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Arts Active

Arts Active is a Students’ Union project offering a range of weekly sporting and fitness activities for staff and students.

Staff and students can sign up for just £10 a year.

Different activities are on offer every weekday, including aerobics, table tennis leagues, swimming, running and urban cycling skills.

Continuous offers include swimming at Golden Lane LC (students only) and the opportunity to get fit with the UAL running group. Arts Active will also shortly be announcing a series of one-off events.

For a full list of events on offer, visit the Arts Active intranet page.

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Emily Bell’s 2015 Hugh Cudlipp Lecture in full

emily bell gesture

Emily Bell shares her view of the future of digital journalism. © Lewis Bush

On Monday 26 January 2015, Emily Bell, Founder Director to the Tow Centre for Digital Journalism at Columbia Graduate School of Journalism in New York City, gave the annual Hugh Cudlipp Lecture here at LCC.

As former Editor in Chief of the Guardian’s websites and director of digital content, Emily led the strategy to make the Guardian an open platform for journalism.

View images from the event on Flickr

Now in its twelfth year, the Lecture – named in memory of the late Lord Cudlipp, former Editorial Director of the Daily Mirror – also serves as a platform for the Hugh Cudlipp Award.

winners small

Ryan Ramgobin and Adam Barr, ‘The Referendum Boys’, accept their award for student journalism. © Lewis Bush

This year’s student journalism prize of £2,000 went to Ryan Ramgobin and Adam Barr, ‘The Referendum Boys’, for their outstanding on-the-ground coverage of the Scottish Referendum from Glasgow city centre.

LCC has been the proud host of the Hugh Cudlipp Lecture since 2005 and we once again partnered with The Daily Mirror for the event.

Emily Bell’s speech, on journalism’s response to the changing digital landscape, can be found in full below:

Good evening everyone, I want to thank Natalie Brett, Karin Askham, Paul Charman, the Cudlipp Trust, London College of Communication, UAL, the Daily Mirror, and Hugh Cudlipp in absentia for giving me the great honour of talking to you all tonight.

I was a tabloid journalist for one day.

This is not the beginning of a Daily Mail confessional but a statement of fact.

I did one shift on the Londoner’s Diary at the Evening Standard when I was a student. The highlight of the day, and probably my career, was lunch in the pub with Keith Waterhouse – for the students here looking bemused, in those days lunch in the pub with Keith Waterhouse for a student journalist would be the equivalent today of Taylor Swift liking your tumblr post and sending you a box of biscuits. Despite bonding with Keith and writing a lead item after three gin and tonics, I was sacked. Or rather not asked back. Not it seems for being drunk at my desk, that seemed entirely expected, but for not being posh enough.

I had a posh name, I went to a posh University so they assumed I would be posh – a conduit for the goings on in Eton Square. So before you say what does a Guardian journalist who teaches at an Ivy League university know about tabloid journalism, I just want you to know, I was once a tabloid journalist but not posh enough to make a career out of it…

Tonight I want to talk to you about the ‘Digital Tabloid’.

What is happening to popular journalism on the web. Tabloids always had the biggest reach, the largest impact, the most flexible standards. On the web, however, we are seeing the tabloidisation of everything. I don’t mean this as a negative. Far from it. All news outlets need numbers in the web economy that are vastly greater than they had in an analogue world firstly to make the economics work and secondly to have an impact. The demands of web scale economics have torpedoed the local news model; they have also driven great invention and a new set of entrepreneurial skills into journalism.

But attaining size in the world we are going into means surrendering control to the systems that deliver it. Going viral is a goal in nearly all newsrooms. The protocols and networks that deliver it were never conceived with the idea of journalism in mind.

I think this has brought us to a very interesting and challenging moment in the press and in broader society. The ‘too long didn’t read’ version of this speech is journalism needs a lot more journalists who are technically proficient, and the new gods, the platform companies, social networks and search engines, need to hire a lot more technologists who are proficient in news. Because at the moment we have a situation which is not working for either of us.

Those of us engaged with what journalism is and will be, who have a direct and vested interest in the protection of free speech and standards for information have a lot to do, and we need to work together, because we are now part of one continuous global information loop.

Hugh Cudlipp – Lord Cudlipp, as he became – understood that to have authority, impact and a business model you had to achieve scale. And he did. At its peak of 5 million the Daily Mirror was the bestselling newspaper in the world.

It achieved that by a combination of three things: a strong sense of what role journalism could play in the lives of its audience, great reporting and courageous independent editing, and a thorough knowledge of how to put contemporary technology to the service of journalism.

Cudlipp was highly creative within the boundaries of his time. I wonder now, confronted with unbounded possibilities, what would Hugh Cudlipp do?  How would he interpret the job of the editor and journalist in the digital age?

When he was appointed editorial director of the Mirror in 1952, newspaper groups were the big beasts in the information landscape. They were the way that people found out about the world, their only competition coming from BBC radio news and from newsreels. At that time, there was not really a proper television news service.

Even during the rise of TV news, which changed journalism profoundly, newspaper businesses retained a dominant position in the media industry and in popular culture.

The internet and the worldwide web have transformed that landscape.

We are seeing unimaginably large new entities, which get their size from publishing not just a selected number of stories but everything in the world.  Social networks and search engines are the masters of this universe.

As we see the disappearance of print as a significant medium, and the likely decline of broadcast television, the paths our stories and journalism must travel down to reach readers and viewers are being shaped by technologies beyond our control.

A recent study from the Pew Research Center suggested that 39 per cent of Americans had seen news on politics and government on Facebook in the past week. Another Pew study confirmed that thirty per cent of US adults consider Facebook to be a key source of all news.

In Britain, the number of people getting their news from social media is rising. A poll for Havas, quoted in the Press Gazette in October, found 27 per cent of people used Facebook as a source for local news, and 11 per cent used Twitter. The platforms might change, next year WhatsApp, the year after who knows, but the behaviour will not – these numbers will only increase.

