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	<title>Online Journalism Review&#187; interactivity</title>
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		<title>Steve Jobs and business of inspiration: A lesson for journalists</title>
		<link>http://www.ojr.org/p2020/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=p2020</link>
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		<pubDate>Fri, 07 Oct 2011 11:26:31 +0000</pubDate>
		<dc:creator>Robert Niles</dc:creator>
				<category><![CDATA[Frontpage]]></category>
		<category><![CDATA[interactivity]]></category>

		<guid isPermaLink="false">http://www.ojr.org/?p=2021</guid>
		<description><![CDATA[When was the last time you inspired someone? I thought of that question while reading the many tributes to the last Steve Jobs this week. Those recollections prompted me to tweet: &#8220;Steve Jobs&#8217; greatest accomplishment was inspiring the kids who one day will make stuff 1000x better than anything Apple has done so far.&#8221; Steve [...]]]></description>
				<content:encoded><![CDATA[<p>When was the last time you inspired someone?</p>
<p>I thought of that question while reading the many tributes to the last Steve Jobs this week. Those recollections prompted me to tweet:</p>
<p>&#8220;Steve Jobs&#8217; greatest accomplishment was inspiring the kids who one day will make stuff 1000x better than anything Apple has done so far.&#8221;</p>
<p>Steve Jobs&#8217; Apple products help inspire my son to fall in love with computers, photography and filmmaking. The elegance and ease of use of Apple products helped my son to see past the technical hassles that frustrated so many others&#8217; attempts at digital creation in the past and to focus instead on the joy of expressing himself in communication with others.</p>
<p>I know toddlers who play and explore with iPads, even before they can walk, and elementary students who think nothing of creating sophisticated digital  cartoons and short films. I know grown-ups who listen to more music and read more stories (yes, including news!) that they did before, thanks to Apple products developed under Jobs&#8217; stewardship.</p>
<p>With all those people reading, shooting, thinking and creating, I believe that it is inevitable that some of them, one day, will create new digital technology that will surpass anything Apple created under Jobs. Perhaps it will be current Apple engineers who carry on Jobs&#8217; legacy. Perhaps it will be some toddler with an iPad. But inspiration cultivates creative expression. It cultivates engagement and advancement. Jobs&#8217; ultimate legacy therefore, is not a collection of cool consumer products, the iTunes store, or even Pixar Studios (yeah, he founded that, too). Jobs&#8217; legacy is inspiring a digital generation to connect and to create.</p>
<p>So what about you? Journalism can be an inspirational craft. Are you inspiring anyone with your work?</p>
<p>I&#8217;m not talking about getting grateful notes from a source or advocate, thanking you for publicizing their cause. I&#8217;m talking about writing words or shooting images that grab someone who didn&#8217;t care about something, and by doing so, making them care. Making them care enough to connect with others and to create something positive in response &#8211; whether it be a change their own behavior, jumping into a political campaign or even making some  inspirational creative work of their own.</p>
<p>Don&#8217;t let work cripple your vision, leaving you focused only on filling space on a page, cranking out a certain number of blog posts or booking a budgeted amount of income. All those are important, sure, but if you really are inspiring people with your work, the words, the audience and the income will follow. Jobs didn&#8217;t just create inspirational products; he built Apple into one of the world&#8217;s largest and most lucrative companies by doing so.</p>
<p>That&#8217;s a lesson too many journalism managers have forgotten. I&#8217;ve been re-reading several Carl Hiaasen novels over the past weeks. A passage in &#8220;Sick Puppy&#8221; stands out:</p>
<blockquote><p>Five years ago most of those kids would have jumped at the chance to return here after college and join the paper at a humiliating salary, just to get in on the action…. [But] they know the people who run most newspapers no longer seek out renegades and wild spirits, but rather climbers and careerists who understand the big corporate picture and appreciate its practical constraints. Kids… know that most papers are no longer bold or ballsy enough to be on the cutting edge of <i>anything</i>, and consequently are no damned fun.</p></blockquote>
<p>Are you having fun?</p>
<p>If not, make a change. It&#8217;s time to go inspire someone.</p>
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		<title>Learning by doing: Seeking best practices for immersive journalism</title>
		<link>http://www.ojr.org/p1854/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=p1854</link>
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		<pubDate>Fri, 28 May 2010 10:21:56 +0000</pubDate>
		<dc:creator>nonnydlp</dc:creator>
				<category><![CDATA[Frontpage]]></category>
		<category><![CDATA[immersive environments]]></category>
		<category><![CDATA[interactivity]]></category>

		<guid isPermaLink="false">http://www.ojr.org/?p=1854</guid>
		<description><![CDATA[Ernest Wilson, the dean of the Annenberg School of Communications and Journalism, put it like this: What if, after receiving the home and garden section in the morning, the reader could walk right into the section and visit a garden? This bucolic vision reflects one potential scenario for what we are calling at Annenberg “immersive [...]]]></description>
				<content:encoded><![CDATA[<p>Ernest Wilson, the dean of the Annenberg School of Communications and Journalism, put it like this: What if, after receiving the home and garden section in the morning, the reader could walk right <i>into</i> the section and visit a garden?  This bucolic vision reflects one potential scenario for what we are calling at Annenberg “immersive journalism,” a new genre that utilizes gaming platforms and virtual environments to convey news, documentary and non-fiction stories.  As a senior research fellow, I am prototyping immersive journalism stories, hoping to discover and create best practices for a burgeoning filed that can capture audiences increasingly accustomed to experiencing digital worlds.</p>
<p>The fundamental idea of immersive journalism is to allow the audience to actually enter a virtually recreated scenario representing the news story.  The pieces can be built in online virtual worlds, such as Second Life, or produced using a head-tracked head-mounted display system, or HMD.  An HMD is a lightweight helmet that has screens covering the eyes and tracks head movement so ensure digital imagery on the screens stays in perspective to create a sensation of having a virtual body in a virtual location.  Immersive journalism can also be constructed in a Cave, which uses full body-tracking technologies in a small room so that individuals can move their bodies around the space.</p>
<p>Visual and audio primary source material from the physical world reinforce the concept that participants are experiencing a nonfiction story, with the video, sounds or photographs acting on the narrative. For example, video triggers at key points in the virtual landscape to remind a participant that the computer generated environment is grounded in the physical world.  Scripted events that create a first person interaction with the reportage can also help create a feeling of  “being there.” Also, participants can query or interact with the elements around them to learn more about the details or context of the news story.</p>
<p>In general, participants travel through the story as a digital representation of themselves, or as one of the subjects in the news piece. Whether visiting the space as oneself or as a subject in the narrative, immersive journalism aims to afford the participant unprecedented access to the sights and sounds, and possibly, the feelings and emotions that accompany the news.</p>
<p>Well-crafted journalism always aims to elicit a connection between the audience and the news story. Creating that connection via different kinds of ‘immersion’ has long been considered ideal. Describing her reporting during World War II, Martha Gellhorn called it “the view from the ground.” Writer George Plimpton famously joined the Detroit Lions American football team in order to give his readers the most intimate sense of playing on this team. Television news correspondent Walter Cronkite made a series of documentaries recreating historical events in which he would offer a brief introduction before an announcer would give the date and the event, proclaiming, “You Are There!” More recently, attempts to combine audio, video and photographs on the Internet have created what some journalists call “immersive storytelling.” As technology editor at MSNBC, Jonathan Dube (now Vice President at ABCNews.com) said that he believes this can bring the reader or viewer “closer to the truth.”</p>
