Category Archives: new media

Regulating Social Media….

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The term “mainstream media” (or MSM) is generally used as a derogatory term to describe traditional news services (print, broadcast, on-line), especially by anyone who thinks that MSM does not reflect what’s “really going on” in politics, society and the wider arena of current affairs. Depending on which conspiracy theories or political agenda you follow, if MSM doesn’t agree with or express your viewpoint, it’s become very easy to dismiss the Fourth Estate as an instrument of the (deep) State, or merely serving the interests of an oligarchy of wealthy media owners and press barons. This dialectic is sometimes described as the Fifth Estate – those bloggers, podcasters, citizen journalists and marginalized voices that seek to pursue their version(s) of the truth via new content platforms.

Although the tradition of the counter-culture as represented by this Fifth Estate has a very long history, its growth has been accelerated and amplified thanks to new digital technologies in general, and social media brands in particular. The problem is, not only is social media challenging (and ignoring) many of the rules and conventions that underpin the social contract between the public and the traditional media outlets, our governments and regulators cannot keep up with the pace of technology.

In the late 1980s, when I studied sub-editing and basic journalism at night school, the ethos of The Five Ws of Journalism were still taught as the essentials of any credible news outlet or publication. This was also a time when the media was going through significant changes, from new content technology to cross-border ownership, from multi-channel narrow-casting to 24-hour rolling news formats – yet the principles of source verification, fact-checking, libel laws and the right to reply were generally still seen as crucial to instilling public trust and confidence in the media (alongside a healthy dose of scepticism to not believe everything that we read in the paper!).

Now, with social media grabbing more of our attention, and with large, global and engaged audiences on their platforms, who are getting more of their news from these channels, the term “MSM” could easily apply to social media itself. Hence the term “legacy media” has emerged to describe traditional news services.

Whether it’s Facebook wanting to be the “world’s newspaper” or X positioning itself as the global “public square”, it’s clear that these new media barons are in many ways no different to the aging media moguls they seek to displace. Newspapers don’t make money from their cover price or even subscriptions – most revenue comes from advertising and the “rivers of gold” it represents. Now, those advertising dollars are on-line, and tied to our social media accounts and the proliferation of posts, “likes” and “shares” (as well as our personal data).

So how should we think about regulating social media, if the old rules no longer apply?

First, the policy, regulatory and industry framework to oversee social media needs to be simplified and streamlined. In Australia alone, based on a cursory internet search, I identified more than a dozen entities (government, agency, association) that have some form of oversight of social media. Apart from being highly inefficient, surely it doesn’t have to be this complicated? (And complexity and ambiguity can embolden those who seek to flout convention.)

Second, if a social media platform wants to be taken seriously as a trusted news source, and if it aspire to be recognsied as a publication of record, it has to adopt some fundamental principles such as The Five W’s. It’s all very well saying that these platforms are anti-censorship, and pro-free speech, but those rights come with a heap of legal and social responsibilities. To argue that these platforms are merely conduits for public opinion (rather then being content publishers) undermines agency theory. Given that I am not entitled to a social media account (I don’t think it’s yet risen to being a fundamental human right?), and that I don’t own my account (often, not even the content I post), social media companies act as our agents. They give us permission to use their services, and they ultimately control what we post on their digital real estate. They also use algorithms to manipulate what is served up in our feeds. Social media should therefore be held accountable for content that it enables to be disseminated; take more responsibility for any libel, lies or dis/misinformation issued on its platform; and risk prosecution for any content that promotes, encourages or incites violence, insurrection and public disorder.

Third, the fact that much of the content on social media is user-generated should not absolve these platforms from having to provide a formal right of reply, as well as adhering to a recognised and independent dispute resolution service. This will enable alleged victims of on-line bullying, harassment, personal abuse and outright lies to seek redress, without having to embark on expensive legal proceedings. (Of course, if social media companies maintained fact checking and other verification tools, they should be able to mitigate, if not eradicate, the need to invoke these mechanisms in the first place.)

Finally, any reputable social media company should be willing to sign up to minimum standards of practice in respect of content originated or disseminated on its platform, as well as observing existing regulation around personal data, data protection, cyber-security, privacy, intellectual property rights and general consumer protections. At the very least, social media has to prove itself a credible alternative to the legacy media it seeks to displace, otherwise they are not the solution, just another part of the problem.

