gave in answer to a question from the audience. Here it is:
The Mass Observation panel at Future Everything caused a bit of a spat (polite, of course) when Pauline from the BBC in Liverpool described social media as “cave painting” and “tweeting about having a latte”.
Sarah says that the project was much bigger than the video shown today. “It really punched above its weight”. The making of digital objects was an important act of the project – reflecting back progress.
Choreographic Objects: traces and artifacts of physical intelligence Principle and Co-Investigators: James Leach (Principle Investigator and Award Holder)Department of Anthropology, School of Social Science, University of Aberdeen Sarah Whatley (Co-Investigator)ceMAP, Coventry University Scott deLahunta (Research Fellow)ARTI, Amasterdam School for the Arts, NL Project Partners: Art Research, Theory and Innovation group, Amsterdam School for the Arts, NLWayne McGregor | Random DanceIntel, People and Practices Research Choreographic objects: traces and artefacts of physical intelligence is the title and focus of a series of three workshops centring on the output of four research teams working in collaboration with the choreographers William Forsythe, Siobhan Davies, Wayne McGregor and Emio Greco PC.
Paul talked about ephemera and digital objects such as the BBC indents (the hippos) and their relationship with RedBee media. He was very insightful on the dynamics of ephemeral content and the persistence in people’s minds not designed by its creators.
Clare Reddington says that the Digital Economy is a lot about enabling people to reconnect with the physical world with the help of digital technology. It’s about the layering and richness of experience. “We have to do better than Minority Report”. It’s about experiences. And the way digital changes the way we live. There is a speed function (cites Agile). Temporality and the creative economy.
Good point well made by @clarered at #beyond text that digital economies are multiple economies. Not singular. #beyondtext
Sarah says we want more than the value of models and templates. We are seeing a proliferation. It’s also about engagement and values -both material and ethical. The future has to be about re-use of material. And new creation from combining these objects.
Paul Grainge says that he does not have a problem with the word content and there is ‘blurrring’ between disciplines.
So @billt – is prepared to use the term “Digital Society” but not “Digital Economy” who knew? #beyondtext
Sarah says we are seeding the emergence of short-lived digital objects that don’t persist like photos or written documents.
Big discussions going on about archiving across different disciplines. And changes in the way archives are and can be used (such as pictures of children). And how about reputational issues of researchers ‘private’ notebooks.
Bill points out that the BBC has great difficulties in looking at the digitisation of archives and a ‘duty of care’ to the participants. The issue of online identity and provenance. How do you verify who can see it?
Andrew Burn – says that clearance has been an import aspect of his work especially about images of children. He agrees it needs to be handled carefully.
Until they got over the fear of the amateur, the funders found difficult to make progress
Semi-digitised existence – and multiple conversations. Says Rebecca Kill.
Creativity beyond text – where next for the Creative Industries?
Rebekka says it’s interesting that there is a ‘where’ in e title of this session. Was what we did really radical – at music festivals; would it have been more radical at a shopping centre or in a University.
Environments for Encounter Award Holder Dr Alice O’Grady Higher Education Institute University of Leeds Partner Organisation Rebekka Kill, Leeds Metropolitan University Our proposal explores the phenomenon of relational performance within contemporary music festivals as an emergent genre of creative communication.
Rebekka says this is the first time she’s seen the video – it was e-mailed to her this morning.
Dani Salvadori says she sees convergence in the ‘college’ job at Central St Martins; whereas in her university job at University of the Arts she sees divergence. Companies and students coming together – not a hard sell on either side. On university side sees divergence – means dealing with Science and Technology – this is largely a b2b role.
The most depressing meeting I’ve been to recently was the #cdec meeting says Dani Salvadore of CSM at #beyondtext
She says that there is too much operational thinking and British businesses risk being left behind. It’s not just business – it’s also in science, technology and engineering education – too narrow.
Jeremy Silver says I have two jobs too: advising the TSB on Creative Industries and trying to help get the money spent wisely. And the rest of the time he works with small companies helping them to do ‘real stuff’. And he says that we haven’t updated our definitions of the Creative Industries. And these don’t help – especially when the redefinitions of terms seem to reduce the size of the industry.
The main problem facing the industry is what Jeremy describes as the incumbents’ dilemma and their difficultly in working out how to change. Legislative change – says the Digital Economy Act drove people further apart.
We have an inexorable drive to be businesslike – but we don’t all have to be businesses – not everything can become a business. Let’s not force everything into becoming a business.
#beyondtext Dr Jeremy Silver asks does everything have to become a business? Dani Salvadori questions gap btween tech ops + creative design
Sally Taylor says that she works between Universities and culture. The list of 13 captive industries has lasted since 1997 – and is probably in need of getting rid of. There is huge demand she says and more creative people working outside the creative industries than in. Need to talk about creative people. It’s a difficult game she says. But “it’s yours”.
TCCE had a conference on Creativity in Business recently. There are positive and negative aspects to creativity in business. Some of the positives are the world’s most iconic buildings.
The problems to deal with are about people; and academics have a role to play.
Where next for the creative industries? How about de-industrialisation. Let’s abolish or radically reduce copyright terms – make things move faster. Less agonistic and maybe more effective.
Jeremy thinks that reducing the term to 12 years would be interesting but the incumbents won’t go for it – implausible.
Rebekka questions the idea of deindustrialisation – and what it really means. Dani says it’s really happening and creation on the Internet is evidence of that. This country is “half deindustrialised” anyway.
Danger of programming in schools is that it will be pushed into ICT education and they will not realise that to make good computer games you needed to bring together music, narrative, writing etc.
Evelyn Wilson says we over fetishise the creative industries – the notion of boosterism cite by Kate Oakley. But what about what next for creativity?
Rebekka says there is no shared view of what ‘creativity’ means – don’t want a definition but the recognition that we are all on different pages.
Ghislaine Boddington says that internationally we have a good reputation and a very high level of quality for digital artists – it’s leading work worldwide. She mentions Creative Europe and the term Culture and Creative Sector – and says doesn’t mention “industry”.
One contributor says that we shouldn’t underestimate the impact of the English language. Dani says she doesn’t agree – most of the work is of a visual nature – language is not important.
We need the new stuff to come from creative work and be driven by that not led by industrial need.
Sounds like the #beyondtext event was interesting lookin at tweets by @brian_condon @JeremyS1 @clarered