<p>In collaboration with digital media designer Peggy Weil, we have built several prototypes which reflect my interest in covering human rights issues. <i><a href="http://www.immersivejournalism.com/?p=20">Gone Gitmo</a></i>, a virtual Guantanamo Bay prison built in Second Life, allows participants to explore a place that is inaccessible to the average American citizen and press.  (In fact, the Pentagon just expelled four reporters who have been covering the prison for years.) <i>Gone Gitmo</i> includes an experience on what it might be like to be detained, hooded and then imprisoned in Camp X-Ray.  It also examines the ramifications of losing <i>habeas corpus</i> rights.</p>
<p>Another Second Life prototype, <i><a href="http://www.immersivejournalism.com/?p=60">Cap &#038; Trade</a></i>, is a news report on the carbon market that sends people on a journey to follow the money in order to try to better understand the complexities and human consequences of trading carbon credits.  <i>Cap &#038; Trade</i> was built in partnership with the Center for Investigative Reporting and Frontline World and is particularly reliant on the excellent reporting by Mark Schapiro that appears on Frontline and in Mother Jones and Harpers Magazine.</p>
<p>A third prototype is based on the interrogation logs of Detainee 063, Mohammed Al Qahtani, who had been declared tortured by the Bush administration. Built at the Event Lab in Barcelona with Mel Slater and his team, we use an HMD to put participants into the virtual body of a detainee who is held in what is referred to as a “stress position.” When participants look around, they see a virtual mirror with a digital figure in that mirror who looks like a detainee and moves in unison with the participant.  Participants also wear a breathing strap that programs the avatar to breathe at the same time as they do, further enhancing the sense of virtual body ownership. Throughout, the sounds of the Al Qahtani interrogation play as if coming from the next room.  While research data was not collected on this particular prototype, every participant anecdotally reported that their body was hunched over in a stress position when in fact they were sitting upright.</p>
<p>Immersive journalism is distinct from news games in that news games embrace gaming protocols.  With news games, the player undertakes a task or pursues a goal, voluntarily constrained by agreed upon rules, and must take action to advance position.  Progress is often measured by indicators such as levels or points.  In contrast, a participant in immersive journalism isn&#8217;t playing a game, but is put into an experience where she is participating and affected by events but may or may not have agency to change a situation.  Immersive journalism also parallels a news narrative playing out in the physical world much like a piece in a newspaper or segment on television and while one might experience the story from different starting points, the story itself should not shift.</p>
<p>When the record industry refused to consider experience, i.e. how their audience was going to interact with music, they gave Apple the right of way to build iTunes.  The result was an extremely successful and robust environment that offers an entertaining, multilayered way to access music while also supporting Apple’s iPod music device.  No doubt immersive journalism is nascent, but we hope to learn from the mistakes of the music industry which, unfortunately, legacy media seems well on its way to repeating.  With iTunes as our model, we are concentrating on experience, and hope that in the near future we will support an offline platform as well.</p>
<p>You can see videos about the prototypes mentioned in this piece and learn more about this burgeoning avenue of journalism at <a href="http://www.ImmersiveJournalism.com/">www.ImmersiveJournalism.com</a>.</p>
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		<title>Reinventing arts journalism&#8230; by starting with a virtual summit</title>
		<link>http://www.ojr.org/p1782/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=p1782</link>
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		<pubDate>Tue, 29 Sep 2009 20:42:20 +0000</pubDate>
		<dc:creator>Sasha Anawalt</dc:creator>
				<category><![CDATA[Frontpage]]></category>
		<category><![CDATA[interactivity]]></category>
		<category><![CDATA[journalism education]]></category>
		<category><![CDATA[opinion journalism]]></category>

		<guid isPermaLink="false">http://www.ojr.org/?p=1782</guid>
		<description><![CDATA[Sasha Anawalt is director of Arts Journalism Programs at USC Annenberg School for Communication and co-director of A National Summit on Arts Journalism. I&#8217;m told by people who know such things that I am lousy at the elevator pitch. But the question: &#8220;Hey, Sasha, what is this National Summit on Arts Journalism?&#8221; is a natural [...]]]></description>
				<content:encoded><![CDATA[<p><i>Sasha Anawalt is director of Arts Journalism Programs at USC Annenberg School for Communication and co-director of A National Summit on Arts Journalism.</i></p>
<p><a href="http://najp.org/summit"><img src="http://www.www.ojr.org/ojr/images/NSAJ_logo.jpg" width=200 height=200 alt="National Summit on Arts Journalism" align="right" hspace=5 border=0></a> I&#8217;m told by people who know such things that I am lousy at the elevator pitch. But the question: &#8220;Hey, Sasha, what is this <a href="http://najp.org/summit">National Summit on Arts Journalism</a>?&#8221; is a natural for people to ask, especially when trying to figure out if they should pay it any attention. With the Summit only two days away, I&#8217;ve now ridden a bank of elevators.</p>
<p>The Summit will showcase 10 innovative online projects chosen by a dozen judges that allow us to peek into arts journalism&#8217;s future &#8212; like a TED conference, but just about journalism. We hope to explore ideas and issues that have taken unpredictable and fascinating forms by looking into these diverse digital models for keeping arts journalism alive.</p>
<p>This Summit is a virtual summit. Yes, there will be a live audience on Oct. 2, settled into its seats by 8:30 a.m. at USC&#8217;s Annenberg Auditorium. But the main audience is the one watching online during and after the event. How could it be otherwise? A field that&#8217;s been so deeply affected by technology must reflect that technology. The Summit is itself an experiment in form. Because the Internet allows journalists to generate, gather and distribute information and opinion from a universe of sources, shouldn&#8217;t our conference extend as far?</p>
<p>For the first time at USC Annenberg School for Communication, and for the first time at USC at large, online interactivity will be defined and shaped by the taping, production and editing of speakers&#8217; presentations before the conference or summit actually begins.</p>
<p>We want to show the journalists&#8217; work, their sites, their cool Flash projects, and illustrate what these 10 are talking about <i>while</i> they are talking. We wish to keep all presentations below the 10-minute mark. Talk about art has to be artistic; talk about journalism and financial viability should be focused and precise. The audience? A Clay Shirky here-comes-everybody one. The whole Summit? YouTube-able.</p>
<p>How to do all this? The solution that Summit co-director and editor of ArtsJournal.com <a href="http://http/www.artsjournal.com/ajabout/2006/10/about.shtml">Douglas McLennan</a> and I came up with &#8212; in concert with Jackie Kain, executive producer, and Holly Willis and her team at USC&#8217;s Institute for Multimedia Literacy &#8212; is what you will see on Oct. 2  from 9 a.m. to 1 p.m. (PDT), streamed live on the National Arts Journalism Program <a href="http://www.najp.org/summit">website</a>.</p>
<p>Doug will moderate the live event, which will include two roundtable discussions in the flesh: &#8220;The Art of Arts Journalism,&#8221; hosted by Laura Sydell of National Public Radio, with guests Jeff Chang (author of <i>Can&#8217;t Stop Won&#8217;t Stop</i>) and <i>New York Times</i> reporter Seth Schiesel; and &#8220;The Business of Arts Journalism,&#8221; hosted by Andras Szanto, director of the NEA Classical Music Institute, with Richard Gingras, Salon.com CEO, and Deborah Marrow, director of The Getty Foundation.</p>
<p>But why do we need a National Summit on Arts Journalism? This question quickly gets personal, and each participant will have a telling answer. I heartily invite you to log on, tune in and submit your questions, answers and ideas via Twitter (hashtag: #artsj09) and to text-message on the day-of.</p>
<p>Yet the same question also gets professional.</p>
<p>In 2008, USC Annenberg School for Communication (in partnership with the five arts schools) launched a nine-month <a href="http://annenberg.usc.edu/Prospective/Masters/Specialized.aspx">Master&#8217;s degree program in Specialized Journalism</a>. The program, designed for arts specialists and other kinds of journalists, this year nearly quadrupled in size &#8212; defying all expectations. We all know traditional journalism is in crisis; everything is changing. Is it possible to sustain a living as a journalist? What is journalism now, and who exactly are journalists? At this frightening, exhilarating juncture, what&#8217;s the role of the arts-and-culture critic?</p>
