Category: Media

Social semantics

Much semantic confusion around the new world of ubiquitous omindirectional communication, especially in the business/marketing world where it’s critical to understand how to capture attention and make effective, productive connections. I happened onto a post by Venessa Miemis that explores confusion about reputation (or whuffie) vs social capital.

Parenthetical: Flashing back to a meeting David Armistead and I had with a supposedly savvy social business entrepreneur where we used the term “social capital,” and she informed us that we were confused about the term, and proceeded to define it in the “social entrepreneur” sense – that social capital is microfinance, the sort of thing Muhammad Yunus is into. We realized she was confused and decided she was less than credible, but with a kind of “gold rush” around social-whatever, as we have today, Babelian weirdness is inherently part of the scene.

Okay, end paren. I was excited about Miemis’ post, quite a bit because of it’s clarity (vs the post by Brian Solis that it dissects, which is somewhat opaque). Also because it resolves a confusion of labels and contexts: reputation is not the same a social capital, and social capital is more complex than some who invoke it might allow.

I like the thinking in this paragraph:

If we decide that reputation is the new “currency” of the social economy, and decide to attach a number to it, I’m going to suggest that that would undermine the entire premise itself, instead resulting in commodity fetishism. (Neither Solis nor [Tara] Hunt directly suggests attaching a number to it, but I’m just pointing out that if we talk about this using economic words, people will be led to develop it accordingly.) I’m just trying to think ahead here. What Hunt is trying to promote is a return to human-centric practices in business and leading from underlying human values. (One of the tweets she sent me was a link to this post of hers, which indicates as much) I think that’s what we’re all trying to do – I’m just cautioning that people may abuse this premise if its meaning is cloaked in economic metaphor.

I’m not sure it’s a “return to human-centric practices,” i.e. I don’t know that we were ever especially human-centric in business, depending how that’s defined, but I’m pretty sure that markets were conversations before they were mediated by broadcast technology and became more abstract – I said as much in the early 90s, when I proposed FringeWare, Inc. as a “street market in cyberspace.” I suppose I was thinking then, too, that markets had been more “human-centric” in the past, but we have to be careful not to view the past – or the future, for that matter – with rose colored glasses. Neither the past nor the future exists, only hazy memory and hazy speculation.

What we do know is that mass media fragmented via the Internet, and mindshare in general is more focused on the personal and the conversational. We may still watch some things on television, but there’s so much more texting, tweeting, blogging and Facebooking. The business challenge is to get into that space and get a word in edgewise. Especially hard if you spent your life pushing and controlling messages that were transmitted over a limited number of channels by the few to the many.

In this context reputation is important – trust is crucial – and social capital is inherent, if not well-understood. It’s good to see writers and thinkers and even merchants trying to get their heads around all this.

Friday on ChannelAustin: Social Media for Nonprofits

Coming this Friday, February 26: Social Media for Nonprofits, a one hour live special broadcast, 7pm – 8pm on Austin’s TimeWarner & Grande Channel 10 and streaming on channelAustin.org. We have a great lineup, should be a lot of fun. I’ll be moderating a conversation with other local social media experts. Our mission is to help Austin’s nonprofit community get comfy with social networking and social media marketing. You can tweet questions to the hashtag #npotv.

Other panelists include:

Lani Rosales, president and co-Founder, New Media Lab, http://nmlab.com

Armando Rayo, vice president, Engagement at Cultural Strategies, http://www.cultural-strategies.com

David J Neff, Senior Digital Strategist, Ridgewood : Ingenious Communication
http://501derful.org

Information/culture wars

In creating with a history of the “climate fight,” Dr. Spencer Weart has created a history with interesting points about the democratization of knowledge. [Link] He talks about a decline in the prestige of all authorities, expansion of the scientific community with greater interdisciplinarity, and a decline of science journalism.

These trends had been exacerbated since the 1990s by the fragmentation of media (Internet, talk radio), which promoted counter-scientific beliefs such as fear of vaccines among even educated people, by providing facile elaborations of false arguments and a ceaseless repetition of allegations.

Mike Hulme’s response:

I think Spencer is helpful by suggesting there is a much bigger story happening in the world of science, knowledge and cultural authority of which the climate change incidents of this moment are just part. These are going to be increasingly difficult challenges for many areas of science in the future – how is scientific knowledge recognized, how is it spoken and who speaks for it, and how does scientific knowledge relate to other forms of cultural authority. It’s not just about the politicization of public knowledge, but also about its fragmentation, privatization and/or democratization.

In comments, Bob Potter says

The key phrase is “expert public relations apparatus”. In the mid 20th century scientists had the luxury of public respect. People believed what they said. As public confidence in authority figures of all types waned, scientists took no notice. When global climate change became a serious issue scientists still assumed that a “word from the wise” would be sufficient, and that is all they brought to the fight. They lost the war because industry had a public relations army and they did not.

All great points: we’re in the midst of culture and information wars, and the concept of “authoritative voice” is less meaningful, if not lost. We can’t fix this by going backwards… as so many of us have said before, we have to focus more than ever on media literacy. Should be right up there with reading, writing, and arithmetic.

Definition of social media

Working hard today on a February social media workshop, I realized I didn’t see a social media definition that I particularly liked, so I wrote my own:

Social Media is a fundamental transformation in the way(s) people find and use information and content, from hard news to light entertainment. It’s an evolution from broadcast delivery of content – content created by a few and distributed to many – to network delivery, where content can be created by anyone and published to everyone, in a context that is “many to many.” Said another way, publication and delivery by professionals to mass audiences has changed – now publication and delivery can be by anyone, professional or not, to niche audiences through networks of many channels. This is because the means of production are broadly accessible and inexpensive.

As a result of all this, attention and mindshare are fragmented, there’s emphasis on relationship, new forms of media are conversational, and transaction costs for communication approach zero.

I’m sure that needs work, but it’s a good start – I think a little better than the other definitions I found, including the definition-by-committee (including yours truly) that’s found on Wikipedia.

It’s arguable whether “social media” is the best label for the thing we’re talking about, but it’s the one that’s stuck for now.

David Levine

I literally grew up with David Levine’s caricatures; it never occurred to me that he was flesh and blood and would die someday. That day has come, and and like many, I’m mourning his death, who produced who knows how many hundreds of caricatures for The New York Review of Books and the New Yorker. The former publishes as a tribute John Updike’s note about the artist, written 30 years ago:

“Besides offering us the delight of recognition, his drawings comfort us, in an exacerbated and potentially desperate age, with the sense of a watching presence, an eye informed by an intelligence that has not panicked, a comic art ready to encapsulate the latest apparitions of publicity as well as those historical devils who haunt our unease. Levine is one of America’s assets. In a confusing time, he bears witness. In a shoddy time, he does good work.”

The Times has a slideshow of some of Levine’s color caricatures here.

Slow news is good news

We’ve talked about slow (vs fast) food, and earlier today I heard about the new slow money movement. Now I’m hearing the best case for friction yet – slow news, which is about reporting the news after you’ve checked it out, not before. Internet immediacy was a rush for the longest time, and journalists have felt increasingly compelled to report first, ask questions later. Recent symptoms: misreporting of various facts around the Fort Hood shootings last week. My friend Ethan Zuckerman coined the “slow news” phrase, reported by another friend, Dan Gillmor. Dan’s talking about a slow news movement, where journalists reclaim accuracy and leave news that is both breaking and broken to bloggers as first responders. Wish I’d heard this before I spoke at the National College Media Conference a couple of weeks ago. I could’ve said “slow news is the new black.”

The Filminator

James Cameron’s massive ego is probably what it takes to pull off a Terminator 2/3, Titanic, or Avatar – his latest, a creative, massively expensive 3D CGI experiment that could be a nuclear boxoffice bomb (what they said about Titanic, though). Cameron has succeeded over and over because he sinks his teeth into a project and won’t let go, regardless the level of difficulty. As he started work on The Abyss (my particular Cameron favorite), he told Fox president Leonard Goldberg “I want you to know one thing—once we embark on this adventure and I start to make this movie, the only way you’ll be able to stop me is to kill me.” Read Dana Goodyear’s great New Yorker profile of Cameron, “Man of Extremes.”

Barker’s aliens

Schwa instigator Bill Barker has turned up, having responded to Mark Frauenfelder’s “where are you, Bill?” post at bOING bOING. Gareth Branwyn spoke with him – Bill’s doing well, and planning a new project.

What was Schwa? From the Wikipedia article:

Schwa is the underground conceptual artwork of Bill Barker (born 1957). Barker draws deceptively simple black and white stick figures and oblong alien ships. However the artwork is not about the aliens: it is about how people react to the presence of the aliens and Barker uses them as a metaphor for foreign and unknown ideas. Schwa became an underground hit in the 1990s.

I suppose that’s correct from someone’s perspective, and it gives you an idea. How accurate can you be about the “meaning” of art? I have a Schwa sticker on my laptop that says “Every picture tells a lie,” and another on my car (see above) that says “You are what you see!” Are those about “foreign and unknown ideas?” I think they’re remarkable koans, still puzzling after 15 years.

One recurrent Schwa theme was about alien presences and detection. I have a glow-in-the-dark Schwa t-shirt that says “ALIEN DETECTOR: the XenonTM coated figure above [the archetypal alien image, shaped like a guitar pick with almond-shaped eyes and no mouth] will flash red in the presence of any alien.” Schwa scwhag often counseled you to “STAY AWAKE,” aliens are in your midst. I related this to the Buddhist and Gurjieffian notions of being awake, being mindful, and invited Bill to create the cover for FringeWare Review #5, the “Stay Awake” issue, which was generally about consciousness vs that other, ordinary somnambulist state. I always thought Schwa art was meant to shake us awake and aware.

Welcome back, Bill! We could use a good shake about now.

Heckle and Jeckle

Heckle and Jeckle

Magpie is troubling: “Allow us to embed our customers’ messages (aka spam?) in your Twitter timeline and earn money. Crass and inauthentic. Hoping anyone who signed up to have their Twitter feed hijacked by advertisers/spammers is thinking twice – Magpie will only work with adoption. I learned about this “service” from a post at ReadWriteWeb: “It’s so revolting and pitiful that it’s kind of sad.”

Should this really bother me? Well, yeah – I’ve invested much of the last two decades in my life online, and some significant percentage of that time evangelizing for an Internet that doesn’t go where commercial television, ultimately, went: ads interspersed with content. We’re not even sure that advertising works, certainly less so than before. At least with placement services like Google the ads have been subtle and generally out of the way. A redundant ad message popping up on every third tweet at Twitter would be rather completely unsubtle, potentially killing the goose.

In my life as a consultant, much of what I do is advise how to use the web to meet various business goals, and that’s often about making money, including sales, marketing, and advertising. If someone like Apple or Skype (users of the Magpie service) asked me about feeding canned ad messages into Twitter via Magpie, I would say “you’ll piss people off.” The weird and unfortunate thing about this kind of inauthentic brute force advertising is that, while it often does piss people off, it also somehow manages to increase sales. If statistics didn’t show that result, nobody would do it. All advertising would be tasteful and wonderful, authentic and well-placed. It’s a dilemma.

(In case you’re wondering about the title of this post, it’s a reference to the once-famous cartoon magpies.)

Into the image of sunset

Into the SunsetHere’s a slide show from The Museum of Mondern Art’s exhibit, “Into the Sunset: Photography’s Image of the American West.” Read about it here.

It divides up into landscapes and images of people, with subdivisions devoted to different types of images. One group of landscapes focuses on awesome natural beauty while another documents the havoc wreaked on nature by industrial development. People in one section exemplify a pioneering spirit; elsewhere we encounter portraits of wasted human potential. Provocative and amusing conversations between images occur throughout.

Amsterdam Meets Chicago

The Ab Baahrs trio will be in Austin next Friday. [Link] (Thanks to Pedro Moreno for the pointer!)

A highly distinctive voice from the fertile Dutch jazz scene, Ab Baars brings an idiosyncratic creativity into combination with skill and knowledge of his music’s roots. Though his music has been described as “joyfully obstinate”, it has an undeniable and colorful catchy-ness that stems from its stripped essence. As an instrumentalist, Baars has been influenced by (among others) American Jazz greats like Roscoe Mitchell and John Carter (both of whom he has worked with). As a composer/improvisor/band-leader Baars displays all of the musical characteristics that have come to define the Dutch creative music scene: open forms, varied improvisational strategies, wacky use of juxtaposition, and an unwillingness to treat jazz—or any music—as a fixed art form. Ab Baars is an important member of The ICP Orchestra, the defining group of Dutch jazz.