After the cancellation of the science fiction television program Firefly, its dedicated fan base was able to grow a large enough community via the web to convince Universal Studios to obtain the rights of the show from Fox and produce the movie, Serenity. Based on the ability for a fan community to organized and prove a viable market, the show’s creator Joss Whedon later mused that he would consider releasing his next pilot directly to audiences via the web and bypass the traditional studio development pathway. The New York Times reports on a failed pilot created by Bill Lawrence made be achieve what Whedon envisioned.
Lawrence, who created “Spin City” and “Scrubs,” has seen his pilot called, “Nobody’s Watching” get resurrected after being shelved before it even aired. The show is about two 20-something men from Ohio who send a self made video tape of themselves lamenting the state of the television sit-com to the networks. They get hired by the WB to live on a sound stage, and star in their own reality television show about making a sit-com. After filming the pilot, the WB decided to pass on the series. A person Lawrence will not identify independently leaked the pilot to YouTube, and it has been downloaded hundreds of thousands of times since then. The popularity of the pilot has generated new found interest from network and cable channels. “Nobody’s Watching” could be the first example where the public saved a failed pilot before it ever aired. The irony of the show’s statements that the audience should be final arbiter of programming and it new found life on YouTube is amusing.
As I posted last week, video sharing services like YouTube are fundamentally changing the distribution channels of entertainment. The feedback loop between content and audience is shrinking. Audiences can have a direct effect on around which pilots get made into a fully produced television series. The traditional gatekeepers, that is studio execs are finally beginning to they can utilize the better communication with viewers via the Internet, as they try to maintain their viewers that are increasing moving towards other forms of entertainment.
reuters notices wikipedia revisions
It’s interesting to track how the mainstream media covers the big, sprawling story that is Wikipedia.
Here’s an odd little article from Reuters on Wednesday, which reports the flurry of revisions that took place on the Ken Lay Wikipedia article immediately following news of his fatal heart attack (suicide? murder? vanishing act?). What’s odd about the Reuters piece is its obvious befuddlement at the idea that an article could be evolving in real time, or, more to the point, that a news purveyor would allow unverified information to be posted as the story was unfolding — to allow an argument over facts to be aired in front of the public. Apparently, this was the first time this reporter had ever bothered to click the “history” tab at the top of an article.
At 10:06 a.m. Wikipedia’s entry for Lay said he died “of an apparent suicide.”
At 10:08 it said he died at his Aspen home “of an apparent heart attack or suicide.”
Within the same minute, it said the cause of death was “yet to be determined.”
At 10:09 a.m. it said “no further details have been officially released” about the death.
Two minutes later, it said: “The guilt of ruining so many lives finaly (sic) led him to his suicide.”
At 10:12 a.m. this was replaced by: “According to Lay’s pastor the cause was a ‘massive coronary’ heart attack.”
By 10:39 a.m. Lay’s entry said: “Speculation as to the cause of the heart attack lead many people to believe it was due to the amount of stress put on him by the Enron trial.” This statement was later dropped.
By early Wednesday afternoon, the entry said Lay was pronounced dead at Aspen Valley Hospital, citing the Pitkin, Colorado, sheriff’s department. It said he apparently died of a massive heart attack, citing KHOU-TV in Houston.
Hard news has traditionally been prized as the antidote to rumor and speculation, but Wikipedia delivers a different sort of news. It’s a place where churning through the misinformation, confusion and outright lies is all part of the process of nailing down a controversial, breaking news topic. Thinking perhaps that he/she had a scoop, the Reuters reporter unintentionally captures the surpise and mild discomfort most people tend to feel when grappling for the first time with the full implications of Wikipedia.
incredible ulysses animation
Alex Itin, our ever-astonishing resident artist/blogger, has been playing around with viral video outlets like YouTube, Google Video, Vimeo and MySpace, embedding movies on his site and re-mounting some of his older film projects, which were previously too cumbersome for quick-and-dirty webcasting.
The following (originally posted here) is a short animated riff on Joyce’s Ulysses, in which actual pages from the book serve as frames, with figures painted over text. Joyce himself provides the vocal track. The drawings and sound apparently were not synched, which at times is hard to believe since they can be strikingly consonant.
NSFW!
Alex has been painting on books for years, exploring a kind of palimpsest style — old, yellowed texts or roadmaps like the walls of a decaying city, against which sinewy, calligraphic figures move. Some of his mixed media works, like Odd City (re-mounted recently on the blog as an animated GIF) have involved the flipping of pages, which yields a crude filmic effect. “You Cities” works on a grander scale, opening up new dimensions on the 2-D page. You find yourself pulled into a visual stream of consciousness.
student guide on using wikipedia
Alan Liu from the University of California at Santa Barbara, posted on the Humanist Listserv an interesting draft policy statement on student use of Wikipedia. A copy got reposted to kairosnews. When it is completed, this guide will be a useful tool for teachers who are seeing increasing references to Wikipedia in student work. Liu is providing students (and the public for that matter) with a context for understanding how to use Wikipedia in both their research and daily lives. If:book is included in a bibliography of articles on the controversy surrounding Wikipedia and its reliability.
GAM3R 7H30RY in l.a. weekly
Holly Willis has written a nice, perceptive piece on GAM3R 7H30RY for the LA Weekly arts and books section. It includes some interesting reflections on the process from both Bob and McKenzie. Here’s a good quote from Ken:
“For a lot of writers, any editorial change is like chopping fingers off your child. But to write this way, you really can’t be precious.” The elements that make the process worthwhile, he adds, are the interaction with his readers now instead of following publication, as well as the sensitivity of his readers. “There’s such an attitude of good will. Readers recognize that the book in this form is a gift, and they respond with that in mind.”
lulu.tv testing some boundaries of copyright
Lulu.tv made recent news with their new video sharing service which has a unique business model. Bob Young the head of Lulu.tv and founder of the self publishing service Lulu.com also founded Red Hat, which commercially sells open source software. He has been doing interesting experiments in creating business that harness the creative efforts of people.
The new revenue sharing strategy behind Lulu.tv is fairly simple. Anyone can post or view content for free, as with Google Video or YouTube. However, it offers a “pro” version, which charges users to post video. 80% of the fees paid by goes to an account and the money is distributed each month based on the number of unique downloads to subscribing members.
This strategy has a similar tone to the ideas of Terry Fisher who has been promoting and the related idea of an alternative media cooperative model. In Fisher’s model, viewers (rather than the content creators) pay a media fee to view content and the collected revenues are redistributed to the creators in the cooperative. Lulu.tv makes logical adjustments to the Fisher model because other video sharing services are already offering their content for free. Because there are a lot more viewers of these sites than posters, the potential revenue has limited growth. However, I can imagine if the economic incentive becomes great enough, then the best content could gravitate to Lulu.tv and they could potentially charge viewers for that content. Alternatively, revenue from paid advertising could be added the pool of funds for “pro” users.
Introducing money into environments also produces friction and video sharing will be no different. Moving content from a free service to a pay service will increase copyright concerns, which have yet to be discussed. People tend to post “other people’s content” on YouTube and GoogleVideo, which often contains copyrighted material. For example, Hey Ya, Charlie Brown scores a Charlie Brown Christmas Special with Outkast’s hit single. It is not clear if this video was posted by a pro user, or who made the video and if any rights were cleared. Although, for instance, YouTube takes down content when asked to by copyright holders, many holders do not complain because that media (for instance 80s music videos) have limited or no replay value. With video remixes, creators have traditionally given away their work and allow it to be shared because there was no or little earning potential for the remixes. However with Lulu.tv’s model, this media is suddenly able to generate money. Remixers who have traditionally allows the viral distribution of their work, now they have an economic incentive to host their content in one specific location and hence control the distrbution of the work (sound familiar?)
I’m quite glad that Lulu.tv is experimenting in this vein. If it succeeds, the end effect will push the once fringe media and distribution even deeper into the mainstream. For people concerned with overreaching copyright protection, this could be also be disastrous depending on how we as a culture decide to accept it. The copyright holders could use Lulu.tv has a further argument for yet stronger protections to intellectual property. On the other hand, it could mainstream the idea that remixing is a transformative use. The tensions between media producers, copyright holders, distributors and viewers continue to be evolve and are important to document and note as they move forward.
networked journalism
Jeff Jarvis came by the Institute yesterday for pizza and a stimulating two-hour chat on the shifting sands of news media and publishing. Lately, Jeff has been re-thinking the term “citizen journalism,” an idea and a corresponding movement he has done much to promote. The problem as he sees it is that citizen journalism implies an opposition between professional and non-professional producers of news, when the goal should be closer collaboration between the two. All are citizens: the pro reporter, the lone blogger, the activist, the bystander with the camera phone; and the best professional journalism often comes out of the strong civic sense of its practitioners.
Jarvis has now posed “networked journalism” as a possible alternative to citizen journalism, and as a better tool for understanding the dramatic realignment of authority and increased access to the means and channels of news production that we are witnessing today. He may as well be talking about networked books here, our ideas or so fundamentally similar (it chimes especially well with this earlier discussion of GAM3R 7H30RY, “what the book has to say“):
“Networked journalism” takes into account the collaborative nature of journalism now: professionals and amateurs working together to get the real story, linking to each other across brands and old boundaries to share facts, questions, answers, ideas, perspectives. It recognizes the complex relationships that will make news. And it focuses on the process more than the product.
…After the story is published — online, in print, wherever — the public can continue to contribute corrections, questions, facts, and perspective … not to mention promotion via links. I hope this becomes a self-fulfilling prophecy as journalists realize that they are less the manufacturers of news than the moderators of conversations that get to the news.
I love this idea of the journalist as moderator of a broader negotiation of the truth. And we see it happening with editors too. The Korean news site Ohmy News is the world’s largest citizens media enterprise, drawing all its content from amateur writers. But it is staffed with professional editors, and so the news is the product of a collaborative network that spans Korean society. This is the big shift: a dialogic approach to the telling of a story, the gathering of facts, the development of an idea. And it applies as much to newspapers as to books, though the upheaval is far more evident right now in the province of news. Like news, certain kinds of books will evolve away from being the product of a single reporter, and become more of a collaborative process of inquiry, with the author as moderator. The reader suddenly is a participant.
nbc and youtube, friends once again

Late last year, a friend asked me if I had watched Saturday Night Live on NBC. I said that I hadn’t seen the show in years. He mentioned an amusing skit entitled “Lazy Sunday” with Andy Samberg and Chris Parnell playing two kids who rap about eating cupcakes, their favorite online mapping engine and watching the Chronicles of Narnia movie. I had thought that it was just another drop in the “can’t see everything” bucket. Fortunately, around the same time, Apple announced the video Ipod, video download services on iTunes and a free download of the SNL skit. Later, SNL had equally funny skit with Natelie Portman doing a bizzarre, much censored gangster rap, which I didn’t see live either. This time, NBC made the video available on their own website. Both clips were uploaded, although initially the site was very unstable and I had trouble getting their videos to play correctly. Since then, they have posted a few other clips from SNL, however, none of them were nearly as funny as the first two. The problem the internet solves is that it saves me the trouble from having to sit through hours of mediocre skit comedy to see the gems. Of course, advertisers might see it differently.
Ever since the Saturday Night Live skit “Lazy Sunday,” was popularized on the Internet, NBC has been experimenting with ways of using video clips of their shows to attract viewers. Earlier they forced YouTube, the popular video sharing site, to take down clips of the video, as they were launching their own web clip service on their own site.
In an interesting twist, this week NBC confirmed a report that they will be launching a joint project with YouTube, offer clips from their shows on a NBC “channel” within YouTube’s site. As currently the lowest rated network, NBC is not surprisingly exploring new ways of using the Internet to get people to watch their programs. ABC has been experimenting with making episodes of their hit shows on iTunes Music store. However, the major difference here is that ABC has the luxury of having the popular shows “Lost” and “Desperate Housewives” which people are willing to pay to download.
I’m looking forward to seeing how NBC implements their YouTube channel. There are many directions they could take, and it will reveal how they understand YouTube. One of the key things about YouTube, is that is it is democratic. A vast amount of material is posted, and users vote on the content they like by, viewing, commenting, and sharing the link. This process is the polar opposite from NBC’s current strategy of curating the “best” skits.
The open question is, then, how effective will NBC engage YouTube users and allow them to participate with NBC content. Will they allow for open comments? I would be very surprised if they let users post NBC content, but will they post clips based upon users requests? If NBC just want eyeballs and think they can just post clips vetted by NBC execs, then there won’t really be much of a change from hosting clips on their own site, save perhaps having more stable access to users.
I hope that the NBC execs are not assuming that posting clips on YouTube is some magic viral marketing silver bullet. In that, the key issue for NBC is to realize that they cannot control viewers. Hosting SNL clips are there own site was only mildly successful. Was the reason because of technology, poor word of mouth, or uninteresting content? Random clips on YouTube get half a million views because people chose that content, not the other way around. 500,000 views may seem small in absolute terms of audience size to the television marketer. However, I would be interested in seeing the cost per view to generate an television audience versus YouTube.
In the end, bad T.V. is bad T.V and putting clips on YouTube is not going to fix that. If NBC has shows they truly believe to be good, but under watched, YouTube can be a powerful tool to build a community around the show. The secondary media ecology surrounding ABC’s Lost is the current gold standard. Something on that level cannot be produced on demand. That is, a network cannot build a sustainable community around a show that no one cares about. For this venture to be successful, NBC will need to engage the audience and it cannot assume it understands exactly their preferences. If you look at their current ratings, it is unclear if they understand what viewers want. Let’s see what happens.
crickets
Happy 4th.
dark waters? scholarly presses tread along…

Recently in New Orleans, I was working at AAUP‘s annual meeting of university presses. At the opening banquet, Times-Picayune editor Jim Amoss brought a large audience of publishing folk through a blow-by-blow of New Orleans’ storm last fall. What I found particularly resonant in his recount, beyond his staff’s stamina in the face of “the big one”, was the Big Bang phenomena that occured in tandem with the flooding, instantly expanding the relationship between their print and internet editions.
Their print infrastructure wrecked, The Times-Picayune immediately turned to the internet to broadcast the crisis that was flooding in around them. Even the more troglodytic staffers familiarized themselves with blogging and online publishing. By the time some of their print had arrived from offsite and reporters were using it as currency to get through military checkpoints, their staff had adapted to web publishing technologies and now, Amoss told me, they all use it on a daily basis.

Martin Luther King Branch
If the Times-Picayune, a daily publication of considerable city-paper bulk, can adapt within a week to the web, what is taking university presses so long? Surely, we shouldn’t wait for a crisis of Noah’s Ark proportions to push academe to leap into the future present. What I think Amoss’s talk subtly arrived at was a reassessment of *crisis* for the constituency of scholarly publishing that sat before him.
“Part of the problem is that much of this new technology wasn’t developed within the publishing houses,” a director mentioned to me in response to my wonderings. “So there’s a general feeling of this technology pushing in on the presses from the outside.”

East New Orleans Regional Branch
But “general feeling” belies what were substantially disparate opinions among attendees. Frustration emanated from the more tech-adventurous on the failure of traditional and un-tech’d folks to “get with the program,” whereas those unschooled on wikis and Web 2.0 tried to wrap their brains around the publishing “crisis” as they saw it: outdating their business models, scrambling their workflow charts and threatening to render their print operations obsolete.
That said, cutting through this noise were some promising talks on developments. A handful of presses have established e-publishing initiatives, many of which were conceived of with their university libraries. By piggybacking on the techno-knowledge and skill of librarians who are already digitizing their collections and acquiring digital titles (librarians whose acquisitions budgets far surpass those of many university presses,) presses have brought forth inventive virtual nodes of scholarship. Interestingly, these joint digital endeavors often explore disciplines that now have difficulty making their way to print.
Some projects to look at:
MITH (Maryland); NINES (scholar driven open-access project); Martha Nell Smith’s Dickinson Electronic Archives Project; Rotunda (Virginia); DART (Columbia); Anthrosource (California: Their member portal has communities of interest establishing in various fields, which may evolve into new journals.)

East New Orleans Regional Branch
While the marriage of the university library and press serves to reify their shared mandate to disseminate scholarship, compatibility issues arise in the accessibility and custody of projects. Libraries would like content to be open, and university presses prefer to focus on revenue generating subscribership.
One Digital Publishing session shed light on more theoretical concerns of presses. As MLA reviews the tenure system, partly in response to the decline of monograph publication opportunities, some argued that the nature of the monograph (sustained argument and narrative) doesn’t lend itself well to online reading. But, as the monograph will stay, how do presses publish them economically?

Nora Navra Branch
On the peer review front, another concern critiqued the web’s predominantly fact-based interaction: “The web seems to be pushing us back from an emphasis on ideas and synthesis/analysis to focus on facts.”
Access to facts opens up opportunities for creative presentation of information, but scholarly presses are struggling with how interpretive work can be built on that digitally. A UVA respondant noted, “Librarians say people are looking for info on the web, but then moving to print for the interpretation; at Rotunda, the experience is that you have to put up the mass of information allowing the user to find the raw information, but what to do next is lacking online.”
Promising comments came from Peter Brantley (California Digital Library) on the journal side: peer review isn’t everything and avenues already exist to evaluate content and comment on work (linkages, citation analysis, etc.) To my relief, he suggested folks look at the Institute for the Future of the Book, who are exploring new forms of narrative and participatory material, and Nature’s experiments in peer review.
Sure, at this point, there lacks a concrete theoretical underpinning of how the Internet should provide information, and which kinds. But most of us view this flux as its strength. For university presses, crises arise when what scholar Martha Nell Smith dubs the “priestly voice” of scholarship and authoritative texts, is challenged. Fortifying against the evolution and burgeoning pluralism won’t work. Unstifled, collaborative exploration amongst a range of key players will reveal the possiblities of the terrain, and ease the press out of rising waters.

Robert E. Smith Regional Branch
All images from New Orleans Public Library