<p>These questions fill the air, and they are legitimate. Change means we can all play a role, if we care to, in reinventing the field of journalism. A university, of course, affords the possibility for time dedicated to lab work, experimentation and surrounding ourselves with experts. It also provides a space for the kind of imaginative, idealistic vision that writing about the arts requires. Yet we know, in the words of Los Angeles Poverty Department theater director John Malpede, that you cannot have change without exchange. You must give something up and exchange it; you have to engage in conversations with others who are doing something utterly unlike what you are doing, if you want to move forward.</p>
<p>Doug McLennan has spent the past decade surveying the arts-journalism scene; his ArtsJournal.com celebrated its 10th anniversary earlier this month. The site aggregates &#8220;must-reads&#8221; in arts and culture every day, and Doug knows first-hand and better than most how many astonishing forms digital journalism takes: not only in traditional and new media, but within arts organizations and government groups, both national and municipal, grassroots and mainstream. Yet worried that too many wheels were being reinvented, he wondered what would happen if we brought new arts journalists together so they could show and share what they are doing, and hoping to do. Wouldn&#8217;t that accelerate progress in the field?</p>
<p>This Summit is the result. The National Endowment for the Arts, the Andrew W. Mellon Foundation, the William and Flora Hewlett Foundation and many schools and leaders at USC are on board (including &#8211; full disclosure &#8211; <i>Online Journalism Review</i>). Hewlett agreed to underwrite a competitive element of the Summit, offering awards of upwards of $2000 to five journalism &#8220;Public Projects,&#8221; ultimately chosen by 12 judges from a pool of 109 submissions.</p>
<p>I can&#8217;t tell you what the five &#8220;Public Projects&#8221; are (that would ruin the suspense), but I can say that I&#8217;ve seen all ten presentations (which includes five &#8220;Showcase Projects&#8221;) and from them have learned a few things. Social media, though not yet figured out and fully tapped, is central to our journalistic future. Some are making a living at this, but too few &#8212; yet in a capitalist society this will soon be figured out. Some very smart and even magnificent ideas and executions are out there. Still, critics and their future are the biggest unknowns.</p>
<p>I am sure that on Friday, I will have more epiphanies and puzzlements. But with each later viewing of the projects &#8212; available as separate entities at <a href="http://www.najp.org/summit">www.najp.org/summit</a> and <a href="http://annenberg.usc.edu/najpsummit">annenberg.usc.edu/najpsummit</a> &#8212; something more will certainly come to light. That is the may be the most valuable virtue of a virtual Summit.</p>
<p><i>Check back on OJR this Friday, when editor Robert Niles reports from the ONA conference in San Francisco.</i></p>
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		<title>Online publishers need new heroes in the battle for community relevance</title>
		<link>http://www.ojr.org/p1571/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=p1571</link>
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		<pubDate>Fri, 07 Nov 2008 12:35:26 +0000</pubDate>
		<dc:creator>Robert Niles</dc:creator>
				<category><![CDATA[Frontpage]]></category>
		<category><![CDATA[DailyKos]]></category>
		<category><![CDATA[Entrepreneurial Journalism]]></category>
		<category><![CDATA[interactivity]]></category>
		<category><![CDATA[writing]]></category>

		<guid isPermaLink="false">http://www.ojr.org/?p=1571</guid>
		<description><![CDATA[Picking up from my piece on Wednesday&#8230;. The Obama campaign did not build its social network in isolation. In many communities, it built upon an existing &#8220;netroots&#8221; of progressives that had developed over the past several years. That network, in turn, developed in frustration with both the Bush administration, as well as the new media [...]]]></description>
				<content:encoded><![CDATA[<p>Picking up from <a href="http://www.www.ojr.org/ojr/people/robert/200811/1569/">my piece on Wednesday</a>&#8230;.</p>
<p>The Obama campaign did not build its social network in isolation. In many communities, it built upon an existing &#8220;netroots&#8221; of progressives that had developed over the past several years. That network, in turn, developed in frustration with both the Bush administration, as well as the new media coverage (or lack thereof) of that administration and its Congressional allies.</p>
<p>Markos Moulitsas, a j-school graduate with a law degree and an Army stint behind him, bootstrapped what might be the most influential of all progressive netroots websites, <a href="http://www.dailykos.com/">DailyKos</a>. His new book, &#8220;Taking on the System: Rules for Radical Change in a Digital Era&#8221; offers a blueprint for political activists, one that well complements the Obama strategies I wrote about on Wednesday.</p>
<p>But Moulitsas&#8217; book teaches important lessons to would-be journalist entrepreneurs as well. Remember, Kos (hey, calling him by his last name just seems weird. Everyone else online calls him &#8220;Kos,&#8221; so I&#8217;ll do the same) got his start in journalism school, at Northern Illinois University, and he&#8217;s worked in the newspaper field. At its heart, DailyKos is a publishing enterprise, a 21st century version of the old-fasioned partisan press. And Kos has enjoyed phenomenal financial success with it.</p>
<p>A &#8220;seven-figure operation,&#8221; as Kos described it, DailyKos is just one site in a wide-ranging publishing network that the Berkeley, California resident founded. Within the past month, another Kos property, SportsBlog Nation, announced a <a href="http://www.sportsbusinessjournal.com/article/60379">multi-million dollar round</a> of venture capital funding.</p>
<p>The guy knows how to attract eyeballs, exert influence and make money online. I e-mailed Kos and asked him what he thought &#8220;Taking on the System&#8221; could teach journalists.</p>
<blockquote><p>&#8220;I think the key lesson in Taking on the System to media entrepreneurs is that they no longer are beholden to the old journalistic establishment. They don&#8217;t have to get anyone&#8217;s permission to start up a new journalistic venture &#8212; no editors, no publishers, no producers, no anyone else.</p>
<p>&#8220;Of course, without the old media machines to back them up and fund them, it&#8217;s a difficult world. But for anyone who believes that people aren&#8217;t being properly served by the old media institutions, this is their chance to deliver what people want. Daily Kos is an example of that. And while these entrepreneurs are less financially secure, they can also use technology to accomplish far more at very little cost. I started Daily Kos &#8212; now a seven-figure operation &#8212; with a free blog account and an $8.95 domain. Sure, it also sucked up a great deal of my time, but it&#8217;s amazing how much technology allows you to accomplish so much for so little.</p>
<p>&#8220;Finally, it&#8217;s critical that these entrepreneurs have a well-defined niche. It helps if it&#8217;s an underserved niche, which is what motivated me to start my SportsBlogs Nation network of team-specific blogs (now up to 160 sites). Once you have a niche, it&#8217;s almost impossible to not tell a story. But the more compelling it is, the more drama you provide, the more exciting the payoff, the more people will arrive and stick around day after day.&#8221;</p></blockquote>
<p>Two chapters from the book stood out to me for lessons that would apply to news start-ups. In chapter 3, &#8220;Set the Narrative,&#8221; Kos laid out the importance of story-telling in animating a cause.</p>
<p>&#8220;The most arresting narratives revolve around a well-defined hero and villain fighting it out over something uniquely important to the time and place,&#8221; he wrote in the book. &#8220;When it comes to activism, this usually means that core respected values need to be at stake in order to grab attention and spur action.&#8221;</p>
<p>Not just for activism, but for journalism, too. Among the damage that a misapplied desire for &#8220;objectivity&#8221; has done to journalism is too strain all the emotion from too many news stories. Stuff that reads like a lab report doesn&#8217;t excite anyone.</p>
<p>Kos&#8217; six steps toward better narrative?</p>
<li>Target your villain
<li>Craft your hero
<li>Exploit the [villains'] weaknesses
<li>Reinforce the narrative
<li>Aim for the gut, not for the brain
<li>Own the story