And we as journalists have been in turn both enthusiastically and reluctantly complicit in this growth.

The most powerful trend in journalism today is full integration with reporting, presentation and distribution of journalism through the social web. The sharing and liking economy is literally changing the shape of what we do at a pace we are running to keep up with.

Twenty years ago we had the first creaky efforts to get newspapers onto the internet at all, squeezed through copper wires and dial up modems. Fifteen years ago no one had a camera in their mobile phone, ten years ago no-one had a smartphone. Five years ago Instagram didn’t exist.

Today, the ‘new newsroom’ has optimisation desks, to make stories work better on social media, data scientists who analyse the information about story performance to tell journalists how to write headlines, produce photographs and report stories which will be ‘liked’ and ‘shared’ more than others. It has aggregation desks, which scour the web to find news that ordinary people have posted for a wider audience. It has audience insight desks that work on how to get more people to spend longer reading more journalism. And it has data desks, which take the newly available sources of information in vast quantities and use the latest mining tools and techniques to clean, interpret and visualise information in new ways.

The “social media team” is no longer the group of people bullying you to tweet your story, but now key to the operation of how and what you report. The practice of good social media use, finding verifying and disseminating stories, are core to reporting, not simply a wrapper for ‘proper journalism’. No matter where a journalist’s work is published, on television, in a glossy magazine or on page three, it is now shared and discussed in a digital environment. Increasingly as a journalist you do your work in public and away from the content management system of your own publication.

Integrating with the web means responding, quickly, to what people want. The way the new social media platforms have been designed encourages certain types of use and elevates certain types of journalism.  The formats that work well on social media have certain characteristics Hugh Cudlipp would have been familiar with.

Lists work well, pictures are even better, games are even better than that, headlines need to be intriguing and chatty, there needs to be bathos and pathos: a cat involved, or a wombat falling off a sofa. A viral story is the holy grail. And viral does not mean a couple of hundred thousand any more, it means millions. Sometimes tens of millions.

Almost every news operation, with a very small number of exceptions, is pursuing this model in some form or another. Tabloid or popular journalism is being done by the same outlets that produce the most serious chin-stroking think-pieces.  In 2005 the Huffington Post pioneered this ‘mullet strategy’ for journalism, which looked neat and respectable at the front, wild and hairy at the back. The overall effect might be jarring, but generally people are choosing to only look at one side at once. That approach is now refined by a new generation of digitally native news organisations like Buzzfeed, Vice, Upworthy and Mashable.

Even legacy news companies are getting in on the act. It is great to be giving this talk at the Mirror because of the ‘red top’ papers, it is making the most progress on the web. Through the snappy news games and visualisations of its own internal start-ups, UsVsTh3m and Ampped, it is experimenting with the different ways serious news can reach a wider audience.

A few months ago I had coffee with a senior journalist in New York whose editor-in-chief had been expressing dismay at how little traffic was being referred back to their stories from social media platforms. ‘What is the right percentage?’ they asked, ‘does anybody know?’. No. But it seems we are all working on it and the general view is: the higher the better. There is a whole other talk I could give at how bad we are currently at measuring journalism.

Social media companies know that having the news industry fully engaged and using their tools is important to them.  Every major social platform has a team dedicated to working with newsrooms to help them get the most out of their technologies.

Until now, though, this relationship has been mostly a one-way street. Journalism has been engaging on the terms of technological values created in Silicon Valley. And Silicon Valley has in return been putting a tiny fraction of its billions into working with journalists.

The balance has now tipped though to a point where this is likely to change.

The numbers suggest that these super platforms ARE the free press, taking over many of the functions of the mainstream media. Social networks are now attracting the same pressures and challenges at a much larger scale that journalism and civic media has wrestled with for years.

YouTube has one billion visitors a month, four hundred hours of video is uploaded every minute, we watch on average an hour of video on YouTube every month for every person on earth.

In social networks the numbers are similarly impressive. Facebook has over 800 million active users, WhatsApp has 700 million, Instagram has over 300m… and for the astute in the audience, you will know that Facebook owns all three of those properties.

Twitter has 300 million active users, but 40 per cent of people just use Twitter to read not tweet.

Google, which owns YouTube, has a market capitalisation of $340 billion. By contrast, the once unstoppable Murdoch companies, across publishing and TV, have a combined market capitalisation of around $80 billion. That’s only just about twice the size of Twitter. And on the web, Britain’s largest daily newspaper, The Sun has 225,000 subscribers.

I say that not to make a cheap joke, but to illustrate an important point. The Sun on the web has a paywall, a subscription model which works for News International, but it is no longer part of the popular journalism ecosystem, because its young male readership are all laughing at the Lad Bible on Facebook.

Journalism is a thin thread in a vast new global tapestry of conversation and information. But that thread, I would argue, keeps the whole cloth together, because when it works as it should, gives people a daily feed of important, entertaining, interesting and vital information.

As social media become increasingly powerful in our economy and in our culture, we are beginning both to see the consequences of a global free information society. We might also – dare I say it – start to miss the sense of mission historically associated with the press. The problems the press creates when it works badly – errors of fact and interpretation, opacity, carelessness – are amplified by new technology and new capabilities.

We need the values of journalism in software as much as we need the software systems supporting journalism.

What are those values?

Making sure news is accurate, which seems pretty basic, being accountable for it if it is not accurate, being transparent about the source of stories and information, standing up to governments, pressure groups, commercial interests, the police, if they intimidate, threaten or censor you. Protecting your sources against arrest and disclosure. Knowing when you have a strong enough public interest defence to break the law and being prepared to go to jail to defend your story and sources. Knowing when it is unethical to publish something. Balancing individual rights to privacy with the broader right of the public interest.

I am not saying the traditional press has always covered itself in glory in carrying out these functions. In fact, all too often the opposite has been the case. But I think we can all agree that these principles are not high-minded unattainable objectives but basic requirements for anyone aiming to do good journalism.

