A pale white man shows us what journalism is

By | November 22, 2011

My weekly Loose Wire Service column.

Is the Internet replacing journalism?

It’s a question that popped up as I gazed at the blurred, distorted web-stream of a press conference from London by the founder of WikiLeaks, a website designed to “protect whistleblowers, journalists and activists who have sensitive materials to communicate to the public”.

On the podium there’s Julian Assange. You can’t make a guy like this up. White haired, articulate and defensive, aloof and grungy, specific and then sweepingly angry. Fascinating. In a world of people obsessed by the shininess of their iPhones, Assange is either a throwback to the past or a gulf of fresh air.

WikiLeaks, which has been around for a few years but has, with the release of mounds of classified data about the Afghan War, come center stage.

Assange doesn’t mince his words. He shrugs off questions he doesn’t like by pointing his face elsewhere and saying “I don’t find that question interesting.” He berates journalists for not doing their job — never

something to endear an interviewee to the writer.
But in some ways he’s right. We haven’t been doing our job. We’ve not chased down enough stories, put enough bad guys behind bars (celebrities don’t really count.) His broadsides may be more blunderbuss than surgical strike, but he does have a point. Journalism is a funny game. And it’s changing.

Asked why he chose to work with three major news outlets to release the Afghan data, he said it was the only way to get heard. He pointed out that he’d put out masses of interesting leaks on spending on the Afghan war previously and hardly a single journalist had picked it up.

Hence the — inspired — notion of creating a bit of noise around the material this time around. After all, any journalist can tell you the value of the material is less intrinsic than extrinsic: Who else is looking for it, who else has got it, and if so can we publish it before them.

Sad but true. We media tend to only value something if a competitor does. A bit like kids in the schoolyard. By giving it to three major outlets — New York Times, The Guardian, Der Spiegel — Assange ensured there was not only a triple splash but also the matchers from their competitors.

So Assange is right. But that’s always been like that. Assange is part of — and has identified — a much deeper trend that may be more significant than all the hand-wringing about the future of the media.

You see, we’ve been looking at media at something that just needs a leg-up. We readily admit the business model of the media is imploding.

But very little discussion of journalism centers on whether journalism itself might be broken. Assange — and others – believe it is.

The argument goes like this.

The model whereby media made a lot of money as monopolistic enterprises — fleecing advertisers at one end, asking subscribers to pay out at the other, keeping a death grip on the spigot of public, official or company information in the middle — has gone. We know that.

But what we don’t perhaps realize is that the Internet itself has changed the way that information moves around. I’m not just talking about one person saying something on Twitter, and everyone else online reporting it.

I’m talking about what news is. We journalists define news in an odd way — as I said above, we attach value to it based on how others value it, meaning that we tend to see news as a kind of product to grab.

The Internet has changed that. It’s turned news into some more amorphous, that can be assembled from many parts.

Assange and his colleagues at WikiLeaks don’t just act as a clearing house for leaked data. They add extraordinary value to it.

Don’t believe me? Read a piece in The New Yorker in June, about the months spent on cracking the code on, and then editing video shot in Iraq.

In a more modest way this is being done every day by bloggers and folk online, who build news out of small parts they piece together —some data here, a report there, a graphic to make sense of it. None of these separate parts might be considered news, but they come together to make it so.

Assange calls WikiLeaks a stateless news organization. Dave Winer, an Internet guru, points out that this pretty much is what the blogosphere is as well. And he’s right. WikiLeaks works based on donations and collaborative effort. Crowd-sourcing, if you will.

I agree with all this, and I think it’s great. This is happening in lots of interesting places — such as Indonesia, where social media has mobilized public opinion in ways that traditional media has failed.

But what of journalism, then?

Jeff Jarvis, a future-of-media pundit, asked the editor of The Guardian, one of the three papers that WikiLeak gave the data too first, whether The Guardian should have been doing the digging.

He said no; his reporters add value by analyzing it. “I think the Afghan leaks make the case for journalism,” Alan Rusbridger told Jarvis. “We had the people and expertise to make sense of it.”

That’s true. As far as it goes. I tell my students, editors, colleagues, anyone who will listen, that our future lies not so much in reporting first but adding sense first. And no question, The Guardian has done some great stuff with the data. But this is a sad admission of failure — of The Guardian, of reporting, of our profession.

