Creative Information Exploration in Journalism

Existing digital tools used by journalists such as content management systems and search engines focus on helping journalists find relevant information and organize their creative work; they do not provide support for discovering creative angles to investigate. To meet this need in journalism, we have researched new creative search algorithms that manipulate the journalist’s primary medium – written information – and developed an innovative creativity and productivity support tool deliberately for use by journalists. In this paper, we analyse the creative tasks journalists perform when developing new stories, we provide an overview of requirements, which have been addressed by the INJECT digital creativity support tool for journalists. Further, we explain the intended use of the system using a walkthrough scenario and present our early experiences from deploying the tool in journalist’s working environments

Clarifying creative nonfiction through the personal essay

In a recent issue of TEXT, Matthew Ricketson sought to clarify the &lsquo;boundaries between fiction and nonfiction&rsquo;.&nbsp;In his capacity as a teacher of the creative nonfiction form he writes, &lsquo;I have lost count of the number of times, in classes and in submitted work, that students have described a piece of nonfiction as a novel&rsquo;. The confusion thus highlighted is not restricted to Ricketson&rsquo;s journalism students. In our own university&rsquo;s creative writing cohort, students also struggle with difficulties in melding the research methodology of the journalist with the language and form of creative writing required to produce nonfiction stories for a 21st century readership.Currently in Australia creative nonfiction is enthusiastically embraced by publishers and teaching institutions. Works of memoir proliferate in the lists of mainstream publishers, as do anthologies of the essay form. During a time of increasing competition and desire for differentiation between institutions, when graduate outcomes form a basis for marketing university degrees, it is hardly surprising that, increasingly, tertiary writing teachers focus on this genre in their writing programs. A second tension has arisen in higher education more generally, which affects our writing students&rsquo; approaches to tertiary study. The student writers of the 21st century emerge from a digitally literate and socially collaborative generation: the NetGen(eration). From a learner-centric viewpoint, they could be described as time-poor, and motivated by work-integrated learning with its perceived close links to workplace contexts and to writing genres. They seek just-in-time learning to meet their immediate employment needs, which inhibits the development of their capacity to adapt their researching and writing to various genres and audiences. This article examines issues related to moving these NetGen student writers into the demanding and rapidly expanding creative nonfiction market. It is form rather than genre that denotes creative nonfiction and, we argue, it is the unique features of the personal essay, based as it is on doubt, discovery and the writer&rsquo;s personal voice that can be instrumental in teaching creative nonfiction writing to our digitally and socially literate cohort of students.<br /

Exploring a curatorial turn in journalism

Curation has moved from the ‘rarefied’ atmosphere of museums and exhibitions into journalism where new discourses and practices are proliferating. The changes have attracted academic attention such that journalism is now facing its own curatorial turn akin to what Paul O’Neill identified in museum studies. This article draws on a meta-analysis of journal articles in the field to argue that the prevalent instrumentalist definitions of curation are necessary but not sufficient to capture what the shifts in discourse and practices mean for journalism. In order to derive a more nuanced conceptualization of curation that includes the instrumental and metaphorical, the article draws on literature beyond the field of journalism studies to trace the changing meanings of the term from curation from antiquity to the digital age. The conditions are propitious for the movement of new practices into newsrooms but where it fits in relation to existing professions is intellectually unclear because of a lack of conceptual clarity as to how curation overlaps and differs from other roles. The article offers a preliminary attempt to address this

Digital Creativity Support for Original Journalism

The decline in circulations and revenues resulting from the digitalization of news production and consumption has led to a crisis in journalism.Journalists have less time to research, investigate and write original stories, leading to problems for our democratic processes and holding the powerful to account. This paper reports the architecture, features and rationale for new digital creativity support designed to support journalists to discover more original angles onstories. It also summarises the evaluation of the tool’s use in 3 newsrooms

Interactive infographics and news values

This is an Author's Accepted Manuscript of an article published in Digital Journalism [PUBLICATION DETAILS], copyright @ Taylor & Francis, available online at http://www.tandfonline.com/10.1080/21670811.2013.841368.This study is concerned with the news values and working practices that inform the creation of interactive infographics in UK online news. The author draws upon organisational theory in journalism studies, and considers how conventional journalistic news values compare with best practice as espoused in different literatures within this field. A series of open-ended, depth interviews with visual news journalists from the UK national media were undertaken, along with a short-term observation case study at a national online news publisher. Journalistic and organisational norms are found to shape the selection, production, and treatment of interactive graphics, and a degree of variation is found to exist amongst practitioners as to definitions of quality in this field. Some news stories are considered to be better suited to rendering in interactive form than others. The availability of “big data” does not drive decision-making in itself, but some numbers are considered more newsworthy than others. Budgetary constraint drives practice and limits potential in this field. Risk aversion, embodied in various forms; from the use of templates, to a perceived need to avoid audience complaint, is found to dampen experimentation. Detailed audience research was found to inform the choice of methods used in data visualisation at one national news producer. This warrants further investigation as to how audiences engage with news interactives, and what the framing of news in certain (preferred) data visualisation formats means in terms of how news is understood

