Flip away from the enthusiasms of the Web 2.0/participatory media crowd; the future suddenly loses its shine.

In a paper published last year by Harvard’s Shorenstein Center, Robert G Picard gives a detailed account of what’s gone wrong with American news journalism:

Many of the challenges of news organization today exist because the professionalism of journalism and journalism education have determined the values and value of the news, commoditized the product, and turned most journalists into relatively interchangeable information factory workers. Average journalists share the same skills sets and the same approaches to stories, seek out the same sources, ask similar questions, and produce relatively similar stories. Few journalists encounter skills-related problems changing from one news organization to another and the average journalist is easily replaced by another. This interchangeability is one reason why salaries for average journalists are relatively low and why columnists, cartoonists, and journalists with special skills (such as enhanced ability to cover finance, science, and health) are able to command higher wages. Across the news industry, processes and procedures for news gathering are guided by standardized news values, producing standardized stories in standardized formats that are presented in standardized styles. The result is extraordinary sameness and minimal differentiation.
- Robert G Picard, Journalism, Value Creation and the Future of News Organizations
(Google’s cached version; click here for pdf)

Steve Bryant only buys (into) media he can do stuff with:

Media is changing from entertainment into utility. Media that can’t be manipulated is almost useless. When I listen to NPR, I wish I could freeze the broadcast and pull a link from the radio, send it to a friend. When I watch TV, same thing. When I go to the movies, same thing. But I can’t. I can only do that online.

Those tiny transactions I make online make a greater imprint on my psyche than any single media event inside a theater — or inside a DVD — could have. It’s simple reward/response psychology. Online, I can track who watches my clips, who reads my posts, who liked my mash-up. The Internet flatters us with attention in a way Hollywood no longer can.
- Steve Bryant, Hollywood Reporter

An iPod can hold roughly 10,000 songs. Increase the storage capacity every 13 years, something the size of an iPod could store one year of video in another few years. By 2015, you could store all the music ever produced. By 2019, you could 85 years of video – a lifetime’s worth of video. By 2020, the same sized device could store all the content ever created.
- David Eun, Google’s VP of Content Partnerships via paidContent.org

Curious to note that sensitive US indie-rock band Death Cab for Cutie — catch them on Atlantic Records, a subsidiary of the colossal Warner Music Group, catch them on the OC, Fox’s top-rating TV drama about the affluent youth of Orange County, CA — ultimately gets its name from sociologist Richard Hoggart, from The Uses of Literacy, his 1957 critique of British popular culture.

In conversation with the once angry young man, now grand old man of British cultural studies, DJ Taylor evaluates Hoggart’s thesis 50 years on — a culture devised by ordinary people for themselves is being stamped out by a mass culture devised by corporations for maximising shareholder profit.

Digital ethnographer Michael Wesch ’s video explains where the web came from, what it is, where it’s taking us:

Donning an avatar (she plumps for a “grumpy old woman”), Jenny Diski discovers that the online virtual world Second Life is less a chance to restart her life, more a cartoon-shaped replication of the real world:

Second Life is a reiteration. It’s a virtual world of buying and selling, profit and consumption, material decoration and political apathy. What you get in this alternative world are houses, home decorations, clothes, jewellery, cars, motorbikes, casinos, strip clubs and shops in which to sell all these things to cartoon characters representing their computer owners, who ‘live’ in the houses on the virtual land they have bought, titivate their interiors, change their clothes, hair and jewellery, drive the cars, gamble in the casinos and stand around gazing at naked pole dancers. That is to say, staring at cartoons who shimmy up to two-dimensional poles and rub their pixillated breasts and pudenda in the time-honoured weary wanton manner.
- Jenny Diski, London Review of Books