We should be looking at WikiLeaks and learning whatever lessons we can from it. WikiLeaks’ genius is manifold: It has somehow found a way to persuade people, at great risk to themselves, to send it reams of secrets. The WikiLeaks people do this by taking that data seriously, but they also maintain a healthy paranoia about everyone — including themselves — which ensures that sources are protected.

Then they work on adding value to that data. Rusbridger’s comments are, frankly, patronizing about WikiLeaks’ role in this and previous episodes.

We journalists need to go back to our drawing boards and think hard about how WikiLeaks and the Warholesque Assange have managed to not only shake up governments, but our industry, by leveraging the disparate and motivated forces of the Internet.

We could start by redefining the base currency of our profession — what news, what a scoop, what an exclusive is. Maybe it’s the small pieces around us, joined together.

Web 2.0 or Social Media? It Depends on the Year

By | November 22, 2011

A client asked me the other day what the difference was between social media, new media, digital media and Web 2.0. I told him: time.

To see what I mean look at the following timeline from Google Trends:

image

The blue line is searches of “social media” since 2004, orange is ”new media”, red “web 2.0” and green is “digital media”.

Of course digital media can also include things like games, Flash and things where media is defined not so much as a means of delivering information but of a platform of expression. I guess the same could be said of new media.

But what’s telling for me is how social media has overtaken web 2.0 as the favored way to capture all the various elements of the revolution that began back in 1999. I noticed I started using it more than Web 2.0 in late 2008, which seems to be about the time that other people did—to the point that in late 2009 it overtook Web 2.0, at least according to the Google chart above.

Indeed, at that point it also overtook new media and digital media in popularity (or at least in what people were searching for.)

This is natural, and reflects the fact that Web 2.0 really describes the engine, the machinery, the working parts of the revolution we’ve witnessed in the past 10 years. This is not just the code, but the principles that underpin the code.

Now we all use it, we don’t need to call it anything. Instead we describe the world that it’s created: social media  where everything is by default set to sharing the process of creating, commenting, editing and working.

Social media for most of us now are things like Twitter (2 billion tweets) and Facebook (500 million users). They may not look much like social media as we recall it back in the day, but they are: Facebook provides all the tools one needs to create, comment on and share content online, while Twitter is the natural conclusion of all that thinking back in the early 2000s: Simple tools, evolved as much by the users as the creators, built on the implicit principle that it’s better to share stuff than hoard it.

We might have called it Web 2.0 back in the day, but now it’s mainstream, and it’s social media.

Phantom Mobile Threats

By | November 22, 2011

How secure is your mobile phone?

This is an old bugaboo that folks who sell antivirus software have tried to get us scared about. But the truth is that for the past decade there’s really not much to lose sleep over.

That hasn’t stopped people getting freaked out about it.

A security conference heard that some downloadable applications to phones running the Android operating system would “collect a user’s browsing history, their text messages, the phone’s SIM card number and subscriber identification” and send all this data to a website owned by someone in Shenzhen, China. Some outlets reported that it also transmitted the user’s passwords to their voicemail.

About 700 outlets covered the story, including mainstream publications like the Telegraph and Fortune magazine: “Is your smart phone spying on you?” asked one TV station’s website.

Scary stuff.

Only it isn’t true. It’s not clear who misreported all this—the journalists and others covering the event, or the company releasing the fruits of their research, but it gradually emerged that the applications—downloadable wallpapers—only transmitted a portion of this data. (See a corrected version of a story here.)

Indeed, the whole thing got less suspicious the more you dig.

This is what the developer told me in a text interview earlier today: “The app [recorded’] the phone number [because] Some people complained that when they change the[ir] phone, they will lose the[ir] favorite [settings]. So I [store] the phone number and subscriber ID to try to make sure that when [they] changed the phone, they have the same favorites.”

Needless to say the developer, based in Shenzhen, is somewhat miffed that no one tried to contact him before making the report public; nor had any of the 700 or so outlets that wrote about his applications tried to contact him before writing their stories.

“I am just an Android developer,” he said. “I love wallpapers and I use different wallpaper every day. All I want is to make the greatest Android apps.”

Now of course he could be lying through his teeth, but I see no evidence in the Lookout report or anything that has appeared subsequently that seems to suggest the developer has done anything underhand. (The developer shared with me some screenshots of his app’s download page which show that they do not request permission to access text message content, nor of browsing history.)