<p>&#8220;There&#8217;s a big difference between traditional stories and the stories we craft,&#8221; he wrote. &#8220;Our stories have yet to end. And so as we engage the audience, we give them a chance to help write that happy ending. It&#8217;s an empowering effect, giving the audience the emotional investment in the story, and then offering them an active and engaged role in shaping its conclusion.&#8221;</p>
<p>I hadn&#8217;t read anyone else make that point before, but I believe it to be the most powerful argument in favor of news organizations embracing interactivity. Yes, our stories, inherently, frustrate the reader with their open-ended nature. But interactivity allows us to overcome that emotional weakness in journalism, and, in doing so, connect our audience to <i>our</i> narratives for the stories in their communities.</p>
<p>In chapter 6, &#8220;Don&#8217;t Believe the Hype,&#8221; Kos warned of the challenges and mistakes that derail so many activists, as well as journalists.</p>
<p>His advice?</p>
<li>Work your niche (&#8220;When you live in a media-saturated world,&#8221; he wrote, &#8220;it takes clarity of message and specialization to cut through the clutter. If you find a niche that resonates with a wider audience, a niche where you find yourself being <i>effective</i>, exploit that niche.&#8221;)
<li>Guard your credibility
<li>Factor reality into your plans
<p>&#8220;One of the things that I&#8217;ve always loved about blogging and the netroots culture is that there&#8217;s virtually no danger of living in a bubble surrounded by sycophants,&#8221; Kos wrote. &#8220;Every time I write anything on my own site, I have dozens of people telling me what an idiot I am. And that&#8217;s a wonderful thing. Even if I disagree with them, I&#8217;m forced to face the fact on an hourly basis that there are people who vigorously disagree with me and don&#8217;t think I&#8217;m beyond reproach.&#8221;</p>
<p>Journalists fail themselves, and their audiences, when they retreat into a sealed, insiders-only world of self-analysis. Many of us are well aware of getting outside that bubble, and engaging with people outside of the worlds of journalism and &#8220;professional&#8221; news sources to get feedback on our work. But many of us also forget the importance of looking outside journalism for guidance on the practice of our craft. Especially at a time when journalism offers so few working models for online publishing success.</p>
<p>Please do not mistake my enthusiasm for Kos&#8217; advice as an endorsement for making all press partisan. One need not apply the entire blueprint to learn some valuable techniques from Kos&#8217; approach. His advice on emotional storytelling, audience engagement and strictness in record-keeping and documentation will serve well any news website.</p>
<p>Kos also offered another warning to start-up publishers in his e-mails to me:</p>
<blockquote><p>&#8220;The biggest mistakes web publishers make is to seek a hit from a bigger blog or site, but that does little to build long-term audiences. You can&#8217;t hook people on a story with a one-day spike in traffic. You need to build it organically, over time, by crafting those villains and heroes, and getting people invested not just in the storyline, but in the outcome.&#8221;</p></blockquote>
<p>We&#8217;re not going to learn to become leaders online by repeating the same techniques and listening to the same leaders who created the media landscape that so many of our readers now have fled. We need new heroes to fight the battle of getting people engaged in their communities. </p>
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		<title>Online technology can help any website use people, not pundits, to drive public debate</title>
		<link>http://www.ojr.org/p1548/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=p1548</link>
		<comments>http://www.ojr.org/p1548/#comments</comments>
		<pubDate>Fri, 17 Oct 2008 09:12:53 +0000</pubDate>
		<dc:creator>Robert Niles</dc:creator>
				<category><![CDATA[Frontpage]]></category>
		<category><![CDATA[crowdsourcing]]></category>
		<category><![CDATA[elections]]></category>
		<category><![CDATA[interactivity]]></category>

		<guid isPermaLink="false">http://www.ojr.org/?p=1548</guid>
		<description><![CDATA[My mind spent much of its thoughts this week on the U.S. presidential campaign &#8211; specifically, on this week&#8217;s, final, debate between John McCain and Barack Obama. What inspires me to write this piece, though, is the disconnect between some of the hired pundits who watched, and reacted to, the debate and the &#8220;snap&#8221; polls [...]]]></description>
				<content:encoded><![CDATA[<p>My mind spent much of its thoughts this week on the U.S. presidential campaign &#8211; specifically, on this week&#8217;s, final, debate between John McCain and Barack Obama. What inspires me to write this piece, though, is the disconnect between some of the hired pundits who watched, and reacted to, the debate and the &#8220;snap&#8221; polls conducted of viewers after the event.</p>
<p>CNN&#8217;s John King, for one, called the debate for McCain, only to have his own network&#8217;s snap poll show that the viewers, resoundingly, <a href="http://edition.cnn.com/2008/POLITICS/10/15/debate.poll/">thought Obama the winner</a>. That got me thinking about the opinion sections that many newspapers run in print, and on their websites.</p>
<p>Many now run Web polls where any reader can click to vote which candidate won a debate or to show which position on an issue they support. These polls of self-selected readers can be <a href="http://www.www.ojr.org/ojr/stories/071210niles/">useful in eliciting discussion</a>, but are worthless in providing good data about the public&#8217;s collective opinion on something.</p>
<p>But online polls don&#8217;t have to be garbage. The same technology can be tweaked easily to enable a previously selected, demographically balanced, random sample of individuals to log in and record their votes on an issue, such as a <i>local</i> candidates&#8217; debate.</p>
<p>So, why not? Why not provide marry online technology with random-sampling techniques to build a readers&#8217; panel than provides a scientifically accurate measure of your community&#8217;s response to important issues? Why ask a hired reporter or pundit to guess the public&#8217;s reaction to something when you have the ability to gauge the public&#8217;s reaction directly?</p>
<p>Several large news organizations commission public opinion surveys on a regular basis. I&#8217;m suggesting something less ambitious than that, something cheaper and faster, using online polling exclusively.</p>
<p>Who won a debate is a great application for this technology because the call of a winner is purely a matter of opinion. There is no empirical evidence that one can tap to render an indisputable judgment on a candidate debate, as one might use a tape measure to determine how far atheletes had launched a shot put, for example.</p>
<p>News organizations still need critics and commentators, people who can put an issue, or a debate performance, into a broader perspective and challenge readers or viewers to consider a different point of view. For things that can be judged with &#8220;tape measure&#8221; accuracy, such as voting records and scientific research, we also need reporters who make or report those measurements to better inform the public. (These are very different responsibilities than simply reciting partisan talking points, or shilling 24/7 for one party, as too many news pundits now do.)</p>
<p>Technology has made obsolete the need for pundits to tell us how <i>we</i> think. I asked on my Facebook page, &#8220;How many times does a Washington pundit get to be wrong before s/he is fired?&#8221; (To which <a href="http://www.huffingtonpost.com/off-the-bus/">Huffington Post political editor</a> Marc Cooper replied: &#8220;4,000?&#8221;).</p>
<p>I&#8217;d love to hear from news organizations that are using online polling, not just for fun, but for serious, random-sample audience reaction. E-mail me via <a href="http://www.www.ojr.org/ojr/people/robert/">my blog page</a> if you have a story you&#8217;d like to share with OJR readers. Or if you&#8217;d just like some guidance on how to make this happen. If there&#8217;s demand, and I think there should be, I&#8217;d be happy to help find a way to get more news organizations using better public opinion polling techniques online.</p>
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		<title>Best practices for online polls</title>
		<link>http://www.ojr.org/071210niles/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=071210niles</link>
		<comments>http://www.ojr.org/071210niles/#comments</comments>
		<pubDate>Mon, 10 Dec 2007 20:00:06 +0000</pubDate>
		<dc:creator>Robert Niles</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[interactivity]]></category>

		<guid isPermaLink="false">http://www.ojr.org/?p=1417</guid>
		<description><![CDATA[Commentary: Here's how your online widget polls can help spark reader interest in your site, instead of weighing it down with irrelevant garbage data.]]></description>
				<content:encoded><![CDATA[<p>What do you think about online polls?</p>
<li>They&#8217;re a great way to drive traffic and build reader loyalty.
<li>They are a misleading load of garbage.