Narrative Visualization: Sharing Insights into Complex Data

This paper is a reflection on the emerging genre of narrative visualization, a creative response to the need to share complex data engagingly with the public. In it, we explain how narrative visualization offers authors the opportunity to communicate more effectively with their audience by reproducing and sharing an experience of insight similar to their own. To do so, we propose a two part model, derived from previous literature, in which insight is understood as both an experience and also the product of that experience. We then discuss how the design of narrative visualization should be informed by attempts elsewhere to track the provenance of insights and share them in a collaborative setting. Finally, we present a future direction for research that includes using EEG technology to record neurological patterns during episodes of insight experience as the basis for evaluation

Life After Youth Media: Insights about Program Influence into Adulthood

* Do the skills, attitudes, and behaviors imparted in youth programs "stick" into adulthood?* If they do, how do they manifest in career, education, and life decisions?* How do the skills, attitudes, and behaviors that youth programs try to impart differ based on program intensity or levels of engagement?* Do these elements look different for people who went through youth media programs versus people who went through other types of youth programs?These are common questions that youth program providers, funders, public officials, and other leading thinkers regularly wrestle with. This report tells the story of a group in Chicago committed to providing quality youth media programming in the city and how, through a collective evaluation, they were able to begin to answer these critical questions

What Is Grounded Theory Good For?

Grounded theory (GT) made its appearance in the social sciences in 1967 with publication of Barney Glaser and Anselm Strauss’s The Discovery of Grounded Theory. Glaser and Strauss advocated for systematically discovering and interpreting empirical data to generate theory, in contrast to testing or verifying theory derived from a priori assumptions. In the intervening 50 years, GT has spread into a wide range of fields including journalism and mass communication. Variations of the method have been developed, and debate has ensued about its relation to positivism and constructivism as well as pragmatism and postmodernism and about its value for critical race theory, feminist theory, and indigenous and other critical methods and theories. When and how is it best used? Is it misunderstood or misused by some? Is it more than a method? We asked senior scholars with expertise in GT to reflect on these issues, beginning with Vivian Martin, coeditor with Astrid Gynnild of Grounded Theory: The Philosophy, Method, and Work of Barney Glaserpublished by BrownWalker Press (2012). Martin, professor and chair of the Department of Journalism at Central Connecticut State University, argues the method has been misunderstood even by those who use it, often conflated with qualitative studies, with only two GT studies published in journalism and mass communication. It is practical and subversive, she observes, with the ability to develop new concepts and link ideas across disciplines. She advocates a closer adherence to Glaser’s original intentions for the method. Responding to Martin is Clifton Scott, associate professor in the Department of Communication Studies at the University of North Carolina at Charlotte. Scott is the author of “Grounded Theory” in Encyclopedia of Communication Theory, edited by Steven Littlejohn and Sonja Foss published by SAGE (2009). While agreeing with Martin that the name often is misapplied, Scott argues for less preoccupation with policing the purity of the method in favor of developing multiple approaches appropriate to it as a methodology. Reacting to both Martin and Scott, Bonnie Brennen critiques the original GT approach as neglecting “methodological self-consciousness,” which would uncover researchers “theoretical assumptions, power relations, class positions and personal experiences.” Brennen, the Nieman Professor of Journalism in the Diederich College of Communication at Marquette University, is the author of Qualitative Research Methods for Media Studies, second edition, published by Routledge in 2017. Finally, Meenakshi Gigi Durham, responding to all three, expresses optimism about GT’s potential to spur new inquiry through exploration of social life, while she proposes that, like all theory, it be seen as necessarily dynamic and evolutionary. Durham is a professor in the School of Journalism and Mass Communication at the University of Iowa and associate dean of the College of Liberal Arts and Sciences. She is the editor with Douglas M. Kellner of Media and Cultural Studies: Keyworks, second edition, published by Blackwell (2011). Lana Rakow, Associate Editor Louisa Ha, Edito

'“A strange enough region wherein to wander and muse": Mapping Clerkenwell in Victorian Popular Fictions'

Drawing on the work of Bertrand Westphal, this essay attempts to perform a geocritical reading of the London district of Clerkenwell. After discussing the spatial turn in the Humanities and introducing a range of spatial critical approaches, the essay “maps” literary Clerkenwell from the perspectives of genre hybridity and intertextuality, spatially articulate cartography, multifocal and historically aware public perception and potentially transgressive connection to outside areas. Clerkenwell is seen to have stimulated a range of genre fiction, including Newgate, realist, penny and slum fiction, and social exploration journalism. In much of this writing, the district was defined by its negative associations with crime, poverty, incarceration and slaughter. Such negative imageability, the essay suggests, was self-perpetuating, since authors would be influenced by their reading to create literary worlds repeating existing tropes; these literary representations, in turn, influenced readers’ perceptions of the area.Intertextual, multi-layered and polysensorial geocritical readings,the essay concludes, can producepowerful andnuanced pictures of literary placesbut also face a formidable challenge in defining an adequate geocentric corpus