The paper concludes with reflections on finding a Christian voice in response.
A brand buys a publisher 1. Looking Back to A Year of Distributed Content, Autoplay Videos and Animated Gifs The defining development of the year was the emergence of new hosted and aggregated distribution models for news.
These initiatives by a number of big tech companies see below will impact publishers for many years to come. The re-launched Apple News 3 also required media companies to publish content directly into their platform while Twitter Moments 4 is also about creating native experiences but interestingly involves reverse publishing that content within news sites to attract more people to Twitter.
For publishers, these moves raise huge dilemmas. If more consumption moves to platforms like Facebook, Google, Twitter and Snapchat it will be harder to build direct relationships with users and monetise content. Quotes from the survey: Facebook counts views 3s, YouTube 30 s Source: Company data and Activate analysis.
Twitter also opened its video platform to publishers, adding autoplay inwhile Google announced plans to white label its video player for free to publishers, a move that will drive far more professional news content through the YouTube network.
Monetisation of video remains an issue for with all eyes on Facebook. Video, social and visual content also defined coverage of the most dramatic news stories of the year including the Paris attacks.
In some of the most widely seen video footage, Le Monde journalist Daniel Psenny captured the graphic scenes as crowds fled the Bataclan concert hall in Paris on his iPhone 1. A Vine video from the Stade de France — with clearly audible explosions — was one of the first verified accounts of the attacks 3.
It is interesting to note that much of this video is square or vertical. It was created on mobile phones and was largely consumed on them too. From Paris to Syria and beyond, saw the video enabled internet rivalling television news as the most compelling and authentic destination for live news.
More than ever before, social platforms also played a key role in co-ordinating help and spreading information. Parisians used the Twitter hashtag PorteOuverte open door to offer shelter in their homes, while Facebook deployed its Safety Check feature encouraging people in Paris to check in via their personal account — for the first time outside a natural disaster.
New Media Giants Consolidate as VC Money Moves On As predicted last year, the global news media companies of the 21st century are beginning to emerge with significant further investment. Strategist Kevin Anderson says these two players are the major winners in this first round of new media monopoly: Indeed the bubble has already burst for some with the closure of Circa in June, a shock given its reputation as a poster child for mobile-first media.
Circa inspired fresh approaches to news delivery but ultimately never worked out how to make money itself.
Elsewhere, we saw a number of high profile acquisitions in the digital space. Flipboard bought mobile news aggregator Zite and then shut it down. It also holds stakes in Politico Europe, Blendle, Mic.
But the news business is as much about people as technology. Liz Heron moved from Facebook to the Huffington Post.Mar 10, · The second single from “Purpose,” Justin Bieber’s fourth studio album, “Sorry” is an infectious confection — a Dorito for your ears.
This is a collection of essays that relate to contemporary art and concepts of postmodernism. Hal Foster (who wrote the acclaimed "Return of the Real") served as an editor for this book, although the writing itself is more diverse. This year’s key developments will centre on online video, mobile apps and further moves towards distributed content.
Mounting problems around online display advertising will lead to a burst of innovation around journalism business models. Politics and the English Language, the essay of George Orwell. First published: April by/in Horizon, GB, London.
Digital art revolutionized the way art could be made, distributed, and viewed. Although some digital art leans heavily on the traditional gallery or museum venue for viewing, especially in the case of installations that require machinery and complex components, much of it can be easily transported and seen via the television, computer screen, social media, or internet.
“]In the Western nations during the last thirty or so years art objects have come to exist that bear no resemblance to the art of former times, presenting experiences of puzzlement, disorder, and in some cases disappointment to the ordinary viewer in search of imaginative stimulation.