These responsibilities are not however “shared” or even “liked” very much by social platforms.

Google and Facebook are magnitudes larger and richer than any other entities, and more influential in terms of reach than any press company in history. Until now though, the default position of participants in the sharing economy, with the exception perhaps of Twitter, has been to avoid the expensive responsibilities and darker more complex aspects of hosting the free press. This is understandable.

Engineers are not trained to think about moral consequences, they are educated to produce efficient systems, which they earnestly and often rightly believe will improve society. Similarly most journalists do not know nearly enough about technology to understand that how you design software, what you include in algorithms, are essentially editorial decisions.

Both sides of this equation has to change. We are taking it seriously as a mission at Columbia Journalism School where we teach data, computational journalism and as of this year digital security, at a higher level to more students than any other journalism school in the world. That is not so much a boast, but rather a sign that, like the profession journalism education is scrambling to get across these issues.

Our research program at the Tow Center is looking at the intersection of technology and journalism and how it is and will change our field. Our subjects include how new technologies, from drones and sensors, to virtual reality, to bots that read and write stories are going to affect journalism. Ethics and legality are central to these studies. How social platforms and journalism work together will be a major research project starting this year and so will algorithmic accountability, which is rapidly becoming one of the most important stories of our time. The veracity and transparency of our news and information is too important to be left to just commercial non-journalistic entities.

But Journalism Schools are the beginning of the pipeline, not the end. I am glad we are up with – even ahead of the industry – in identifying these areas and training journalists to be fluent in technology. But to have real impact the change must also happen in every part of the system.

I’ve argued before and I am going to argue again tonight, that the mission that motivated Cudlipp and other great editors, the reason why he worked so assiduously at building the largest possible audiences, is a mission, which must find its new digital expression. It has to be shared by all who profit from the world telling stories to itself.

Cudlipp was a master of form and format.  He knew he had to connect to audiences in language they understood, with all the methods technology gave him.

In creating journalism of impact today though, we have to go through exactly the same process as Hugh Cudlipp did then. We have to decide how to make an impact, without the benefit of owning or controlling the distribution chain.

In a report I co authored in 2012 with Clay Shirky and Chris Anderson, called Post Industrial Journalism: Adapting to the present, we talked about exactly this system of mass publishing empowerment, and that journalism, as it became distributed in new systems faced a dilemma. On the one hand it enables individuals so news is made and shared outside the newsroom.

On the other it weakens the institutions that have traditionally made journalism strong. Although all of us see vastly more benefit in the systems we have now, the problem of how to strengthen journalism in its broadest sense, under its new definitions is a hard one.

Let’s look at practical examples and what I am talking about.

Here are two people you might never have heard of: Jordi Maier and Ramsey Orta. You might not have heard of them but you have I guarantee seen their work on every news channel, in every paper, on every news website you visit in the last three months.

Jordi Mir lives in Paris. On Wednesday 7 January ago he happened to look out of his apartment window when he heard a disturbance in the street.  What he saw were two masked gunmen, and as a reflex he took out his phone to film them. With a remarkably steady hand he captured the horrifying footage of the two assailants murdering policeman Ahmed Merabet as he lay on the ground, part of the horrific attack on the Charlie Hebdo offices.

What he did next, Mir told Agence France Presse, was he put it on Facebook. He reflex to publish came from his frequent use of social media. ‘I take a picture of a cat, I put it on Facebook. It was the same stupid reflex’. Stupid or heroic?

After ten minutes or so Mir, still in shock, reconsidered his decision to publish the film to his 2,500 Facebook friends and took it down. But by then it was too late. Someone had uploaded the video to YouTube. Within an hour, Mir was alarmed to see his own film on the television news.

The clip is an iconic, chilling, unforgettable and informative set of images from the Charlie Hebdo attacks. The film is undoubtedly in the public interest. If you had shot it as a journalist you WOULD have filed it.

But it is also an invasion of Mr. Merabet’s privacy, a shock to his grieving family who cannot unsee the footage, and potentially a risk to Mr. Mir himself. Jordi Mir didn’t have the luxury of an editor or even the possibility of changing his mind. He doesn’t now have the protection of an editor or the legal advice of leading counsel from any of the organisations who used his film.

Now let’s take the case of Ramsey Orta. Orta is a 22 year old Staten Island resident with let’s say a slightly sketchy record with the police, who on 17 July last year was standing on Bay Street with his friend Eric Garner, who had just broken up a fight on the pavement.

The police arrived once the scuffle was over, but instead of driving off the officers turned their attention to Garner, a father of six who was known to police for the petty tax crime of selling loose cigarettes. In questioning Garner about his own activities, the police moved in on him, he was put in an illegal choke hold and wrestled to the ground.

His friend Orta did what Mir did in Paris; he got out his phone and filmed the incident. ‘I can’t breathe’ said Garner as the policeman throttled him; the film shows an asthmatic Garner lying cuffed on the ground. He repeated the words ‘I can’t breathe’ eleven times. We know this because we have Orta’s film.

The chokehold and restraint made Garner lose consciousness, and as we now know he died of a heart attack on the way to hospital in an ambulance. Orta’s video found its way to the New York Daily News and its publication was a spur to the outrage and disbelief New York citizens felt when in August a Grand Jury decided not to indict any officers involved.

Hundreds of thousands of people stopped traffic in New York and around the country; the New York Police Department has been in open revolt against its mayor. Along with the shooting of Michael Brown in Ferguson Missouri it has blown open the most important social issue of racial inequality.

Someone involved in the case was arrested, though.

Orta, the man who shot the video, on separate gun possession charges, a day after the Grand Jury decision. Police point to a long record of minor offences, Orta says he was targeted and set up for shooting the film. As with Mir, Orta reflexively performed a spontaneous act of a witness, of journalism, which has had personal consequences for him that he might not have anticipated. He said he always pulls his phone out if he thinks the police might arrest him, as protection.