<p>As a former <a href="http://www.mmss.northwestern.edu/">statistics major</a> in college, my reflex reaction is to choose option #2. But as an online editor, I think there are ways website publishers can use online polls responsibly&#8230; and effectively, to drive traffic and build loyalty.</p>
<p>The first step toward doing that requires editors to understand the limits of online polls. And I&#8217;m talking about those widgets where anyone can click a radio button and hit submit, not controlled surveys open only to selected participants and run by experienced public opinion pros.</p>
<p>The big problem with online widget polls is that they *are* open to anyone. That gives you a self-selected sample of respondents who most likely do not reflect society, or even your readership, as a whole.</p>
<p>&#8220;Remember, the purpose of a poll is to draw conclusions about the population, not about the sample. In these pseudo-polls, there is no way to project the results to any larger group. Any similarity between the results of a pseudo-poll and a scientific survey is pure chance,&#8221; Sheldon R. Gawiser and G. Evans Witt wrote in their <a href="http://www.ncpp.org/?q=node/4">&#8220;20 Questions A Journalist Should Ask About Poll Results&#8221;</a>, published by the  National Council on Public Polls.</p>
<p>If you are simply looking for little, easy-to-read nuggets of information to brighten a page, you don&#8217;t need to conduct a poll. There&#8217;s a wealth of research available, from the U.S. Census Bureau to that found in various publications of the <a href="http://www.amstat.org/">American Statistical Association</a>, which can give you those nuggets. (The ASA&#8217;s publications also provide great resources that can help reporters <a href="http://www.www.ojr.org/ojr/stories/071130niles/">call out sources</a> whose misinformation deserve refutation.)</p>
<p>So, you aren&#8217;t generating anything with your online widget poll that&#8217;s going to give you accurate information about the public&#8217;s collective attitudes or behavior. So what&#8217;s left as a reason to run such a poll?</p>
<p>Plenty.</p>
<p>While widget polls won&#8217;t tell you anything useful about your readership&#8217;s *collective* behavior, they can engage your readers to share *individual* stories. They key is to stop thinking of these widget polls as little public opinion surveys and start thinking of them as&#8230; straw polls in a bar argument.<a name=start></a></p>
<p>In my experience, the best way to use widget surveys is as an introduction into a discussion on the topic raised by the poll. My personal favorite example, one that I&#8217;ve run on several websites, will make sense to almost all Americans who celebrate Thanksgiving: &#8220;Should cranberry sauce be whole berry or jelly-style?&#8221;</p>
<p>It&#8217;s a silly question, sure. But it is one that most folks who have sat down to a Thanksgiving meal in the U.S. have personal experience with, and one that many of them are very willing to debate in public.</p>
<p>Over the past months, my wife and I have been posting widget-poll &#8220;votes&#8221; to our websites every Friday afternoon. The questions have included asking theme park fans what they though should have been <a href="http://www.twiigs.com/poll/Recreation/4340">the new name for the Disney-MGM Studios theme park</a> in Florida,  and asking violinists to pick their <a href="http://www.twiigs.com/poll/Entertainment/Music/6542">favorite movement from Dvorak&#8217;s &#8220;New World Symphony&#8221;</a>. We&#8217;ve found them a useful way to build traffic during what&#8217;s typically the slowest time of the week on the site.</p>
<p>Widget polls tempt readers to click. They provide the easiest form of interactivity, easier than commenting, easier than chiming in on a discussion thread, easier than starting a blog. But once readers click, they&#8217;ve broken that invisible barrier between reader and website and become part of the community of the site, if only in a small way. That&#8217;s why widget polls can become an important tool for online community building. It&#8217;s a crass analogy, but widget polls are the &#8220;gateway drug&#8221; of online interactivity.</p>
<p>As with any other content that a professional puts on his or her website, careful thought helps make these widget polls a traffic-building success. A poorly conceived or worded poll will not elicit clicks, responses or referrals from other URLs, making the poll a waste of everyone&#8217;s time &#8212; the publisher&#8217;s and the readers&#8217;.</p>
<p>I groaned to myself this morning when I found the following poll on the website of the Pasadena (Calif.) Star-News: &#8220;Should California&#8217;s electoral votes be distributed by congressional district or the current winner-take-all system?&#8221; with the answer options &#8220;Yes&#8221; and &#8220;No.&#8221;</p>
<p>Ugh. (To be fair to the Star-News, the answer options were clarified later that morning.)</p>
<p>Anyone who wants to make their website polls a powerful feature on the site ought to spend a few moments reading the American Association for Public Opinion Research&#8217;s <a href="http://www.aapor.org/bestpractices">&#8220;Best Practices for Survey and Public Opinion Research&#8221;</a>. The document is designed for public opinion pros conducting proper research, but at least two items can help Web editors with their widget polls:</p>
<li>&#8220;Take great care in matching question wording to the concepts being measured and the population studied.&#8221;
<li>&#8220;Pretest questionnaires and procedures to identify problems prior to the survey.&#8221;
<p>(The second, for example, would have helped the Pasadena paper avoid its silly gaffe.)</p>
<p>In addition, specifically for online widget polls, I would add these best practices:</p>
<li>Pick a topic relevant to your specific readership, upon which they will have some personal experience.
<li>Ask a question that has a limited set of obvious potential responses. (Truly open-ended questions work better as discussion threads.)
<li>Ask a question for which readers will want to explain their choice.
<li>Invite and provide a way for readers to comment upon their choice.
<p>And, finally:</p>
<li>Take steps to prevent multiple votes from individual readers.
<p>As a Web editor of an interactive site, nothing makes your life hell more completely than having your site gain a reputation as an easy place where crackers and script kiddies can manipulate your content. If widget polls are the gateway drug to reader interactivity, easily gamed ones establish the gateway to reader-driven mischief and abuse. Setting a cookie after a vote, or blocking multiple votes from IP addresses, or both, can help you prevent ballot-stuffing.</p>
<p>Many newspaper website content management systems include built-in online polling capabilities. Even if your system does not, you need not know how to code your own polling application. For the polls on my websites, I&#8217;ve been using the embedded widget from <a href="http://www.twiigs.com/">Twiigs.com</a>, which I first encountered on the delightfully catty <a href="http://gofugyourself.typepad.com/">Go Fug Yourself</a>.</p>
<p>Twiigs hosts its polls on its website, and provides iframe coding that allows publishers to embed the poll on their own sites. That option makes it easy for an editor to direct readers to talk about their choice on the site, in a blog entry&#8217;s comments section for example.</p>
<p>You might ask, if the point of this exercise is to have a discussion, why bother with the poll? Having the poll results on the page gives readers another, easy-to-see, point of entry into the discussion. One need not browse through multiple comments to get a sense of how the conversation is going. One can see that at a single glance with the poll results. And, as I wrote earlier, readers find the poll interface an easier and more welcoming interface than a comment button. (In my experience, we&#8217;ve gotten about one comment for every 15-20 votes cast in the poll.) Even if individual anonymity explains part of that wider appeal, I&#8217;ve found many readers on my websites make their first-ever comments to the site in response to a poll. Polls really can ease people across that threshold of interactivity.</p>
<p>To be clear, I do not suggest reporting the percentage results of such online polls as news, or as representative of any group, even the readers of the site. At most, I might consider reporting the raw numbers of such polls (e.g. &#8220;250 readers of OJR.org reported that they&#8217;d flunked math in college, according to a poll on that site&#8221;), then pulling some interesting quotes from the comments. But the real value of online widget polls is not to create news for other websites. It is to give your readers one more engaging reason to spend their time on yours.</p>
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		<title>Tim Berners-Lee&#039;s Web of people</title>
		<link>http://www.ojr.org/tim-berners-lees-web-of-people/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=tim-berners-lees-web-of-people</link>
		<comments>http://www.ojr.org/tim-berners-lees-web-of-people/#comments</comments>
		<pubDate>Tue, 04 Dec 2007 00:31:21 +0000</pubDate>
		<dc:creator>Jim Wayne</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[history]]></category>
		<category><![CDATA[interactivity]]></category>
		<category><![CDATA[net neutrality]]></category>
		<category><![CDATA[Tim Berners-Lee]]></category>
		<category><![CDATA[usability]]></category>

		<guid isPermaLink="false">http://www.ojr.org/?p=1413</guid>
		<description><![CDATA[The founder of the World Wide Web lectures on maps, bobsleds and the human qualities of his digital creation.]]></description>
