Exploring imagined affordances of automation in news journalism
Stefanie Sirén-Heikel, Leo Leppänen, Carl-Gustav Lindén and Asta Bäck
News automation has emerged in recent years as a technology with the potential to provide a new means of production for the news media industry. Recent developments in natural language generation (NLG), increased access to structured data and disruptions affecting the revenue model of the media landscape have created an environment in which automation is being considered for predictable news stories. Several international and national news organizations have begun producing news articles programmatically based on standardized data ( LeCompte
Disruptive technology in book and local newspaper industries
Linn-Birgit Kampen Kristensen and Mona Solvoll
manifested in the newspaper and book industries in Norway?
Previous studies have shown that age plays a part when utilizing different technologies and that there is a generational difference between young users and older users ( Olson et al., 2011 ). Peer-to-peer opportunities for downloading and understanding technological possibilities is a common trait for Generation Z – this generation grew up understanding and keeping up with technological changes ( Geck, 2007 ).
Previous studies of customers’ willingness to pay for online media products have been inconclusive
/Danmark limits these strategies to a minimum. The result is that DR stands out as far more non-linear and much more oriented towards the idea of the users’ choice. This communicative strategy is supported by the public service obligation to provide access to content regardless of the platform used. In this way, the need to make money has a conservative effect on the construction of continuity, with the significant differences between TV 2 and DR being connected to their funding models and not to the technology that they use.
The way in which on-air schedules and
which permeates the future strategies of media organisations and influences their engagement in new partnerships.
In the original call for contributions to this issue of the Nordic Journal of Media Studies , the theme of transformation was addressed using two concepts: “disruption” and “infrastructure”. Both of these have their conceptual origins in other, but increasingly relevant, scholarly fields – namely, business management, science and technology studies, and information science. Hence, the use of these concepts signals that digital technologies not only
Communication , Media Culture & Society and MedieKultur . Contact: email@example.com.
ASTA BÄCK received a Master of Science degree in Media Technology from the Helsinki University of Technology in 1983. She currently works as Principal Scientist in the VTT Big Data Industrial Applications team. She has worked at VTT since 1983 in different positions, such as research scientist, team leader, and project manager. Her expertise and research interests include media innovation development, the utilization of social media to support innovation and marketing, and tools and
A diachronic affordance analysis of Steam’s platformization strategy
critical investigations of the political economy of games (Dyer-Witheford & De Peuter, 2009; Kücklich, 2005 ).
Therefore, it is useful to consider Steam within the context of other “disruptive technologies”, a concept that is usually traced back to Bower and Christensen (1995) , who used it to compare the manner in which large companies like IBM, Xerox and Sears lost large market shares by ignoring new, often less performant but more flexible technologies that initially failed to meet the expectations and immediate needs of their mainstream consumer base. Within the
also what they produce and how the production is financed. Consequently, technology is changing not only how we consume but also what we consume, and the disruption is thus best described as technocultural ( Burger, 1961 ; Penley & Ross, 1991 ).
The effects of this technocultural disruption on feature film production in Norway were examined in a white paper to the Norwegian Ministry of Culture in 2018 ( Gaustad et al., 2018 ), of which the overall objective was to identify how digitization has affected revenue streams for films and drama series made available
Outlining the figure of the entrepreneur–journalist in four French pure players
, comparable to the conditions known to high-tech start-ups ( Stark & Girard, 2009 ). In addition, Coddington (2015) observed that these “startup news organizations” are characterized by the erosion of the business–newsroom boundary that is common to both the French and the USA context, albeit built on different histories and journalistic genre rhetoric ( Coddington, 2015 ; Ruellan, 2011 ). Nevertheless, the enthusiasm for technology that commonly defines start-ups tends to be overshadowed in these pure players’ rhetoric by the idea of quality journalism being liberated
How private media managers talk about responsibility to society in an era of turmoil
Trine Syvertsen, Karen Donders, Gunn Enli and Tim Raats
points of view and forms of expression” (Croteau & Hoynes, 2006: 69). Beyond general descriptions, however, the definition of the public interest has been contested and subject to diverse interpretations. Croteau and Hoynes were sceptical in defining the public interest as “a rigid and timeless set of guidelines which would not be likely to withstand changing cultural norms or the emergence of new technologies” (Croteau & Hoynes, 2006: 34), instead exploring how public interest expectations are expressed in sources such as legal documents, journalistic codes of ethics