I use these sensational stories which had such tangible effects as an illustration of what impact a single person can have, but also to highlight how we now have publishing systems which can amplify every act, alert the world to important events, but which also don’t yet afford these new forms of journalism the same protections as the old. They don’t give Jordi Mir the protection of an editing process or Ramsey Orta the authority of an institution.

Journalism is moving faster than the speed of thought. It is spreading beyond the newsroom, beyond geographic and cultural boundaries that once limited audiences, carried there by platforms engineered for instantaneous global communication.

Mir and Orta are not  “journalists” but they were sources. They were not on the staff of any newspaper or agency; they were not paid a salary; they had had no training; they were not members of any union, they have no added protections that might be afforded to the press.

It is important for social platforms and news organisations to include the people with the mobile phones who fill our pages, because we need them, and we have a responsibility towards them in both a broad and specific sense. They might not be journalists but they are part of our ecosystem of news.

Last year we produced a report from the Tow Center, which evaluated how much amateur footage, was now used across a number of broadcast TV bulletins. Our researchers found that footage is used daily, but that newsrooms are very bad at crediting the individuals or even at training staff to use verification techniques. Companies like Storyful, which was recently bought by Rupert Murdoch, were ahead of the curve in understanding that aggregation and authentication of material is a central function now for a newsroom.

This morning I woke up to an even more powerful example of why we have a problem. Yesterday the Guardian broke the story that Google had handed over private emails between WikiLeaks staff to the FBI in the wake of the cable leaks. Google is legally obliged to do such a thing when presented with a warrant. However Google chose not to tell the staffers at WikiLeaks that they had handed over the material for nearly three years.

Google has been encouraging us to think of it as a platform that supports free speech, its several hundred thousand dollar contribution to Charlie Hebdo a case in point, this is a chilling reminder of either how little Google understands what supporting free speech means or it’s naked dishonesty.

It is inconceivable that a serious news organisation would do such a thing to a source and not be put out of business. It calls into question Google’s trustworthiness as a platform. It also highlights how poorly the press has behaved in respect of Wikileaks. As Trevor Timm, head of the Freedom of the Press Foundation wrote for the Guardian today: ‘The outrageous legal attack on WikiLeaks and its staffers…is an attack on Freedom of the Press itself and it’s shocking more people aren’t raising their voices (and pens and keyboards) in protest’.

Healthy journalism relies of a system, which supports all parts of a free press, and at the moment we don’t have that.

As speed and scale dominate the world of information, how these platforms sort and present stories back to the world, and what they do with the data associated with them, is a matter of commercial sensitivity deep secrecy. If they have our instant messages, emails and private contacts, but don’t protect sources, then as a society we are in deep trouble.

Never before in the history of journalism has the power and reach of a small number of players had such a decisive effect on a market, and never before have we known so little about its operation.

Delving into the past of the Northcliffe dynasty, I was reminded that wealth that supported this great newspaper empire which created the Mirror, the Mail, the Sun and saved The Times and the Observer, came from a foundation on what its founder Alfred Harmsworth, described as ‘useless information’.

His first extremely popular publication was called Answers to Correspondents, and was the viral content of its day. I am sure that given the opportunity, Northcliffe would, had he been able to, made full use of digital formats – 17 horses that look like Sarah Bernhardt, 25 below stairs servants having a worse day than you, The Duchess of Kent got a new hairstyle and you’ll never guess what happened next…

The success of Northcliffe in his initial enterprise meant that much of the British press was built on this entrepreneurial understanding of how to exploit new literacy levels among working and middle class people. It combined industrial publishing technologies and emergent mass transportation systems. What Hugh Cudlipp brought to this strategy was vision, empathy and – most importantly – mission.

In the internet age we are still in our ‘Answers’ phase of development. And we sorely need the mission.

I don’t think this at all a hopeless observation, as we are seeing signs of serious success now for mainstream and even mass market digital journalism. Right now we are seeing the rise of the first generation of large-scale digitally native news organisations, and the vigorous adoption of digital only strategies by existing legacy businesses.

The most successful new ‘digitally native’ journalism companies are those who have fully integrated themselves into the fabric of these new dominant platforms. And the most successful legacy news organisations in terms of reaching large audiences on the web are those like the Daily Mail and the Guardian that have experimented with or shifted the format or substance of their journalism to do the same.

For the Guardian, it has meant relentlessly pursuing what we originally set out as long ago as 2001 to be ‘of the web and not just on the web’. For us at the time this meant web production and editorial working on an equal footing with our technologists and developers. It also meant paying very close attention to what was happening on the web outside the field of journalism.

For the Mirror, as mentioned before, it has meant new projects so far from traditional print stories they bend the definition of journalism in exactly the right way.

For ten years at the Guardian I had the great joy of working with a team that energetically went about experimenting with how we could translate the character and values of our journalism into our software development, our data policies, our digital reporting and formats.

We negotiated a route towards what Alan Rusbridger defined as open journalism. It came from a desire to build our technology and new forms of journalism with the same values that CP Scott had laid out over 150 years previously. It set the Guardian on a path where it could publish the brilliant and important stories like WikiLeaks and the NSA disclosures, internationally and securely to far wider audiences than would have been possible in just print. When I started working online at the Guardian in 2000 we had 1 million monthly users. When I left 10 years later we had sixty times that. Now it’s over 100 million.

The most startling publishing success story in America in the past five years has been Jonah Peretti’s transformation of Buzzfeed, which he started as a social traffic side project to the innovative Huffington Post, but which has grown into America’s most copied news company. I visit many newsrooms around the world and the B word is everywhere.

As Peretti himself says, there are great journalism institutions out there and there are excellent technology companies, but few places that pay as much attention to working on both as Buzzfeed. And this is the key. Peretti himself is a creative technologist with editorial flair.