In fact, he seemed to be doing a pretty good job: His apps had been downloaded several million times. He declined to give his name, but acknowledged that he was behind both apps provided under the name Jackeey, and under the name iceskysl@1sters!

Not much longer. One website quoted Lookout as saying “We’ve been working with Google to investigate these apps and they’re on top of it.” They have: Google has now removed the apps from their site. So I guess Jackeey, as he asked me to call him, is going to have to look for other ways to spend his time. (He told me that Lookout had contacted him by email but not, apparently, before going public.) 

Seems a shame. Obviously, there is a mobile threat out there, but I’m not sure this is the way to go about addressing it. And I don’t think a guy in Shenzhen doing wallpaper apps is, frankly, worth so much hysterical column ink.

Let’s keep some perspective guys, and not embark on a witch-hunt without some forethought.

Lookout has since been backtracking a bit from its original dramatic findings. “While this sort of data collection from a wallpaper application is certainly suspicious,” it says on its blog, “there’s no evidence of malicious behavior.”

Suspicious? We seem very quick to attribute suspicious behavior to someone we don’t know much about, in some scary far-off place, but less to those we do closer to home: Lookout’s main business, after all, is prominently displayed on their homepage: an application to, in its words, “protect yourself from mobile viruses and malware. Stop hackers in their tracks.”

Conflict of interest, anyone?

Podcast: Hotel Service

By | November 22, 2011

The BBC World Service Business Daily version of my column on Hotel Serice  (The Business Daily podcast is here.)

Loose Wireless 100728

To listen to Business Daily on the radio, tune into BBC World Service at the following times, or click here.

Australasia: Mon-Fri 0141*, 0741 
East Asia: Mon-Fri 0041, 1441 
South Asia: Tue-Fri 0141*, Mon-Fri 0741 
East Africa: Mon-Fri 1941 
West Africa: Mon-Fri 1541* 
Middle East: Mon-Fri 0141*, 1141* 
Europe: Mon-Fri 0741, 2132 
Americas: Tue-Fri 0141*, Mon-Fri 0741, 1041, 2132

Thanks to the BBC for allowing me to reproduce it as a podcast.

The Dangers of Faking It

By | November 22, 2011

(my weekly column, syndicated to newspapers)

By Jeremy Wagstaff

A 40-ton whale jumped out of the water and crash-landed onto a sailboat the other day. The moment was caught on camera by a tourist, the whale suspended a few meters above the boat before it smashes into mast and deck, leaving behind a mass of barnacle and blubber.

Amazing stuff. So the first question from a TV interviewer to the survivors of this close encounter between man and mammal? “Was this picture Photoshopped?”

Sad, but I have to admit it was my first question too.

Photoshopping—the art of digitally manipulating a photo—has become so commonplace that it probably should be the first question we ask when we see a photo.

After all, it’s understood that every photo in every fashion magazine in the world is Photoshopped—a wrinkle unwrinkled here, eye unbagged there, an inch lost or gained below and above the midriff. We assume, when we look at a flattering photo of a celebrity that it was Photoshopped first (apparently every celebrity has a Photoshopper to do just this.)

But what of news photos? How do we feel about manipulation then?

Take the latest hoo-ha over some BP photos. Turns out that some photos on its website were tweaked to make BP look a bit more on-the-ball about monitoring the Gulf oil spill than it really was. Blank screens at its Houston command center were filled with images copied from other screens, prompting a search of BP’s website for other altered photos.

Another photo showed a helicopter apparently approaching the site of the spill. Upon closer inspection the helicopter was actually on the deck of an aircraft carrier. One can only guess why BP thought it necessary to make the chopper look as if it was flying.

BP, to its credit, has come clean and posted all the photos to a Flickr page “for the sake of transparency.”

But of course, it’s not enough. First off, the explanation is weasel-like: it places the blame on a “contract photographer” and writes vaguely of incidents where “cut-and-paste was also used in the photo-editing process.” It promises to instruct the photographer not to do it again and “to adhere to standard photo journalistic best practices.”

Well, yes and no. I’m willing to bet that a contract photographer did not make these kinds of decisions alone. And to suggest that a photographer contracted by BP to make photos for BP is somehow being asked to perform as a photo journalist is disingenuous.