				<content:encoded><![CDATA[<p>Amid the dot-com jargon and techie talk, World Wide Web granddaddy Tim Berners-Lee conceded last week something about his offspring: That somewhere beneath the convoluted coding, acronyms, zeroes and ones, the Web is human, after all.</p>
<p>Speaking to a fire hazard of computer programmers, Web producers and journalists at the University of Southern California&#8217;s <a href="http://annenberg.usc.edu/">Annenberg School for Communication</a> last Thursday afternoon, Berners-Lee crammed a career&#8217;s worth (OK, maybe several careers) of wisdom and clairvoyance into a little less than an hour of accessible Netspeak. He waxed nostalgic on the Internet&#8217;s historical terrain, then prognosticated a Web future rooted in sociability, customization and, above all, user demands.</p>
<p>&#8220;We&#8217;ve got to keep building those wish lists, because they will inspire people who are doing the coding,&#8221; he said. &#8220;There are a bunch of geeks… who are itching to find a problem to solve.&#8221;</p>
<p>The moral: keep feeding the innovators. You never know what they might come up with, and there&#8217;s no predicting what bizarre idea might take off running.</p>
<p>&#8220;What if, just before wikis came out, somebody had said, &#8216;Hey, suppose there was a website that said: Anybody can edit this. Please be careful. It would be nice if this were an encyclopedia. Those are all the rules.&#8217; You would not have invested. You would not have been the manager that said, &#8216;Yes, OK. Write it.&#8217;&#8221;</p>
<p>And per his <a href="http://www.w3.org/2007/09/map/main.jpg">road map</a>, the Web&#8217;s uncharted territory is vast and ripe for discovery. As he has since day one, Sir Timothy Berners-Lee sees a blank, royalty-free canvas.</p>
<h2>Berners-Lee on what&#8217;s in store:</h2>
<blockquote><p>We just hope that there is just a natural tendency to broader interoperability. That we will end up with a very powerful platform in the future. The sea of interoperability&#8230;. One of the things that you have to remember now is that we&#8217;re seriously thinking that the Web isn&#8217;t all there is&#8230; that downstream, there&#8217;s a huge amount of stuff. So that means that you don&#8217;t have to do your work looking to the Web as though it is the geographical terrain. You can do it as though it were something you can send back. Like undercooked beef. It&#8217;s OK to say, &#8216;The Web is fine, but what we really want is this.&#8217; You know, &#8216;blogs are great. They&#8217;re interesting. But what if, instead, we had this?&#8217; So the technical community needs to have feedback from people who are maybe being frustrated by how the Web is doing in all this.</p>
<p>If you go away today with any one thing in your head when it comes to the Web architecture, it&#8217;s that it is a universal space. It&#8217;s got to be there like a white piece of paper, for people to do other stuff on it. And the Web is great because of all of the creativity that other people have put in. It mustn&#8217;t control what other people want to do with it. It clearly has got to be able to work on any hardware platform.</p>
<p>There are some things we can worry about and some things we can get hopeful about. A lot of people are excited about virtual worlds; second lives and things. Some people are worried about the fact that my ISP might stop me from accessing all the new video sites because they are my cable company, and they want to be the person to decide what movies I watch this week. There are some slumps around there, but I think we&#8217;ll avoid them.</p></blockquote>
<p><a name=start></a></p>
<h2>On digital humanity:</h2>
<blockquote><p>When you design something in the Web, there is a social side to it. The Web actually has protocols like http, but it&#8217;s got human protocols, too&#8230;. I make a link to another Web page because if I link to good Web pages, my Web page will become valuable.  And if my Web page becomes valuable, it will be linked to. And if my Web page is linked to, it will become more read. And I like to be read! It all comes down to psychology. Sometimes it comes down to money, OK? &#8216;I like to be read because I get cash.&#8217;</p>
<p>It&#8217;s not a web of computers, it&#8217;s a web of people. It&#8217;s people that make links, it&#8217;s people that follow links. People are affected by many things in what we do; in the policies we should enact &#8212; or that we should tweak, or that we should interpret. There&#8217;s psychology at the base. There&#8217;s a large amount of mathematics about it. There&#8217;s a very, very large number of disciplines around websites, and there are great people in the spaces and doing great things who probably don&#8217;t know each other. So one of the motivations of Web science is to get people in these disciplines talking to each other.</p></blockquote>
<h2>On creativity:</h2>
<blockquote><p>The creativity has always been the exciting bit for me. We do our software design in such a mechanical, mathematical way. We analyze it and we use software engineering tools. But the actual creative leap to how we&#8217;re going to do the thing, or the fact that we will write the program in the first place, is done subconsciously by a mechanism that we cannot analyze. It is not provided to us. We do not have a portal, we do not have the debug access to a brain that allows us to figure out how it was we came to it.</p>
<p>Individual creativity is very special, but group creativity &#8212; when we do things together, which is what we actually have to do to solve all these big problems &#8212; is even more interesting. And one of the reasons I wanted to make the Web a big sandbox is that I wanted it to be a tool for group creativity. I wanted us to pool all our thoughts and brainstorming together so that we will somehow make our combined brains be slightly less stupid than our individual brains. </p></blockquote>
<h2>On social networks:</h2>
<blockquote><p>These social networking sites are starting to develop new ways of actually determining how you trust friends, and friends of friends have a different status than friends or friends of friends of friends&#8230;. One of the things they&#8217;re doing is creating new forms of democracy. Or new forms of meritocracy&#8230;. It kind of works, but maybe we can improve on it. And maybe, out there in the Web, we will end up producing a new social mechanism, which will improve on the existing democratic systems we&#8217;ve got today, and we&#8217;ll be able to run the country better. How about that? Run the world better. Don&#8217;t aim low! OK? </p></blockquote>
<h2>On inventing the Web:</h2>
<blockquote><p>Inventing the Web was actually rather straightforward. It was the sort of thing you could do on the back of an envelope and code up in two months. But explaining to people that it was a good idea—helping them get over all their misunderstandings of what it was supposed to be, was very difficult.</p>
<p>Because it was a paradigm shift, the difficulty of explaining the Web in the first place was that we didn&#8217;t have the vocabulary like &#8220;link&#8221; and &#8220;click.&#8221; So I could show someone a Web page and click on it and, tah-dah! Another window would open with a different Web page. So what? No big deal.</p>
<p>What they couldn&#8217;t understand was what was really interesting about this link was that this one really could have gone anywhere; to any data you could imagine being out there and conceivably interesting. Now the fact that pretty much anything you could imagine existing out there has got a high chance of being on the Web. And the fact that that link could have been there was just really difficult for people to understand.</p>
<p>In our meetings I wanted us to build the Web as a collaborative design so that we would always leave pointers back to why we made decisions. We would always leave pointers back to the documents we&#8217;d read when we had our meetings. So that somebody coming in would be able to understand. Somebody who&#8217;s going to reverse a design decision we&#8217;d made can find out why it was made; find out what they&#8217;re going to damage. And also, when they leave, they don&#8217;t have to do the big debrief and explain to everyone what they&#8217;ve done, because it&#8217;s there. They&#8217;ve woven it into the group&#8230;. So the first Web browser was an editor. It was designed really to be a collaborative thing. </p></blockquote>
<h2>On Gopher:</h2>
<blockquote><p>It was way more popular than the Web. Taking off exponentially, with I think maybe a sharper time constant. The University of Minnesota then announced that, by the way, they might be licensing the material. You might have to pay royalties. They were toast. Overnight. And people were putting a huge amount of pressure on me to get something from CERN. And CERN, to their huge credit, did produce, 18 months later&#8230; a document that declared that CERN would not be charging royalties on the World Wide Web. And that&#8217;s why it happened. That&#8217;s why it took off. </p></blockquote>
<h2>On bobsleds:</h2>
<blockquote><p>There&#8217;s a phase at the beginning of a bobsled run when you&#8217;re pushing. The whole team is pushing. And it&#8217;s really hard because the bobsled has in fact got some inertia. And then it picks up speed. And then in the later phase, you&#8217;re all in the bobsled steering, and things like that. But there&#8217;s a very important transition phase when you stop pushing and jump in. And for the Web, that was about 1993. So I was concerned in 1993 and started sort of rushing talking to people about what sort of consortium we would do. And eventually the result was the <a href="http://www.w3.org/">World Wide Web Consortium</a>.</p></blockquote>