Buzzfeed works on the principle of understanding the social web and building on top of it. It also works because it understands the math of the social web. For Buzzfeed to grow its 400 strong staff the advertising rates of the Internet dictate it must have massive audiences.

It is widely studied for being the sophistication of thought it gives to how technology and journalism work together. Even the New York Times paid it significant attention in its own internal ‘Innovation’ report:

‘BuzzFeed, Huffington Post and USA Today are not succeeding simply because of lists, quizzes, celebrity photos and sports coverage. They are succeeding because of their sophisticated social, search and community-building tools and strategies, and often in spite of their content’, says the report.

Peretti is like Lord Northcliffe on steroids. The ‘Answers’ phase of his strategy lasted two years not twenty, and now he is adding foreign correspondents, feature writers and an investigations unit. I am hopeful even optimistic that this understanding of how to create and harness scale in mass-market journalism, can support serious mission and a new set of standards for journalism too.

There are also some signs that the social media companies are giving way on the point that they are not ‘just platforms’. We have seen just over the past year how Twitter decided it would intervene directly in the circulation of beheading videos. Google now will have to formulate a better answer for its WikiLeaks decision than ‘we were just following the rules’.

When we are building the new newsrooms of the future and working out how to make our journalism powerful on the social web, we need to build in some of the mission driven values and processes alongside the rocket fuel for our cat gifs.

We have cracked the problem of how to deliver popular journalism on the internet, with our mixture of cute animals and data science. We can crack the problem of how to make popular journalism important and robust in the digital world too. But that isn’t a solo competitive enterprise, and it isn’t quick or easy.

We will need more than investment in social sharing strategies to do so.  We will need an open and collaborative dialogue both with each other, and with the new masters of the information universe who have the resources and the audiences to help.

We need to edit for new types of journalism and journalists, we need to recognise that the free press is more than professional journalists and more than platform technologies.

The digital tabloid sounds like an oxymoron and maybe it is. Popular journalism which reaches a mass market with reliable timely information that they want to read is as real and important as ever.

And publishing is powerful. Enormously, dangerously so. Hugh Cudlipp’s book bore the battle cry title for journalists: Publish And Be Damned! But that came from a time when we knew who the publishers were and what damnation meant.

This too is altered by the Internet. When terror organisations, psychopaths, corrupt corporations are the publishers damnation looks rather different to an angry phone call from Number 10.

Publish and be damned sounds daring, appealing almost.  Publish and be murdered at your desk, publish and be overwhelmed with foul mouthed threatening messages, publish and be imprisoned without due process, publish and be beheaded for a publicity stunt, publish and be blown up in a basement in Homs,  publish and have your office smashed up and your family intimidated, publish and put a stranger’s life in danger. These sound less swashbuckling, much more threatening, and yet that is what is happening, not just in Paris, but in Egypt, in Mexico, in Iran, in Syria, in Saudi Arabia, in Britain, in America, everywhere in fact.

I think for a while journalism thought it couldn’t afford the difficult bits, the investigations, the new technology skills, the legal teams, the time for the more complicated problems. We could only secure our survival with automatically generated dancing hamsters and robot-written press releases.

Now when we look at the mighty new networks of our age, I hope we all realise, Us and Them, that these are the very things we can’t afford not to do.

What would Hugh Cudlipp do today? I like to think he would learn to code.

Thank you.

Visit LCC’s Hugh Cudlipp page

The post Emily Bell’s 2015 Hugh Cudlipp Lecture in full appeared first on London College of Communication Blog.

Catlin Guide artists revealed

Mette-Sterre-Hummelmania-ongoing-performance-costume-made-out-of-30-kilo-rubberbands-2014-picture-by-Lovis-Ostenrik-setdesign-by-Robert-Wilson ©julianmommert
The forty artists selected for the 2015 Catlin Guide have been revealed, a quarter of whom are UAL graduates. Identifying “the most exciting new graduate and postgraduate artists from UK art schools”, the Catlin Guide selection is overseen by curator Justin Hammond in collaboration with leading gallerists, curators, collectors and course tutors.

The ten selected UAL alumni artists are: Helen Wilson, BA Hons Sculpture from Camberwell; Mette Sterre, MA Performance Design & Practice, Emma Corrall, MA Fine Art. Roderick Laperdrix, MA Fine Art and Lou Macnamara, BA Hons Fine Art from Central Saint Martins;  John Baker, BA (Hons) Fine Art and Sisters from Another Mister, MA Fine Art from Chelsea; Jisun Choi, MA Photography and Rebecca Scheinberg, BA (Hons) Photography from LCC; and Sean Patrick Mullan, BA (Hons) Fine Art: Sculpture from Wimbledon.

The Catlin Prize shortlist will be announced in May.

Read more about the Catlin Guide

Search fine art courses at UAL

2 sisters from another mister Fish Fight

Lou Macnamara 'WatchingTheWar' 2014 Installation 5 x 5 x 3 metres

TFRC and CSM Research sponsors: Studio Houndstooth launch of The Houndstooth Project

Studio Houndstooth

Studio Houndstooth launches The Houndstooth Project – a serious play, ludic, egalitarian project, which uses the well-recognised, houndstooth textile motif as the starting point for a public engagement making project for everyone and anyone as either individuals or as collaborators, using any media or approach, actual or virtual.

The launch will be a workshop to make freely with a range of materials and also provide the opportunity for participants to make links and to seek future collaboration and co-design relationships.

Date: 29  January 2015
Venue: The Crossing, CSM, Kings Cross
Time: Drop in anytime between 10.30am -5.30pm
Materials: All materials provided

www.thehoundstoothproject.com

Sponsors: CSM Research and Textile Futures Research Centre

Listening Room – A project by Iris Garrelfs for Tate Britain’s Radio City season

listeningroom

Monday 2nd February to Friday 6th February

For RadioCity’s “Listening Room” at Tate Britain Iris Garrelfs, PhD researcher at Creative Research into Sound Arts Practice (CRiSAP), London College of Communication invites you to bring along objects and stories around the theme of hearing and listening. These might be pictures, stones, sticks, in fact anything you would like!