The Five Ws of Journalism

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The importance of a free press within a democratic society cannot be overstated: without the Fourth Estate who will “speak truth unto power”? The role of the printing press was critical to the Reformation, the Enlightenment, and the great political reforms in nineteenth century Britain.

But lapses in journalistic behaviour and a decline in editorial standards over the past few decades have brought the press and broadcast media into increasing disrepute – to the point that mainstream media (MSM) has become a pejorative term, and social media (SoMe) claims to be the last bastion of free speech.

I think the truth lies somewhere between those two positions – I don’t believe that the MSM is totally devoid of ethics, nor do I believe that SoMe will displace formal journalism (and it certainly isn’t without its own ethical challenges when it comes to dis/misinformation and hate speech).

But what do I mean by “formal journalism”? After all, we have seen a raft of platforms giving rise to “citizen journalism” and other services which rely heavily on community sourced content, but few of these platforms appear to operate to the same professional standards of traditional reportage, fact-checking, investigative journalism or news dissemination. It also remains to be seen whether these new media channels can displace traditional print (and online) news media as “papers of record”.

As part of a career transition, I took a night class in journalism and sub-editing, with a view to becoming a writer or editor. Although I did work as an editor for many years, it was in the field of legal publishing, and not for a newspaper or magazine. Even though the course I completed was not a traditional degree in journalism, communications or media studies, I was still taught some of the key tenets of serious journalism, principally the Five W’s – the “who, what, where, when and why” of any news event (with the “how” also being an important component of any credible story).

This foundational approach to news reporting underpinned many of the most significant pieces of investigative journalism in the late 20th century, some of which changed laws and government policies, as well as influencing public opinion. Think of the role of the press in breaking the thalidomide story, publishing the Pentagon Papers, or exposing the Watergate cover-up. Even the Panama Papers relied on the collaboration of traditional news media outlets to bring the story to public attention. More recently, the work of Private Eye in helping to bring the UK’s post office miscarriage of justice to light is a prime example of the power of journalistic persistence in search of the truth.

On the other hand, a raft of tabloid scandals have dented the public trust in the traditional press, in particular the phone hacking exploits within the British media. Here in Australia, a recent high profile defamation case prompted the judge to put TV journalism under the microscope – and neither broadcaster involved in the case came away covered in glory. In particular, the court questioned whether the journalists involved had breached their own industry code of practice, by failing to check their facts and by inadequately testing the credibility of their witnesses. The grubby practice of cheque book journalism also came under renewed scrutiny, as did an ill-advised speech on TV by one of the parties that could have been prejudicial to a criminal case. More significantly, one media organisation displayed a willingness to believe (and even assert) that there had been a political conspiracy to suppress an alleged crime, when no such evidence of a cover-up had been established. This case (and its associated claims and counterclaims) still has a fair way to go, and has already embroiled senior politicians (some of whom have been accused of lying about what they knew, when and how), civil servants, political staffers, public prosecutors, multiple police forces, so-called “fixers” and “influencers” with their insidious “back grounding” and a number of TV producers who will probably never work in the industry again.

Added to this sh!t show has been the misnaming of a suspected murderer by one of the above-mentioned TV news channels. This major and latest faux-pas is believed to have been the result of “reporting” some false, misleading or mischievous commentary circulating on social media.

Apart from undertaking more rigorous fact-checking, and enforcing the established journalistic practice of getting actual confirmation of events from at least two credible sources, the news media also needs to make a greater distinction between the facts themselves on the one hand, and conjecture, speculation, opinion, analysis and commentary on the other.

Next week: Is it OK to take selfies in the gym?

 

 

 

Ballarat International Foto Biennale (BIFB)

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This past weekend saw the opening of the 10th Ballarat Internationale Foto Biennale. The overarching theme this year is “The Real Thing”, recognising the impact that digital, AI, NFTs and image manipulation are having on the visual arts in general, and the photographic medium in particular.

The highlight of the first weekend was the keynote presentation by Platon, one of the most high-profile and prolific portrait photographers of our age, famous for his images of political figures, popular icons, and social activists. Given that Platon works mostly with traditional 35mm film and captures living subjects, his work certainly deals with the “real” thing.