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		<title>Journalism can be welcome in &#039;smart homes&#039;</title>
		<link>http://www.ojr.org/journalism-can-be-welcome-in-smart-homes/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=journalism-can-be-welcome-in-smart-homes</link>
		<comments>http://www.ojr.org/journalism-can-be-welcome-in-smart-homes/#comments</comments>
		<pubDate>Fri, 26 Oct 2007 10:12:22 +0000</pubDate>
		<dc:creator>Larry Pryor</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[immersive environments]]></category>
		<category><![CDATA[interactivity]]></category>

		<guid isPermaLink="false">http://www.ojr.org/?p=1387</guid>
		<description><![CDATA[Commentary: What success journalism has had online seems more by accident than design.  As the wonders of the "smart home" unfold, this might be a good time to re-examine assumptions about how electronic news is used. ]]></description>
				<content:encoded><![CDATA[<p>	News organizations seem to be throwing open many doors, if not windows, hoping the right one or combination yields the secrets of audience attraction. Maybe the search should be more reflective – not based on science, necessarily, but at least on principles more closely tied to what’s going on in the information ecology of homes, offices, schools, libraries, cars, trains and buses.</p>
<p>	Ideally, the equipment or products used to spread words and images would create micro-environments where news can flourish. Wired-up homes, a big opportunity for online journalists, create a space where news undergoes cognitive processing, to use research talk. Studies indicate that audiences prefer content when both the media environment and delivery mechanism match the <a href="http://www.www.ojr.org/ojr/stories/060925pryor/">natural or biological capabilities of the consumers</a>.</p>
<p>Evolution is not necessarily a remote theory. Whether news is sent via print or through TV or computer screens, earplugs, baby-faced mobile devices or trained-pigeon messages, its success may depend how the delivery engages human sense organs and minds formed by millennia of biological development.</p>
<p>	The TV screen, floating in a space where humans can either focus or interact among themselves and ignore it, has had a lot going for it. The movie theater, a dark space redolent of unhealthy candy, butter and popcorn, inhabited by strangers who seem more and more to get on each other’s nerves, has been waning in a culture absorbed by interaction. IM fits the needs of teen organisms. Radio hitches itself to the fertile Internet and draws a global audience seeking to escape broadcast boundaries. Music lovers migrate from CDs to the mobility and flexibility of iPods and cell phones. Each medium makes use of heritable human traits, like curiosity, mate searching and a preference for mobility. The losers are anachronistic.</p>
<p>	This train of thought brings into question assumptions about the usefulness of displays, formats and delivery systems that have decidedly non-evolutionary origins – like engineering compromises chosen to get commercial products off the ground at a set deadline. Many news websites were pushed into the public sphere by senior editors and executives out of panic, not planning or calculated resource allocation. What success journalism has had in new media often seems more accident than design.</p>
<p>	As the wonders of the &#8220;smart home&#8221; unfold, this might be a good time to re-examine assumptions about how electronically delivered news is used. The developing space for news in the home represents the opposite of what happened when Macs and PCs came through front doors in the mid-‘80s. The devices went into dens and separate bedrooms  for single-station use; personal privacy and segmented content within the home became the norm. Gender, marital and age gaps were allowed to squelch domestic discourse –sometimes with unfortunate results.</p>
<p>	That may not be true now. The creation of info-nodes, wide screens and hybrid TV-Internet-games platforms for the home has the potential to change news consumption from isolation and segmentation into a more communal dynamic where family members actually talk about what they learn, are amused by or share in common. They can interact among themselves, as well as within the virtual worlds they enter. It is not just mixed but multiple use, where the physical and virtual co-mingle.<a name=start></a></p>
<p>	Game designers are putting these tools to good use.  Military and aerospace trainers have developed extraordinary simulators.  Medical innovators are making important use of telepresence in surgery and remotely monitored therapy. But news providers are only beginning to offer access to space imagery, panoramic perspectives, 3-D and immersive delivery formats. Even though the ability to combine virtual reality technology and interactive immersive environments has been available since Howard Rheingold brought it to public attention in the early 1990s, the potential of virtual reality (VR) as a news conveyor has lagged behind developments in other fields.</p>
<p>	And like phylogenic trees, media trees tend to diverge and channel. Military and entertainment needs moved VR development in directions that haven’t been much help to journalists. Bendable worlds, exotic avatars and complex battle scenes don’t fit well with journalists’ need for accurate, timely, verifiable and in-depth information.  But delivery tools need to be thought of separately from content.</p>
<p>As wired-up homes open their doors, journalists will have to give more thought to how they want to be received and how they will <i>make use of</i> not just wide screens but of local wireless networks, surround sound systems, laptops and games technology – haptic devices that convey physical feed-back, intuitive controllers (think Wii news) and sophisticated head-mounted displays, which are also becoming cheaper, more powerful and accommodating (even for adults).</p>
<p>	Taken together, these developing technologies have the possibility of making broadband news delivery a different experience, more like the ‘60s family gathered before the TV, but with 21st Century feistiness and a taste for global connections based on common interests. News content can be shared both within the physical group in the home – on networked devices, if not physically together – and within alternative worlds.</p>
<p>	Take a crass example: The smiling guy with a beer behind home plate who’s waving to the family at home and talking with them on a cell phone. &#8220;Right, I’ll buy that team shirt on the way out, don’t worry.&#8221; This is a complex event, involving media crossover and telepresence or intervention in a parallel reality. Crass, but a mustard seed. Computer scientists and engineers are working to develop layers of reality and multiple paths for audience intervention.</p>
<p>	Here are examples of barriers that threaten to keep news websites in a state of perpetual anachronism. They are drawn from current discussions in the computer science, communications and media design literature:</p>
<p>1. As VR technology becomes more accessible, the tendency is to think of it as a &#8220;home theater.&#8221;  That’s not a good metaphor, since theaters are dying. Journalists should be moving away from the lights-out, no-talking tradition of passive theater experience. If what is happening in research labs is an indication, the future lies in cooperative tasking in mixed reality.</p>
<p>2. VR’s capability to simulate real environments, which should be a plus for journalists, can also inhibit graphic imagination. News and information can sometimes be best told in non-literal ways, as designers at the more forward-looking print publications have discovered. If print has become comfortable with abstractions, why does online journalism, with its vast capacity for animation and collage, lag behind?</p>
<p>3. VR worlds tend to function in isolation from one another, a legacy of audience segmentation. It’s hard to traverse multiple worlds, when scale, navigation, sound and avatar portrayals have little standardization. No rules exist on what may be accurate or authentic vs. fanciful content. This may be keeping news organizations from thinking creatively about VR news applications that would fit into the ecology of the smart home. Indeed, coming to grips with VR technology could be an expensive, difficult task, but think of the alternatives.</p>
<p>4. Screen-based personal computer displays have a fixed field of view and a concrete frame that limits interactions. It’s hard to collaborate when you have to do the electronic equivalent of peering through a key-hole. But that is changing, if the width of screens at Best Buy check-out lines are any clue. Expect homes to have multiple wide high-definition screens, panoramas of at least 180 degrees and user controls of perspectives that can free up the human eye to rove and make full use of peripheral vision.</p>
<p>5. Commercial virtual settings, including Google Earth, provide spaces where interaction can take place, but then what? It’s nice to navigate cities, buildings, landscapes, pyramids, veins and arteries, molecules, etc., and fiddle with mash-up information. But critics of shared virtual environments argue that often &#8220;there&#8217;s nothing to talk about within them.&#8221;</p>
<p>What an opportunity for bright, entrepreneurial journalists – converting sterile spaces into human places.</p>
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		<title>Take a fresh look at your site&#039;s posting rules</title>
		<link>http://www.ojr.org/take-a-fresh-look-at-your-sites-posting-rules/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=take-a-fresh-look-at-your-sites-posting-rules</link>