Iris will be at hand to record your stories and will later edit the audio recordings to create a sound installation for everyone’s listening pleasure on the last day of the residency. Iris would be delighted if you could leave your objects behind, for others to enjoy and “play” on that last day.

For more information:

New Course Discourse // MA Arts and Lifestyle Journalism

Simon Hinde profile

Programme Director in Journalism and Publishing Simon Hinde.

In the first of our regular blog series New Course Discourse exploring LCC’s exciting new undergraduate and postgraduate courses, we speak to Programme Director in Journalism and Publishing Simon Hinde about MA Arts and Lifestyle Journalism.

Can you start off by telling us about the decision to create this course?

The point about creating this MA is that arts and lifestyle journalism are important and growing parts of the journalistic landscape.

Lots of newspapers have got arts and cultural supplements, there are specialist channels like Sky Arts, it’s a main plank of BBC Radio 4, BBC Three, BBC Four, there are lots of websites. There’s a big and growing appetite for it.

We know that lots of undergraduate students that we’ve talked to are very interested in this area, yet there is really at the moment only one postgraduate course in the country covering it. In the States there are quite a lot, so it seems a shame that there aren’t more opportunities in the UK.

We are also a design and media college in an arts university; it seems like a very natural thing for us to do, because we have the expertise and the history to do it well.

It’ll allow us to help journalists develop not just the skills to do arts and lifestyle journalism really well, but also the ethical understanding about things like freedom of speech and the appropriate way to deal with public relations people – which is not necessarily known by a lot of people who do this work at the moment because they come from very varied backgrounds.

It’ll allow us to create a body of professionals who do this kind of work to the highest professional and ethical standards.

newsroom

Student journalists in the LCC newsroom. © Vladimir Molico

What can students expect from the course?

We take a very broad view of what arts and lifestyle might mean – deliberately broad – because I think you can do interesting journalism about just about anything. I don’t want to restrict it to just fine art.

It could be art, theatre, film, music, television, food, travel, but the point is to do high-quality, interesting journalism in those fields, not just turn over trivial, easy and superficial work. The point is to go into it in depth, to have a theoretical underpinning that will allow students to succeed.

The course will also be highly practical. Each student, during the course, will develop a journalistic project they want to complete as part of their final major project – a substantial piece of journalism in an appropriate field of arts and lifestyle.

That might be writing a long-form piece of journalism on something, it might be making a radio documentary or a film documentary, or it might be doing something web-based, but it will be something that has got real substance and depth to it on a topic of their choosing.

I would hope that the piece of work that the student produces would be a piece of work that could be published. That would be the aspiration, that they would be producing high-quality, professional-standard work that they could then take to a publisher or broadcaster and get disseminated.

What are the main differences between undergraduate and postgraduate study in journalism?

One of the shifts, I think, is that you are to a much greater extent developing your own practice. Obviously at undergraduate level you’re learning the tools of the trade, but everyone kind of does the same thing to some degree. As you move into the third year, you start to develop your own voice, your own style, your own interests.

In postgraduate study you take that further, so that you develop your own journalistic way of addressing a particular subject, and your own subjects you want to address. There’ll be a bit more depth and breadth, you’ll attack things on a greater scale.

Rather than doing a 2,000-word piece, that might be typical at undergraduate level, you’ll be doing a 10,000-word piece, or a book. It’s scale and depth that are the distinguishing features.

Why should people study journalism here at LCC?

Obviously we’re based in London, which is a major arts and cultural centre, but it’s more about being in this University, where there’s just incredible breadth of knowledge and expertise in the arts and in design. There are people all over the place we can bring in who know about this subject from different points of view.

We have a collaborative project as part of this course, and we’ll be able to collaborate with people who are designers, photographers, fine artists, sound artists, whatever it might be. It’s an opportunity you don’t get at other institutions.

In terms of facilities, the College has industry-standard radio studios, a brand new TV and video studio opened at Christmas, and a fully-equipped newsroom.

The department has also just launched Artefact, a new magazine which is very stylish and design-conscious and itself has a lot of coverage of arts and culture. It’s written and edited by students and appears twice per term in the autumn and spring terms, with additional topical special editions.

Artefact 3 cover

LCC’s new free magazine Artefact, written and edited by journalism students

What will this course be looking for in its applicants?

I’m very open as to the kind of people who apply. We’ve had interest from a very interesting and diverse range: working journalists who want to specialise in the field of arts; people who’ve done an undergraduate course in journalism and now want to take it on – both to specialise in arts but also to do journalism to the depth and scale that postgraduate study allows; people who are doing a first degree in an arts subject – fine artists for example – who are thinking they would like to develop the communicative side of their practice.

Maybe they want to be fine artists but also to write about fine art, maybe they want to move away from being a practising fine artist and to be a journalist about fine art. They’ve got all that practitioner knowledge and they want to communicate that to an audience – that’s really interesting.

And then we’ve had people who are on more theory-based courses – cultural studies or media communications-type courses – who are interested in developing their theoretical knowledge into something more interfacing.

What are the career opportunities for students graduating from this course?

There are lots of newspapers with arts and cultural supplements, there are specialist broadcast programmes, news programmes have arts correspondents.

There are specialist arts channels that want programmes made for them, like Sky Arts, there’s reporting on arts – a lot of newspapers have arts reporters – and there are specialist magazines and websites about art and culture.

Institutions like art galleries all have their own magazines, so there are lots of opportunities there.

Moving slightly beyond the field of journalism, the skills that you develop as a journalist – the skills of communication and storytelling – are very valuable in public relations and marketing, and there are companies that specialise in those areas for the arts.

Becoming freelance as a writer or broadcaster in these areas is also a very popular and growing thing.

Visit the MA Arts and Lifestyle Journalism course page

Visit the Artefact website

The post New Course Discourse // MA Arts and Lifestyle Journalism appeared first on London College of Communication Blog.