At the end of the first day, visitors were also treated to a Victorian magic lantern presentation, combining authentic analog apparatus, multi-media components and live performance. For audiences of the day, such events would have been their first encounter with moving images and projections – which we take for granted in our screen-obsessed culture.

As with any festival on this scale and duration, there is a wide range of work on display. This is especially so outside the Core Program, with the Outdoor and Open Programs taking on the challenging task of representing different aesthetics, styles, techniques, subject matter, and as such they reflect varying levels of quality and competence.

It wasn’t possible to see all of the exhibitions in the first two days – and some works don’t go on display until later in the program – but for me, the highlights beyond the major Platon show included: Stephen Dupont‘s happy accidents; Jon Setter‘s stunning abstract images of Ballarat; several of the works by regional photographers curated by Jeff Moorfoot; the scattered works by the Oculi Collective; and the display presented by the Australian Association of Street Photographers Inc.

Some exhibitions were less successful: I really wanted to engage with William Yang‘s work, but the unfocused curation and haphazard presentation undermined any appreciation of the images and their underlying narrative; Erik Johansson‘s highly stylised images are humorous and surreal, but they can also come across as very superficial, so we are left marvelling at the surface technique rather than any depth behind the work; and while it was nice to see some of Andy Warhol‘s original Polaroids, they were presented with very limited context, as if they were an afterthought (the fact that they are probably the earliest works in the whole festival may have something to do with them feeling out of place, as well as out of time).

It is easy to see how some photographers could get constrained, either by their subject matter, or by their technique. Working with self-imposed limitations should be positive. Using fewer tools can drive creativity (“less is more”). Having less time can result in better outcomes (“the first take is usually the best take”). Innovation comes from exploring our curiosity. Inventiveness is the result of challenging ourselves through problem-solving. However, an artist can reveal themselves to be a one-trick pony, or their technical expertise overwhelms the output (“form over substance”). Sometimes, the narrative or subject matter is more important than the quality of the image, but just as a crappy technique can impair a great image, a perfect technique cannot compensate for a poor composition.

The notion of “reality” prompts us to consider what is a photograph? The fact that most modern photos are captured on a smart phone rather then a camera simply confirms that not all photographic images need to be created using a dedicated physical device (think of photograms). And since most photos are digital rather than on film means we are not limited to think of photography as a combination of manual, chemical and mechanical processes.

However, some of the work on display does challenge the definition of “photography”, especially in the context of art. For example, an image can be surreal or satirical, but when does that stray into being fake news? Equally, even though professionals like Platon render their work in a digital environment during the post-production process, should a composite of stock images manipulated using Adobe Photoshop qualify as a work of photographic art (or is it a mere illustration)? And with the growth of AI tools to generate images (which raises questions of authorship, copyright and attribution), should their use be disclosed and identified (just as paintings, sculptures and other art works are catalogued by their materials, processes and editioning)?

In the early days of music CDs, the recording industry developed the “SPARS code”. Letter combinations such as “AAD”, “ADD”, and “DDD” are intended to inform listeners that the music has been recorded, mixed and mastered using either analog or digital processes and equipment. Perhaps something similar should be considered for photography and digital art?

Next week: Banking Blues (pt. 481)

Defunct apps and tech projects

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In the early days of this blog, I featured many new tech projects and start-ups that I came across by attending pitch nights and meet-ups in Melbourne. I also signed up to beta test numerous apps, and I contributed to quite a few crowd-funding exercises. In doing some research for a recent blog on music streaming, I realised that many of these ventures are no longer with us.

Here’s a random selection of projects and products that I either used, subscribed to, funded, or covered in my blog:

1. Klout – launched in 2008, this app used data from social media profiles to create individual “Klout Scores”, designed to calculate how “influential” your content was. Nice idea, but there was probably no money in the business model, because as far as I can recall, it was a free service. It was purchased in 2014 for $200m by the company that eventually became Khoros, who then closed Klout in 2018, as it was not seen as core business. Khoros itself is a customer engagement, social media and content management solution for corporate clients and consumer brands – obviously, there is more money to be made from capitalising on customer behaviour…

2. Do.com – founded in 2014 as a productivity tool, focused on making meetings more efficient. Acquired by Amazon Web Services (amount undisclosed) and folded into its Chime web-meeting and conferencing application. From my personal experience, the only company using Chime for external-facing calls is Amazon itself, but perhaps it’s more of a white label solution, or it’s mainly used by internal teams to communicate among themselves (especially if these teams are using AWS?).