I’m guessing, for example, that if the contract photographer had snapped some images of dying pelicans or oil-heavy beaches they wouldn’t be posted to the BP website “to adhere to standard photo journalistic best practices.” (In fact it’s quite fun to browse their photo gallery and look at how carefully the photos have been collected and presented. Compare them with others on Flickr, the titles of which sound unfortunately like items on a menu: “Hermit Crabs In BP Oil,” for example.)

Of course, no one expects BP to publish anything that may undermine its position. The problem lies with the fact that someone, somewhere in BP thought it worth tampering with what it did publish to improve its position.

Some have argued, so what? They fiddled with a couple of photos to make themselves seem a bit more industrious than they really were. So what?

Well, I would have thought it obvious, but the fact that people have argued this suggests it requires an answer. First off, it was bloggers who exposed the fraud. Hats off to them. A sign that crowd-sourcing this kind of thing works.

Secondly, while in itself more pathetic than malign, the manipulation proves that manipulation happens. We (well, not we journalists, but we bloggers) checked, and found the photos were faked. What else has BP faked?

Suggesting it’s the work of some rogue contract photographer doesn’t cut it. If BP’s PR crew knew what they were doing, and held themselves to “stand photo journalistic best practices, ” they would have spotted the amateurish Photoshopping and taken action.

Instead they didn’t spot it, or spotted it and didn’t care, or they actually commissioned it. Or did it themselves. Whatever, they didn’t come clean, so to speak, until they’d been had, and then wheeled out the “transparency defense”—a tad too late, I fear, to convince anyone that that’s where their instincts lay.

Photos, you see, are pretty strong stuff.

Since their invention we have granted them special powers. Photographs preserve information and speak to us in a way that words do not—and, perhaps, video. Think of all those photos that have captured not only a moment but a slice of history: 9/11, the Vietnam War, the Spanish Civil War.

The problem is that we’re gradually waking up to the fact that photographs lie. It’s an odd process, this learning about the power of misrepresentation. It’s part technology, part distance, part a growing understanding that we have ascribed photos a power and finality they don’t deserve.

Let me put it more simply through an example: Robert Capa’s famous 1936 photo of the Falling Soldier. This one photo seemed to sum up not only the Spanish Civil War, but war itself. Only, it’s now widely believed the photo was staged, that Capa may have asked the soldier to fake his death. Does it matter?

Capa’s biographer Richard Whelan argues it doesn’t, that “the picture’s greatness actually lies in its symbolic implications, not in its literal accuracy.”

This, is, of course, incorrect. Its symbolic implications lie in its accuracy.

And, of course, this is the problem. We need our photos to say something, to express a view that supplements, that goes beyond, the text that might accompany them, the truth that we need to have illustrated for us. And that’s where the problem begins.

Capa may not have intended his photo to be quite so iconic. After all, he took a bunch of photos that day, most of them unremarkable. An editor decided this was one of those he would publish.

Photographers are now aware they get one shot. So they’re pushed to capture more and more in the frame—more, perhaps, than was ever there. And, it turns out, have been doing so for as long as there have been cameras. One of the first war photographs, of the Crimean War’s Valley of the Shadow of Death by Roger Fenton in 1855, was staged—by physically moving cannonballs to the middle of the road.

Nowadays the cannonballs could have been moved more easily: by Photoshop. A mouse click can add smoke to burning buildings in the Lebanon, to thicken a crowd, darken OJ Simpson’s face, or, in the case of Xinhua photographer Liu Weiqing, add antelope to a photo of a high-speed train.

Just as digitizing makes all this easier, so it makes it easier to spot errors. The problem is that we don’t have time to do this, meaning that it falls to bloggers and others online to do the work for us.

But it’s not as easy as it may look with hindsight, and the fact that we create a distinction between images we expect to be faked—fashion, celebrity, sex—and those we don’t—news, suggests that we either have to get a lot better at spotting fakery or we need to insist that photos contain some watermark to prove they are what they’re purporting to be.

The bottom line is that it’s probably a good thing that the first question we ask of a photo is whether it’s fake. Turns out that we should have been asking that question a long time ago.

But there’s another possibility: that there may come a point where we just don’t trust photos anymore. It’s probably up to us journalists to find a way to stop that from happening.