Professor Charlotte Hodes, LCF is featured in the forthcoming documentary

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Mirrors to Windows: The Artist as Woman

To be screened on 8 March 12:00, The Royal Academy

Charlotte Hodes, Professor in Fine Art, LCF, is featured in the forthcoming documentary ‘Mirrors to Windows: The Artist as Woman’ which will be screened on International Women’s Day at the Royal Academy on Sunday 8 March at noon. This is part of a programme of events to celebrate IWD at the RA that explore inter-generational perspectives on women in the arts.

Tickets are available on web site, which also includes a ‘taster’ of the film

For more information:

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Call for chapter proposals: Handbook of Research on Global Fashion Management and Merchandising

propose a chapter

Handbook of Research on Global Fashion Management and Merchandising
A book edited by Alessandra Vecchi, (London College of Fashion, U.K.)
Chitra Buckley, (London College of Fashion, U.K.)
To be published by IGI Global: http://bit.ly/1xAyrPO
For release in the Advances in Logistics, Operations, and Management Science (ALOMS) Book Series
ISSN: 2327-350X

Proposal Submission Deadline: February 28, 2015

Propose a chapter for this book

The Advances in Logistics, Operations, and Management Science (ALOMS) Book Series provides a collection of reference publications on the current trends, applications, theories, and practices in the management science field. Providing relevant and current research, this series and its individual publications would be useful for academics, researchers, scholars, and practitioners interested in improving decision making models and business functions.

Introduction The Research Handbook of Fashion Management provides an edited collection of chapters on grounds theories, application and practices the field of management in the fashion sector. Providing relevant and current research, this publication would be useful for academic, researchers, scholars, and practitioners interested in improving their understanding of management within the context of Globalization in a highly volatile and creative environment.

Fashion management is multi-faceted discipline that within the context of Globalization finds itself at the intersection of the following related fields:

Fashion Entrepreneurship, Operations Management, Fashion Marketing and International Business.

Normally these fields constitute sparse bodies of knowledge within Fashion Management, however because of the heightened complexity of the current business environment they are becoming more and more complementary. As such an in-depth understanding of their interplay is not only necessary but it could also provide a useful interpretative lens to fully appreciate the value of Fashion management and its business practices in an era of Globalization.

As global fashion markets are becoming increasingly complex and their dynamics more and more interconnected, a broader understanding of fashion management is essential to anticipate unexpected change and to capitalize on emerging fashion business practices. This research handbook will focus on various dimensions of managing fashion businesses that are interrelated and complementary in a global context.

Objective of the Book

This research handbook looks to discuss Fashion Management research in the following related fields:

Fashion entrepreneurship, Operations Management, Fashion marketing and International business.

The handbook covers various sub-themes including visionary leadership, fashion technology, business model development, sourcing and supply chain management, operations management in fast fashion and slow fashion businesses, product innovation management, fashion brand management, digital strategies in the fashion industry, experiential marketing and branding in fashion and the internationalization of fashion firms.

Target Audience

The target audience of the research handbook will be a vast array of fashion management practitioners, academics and researchers who have a keen interest in the ever-changing dynamics of the fashion industry. The book would also be suitable to be used as a teaching aid in a variety of courses in different disciplines both at undergraduate and postgraduate level.

Recommended topics include, but are not limited to, the following:

  • Fashion management in a global perspective
  • The European fashion industry and the appeal of its heritage
  • Fashion entrepreneurship
  • Visionary leadership
  • Financial management
  • Fashion-technology
  • Business model development
  • Business incubation in the fashion industry
  • Operations management in the fashion industry
  • Fast fashion and Slow fashion
  • Sourcing and supply chain management in fashion
  • Product innovation management
  • Managing HR in fashion firms
  • The importance of CRM
  • Fashion buying and merchandising
  • Fashion marketing
  • Digital strategies in the fashion industry
  • The importance of CSR
  • Fashion brand management
  • Experiential marketing and branding in the fashion industry
  • The internationalization of fashion firms
  • Cross-cultural marketing
  • The emerging markets
  • Counterfeiting, IPR and legal issues
  • The global fashion industry and its emerging dynamics

Submission Procedure

Both researchers and practitioners are invited to submit a chapter proposal of 1,000-2,000 words clearly explaining the mission and concerns of their proposed chapter by February 28th, 2015. Submissions should be made through the weblink at the bottom of this page.  Authors of accepted proposals will be notified by April 30, 20155 about the status of their proposals and sent chapter outlines. Full chapters are expected to be submitted by June 30, 2015. All submitted chapters will be reviewed on a double-blind review basis. Contributors may also be requested to serve as reviewers for the research handbook.

Full chapters may be submitted to this book here: Submit a chapter
All proposals should be submitted through the link at the bottom of this page.

Publisher

This book is scheduled to be published by IGI Global (formerly Idea Group Inc.), an international academic publisher of the “Information Science Reference” (formerly Idea Group Reference), “Medical Information Science Reference,” “Business Science Reference,” and “Engineering Science Reference” imprints. IGI Global specializes in publishing reference books, scholarly journals, and electronic databases featuring academic research on a variety of innovative topic areas including, but not limited to, education, social science, medicine and healthcare, business and management, information science and technology, engineering, public administration, library and information science, media and communication studies, and environmental science. For additional information regarding the publisher, please visit www.igi-global.com. This publication is anticipated to be released in 2016.