3. Paper.li – launched in 2010, and grew to 2 million users within 6 months, this was a neat product that enabled users to curate their own “newspapers” from Twitter and other online content. Closed in April 2023 – probably too much noise and competition in this space, and too hard to monetise?

4. Pandora – one of the earliest internet radio and music streaming services, Pandora launched in 2000 – and as recently as 2019, had a market valuation of US$3.5bn, based on a stock acquisition by SiriusXM. But by 2017, Pandora had already decided to exit the Australian market, so I have no idea about the current content or service quality.

5. Twitter Music – as featured in my previous blog, this “service” was launched in 2013, and closed within a year. But watch this space – since re-branding his new toy as “X”, not only has Elon Musk taken back the @X handle from a Twitter user, he’s also just claimed @Music from another customer.

6. 8tracks – another early-ish player in the internet radio and music streaming service (launched in 2008), 8tracks is primarily a social media app that allows users to share their favourite playlists. Despite industry accolades, and various integrations with Android, Windows and Soundcloud, 8tracks ran into problems, including a copyright and licensing issue which meant it could no longer stream music outside of the US and Canada (instead, having to rely on content from YouTube). In 2019, the company announced it was shutting down. Then, in early 2020, the brand was relaunched under new ownership, but is only available in the USA.

7. Sensel Morph – this tech business began life as a Kickstarter project in 2015. The product was a touch-sensitive computer interface that allowed users to run various applications, such as graphic design, video editing, gaming, digital audio workstations, MIDI devices and coding (e.g., for Arduino and Raspberry Pi). Despite a successful funding campaign, the Morph devices did not start delivering until 2017 – and some of the promised features never appeared, or were scaled back (or support was dropped soon after development). In early 2022, Sensel announced it was discontinuing support for Morph – instead, the company is focused on providing touch-sensitive and pressure pad technology to third party developers and OEMs. I can’t help feeling that the Kickstarter campaign was really a way for Sensel to fund its early R&D (especially given the 2-year time line to deliver the first physical devices).

8. Swatchmate – a Melbourne-based startup, this optical device for scanning colours, surfaces and patterns had a big future when it launched in 2011. Aimed at designers, illustrators, printers, textile manufacturers and paint companies, initially, there appeared to be significant interest from major brands. Yet, within a few years, and following a name-change to Palette, the product (and the company behind it) have disappeared – although the device can in theory be ordered online. I suspect that as mobile phones’ own optical quality has improved (along with AI-trained apps to handle colour-matching), the standalone Swatchmate cube was doomed to failure.

9. Broadcastr – this was an interesting angle on audio content creation and curation. It was designed to bring location-based stories, travelogues and events to remote audiences and visitors via streaming. It only ran for 2 years (2011-13), and simply ran out of money, in the face of Soundcloud and the emerging podcast industry.

10. iTunes Ping – a cross between a social media platform and a playlist sharing app, this was Apple’s attempt to help fans discover/recommend new music, and for artists to engage with their fans. Launched in 2010, it survived for 2 years, before Apple decided to integrate iTunes within Facebook and Twitter…

11. MySpace – despite reaching its 20th birthday earlier this month, and after much hype and a one-time over-inflated price tag, MySpace has failed to deliver on so many counts. It’s a wonder how it has survived, although I’m not sure how “active” this former darling of social media actually is. Scrolling through it’s clunky UI, it’s easy to get the impression MySpace is nothing more than a digital scrapbook of a by-gone era, forever preserved in virtual aspic (and slowly decaying for lack of attention or maintenance). Nothing works on this platform, so it was interesting to see a recent fan message on Justin Timberlake’s page: “1.Get off TikTok. 2.Fix MySpace. 3.Launch App.”

12. Friends Reunited – finally, the OG of SoMe, which launched in 2000 (4 years before Facebook, 6 years before Twitter, 3 years before LinkedIn, 10 years before Instagram…). Designed to help people re-connect with their schoolmates, work colleagues, college friends and other community groups, it was actually more of a research resource, and ended up like a huge directory of your past associations. Gave up the ghost in 2016, just as TikTok was unleashed on the world (although I’m sure that was purely a coincidence).

Next week: Ballarat International Foto Biennale (BIFB)