		<comments>http://www.ojr.org/take-a-fresh-look-at-your-sites-posting-rules/#comments</comments>
		<pubDate>Tue, 09 Oct 2007 13:11:52 +0000</pubDate>
		<dc:creator>Robert Niles</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[discussion boards]]></category>
		<category><![CDATA[interactivity]]></category>

		<guid isPermaLink="false">http://www.ojr.org/?p=1374</guid>
		<description><![CDATA[Commentary: Social media evolves constantly. Don't wait for readers to find new ways to abuse other community members. Change your rules frequently to discourage conflict.]]></description>
				<content:encoded><![CDATA[<p>When was the last time you took a look at the rules you ask readers who post to your website to follow?</p>
<p>Social media evolves without pause. From politicians editing their <a href="http://en.wikipedia.org/">Wikipedia</a> entries to bloggers creating <a href="http://www.www.ojr.org/ojr/wiki/glossary/">&#8220;sock puppets&#8221;</a> [scroll down linked page for definition] to intimidate online foes, Web users are finding ways to manipulate social media that application designers may not have intended or foreseen.</p>
<p>If you last modified your content-submission rules 10 years ago, they might not address all the conflicts that could arise today on your discussion board or in your comments sections. I&#8217;d like to offer a few suggestions for rules that you might want to consider adding to your interactive website.</p>
<p>First, I&#8217;d like to credit Damon Kiesow, managing editor for online at The Telegraph in Nashua, N.H., for raising this issue. Earlier this month, he posted to The Poynter Institute&#8217;s <a href="http://talk.poynter.org/online-news/">online-news e-mail discussion list</a> his staff&#8217;s discovery that a local elected official was posting anonymously about other election contests and candidates on the <a href="http://forums.nashuatelegraph.com">paper&#8217;s discussion boards</a>. In addition, the official had  created at least three other user accounts and was using them as sock puppets in the forums.</p>
<p>Kiesow asked for guidance, sparking dozens of responses from other online journalism pros. Several warned against allowing anonymous posting on discussion forums (ground that is well-plowed for long-time OJR readers), but a few noted that the paper could be exposing itself to charges of hypocrisy, if not legal sanction, if it chose to &#8220;out&#8221; the official, due to the paper&#8217;s published website privacy policy.</p>
<p>Kiesow eventually deleted 14 posts from the three accounts, and <a href="http://forum.nashuatelegraph.com/viewtopic.php?t=1076">explained the move to readers</a> in a forum thread on the Telegraph&#8217;s website. However, the paper did not reveal the identity of the official.</p>
<p>The incident should remind all of us to be proactive about discouraging reader abuses, both through communicating with our readers up-front, as well as implementing back-end technical strategies.<a name=start></a></p>
<p>I&#8217;ve long believed that websites which accept content from users, from comments to discussion boards to wikis, ought to tell those users, in the plainest possible language, the rules that the site expects those readers to follow when they post. (The eye-glazing, mind-numbing legalese of a site&#8217;s terms of service or privacy policy isn&#8217;t enough.)</p>
<p>If you want readers to use their real names, not to post copyrighted content and to be nice to one another, tell them. On OJR, we ask our readers to click to and abide by our <a href="http://www.www.ojr.org/ojr/guidelines/">guidelines for writers</a> whenever they submit content to the site. Based on the Telegraph&#8217;s experience, I&#8217;ve added a few elements to those guidelines, so that we make explicit to OJR readers some of the actions that the Telegraph found that we do not want to see on OJR.</p>
<p>In addition, I&#8217;d like to propose a few other elements that I believe are worth considering for a site&#8217;s posting rules, but that often are not included.</p>
<h2>No impersonation</h2>
<p>Insist that readers be who they are, and not attempt to pass themselves off as someone else. If you site allows pseudonymous posting, insist that readers use a consistent handle or account name, and take whatever technical steps you can to keep people from posting under others&#8217; names.</p>
<p>Don&#8217;t allow readers to mislead others about their identity, either. Warn readers against omitting information from their profiles or posts that would lead other readers to believe that they are someone other than who they are. Elected officials shouldn&#8217;t be allowed to pretend that they are not when posting to a discussion about local politics, to use the Telegraph&#8217;s example.</p>
<h2>No unlinked multiple accounts</h2>
<p>This is the &#8220;no sock puppets&#8221; rule. On many websites, you should simply prohibit readers from having more than one account. However, if there are valid reasons for allowing certain readers to control multiple accounts (a parent who has one account for himself and others for his kids, for example), they should be linked in such a way that the reader can&#8217;t easily turn them into sock puppets, making that individual appear like a crowd.</p>
<h2>No offline harassment</h2>
<p>Many forum rules prohibit readers from attacking one another within the forum by using profanity, hate speech or other threats. But I&#8217;d ask you to consider a prohibition against off-line harassment as well. Here&#8217;s what I&#8217;ve added to OJR&#8217;s guidelines: &#8220;We also will not tolerate members who use any means, including offline communication and messages to third parties, to intimidate or harass fellow members over their posting on OJR.&#8221;</p>
<p>On another website I&#8217;ve managed, we banned members for calling other posters to berate them for their forum messages. No, people should not expect that the words they publish online will not have consequences. But when other posters move past respectful disagreement into harassment, a website should retain the authority to toss those offenders, no matter where that harassment occurs.</p>
<h2>Explicit rules for commercial solicitations</h2>
<p>Strong communities have a knack for developing into economies. Just take a look at some of the markets that have developed within multiplayer role-playing games online.</p>
<p>In many cases, readers selling and buying with other readers is a good thing. That creates great opportunities for publishers to make money through advertising, sales commissions and lead generation. But one or two bad deals can be enough to poison an entire community. And a growing ad-to-content ratio will likely drive away readers, too.</p>
<p>Don&#8217;t wait for trouble. If you anticipate a problem, make explicit to readers where and when they can hawk stuff and services, or look for work or people to hire.</p>
<h2>Consequences</h2>
<p>Finally, make explicit the potential consequences to readers if they violate any of your site&#8217;s rules. Check to ensure that your site&#8217;s formal privacy policy and terms of service do not conflict with your new rules, enlisting the help of a lawyer or company legal team to make changes, if necessary.</p>
<p>If there is one characteristic which distinguishes lively, informative discussion communities from others, it is leadership. Show your leadership by taking a fresh look at the rules governing your site, then work with your community to make changes your community needs to prevent situations might hurt the community or its members.</p>
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		<title>L.A. Times uses mapping, databases to build interactive homicide map</title>
		<link>http://www.ojr.org/070810ulken/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=070810ulken</link>
		<comments>http://www.ojr.org/070810ulken/#comments</comments>
		<pubDate>Fri, 10 Aug 2007 09:28:53 +0000</pubDate>
		<dc:creator>Eric Ulken</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Google]]></category>
		<category><![CDATA[infographics]]></category>
		<category><![CDATA[interactivity]]></category>
		<category><![CDATA[newspaper blogs]]></category>
		<category><![CDATA[The Los Angeles Times]]></category>

		<guid isPermaLink="false">http://www.ojr.org/?p=1343</guid>
		<description><![CDATA[The newspaper is mapping every homicide in Los Angeles county, giving readers the ability to search and filter the data.]]></description>
				<content:encoded><![CDATA[<p><i>Eric Ulken is the editor, interactive technology, for latimes.com. He also is a former student editor for OJR.</i></p>
<p>I&#8217;d like to draw your attention to a new feature that launched on latimes.com this week:  The <a href="http://www.latimes.com/homicidemap/">Homicide Map</a> is a visual interface to the <a href="http://www.latimes.com/homicidereport/">Homicide Report</a>, Times reporter Jill Leovy&#8217;s effort to chronicle every homicide in Los Angeles County.</p>
<p>As of July 30, The Times has counted 496 homicides in L.A. County.  While the Homicide Report focuses on the individual victims, this tool helps users analyze the broader geographic and demographic trends within that staggering figure.</p>
<p>The Homicide Map enables users to:</p>
<li>Filter homicides by victim&#8217;s race, gender, cause of death, and other parameters
<li>Find homicides near an address and/or ZIP code
<li>View photos of victims and link to Leovy&#8217;s reports (and the sometimes heartbreaking user comments that accompany them)
<li>Get customized updates on an RSS reader or in Google Earth
<p>We&#8217;re excited about the marriage of great Times reporting with a data-rich visual interface.</p>
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