Danish friends, followers, and collectors! I’ll be in Aarhus on December 11th and I’d love to meet you. Please come out and spread the word!
Deanna Dahlsad's insight:
A series of lectures & workshops that explores the idea of how books, -- libraries, archives, publishing & distribution -- are used to create distinct social realities, whether it is in small communities, or entire movements
"Literary girls don't take road-trips to find themselves; they take trips to find men."
I came of age without a literary soulmate. Growing up, I read every book recommended to me. Nick Carraway's lucid account of the 1920's seduced me. Huck Finn's journey up the river showed me the close link between maturity and youth, and Ray Bradbury taught me to be wary of big government as well as the burning temperature of paper. While the male characters of literature built countries, waged wars, and traveled while smoking plenty of illicit substances, the women were utterly boring.
I find it interesting that romance publishers recognize a LGBT follwing of their traditional romance novels, but the pubs in general can't figure out how to write fiction for women that is not about finding a man.
Infographics are a powerful tool, but today they also create a trap for content creators and curators.
...And here's where the infographics become a danger. Because infographics are often taken at face value. One reason that I suspect plays a big role in the blind belief in infographic facts is the assumption that if someone took time to create this, surely they must have put time into fact checking it.
And it is hard to fact check infographics. Even if they contain a source, it's often in fine print and the URLs are not clickable.
Deanna Dahlsad's insight:
Infographics can be powerful, breaking down complex things, especially for visual learners. But, as noted, they present problems. And they are meaningless to those with sight issues -- unless frustration counts.
It's 50 years since CS Lewis died. His legacy encompasses far more than just Narnia – Rowan Williams, AS Byatt, Philip Pullman and others give their thoughts on his body of work (RT @GuardianBooks: CS Lewis's literary legacy: 'dodgy and unpleasant'...
"Journalism is changing, and so is the role of women in the workplace. But the two are not always evolving in harmony. Women substantially outnumber men in journalism training and enter the profession in (slightly) greater numbers, but still only a relative few rise to senior jobs. The pay gap between male and female journalists remains stubbornly wide, and older women - especially if they have taken a career break - find it difficult to retain a place in the industry.
Women in journalism still cluster around particular subject genres. Historically, they were almost totally confined to “pink ghettos”, but as more women entered the industry, there was an expectation that their opportunities would expand and that they would duly embrace areas that had been traditionally male, like hard news, crime or politics.
But a byline analysis of UK national newspapers in 2012 indicates that some areas still have very few women, in particular politics, sport and opinion writing. These findings are also supported by qualitative interview data. There are similar lacunae in the US press."
Installation shot: Posters (c. 1991-present) from Riot Grrrl related shows, conventions and meetings internationally.
Alien She is a new exhibition that examines the lasting impact of the punk feminist movement Riot Grrrl on artists and cultural producers working today. It’s currently on view at Carnegie Mellon University’s Miller Gallery in Pittsburgh, Pennsylvania, before traveling nationally to cities including Philadelphia, San Francisco and Portland, Oregon. Below are photos of the exhibition and several of the featured works.
The show focuses on seven contemporary artists influenced by Riot Grrrl: Ginger Brooks Takahashi, Tammy Rae Carland, Miranda July, Faythe Levine, Allyson Mitchell, L.J. Roberts and Stephanie Syjuco. Riot Grrrl emerged in the early 1990s and emphasized female and youth empowerment, collaborative organization, creative resistance and DIY ethics. In various ways these artists have incorporated, expanded upon, or reacted to the movement’s ideology, tactics and aesthetics, as seen through several projects from each artist spanning the last 20 years, providing an insight into the development of their creative practices and individual trajectories.
I'm still not convinced that curation is all that new or different than blogging or other online publishing activities. (Blogging is not dead.) Nor am I convinced it is the most important thing you can do in terms of marketing. (And just because "everyone is doing it" doesn't sway me either; like momma always said about if so & so jumped off a bridge...) But I don't think curation can be overlooked much longer. Curation needs to be evaluated for several major factors:
a) can it fit within your scope (Do you have the time & skill set? Can you do this in house or should you hire?)
b) purpose (to maintain existing clients/customers, to reach new ones?)
Two weeks ago, I saw Ira Glass talk about how stories enable us to see ourselves in the lives of others. “The story is a machine for empathy,” Glass has argued elsewhere. “It is a really powerful tool for imagining yourself in other people’s situations.” Here, Glass is concerned not only with what stories to cover, but how to tell those stories. If we want to begin better reflecting the lived experiences of our communities we need to tackle both.
A year ago, Andrew Haeg left his work in public broadcasting to develop what he called an “empathy engine” to help journalists better engage and understand communities. In a blog post announcing his new project, he quotes Jose Antonio Vargas’ keynote at the 2012 Online News Association conference. Vargas said that journalism “has given me the biggest gift that anybody could ever give me […] the gift of empathy. Of seeing and listening to people who may not agree with me and who feel different than I do.”
So the question of empathy has two facets: empathy in the newsroom, and the empathy our stories foster in our readers. What connects these two elements is the act of listening.
You might’ve heard a lot about how content presented on the web is changing. And yes, it has changed dramatically since its inception. Journalists and bloggers alike have figured out that user behavior on the internet is dramatically different than how one would approach content in the physical world.
Deanna Dahlsad's insight:
An excellent article on the behaviors of digital readers, including the how, when & why of reading of longer works.
Curation is nothing new, but online content curation is still in its early stages. Many content marketers are still unsure about what constitutes ethical content curation. If you're in this group, ...
Deanna Dahlsad's insight:
Most of this is common sense, really. But I can't drive home enough two of the points:
Properly credit by prominently linking to the original source
Using quotes only; not the entire article.
Also, inserting your own point of view is great -- however, sometimes there are reasons not to; for example, time constraints which have you quickly offering a link and/or when reiterating is like beating a dead horse.
The French feminist collective La Barbe laid into the French literary world a couple of weeks ago. In the 110 year history of the Prix Goncourt, they said, hardly any woman has won it. They said that this omission pointed to the invisibility of women writers: a hundred out of 110 Goncourt winners, and 75 out of 87 Renaudot winners were men.
How Does Media Consolidation Limit Your Media Choices? #infographic Frugaldad via Businessinsider Guest post by Yin Wu I look 4Ward to your feedback. Keep Digging for Worms! Author: Bill - Dr. William J.
How news organisations are building commercial teams of former journalists who create paid-for content on behalf of brands.
Native advertising has been a key trend of 2013, with many publishers keen to benefit from this revenue stream.
Sometimes called sponsored or branded content, it is a form of advertising that moves beyond the advertorial.
"It is content that is created for or provided by a brand or an advertiser that is then surfaced on a publisher's platform," according to Raju Narisetti, senior vice-president and deputy head of strategy at News Corporation.
The Huffington Post, in conjunction with parent company AOL, last monthpublished a report which proposed that native advertising is "sponsored content, which is relevant to the consumer experience, which is not interruptive, and which looks and feels similar to its editorial environment".
Perhaps the easiest way to understand it is by looking at a couple of examples, such as the Guardian's 'what to wear on a date' video, sponsored by John Lewis, with clothes featured in the video from the department store, and BuzzFeed's '20 coolest hybrid animals', created for hybrid car Toyota Prius.
Many publishers see native advertising as a huge opportunity.