Important Dates

  • February 28, 2015: Proposal Submission Deadline
  • April 30, 2015: Notification of accepted proposals
  • June 30, 2015: Full Chapter Submission
  • August 30, 2015: Review Results to Authors
  • September 30, 2015: Revised Chapter Submission
  • October 15, 2015: Final Acceptance Notifications

Inquiries can be forwarded to Chitra Buckley Graduate School, London College of Fashion
Tel: +44 (0)207 514 7578 Email: c.buckley@fashion.arts.ac.uk, chitra.buckley@wanadoo.fr

Dr. Alessandra Vecchi Graduate School, London College of Fashion, U.K.
Email: a.vecchi@fashion.arts.ac.uk, alessandra.vecchi@unibo.it

Propose a chapter for this book

To find related content in this research area, visit InfoSci®-OnDemand: Download Premium Research Papers: http://www.igi-global.com/infosci-ondemand/search/

Religious festivals and holy days: new guidance

religious festivals

UAL has launched new guidance on how to account for religious festivals and holy days when planning timetables, work programmes and events. This guidance sets out arrangements for students and staff to request alterations to their working hours or timetables on grounds of religious observance.

The UAL religious festivals calendar lists a selection of holidays and festivals which take place throughout the academic year. Teams are encouraged to take account of the religious festivals calendar when planning events such as interviews, induction activities, timetables and assessment schedules.

The calendar indicates if a particular festival involves fasting, or a restriction on work, in order to highlight dates that are likely to have a particular impact on participation or attendance. ‘Work restricted’ dates include: Rosh Hashanah, Yom Kippur, Eid ul-Adha, Sukkot (Autumn term); Chinese New Year and Passover (Spring Term) and Eid al-Fitr (Summer Term).

The religious festivals calendar is available as a shared outlook calendar (listed under ‘Corporate Resources’) or as a Word document. Details of how to download the calendar are available.

Professor Frances Corner, UAL’s Religion and Belief Champion, said:

“Considering the religious observance requirements of students and staff enables us to demonstrate our commitment to promoting inclusion, whilst acknowledging the diverse religious identities and practices students and staff bring with them.

Our aim is to take a positive approach to requests for flexibility on grounds of religious observance, and to consider the festivals calendar when planning our work programmes.”

To find out more about religious observance guidance, visit the religious festivals and holy days intranet page.

PhD researcher, Idit Nathan talks about her current show at Standpoint Gallery

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The exhibition FOOTNOTES PLAYING DEAD is Idit Elia Nathan’s (PhD candidate at CSM) first solo show. It opened at Standpoint Gallery in London on the 15th January and will run till 14th Feb 2015.

Footnotes Playing Dead is the culmination of 5 years of practice-based research titled Art of Play in Zones of Conflict, which explores the intersections between the seemingly unrelated phenomenons of play and conflict.

The exhibition title takes its cue from the opening lines of Günter Grass’ famously controversial poem What Must Be Said, which considers personal and collective responsibilities in times of adversity and interminable conflict. The title also reflects on children’s games and certain theatrical demonstrations in the West Bank and Gaza as well as more recently here in London, where people pretend to be dead in order to highlight the way in which children and innocent civilians are targeted by one of the most powerful armies in the world.

Tell us about the work you are showing in Footnotes Playing Dead and why did you choose this work?

The artworks are all playful and interactive because I wanted to create participatory experiences in which the viewers are invited to “play with” and explore for themselves the complexities of conflicts, which as stated by Artist Simon Leung

‘…even if we do not live under the direct threat of war’s violence, we understand ourselves in relationship to the state-sanctioned killing of others, elsewhere, in our time, and at times in our name’.

I included three projects which are central to my research and which I wanted to concentrate in one space. For example Seven Walks in a Holy City which explores Jerusalem, the city I grew up and left more than twenty years ago is explored through walks of varying length, thematic foci and staring points, all determined by cards and dice. Following the walks I produced seven series of postcards, which are on display and available for purchase. Another project called Hegemonopoly/Machsompoly is an adaptation of the classic monopoly game to reflect on the landscape of Israel Palestine with its wealth of settlements as well as checkpoints and where freedom of movement and restrictions on it are not equal to all, as those playing in the gallery soon find out. In Painting the City Golden or a Leaf from Tansy’s Book the gallery visitors are invited to ‘colour in’ their own version of one of the city’s most iconic tourist sites.

There are other games such as a triptych of HAND MADE MEMORY GAMES where all the cards are made out of black and white photos from different parts of the world as well as from a variety of historical times with subject matters ranging from Aerial Bombs in the first to Checkpoints and Refugees inthe second and third, making it tricky to win. And there is my first inkjet print Invisible Cities Series, No. 1 and my first artists book Please watch ur head, published with marmalade publishers of visual culture so its a very varied show.

It has been particularly interesting to get all the artworks of recent years into one space and it was great to site the work at Standpoint gallery, with its intimate and evocative features such as the lift with its heavy metal mesh doors. The opening event included a raffle of postcard paintings which will be sent out to the winners once the show comes down. So far I have had some excellent feedback and with two discussion events planned it promises to be a busy and interesting month for me.

Why did you choose CSM for your PhD studies, and how did you find the experience? (how has studying for a PhD developed your work)

When I started considering the possibility of embarking on a research project to contextuaise work that was loosely tied together a friend pointed me in the direction of my now supervisors Pam Skelton and Professor Anne Tallantire. I knew and admired their work and was delsighted when they offered me a place. They were then joined by Caterina Albano and I now have an amazing team of supervisors, each contributing from their own perspective so its proved to be a very rich experience so far. There is no doubt that the research has impacted positively on the work I have made in ways that I am still in the process of reflecting on and I hope will be articulated in the thesis itself. It seems to have made me more reflective and I’d like to think a better writer too. In terms of the work produced I think it has benefited from the contextual research and hopefully become richer and more rigorous.

How do you juggle being a PhD student and practitioner?

It is a challenge and I have given up on trying to find the perfect balance – it just doesn’t exist. Some weeks/months are dedicated to making work and others to writing and the word juggling is the right one in this context. I make work, sometimes relating to the thesis, at others less so, and then it feels like I will never manage to write about it or get back to the thesis and then it can be quite the opposite – making the work – means that some of the thoughts fall much more easily onto the page and find their way into the thesis. As fluxus’ score says ‘you never quite know.’

For further information: