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sheminecrafts · 6 years ago

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Why publishers shouldn’t trust Facebook News

Are we really doing this again? After the pivot to video. After Instant Articles. After news was deleted from the News Feed. Once more, Facebook dangles extra traffic, and journalism outlets leap through its hoop and into its cage.

Tomorrow, Facebook will unveil its News tab. About 200 publishers are already aboard including the Wall Street Journal and BuzzFeed News, and some will be paid. None seem to have learned the lesson of platform risk.

When you build on someone else’s land, don’t be surprised when you’re bulldozed. And really, given Facebook’s flawless track record of pulling the rug out from under publishers, no one should be surprised.

I could just re-run my 2015 piece on how “Facebook is turning publishers into ghost writers,” merely dumb content in its smart pipe. Or my 2018 piece on “how Facebook stole the news business” by retraining readers to abandon publishers’ sites and rely on its algorithmic feed.

Chronicling Facebook’s abuse of publishers

Let’s take a stroll back through time and check out Facebook’s past flip-flops on news that hurt everyone else:

-In 2007 before Facebook even got into news, it launches a developer platform with tons of free virality, leading to the build-up of companies like Zynga. Once that spam started drowning the News Feed, Facebook cut it and Zynga off, then largely abandoned gaming for half a decade as the company went mobile. Zynga never fully recovered.

-In 2011, Facebook launches the open graph platform with Social Reader apps that auto-share to friends what news articles you’re reading. Publishers like The Guardian and Washington Post race to build these apps and score viral traffic. But in 2012, Facebook changes the feed post design and prominence of social reader apps, they lost most of their users, those and other outlets shut down their apps, and Facebook largely abandons the platform

-In 2015, Facebook launches Instant Articles, hosting news content inside its app to make it load faster. But heavy-handed rules restricting advertising, subscription signup boxes, and recirculation modules lead publishers to get little out of Instant Articles. By late 2017, many publishers had largely abandoned the feature.

Decline of Instant Article use, via Columbia Journalism Review

-Also in 2015, Facebook started discussing “the shift to video,” citing 1 billion video views per day. As the News Feed algorithm prioritized video and daily views climbed to 8 billion within the year, newsrooms shifted headcount and resources from text to video. But a lawsuit later revealed Facebook already knew it was inflating view metrics by 150% to 900%. By the end of 2017 it had downranked viral videos, eliminated 50 million hours per day of viewing (over 2 minutes per user), and later pulled back on paying publishers for Live video as it largely abandoned publisher videos in favor of friend content.

-In 2018, Facebook announced it would decrease the presence of news in the News Feed from 5% to 4% while prioritizing friends and family content. Referral shrank sharply, with Google overtaking it as the top referrer, while some outlets were hit hard like Slate which lost 87% of traffic from Facebook. You’d understand if some publishers felt…largely abandoned.

Facebook referral traffic to slate plummeted 87% after a strategy change prioritized friends and family content over news

Are you sensing a trend?

Facebook typically defends the whiplash caused by its strategic about-faces by claiming it does what’s best for users, follows data on what they want, and tries to protect them. What it leaves out is how the rest of the stakeholders are prioritized.

Aggregated to death

I used to think of Facebook as being in a bizarre love quadrangle with its users, developers and advertisers. But increasingly it feels like the company is in an abusive love/hate relationship with users, catering to their attention while exploiting their privacy. Meanwhile, it dominates the advertisers thanks to its duopoly with Google that lets it survive metrics errors, and the developers as it alters their access and reach depending on if it needs their users or is backpedaling after a data fiasco.

Only recently after severe backlash does society seem to be getting any of Facebook’s affection. And perhaps even lower in the hierarchy would be news publishers. They’re not a huge chunk of Facebook’s content or, therefore, its revenue, they’re not part of the friends and family graph at the foundation of the social network, and given how hard the press goes on Facebook relative to Apple and Google, it’s hard to see that relationship getting much worse than it already is.

That’s not to say Facebook doesn’t philosophically care about news. It invests in its Journalism Project hand-outs, literacy and its local news feature Today In. Facebook has worked diligently in the wake of Instant Article backlash to help publishers build out paywalls. Given how centrally it’s featured, Facebook’s team surely reads plenty of it. And supporting the sector could win it some kudos between scandals.

But what’s not central to Facebook’s survival will never be central to its strategy. News is not going to pay the bills, and it probably won’t cause a major change in its hallowed growth rate. Remember that Twitter, which hinges much more on news, is 1/23rd of Facebook’s market cap.

So hopefully at this point we’ve established that Facebook is not an ally of news publishers.

At best it’s a fickle fair-weather friend. And even paying out millions of dollars, which can sound like a lot in journalism land, is a tiny fraction of the $22 billion in profit it earned in 2018.

Whatever Facebook offers publishers is conditional. It’s unlikely to pay subsidies forever if the News tab doesn’t become sustainable. For newsrooms, changing game plans or reallocating resources means putting faith in Facebook it hasn’t earned.

Twitter And Facebook Are Turning Publishers Into Ghost Writers

What should publishers do? Constantly double-down on the concept of owned audience.

They should court direct traffic to their sites where they have the flexibility to point users to subscriptions or newsletters or podcasts or original reporting that’s satisfying even if it’s not as sexy in a feed.

Meet users where they are, but pull them back to where you live. Build an app users download or get them to bookmark the publisher across their devices. Develop alternative revenue sources to traffic-focused ads, such as subscriptions, events, merchandise, data and research. Pay to retain and recruit top talent with differentiated voices.

What scoops, opinions, analysis, and media can’t be ripped off or reblogged? Make that. What will stand out when stories from every outlet are stacked atop each other? Because apparently that’s the future. Don’t become generic dumb content fed through someone else’s smart pipe.

As Ben Thompson of Stratechery has proselytized, Facebook is the aggregator to which the spoils of attention and advertisers accrue as they’re sucked out of the aggregated content suppliers. To the aggregator, the suppliers are interchangeable and disposable. Publishers are essentially ghostwriters for the Facebook News destination. Becoming dependent upon the aggregator means forfeiting control of your destiny.

Surely, experimenting to become the breakout star of the News tab could pay dividends. Publishers can take what it offers if that doesn’t require uprooting their process. But with everything subject to Facebook’s shifting attitudes, it will be like publishers trying to play bocce during an earthquake.

[Featured Image: Russell Werges]

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technicalsolutions88 · 6 years ago

Link

Chronicling Facebook’s abuse of publishers

Let’s take a stroll back through time and check out Facebook’s past flip-flops on news that hurt everyone else:

Decline of Instant Article use, via Columbia Journalism Review

Facebook referral traffic to slate plummeted 87% after a strategy change prioritized friends and family content over news

Are you sensing a trend?

Aggregated to death

So hopefully at this point we’ve established that Facebook is not an ally of news publishers.

At best it’s a fickle fair-weather friend. And even paying out millions of dollars, which can sound like a lot in journalism land, is a tiny fraction of the $22 billion in profit it earned in 2018.

Twitter And Facebook Are Turning Publishers Into Ghost Writers

What should publishers do? Constantly double-down on the concept of owned audience.

[Featured Image: Russell Werges]

from Social – TechCrunch https://ift.tt/2MJezaW Original Content From: https://techcrunch.com

#Technical Solutions #SEO #Online Earning #Youtube Marketing #Android Developer

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vietthaimeco · 6 years ago

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2018 Chrysler Pacifica Limited: Is It Fixed Yet? – Long-Term Update 3

Shortly after my last update went live, my inbox filled up with dozens of letters from Pacifica owners. They all reported having similar stalling issues with their vans, and a few had their vans in the shop for long periods of time like I did. They pointed me to PacificaForums, where I found multiple threads detailing problems similar to what I’ve been dealing with. It was starting to sound like my experience wasn’t at all unique.

But we’ll return to that. After the engine cut out and refused to restart on its own just one week after getting the van back, I texted my service adviser to let him know that I’d be coming in again. Just like last time, he hooked up a diagnostic reader and found some codes. He told me it’d be another few days of diagnosis and that my rental would again be covered under warranty. I then mentioned that the suspension knocking noise was back and demonstrated it by rocking the van from side to side. He took note and added it to the work order.

This time, the Pacifica was in the shop for 11 days rather than a full month. The technician traced one of the codes to the anti-lock brake system control module. Determining it to be faulty, the tech replaced the ABS control unit with a new part. That seemed an unlikely culprit to me, but it made slightly more sense than the exhaust gas recirculation cooler that was blamed the last time.

The suspension knock was fixed by replacing the front anti-roll bar links. According to the tech who performed the suspension work, it’s not standard practice to replace the links when you swap in a new bar. The original links are reused, but he noted that at least one other customer had come back complaining of front end noise after their van’s anti-roll bar was replaced, as ours had been. Could there be a design flaw in the front anti-roll bar setup? Or were the links the problem the whole time? It’s hard to say, but this technician says he plans to replace the links and the bar together from now on. It’s been nearly three months since that repair, and so far the suspension has been quiet.

Things seemed to be fixed with the stop/start problem, as well, but three weeks after I picked up the van, it stalled again—exactly the same as before. Two unsuccessful repair attempts totaling more than 30 days in the shop would meet the minimum criteria to file an arbitration claim under California’s lemon law. That is, of course, if I had purchased the car myself. Rather than head to the dealer a third time, we took FCA up on a previous offer to look at the vehicle. It’s true that this exact option wouldn’t be available to an owner, but one of the potential awards of an arbitration claim is an additional repair attempt, which often involves a crack team of technicians charged with doing everything possible to fix the car and save the automaker from having to buy it back. With that in mind, we were OK with Chrysler engineers poring over our long-termer.

While it was in FCA’s care, the powertrain control module software for the stop/start system received an update. Last year, FCA issued a recall for certain 2017 model-year Pacificas to address a stalling issue. The fix involved a software update, though it’s not clear if that was at all related to the update our long-termer received. As of this writing, FCA has not recalled the 2018 model for stalling issues despite numerous complaints filed on the National Highway Traffic Association’s webpage for the 2018 Chrysler Pacifica. According to NHTSA, there’s no set number of reports needed to trigger an investigation. Rather, the number of complaints and the severity of the alleged safety risk are considered together.

I reached out to FCA to see what the automaker is doing about the stalling complaints. “We continually monitor the performance of our vehicles in the field,” a spokesperson said. “We do so using multiple data streams, from observations by service technicians to warranty claims to NHTSA’s public database. If issues are identified, we act accordingly.”

When asked whether complaints on message boards like PacificaForums are also being considered, the spokesperson said, “As with all information we learn, we seek to determine fact.”

So is there a widespread stalling issue on the 2018 Chrysler Pacifica? All I know is that ours has died at least half a dozen times and there are angry Pacifica owners online who, like me, just want a fix so they can enjoy their otherwise fantastic vans. Here’s hoping the third time’s a charm.

Read more about our long-term 2018 Chrysler Pacifica:

Arrival: Enter the Dad Van

Update 1: Just So Handy

Update 2: Dealership Woes

7 Reasons Why I’d Get It Over a Crossover

The post 2018 Chrysler Pacifica Limited: Is It Fixed Yet? – Long-Term Update 3 appeared first on Motortrend.

source https://www.motortrend.com/cars/chrysler/pacifica/2018/2018-chrysler-pacifica-limited-long-term-update-3-review/

#vtmeco.com

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readersforum · 6 years ago

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The danger of ‘I already pay for Apple News+’

New Post has been published on http://www.readersforum.tk/the-danger-of-i-already-pay-for-apple-news-2/

The danger of ‘I already pay for Apple News+’

Apple doesn’t care about news, it cares about recurring revenue. That’s why publishers are crazy to jump into bed with Apple News+. They’re rendering their own subscription options unnecessary in exchange for a sliver of what Apple pays out from the mere $10 per month it charges for unlimited reading.

The unfathomable platform risk here makes Facebook’s exploitative Instant Articles program seem toothless in comparison. On Facebook, publishers became generic providers of dumb content for the social network’s smart pipe that stole the customer relationship from content creators. But at least publishers were only giving away their free content.

Apple News+ threatens to open a massive hole in news site paywalls, allowing their best premium articles to escape. Publishers hope they’ll get exposure to new audiences. But any potential new or existing direct subscriber to a publisher will no longer be willing to pay a healthy monthly fee to occasionally access that top content while supporting the rest of the newsroom. They’ll just cherry pick what they want via News+, and Apple will shave off a few cents for the publisher while owning all the data, customer relationship and power.

“Why subscribe to that publisher? I already pay for Apple News+” should be the question haunting journalists’ nightmares. For readers, $10 per month all-you-can-eat from 300-plus publishers sounds like a great deal today. But it could accelerate the demise of some of those outlets, leaving society with fewer watchdogs and storytellers. If publishers agree to the shake hands with the devil, the dark lord will just garner more followers, making its ruinous offer more tempting.

There are so many horrifying aspects of Apple News+ for publishers, it’s best just to list each and break them down.

No relationship with the reader

To succeed, publishers need attention, data and revenue, and Apple News+ gets in the way of all three. Readers visit Apple’s app, not the outlet’s site that gives it free rein to promote conference tickets, merchandise, research reports and other money-makers. Publishers don’t get their Apple News+ readers’ email addresses for follow-up marketing, cookies for ad targeting and content personalization, or their credit card info to speed up future purchases.

At the bottom of articles, Apple News+ recommends posts by an outlet’s competitors. Readers end up without a publisher’s bookmark in their browser toolbar, app on their phone or even easy access to them from News+’s default tab. They won’t see the outlet’s curation that highlights its most important content, or develop a connection with its home screen layout. They’ll miss call-outs to follow individual reporters and chances to interact with innovative new interactive formats.

Perhaps worst of all, publishers will be thrown right back into the coliseum of attention. They’ll need to debase their voice and amp up the sensationalism of their headlines or risk their users straying an inch over to someone else. But they’ll have no control of how they’re surfaced…

At the mercy of the algorithm

Which outlets earn money on Apple News+ will be largely determined by what Apple decides to show in those first few curatorial slots on screen. At any time, Apple could decide it wants more visual photo-based content or less serious world news because it placates users even if they’re less informed. It could suddenly preference shorter takes because they keep people from bouncing out of the app, or more generic shallow-dives that won’t scare off casual readers who don’t even care about that outlet. What if Apple signs up a publisher’s biggest competitor and sends them all the attention, decimating the first outlet’s discovery while still exposing its top paywalled content for cheap access?

Remember when Facebook wanted to build the world’s personalized newspaper and delivered tons of referral traffic, then abruptly decided to favor “friends and family content” while leaving publishers to starve? Now outlets are giving Apple News+ the same iron grip on their businesses. They might hire a ton of talent to give Apple what it wants, only for the strategy to change. The Wall Street Journal says it’s hiring 50 staffers to make content specifically for Apple News+. Those sound like some of the most precarious jobs in the business right now.

Remember when Facebook got the WSJ, Guardian and more to build “social reader apps” and then one day just shut off the virality and then shut down the whole platform? News+ revenue will be a drop in the bucket of iPhone sales, and Apple could at any time decide it’s not thirsty any more and let News+ rot. That and the eventual realization of platform risk and loss of relationship with the reader led the majority of Facebook’s Instant Articles launch partners like The New York Times, The Washington Post and Vox to drop the format. Publishers would be wise to come to that same conclusion now before they drive any more eyeballs to News+.

News+ isn’t built for news

Apple acquired the magazine industry’s self-distribution app Texture a year ago. Now it’s trying to cram in traditional text-based news with minimal work to adapt the product. That means National Geographic and Sports Illustrated get featured billing with animated magazine covers and ways to browse the latest “issue.” News outlets get demoted far below, with no intuitive or productive way to skim between articles beyond swiping through a chronological stack.

I only see WSJ’s content below My Magazines, a massive At Home feature from Architectural Digest, a random Gadgets & Gear section of magazine articles, another huge call-out for the new issue of The Cut plus four pieces inside of it, and one more giant look at Bloomberg’s profile of Dow Chemical. That means those magazines are likely to absorb a ton of taps and engagement time before users even make it to the WSJ, which will then only score few cents per reader.

Magazines often publish big standalone features that don’t need a ton of context. News articles are part of a continuum of information that can be laid out on a publisher’s own site where they have control, but not on Apple News+. And to make articles more visually appealing, Apple strips out some of the cross-promotional recirculation, sign-up forms and commerce opportunities on which publishers depend.

Shattered subscriptions

The whole situation feels like the music industry stumbling into the disastrous iTunes download era. Musicians earned solid revenue when someone bought their whole physical album for $16 to listen to the single, then fell in love with the other songs and ended up buying merchandise or concert tickets. Then suddenly, fans could just buy the digital single for $0.99 from iTunes, form a bond with Apple instead of the artist and the whole music business fell into a depression.

Apple News+’s onerous revenue-sharing deal puts publishers in the same pickle. That occasional flagship article that’s a breakout success no longer serves as a tentpole for the rest of the subscription.

Formerly, people would need to pay $30 per month for a WSJ subscription to read that article, with the price covering the research, reporting and production of the whole newspaper. Readers felt justified paying the price because they got access to the other content, and the WSJ got to keep all the money even if people didn’t read much else or declined to even visit during the month. Now someone can pop in, read the WSJ’s best or most resource-intensive article, and the publisher effectively gets paid à la carte like with an iTunes single. Publishers will be scrounging for a cut of readers’ $10 per month, which will reportedly be divided in half by Apple’s oppressive 50 percent cut, then split between all the publishers someone reads — which will be heavily skewed towards the magazines that get the spotlight.

I’ve already had friends ask why they should keep paying if most of the WSJ is in Apple News along with tons of other publishers for a third of the price. Hardcore business news addicts that want unlimited access to the finance content that’s only available for three days in Apple News+ might keep their WSJ subscription. But anyone just in it for the highlights is likely to stop paying WSJ directly — or never start.

I’m personally concerned because TechCrunch has agreed to put its new Extra Crunch $15 per month subscription content inside Apple News+ despite all the warning signs. We’re saving some perks, like access to conference calls just for direct Extra Crunch subscribers, and perhaps a taste of EC’s written content might convince people they want the bonus features. But even more likely seems the possibility that readers would balk at paying again for just some extra perks when they already get the rest from Apple News, and many newsrooms aren’t set up to do anything but write articles.

It’s the “good enough” strategy we see across tech products playing out in news. When Instagram first launched Stories, it lacked a ton of Snapchat’s features, but it was good enough and conveniently located where people already spent their time and had their social graph. Snapchat didn’t suddenly lose all its users, but there was little reason for new users to sign up and growth plummeted.

Apple News is pre-loaded on your device, where you already have a credit card set up, and it’s bundled with lots of content, at a cheaper price than most individual news outlets. Even if it doesn’t offer unlimited, permanent access to every WSJ Pro story, Apple News+ will be good enough. And it gets better with each outlet that allies with this Borg.

But this time, good enough won’t just determine which tech giant wins. Apple News+ could decimate the revenue of a fundamental pillar of society we rely on to hold the powerful accountable. Yet to the journalists that surrender their content, Apple will have no accountability.

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toomanysinks · 6 years ago

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The danger of ‘I already pay for Apple News+’

There are so many horrifying aspects of Apple News+ for publishers, it’s best just to list each and break them down.

No relationship with the reader

At the mercy of the algorithm

News+ isn’t built for news

Shattered subscriptions

source https://techcrunch.com/2019/03/26/no-need-to-subscribe/

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fmservers · 6 years ago

Text

The danger of “I already pay for Apple News+”

There are so many horrifying aspects of Apple News+ for publishers, it’s best just to list each and break them down.

No Relationship With The Reader

To succeed, publishers need attention, data, and revenue, and Apple News+ gets in the way of all three. Readers visit Apple’s app, not the outlet’s site that gives it free rein to promote conference tickets, merchandise, research reports, and other money-makers. Publishers don’t get their Apple News+ readers’ email addresses for follow-up marketing, cookies for ad targeting and content personalization, or their credit card info to speed up future purchases.

At the bottom of articles, Apple News+ recommends posts by an outlet’s competitors. Readers end up without a publisher’s bookmark in their browser toolbar, app on their phone, or even easy access to them from News+’s default tab. They won’t see the outlet’s curation that highlights its most important content, or develop a connection with its home screen layout. They’ll miss call outs to follow individual reporters and chances to interact with innovative new interactive formats.

At The Mercy Of The Algorithm

Remember when Facebook got the WSJ, Guardian, and more to build “social reader apps” and then one day just shut off the virality and then shut down the whole platform? News+ revenue will be a drop in bucket of iPhone sales, and Apple could at any time decide it’s not thirsty any more and let News+ rot. That and the eventual realization of platform risk and loss of relationship with the reader led the majority of Facebook’s Instant Articles launch partners like the New York Times, Washington Post, and Vox to drop the format. Publishers would be wise to come to that same conclusion now before they drive any more eyeballs to News+.

News+ Isn’t Built For News

Apple acquired the magazine industry’s self-distribution app Texture a year ago. Now it’s trying to cram in traditional text-based news with minimal work to adapt the product. That means National Geographic and Sports Illustrated get featured billing with animated magazine covers and ways to browse the latest ‘issue’. News outlets get demoted far below, with no intuitive or productive way to skim between articles beyond swiping through a chronological stack.

I only see WSJ’s content below My Magazines, a massive At Home feature from Architectural Digest, a random Gadgets & Gear section of magazine articles, another huge call out for the new issue of The Cut plus four pieces inside of it, and one more giant look at Bloomberg’s profile of Dow Chemical. That means those magazines are likely to absorb a ton of taps and engagement time before users even make it to the WSJ, which will then only score few cents per reader.

Magazines often publish big standalone features that don’t need a ton of context. News articles are part of a continuum of information that can be laid out on a publisher’s own site where they have control but not on Apple News+. And to make articles more visually appealing, Apple strips out some of the cross-promotional recirculation, sign-up forms, and commerce opportunities depend on.

Shattered Subscriptions

The whole situation feels like the music industry stumbling into the disastrous iTunes download era. Musicians earned solid revenue when someone bought their whole physical album for $16 to listen to the single, then fell in love with the other songs and ended up buying merchandise or concert tickets. Then suddenly, fans could just buy the digital single for $0.99 from iTunes, form a bond with Apple instead of the artist, and the whole music business fell into a depression.

Apple News+’s onerous revenue sharing deal puts publishers in the same pickle. That occasional flagship article that’s a breakout success no longer serves as a tentpole for the rest of the subscription.

Formerly, people would need to pay $30 per month for a WSJ subscription to read that article, with the price covering the research, reporting, and production of the whole newspaper. Readers felt justified paying the price since the got access to the other content, and the WSJ got to keep all the money even if people didn’t read much else or declined to even visit during the month. Now someone can pop in, read the WSJ’s best or most resource-intensive article, and the publisher effectively gets paid a la carte like with an iTunes single. Publishers will be scrounging for a cut of readers’ $10 per month, which will reportedly be divided in half by Apple’s oppressive 50 percent cut, then split between all the publishers someone reads — which will be heavily skewed towards the magazines that get the spotlight.

I’m personally concerned because TechCrunch has agreed to put its new Extra Crunch $15 per month subscription content inside Apple News+ despite all the warning signs. We’re saving some perks like access to conference calls just for direct Extra Crunch subscribers, and perhaps a taste of EC’s written content might convince people they want the bonus features. But even more likely seems the possibility that readers would balk at paying again for just some extra perks when they already get the rest from Apple News, and many newsrooms aren’t set up to do anything but write articles.

Apple News is pre-loaded on your device, where you already have a credit card set up, and it’s bundled with lots of content, at a cheaper price that most individual news outlets. Even if it doesn’t offer unlimited, permanent access to every WSJ Pro story, Apple News+ will be good enough. And it gets better with each outlet that allies with this Borg.

Via Josh Constine https://techcrunch.com

#TechCrunch

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bizmediaweb · 7 years ago

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How the LinkedIn Algorithm Works (And How to Make it Work for You)

When you log in at LinkedIn.com or use the LinkedIn app, you’re immediately taken to your homepage feed. This page acts very much like the Facebook feed, where you see updates from your friends or Pages you follow.

You’ll notice, however, that your LinkedIn feed doesn’t show everything your network is posting by default. That’s because it’s only showing content it believes is relevant to you.

Note: users can switch the posts they want to see based on “recent” activity (but this has to be done manually).

So, how can you, as a social media marketer, ensure your content appears in as many feeds as possible?

Bonus: Download a free guide to discover four time-saving tools to help you grow your LinkedIn network faster. Includes one tool that lets you schedule a week’s worth of LinkedIn updates in just three minutes.

How the LinkedIn algorithm works

LinkedIn’s algorithm is designed to make homepage feeds more enticing and user-friendly. The social network has published a lot of articles on the updates and improvements they continue to make to the algorithm, including:

Strategies for Keeping the LinkedIn Feed Relevant

LinkedIn’s Feed Made Faster and Smarter

Making Your Feed More Relevant – Part I

Making Your Feed More Relevant – Part 2: Relevance models and features

Feed Personalization Articles

Feed

Distribution of Your Articles – LinkedIn’s Publishing Platform (applicable to writers posting on LinkedIn’s blogging tool)

Note: there are other LinkedIn algorithms that may affect things like search, or spam messages in your inbox. But those are not what we’re talking about here. We are specifically focusing on the algorithm that organizes the homepage feed.

To begin with, your LinkedIn feed has a spam filter, which determines:

Whether your content shows up in the feed (it’s rare it will be taken down, though)

How far of an audience it reaches within LinkedIn (the most important part)

Whether to take you down as a spam user (also rare)

Below is a diagram showing how the LinkedIn algorithm works on the feed, and the four stages of the content review process:

Keep in mind these stages are not completely sequential or divided. Multiple factors affect how far a post spreads throughout the network, and these algorithmic decisions happen over time, sometimes moving the post backwards and forwards in the process.

Stage 1: Content is posted and passes an initial, computerized filter

Every time you post an update to LinkedIn (even if it’s an image), a bot immediately places the content into one of three categories:

“Spam”’

“Low-quality”

“Clear”

You want to be in the “clear” category. But if for some reason your content gets placed the “low-quality” category, you may still have hope, and could still move on to the next stages.

Stage 2: Content is left on the feed temporarily to measure engagement

At this stage, indicators of initial engagement from your audience (such as likes, comments and shares) will signal that your content is good enough to pass to stage 3 of the algorithm’s spam filter.

However, if users flag your post as spam, or hide it from their feeds because they don’t want to see it, LinkedIn’s algorithm will draw more negative conclusions.

To avoid having users “hide” your content from their feeds, consider the following:

Is my post annoying or offensive?

Am I over-posting?

Would people in my network care about this post?

Is my post so unique and insightful, people would want to share with others?

Is my post relevant to others’ professional lives?

When determining your answers to the above, you may want to re-think your post, or tone it down a bit. We’ll give more tips on hacking the LinkedIn algorithm below.

Stage 3: Content passes a computerized “virality” check

After users engage with your content to signal its quality score, the algorithm looks for clues as to the quality of the poster and the poster’s network to determine if the content is spam or not.

This is because a spammer could technically have posted garbage and gotten hundreds of other spam accounts to like and comment on the post within an hour, still successfully making it to stage 3.

Besides checking your credibility, the algorithm may also be determining the relevance and usefulness of the post to the network (i.e., the connections and followers receiving the post in their feeds) at stage 3.

As such, this stage is also when the algorithm decides whether to “demote” your content, sending it backwards in the queue for another chance at winning credibility. If your post looks “suspicious,” but the algorithm doesn’t want to make a definitive call on it (giving you the benefit of the doubt), it will remain in the feed but not show very highly or very frequently. At this point, it’s up to your audience to give your content the engagement metrics mentioned in stage 2. If it gets more engagement, it moves back to stage 3.

PRO TIP: This is why posting at the right time, plus optimizing your headlines and images for click-through-rate (CTR) are important. See below for more on this.

Stage 4: Content is reviewed by human editors

Part of the LinkedIn algorithm’s uniqueness is that it uses real humans to filter through user-generated content, and to learn more about what makes a post noteworthy (or not).

This is the stage where those humans determine whether your post is valuable enough to continue displaying in the LinkedIn feed. If your post continues to get engagement, the cycle continues, and it keeps getting shown.

There’s a lot of speculation that, at this stage, if your content is amazing, it may get a boost and reach more people. It might even show up on a LinkedIn Channel (see below for more on this).

Take a look at the sample post below. At the time of the screenshot, it was two weeks old. But, it had plenty of likes and comments (i.e., LinkedIn engagement signals). It was also liked by someone in my own network, and was relevant to content in my personal profile (such as marketing). You can’t see it in the screenshot below, but this post was ranked above another that was up for less than a day!

As a result, the post kept showing up in my newsfeed, exemplifying the recirculation power of the LinkedIn algorithm:

Note: Pulse is now integrated into your homepage feed. But Pulse articles from the LinkedIn Publisher tool work a little differently when being shown to your audience, or on Pulse Channels.

8+ tips on how to “beat” the LinkedIn algorithm

Now the fun part: learning how to make the algorithm work in your favor (a.k.a. getting your posts seen by as many people as possible).

1. Understand the type of content that LinkedIn craves

LinkedIn sources are fairly clear on what they want the focus of their platform to be: the professional world.

Instead of animated GIFs, Ellen videos and “texts-from-my-mom” screenshots, the LinkedIn algorithm aims to show users news, job posts and timely, popular content related to your career (or those of peers you’re connected to). This kind of content can be images, videos, LinkedIn article posts, external webpage links or text updates.

Any content you post should:

Be of value to someone’s career (whether as a business owner or employee)

Offer a tip related to business growth, or a career

Inspire someone in their work life

Be relevant to the industry in which you operate in

Come from a credible source

For examples, take a look at the types of content LinkedIn promises to deliver in its Pulse app.

Also, remember that part of the LinkedIn algorithm is designed to find a factor of relevance to the audience a post is being shared with.

How does LinkedIn determine relevance? By looking at people’s profiles. And user profiles are all about their careers and businesses.

Take a look below at some of the posts that LinkedIn thought I’d be interested to see on my homepage feed.

An inspirational leadership quote (22 likes in 15 hours):

An article from the BBC (a credible source), trending in an industry I work in (1,078 likes and 18 comments):

A blog post written on LinkedIn by one of my connections. It only had 1 like in 7 hours, but notice the hashtag usage. Can you guess what stage in the algorithm this post was likely in, at the time of the screenshot? Hint: it’s possible it was stage 1 or 2!

An article by a LinkedIn Influencer that someone in my network had commented on. It had 60,715 likes and 1,846 comments in seven days (LinkedIn influencers pre-pass stage four in the LinkedIn algorithm, but other posts that get this far would surely have passed the human editor check).

You get the idea.

2. Build your audience (personal or business) strategically

We know that relevance, credibility, followers and connections play a big part in the LinkedIn algorithm. So, it goes without saying you should be growing your personal or business audience (or both) on LinkedIn.

Whether you run a personal profile or a Company Page on LinkedIn, be sure to:

Fill out your personal profile and Company Page as completely as you can, and keep them updated.

Add connections (people you know, or think would be interesting to see updates from).

Encourage employees to indicate they work at your company.

Follow others and attract followers (these are different than connections on LinkedIn).

Participate in LinkedIn Groups, or host your own.

Give and receive recommendations.

Make sure your profile is public, so more people can find you, add you and see your posts (especially Publisher or Pulse posts, explained below).

Join conversations and be active on the network, generally.

Promote your LinkedIn profiles and Company pages on your website and in other appropriate spaces (e.g., employee bios, business cards and brochures, email newsletters, email signatures, etc.). Setting up customized URLs is useful for this.

Here are some resources to help you get started on the above:

LinkedIn for Business: The Ultimate Marketing Guide

How to Be Found on LinkedIn

LinkedIn Profile Tips: 9 Ways to Keep Your Page Fresh

3. Strive to be an Influencer

LinkedIn’s Official Blog made a clear statement in 2016 that feeds would intentionally contain Influencer content.

Influencers are credible users (usually company leaders) writing content approved by LinkedIn editors. They automatically pass the “no spam” test as a result.

LinkedIn Influencer content shows up on the LinkedIn feed with a special icon next to the poster’s name. It’s akin to a verification badge on a platform like Twitter.

So, how do you become a LinkedIn Influencer?

It used to be that you could apply to be one. Nowadays, it’s a select club of invite-only users.

But that doesn’t mean you should give up hope.

LinkedIn gives advice on how to get yourself to the top echelons of LinkedIn content creators. Follow their lead (and our tips in this article), to start producing amazing content they’ll notice.

4. Optimize your content for engagement

Content you post on LinkedIn should be optimized for engagement and quality. Below are LinkedIn’s actionable tips for producing the best content for its network.

Include puns or fun jokes to make professionals laugh—usually at their industry.

Provide useful, career-related tips.

Show impressive industry or company stats.

Keep it short and include a link, image, or video.

Evoke an emotion.

Next, check out these tips on our blog:

The Professional Boost: How to Go Viral on LinkedIn

Best Practices for Sharing Content on LinkedIn Company Pages

How do know if your content is performing well, even when using the tips above? Look to the data:

A/B Testing on Social Media: How to Do it with Tools You Already Have

LinkedIn Analytics: A Guide for Marketers

Remember, when you do get those hard numbers, it’s important to learn something from them. Keep revising and experimenting until you figure out what works best for your audience (and in your industry) on LinkedIn.

5. Post to the LinkedIn feed at the right time

If you’re posting at 2 a.m., when most of your network is asleep (time-zone nuances aside), your post can be up for hours before receiving likes or comments, no matter how good it is.

This is why posting to the LinkedIn feed at the right time is important.

But when is that time? A popular hypothesis is “working hours,” because LinkedIn is a professional network, and most people work 9 a.m. – 5 p.m.

However, some suggest that posting when workaholics are likely to take a break and visit LinkedIn is better.

The LinkedIn Sales and Marketing Solutions EMEA Blog says the best time to post is 8 p.m., but that you need to find your own “8 p.m. moment.” That’s when decision-making is supposedly done, even if it’s at home.

According to yet another LinkedIn article, the best time to post is going to depend on tests you perform. This is because location, time zones and people’s daily habits affect when they’re on LinkedIn—and that differs in any given audience segment.

In fact, 50% of LinkedIn users check their accounts through mobile devices, implying you have as much of a chance of reaching people after hours as you do during the workday. 6. Share other users’ posts, and they’ll probably share yours

Remember that LinkedIn is primarily a social network, so it helps to be social!

Be kind to others by sharing their posts, or embedding their videos on your site. You’d be surprised at how many will like your share, comment to say thanks, or reshare your posts to give you credit on their network. These actions increase your profile reach.

Plus, if you’re striving to be a LinkedIn Influencer, making friends on LinkedIn is a good idea.

6. Share other users’ posts, and they’ll probably share yours

Remember that LinkedIn is primarily a social network, so it helps to be social!

Plus, if you’re striving to be a LinkedIn Influencer, making friends on LinkedIn is a good idea.

7. Use the LinkedIn Publisher tool

There’s no doubt that LinkedIn is pushing posts that originate from their Publisher tool (which end up on LinkedIn Pulse, now integrated with the homepage feed).

The Publisher tool on LinkedIn is like a blogging platform—it’s made for users to publish as individual authors (not hiding behind a company name). You or your employees can write blog posts through Publisher and share them to your network(s).

LinkedIn’s Corporate Publishing Playbook recommends you use your employees’ expertise as your brand “assets” in this regard (see slide 6 on this Slideshare presentation).

The Editor-in-Chief at LinkedIn explains that Publisher posts show up in the feed for your connections and followers based on time. So, be sure to follow our engagement tips above, to keep the post circling through the LinkedIn algorithm.

However, Publisher posts get even more exposure outside the homepage feed on LinkedIn. They are shown on:

Your profile

Highlights emails to your connections and followers (if they are signed up for them)

Notifications (sometimes, if they’re relevant), including on the LinkedIn Pulse app (now integrated with the feed)

Channels

Note: Channels are curated categories of Publisher posts found within LinkedIn Pulse. If your content is good, it could be placed in these featured areas for more eyes to see.

8. Promote your LinkedIn Publisher articles

Below are some tips to get your LinkedIn articles in front of people, benefiting your rank in the LinkedIn algorithm.

@mention other LinkedIn members

When you write a Publisher post, be sure to actively share it, and use the @mention feature to tag relevant LinkedIn members. This will notify other users, and their networks, when your content is applicable to them (you don’t need to be officially connected to do this).

For example, you can @mention someone you quoted in your article, or whom you linked to. They’ll likely be flattered may even reshare it to their audience.

Or, you can @mention personal connections you feel would benefit from the article (but never spam a bunch of random users for exposure!).

Use hashtags

Hashtags will make your post discoverable by other users who are looking for information on that topic (when using LinkedIn’s search bar). They might then share it with their networks, increasing your exposure.

Use common SEO and content marketing tactics

Search engines, at one point or another, need to rely on factors like keywords to determine what a URL is about. And, good internet marketers know the value of a strong headline and image.

With that in mind, freshen up your SEO and content marketing skills before posting to LinkedIn. Here are some resources to get you started:

How to Write for SEO Without Sounding Like You’re Writing for SEO and Why You Should (an article I wrote on how it’s important to understand the value of keywords without overstuffing or sounding unnatural)

You’ll Never Believe the Strange Science of Click Bait

7 Key Strategies to Write Clickable Content for Every Social Network

10 Quick Social Media Ad Writing Tips From an Expert (still applicable even if you’re not writing ads)

Ask for a follow

This may sound somewhat forward, but hear me out. Since people can now follow, and not just connect with you on LinkedIn, there’s no harm in asking for the follow when you publish a striking article.

When you share your post, try adding a short sentence—with a clear benefit—like, “follow me for more on this topic next week!” The more followers you have, the more people are likely to see your future posts in their homepage feed. Your content will have more potential to get those engagement signals we now know are so crucial to the LinkedIn algorithm.

Share on outside social media

Use the tools LinkedIn gives you to share on Twitter. Plus, use a platform like Hootsuite to syndicate your article to multiple social media profiles, giving it an extra traffic boost.

Share to LinkedIn Groups

If you’re part of LinkedIn Groups (and you should be), use the opportunity to post your Publisher articles to those groups when it contains useful content for group members. The benefit here is that you’ll show the article to group members who may not be your 1st degree connections or followers. If it’s useful, they’ll hopefully share it to their networks or become a follower.

For example, you can use your articles to answer someone’s question, or use group member questions to inspire your content. You can also start a post on the group page, inducing a conversation about your enticing, topical and relevant article.

Try sponsored content

While you could use paid advertisements to help share your LinkedIn Publisher posts, you may get better conversions by leading ad-clicks to your website blogs, with specialized calls-to-action (CTAs). See our section below on repurposing your website content on LinkedIn.

Plus, follow our guide to LinkedIn Ads for more on this topic:

A Guide to LinkedIn Ads: How to Run a Successful Campaign

Keep in mind that the guidelines for sharing any LinkedIn content still apply to sponsored posts. See this ad from SharpSpring, and notice it stays within the realm of being useful, professional, and targeted for a LinkedIn audience:

Users can treat ads like any other piece of content, to further personalize their feed:

Paying to promote spammy or irrelevant content won’t help you. Always keep your audience in mind when sharing content on LinkedIn.

The LinkedIn Marketing Solutions blog published a post that emphasizes the importance of audience targeting when setting up ad campaigns on its network.

Allow comments on your articles, and reply to them

While you may fear spam and negative trolling, keep in mind comments are an engagement signal for the LinkedIn algorithm. That makes them necessary to keep your content in the LinkedIn feed.

Keep your audience engaged and let them know you’re listening. When appropriate, respond to comments to keep those engagement signals going.

Use LinkedIn analytics

Like we mentioned above, always use data and analytics to continually improve your content and its reach. Test the headline, photo, teaser text, share text, and even the time you shared a post. LinkedIn provides analytics to its users for this purpose.

Hootsuite also offers a tool to help you gauge the effectiveness of your team’s social media efforts.

Repurpose content from your website’s blog, within reason

We know what you’re thinking when repurposing content: what about SEO? That’s a very good question. Traditionally, SEOs will say you should avoid duplicate content on your website, which can cause ranking dilutions in the search engines.

However, you can be safe from duplicate content issues when posting through LinkedIn Publisher in two ways:

A reliance on search engines to understand the original source of content, and the intended reuse on other domains.

A nifty HTML linking trick SEOs use, called the Canonical rel link.

This process is explained more fully, with examples, in the following article I’ve written to answer this question:

Should you re-publish your blog articles on high quality websites?

So rest easy. You don’t need to create separate posts for your website and your LinkedIn profile. You can tactfully repurpose the same posts, but only if they’re worth the effort.

Don’t overuse this strategy though—you still want to attract people to your website for original content!

Key takeaways

What have we learned about how the LinkedIn algorithm works?

Engagement is critical to the LinkedIn algorithm.

Engagement is dependent on relevancy, the reach of your network, the times they are checking LinkedIn and your credibility within that audience.

Using the LinkedIn Publisher platform is a good idea. Sometimes, you can republish posts from your blog, but not always, and only when you know what you’re doing.

Reciprocity wins on any social media, including LinkedIn.

Use analytics and experiments to refine your LinkedIn posting strategy, further improving your algorithm hacks.

With that said, start experimenting with posts on LinkedIn, and start spending time on the LinkedIn feed, to get acquainted with the audience you’ll be interacting with. Get to know their likes and habits, and be known as a producer of engaging content yourself!

Schedule posts and manage your brand’s LinkedIn presence with Hootsuite. Try it free today.

Get Started

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flauntpage · 8 years ago

Text

Thinks: Ina Blom

Appreciating the Weirdness: An Interview with Ina Blom

Ina Blom: If I’m a little bit off, it’s because for some time now I haven’t slept much, after a bad bout of flu. But I’m symptom free now!

Keeley Haftner: Yes I’m glad to hear your feeling better, and we’ll forgive you for any illness-related errors [laughs]. So I’d like to begin with the basics. You teach at both University of Oslo and the University of Chicago; what do you find most different and most similar about working between these two contexts?

IB: I mean, both are art historical departments, but I think the greatest difference is that while we do have a number of foreign students in Oslo, I think the international mix in Chicago tends to be greater. In Oslo, teaching tends to be more lecture-based, with larger classes, whereas in Chicago it’s generally more seminar-based. Also, importantly, the University of Chicago is an expensive private university, where in Scandinavia all universities are state-owned and basically tuition free, and this of course creates a different study environment. The free education system also draws foreign students from beyond the EU. I probably shouldn’t advertise this to the world [laughs], but so far the government is keeping it free also for non-EU students because they want more people around the world to be aware of our research institutions.

KH: Let’s talk about your writing. It has appeared in a number of different types of publications, including art critical journals such as Artforum, Afterall, Parkett, and Texte zur Kunst, and exhibition catalogues, as well as more standard academic journals and publishing houses. Would you say that this allows you more freedom within your writing practice?

IB: Yes, absolutely. I started out as a music critic and radio DJ many years ago, so I got a lot of training in basic journalism and various genres and styles of writing, depending on the publication and the audience – from straightforward reporting to the more literary or essayistic and the more academic. I really enjoy being able to have different voices for different contexts, and I also just enjoy writing! [Laughs] One of the reasons I went back into academia was because I got a bit fed up with the free-wheeling, impressionistic voice that was de rigeur in most music journalism. The more analytic side of me wanted to be more hard-edged and focused, and also more philosophical, and this did not always go down so well in the more journalistic contexts. So ultimately I felt greater freedom having the academic world as my main professional platform. But I really enjoy the back and forth between different contexts.

KH: I’m thinking about the article you wrote for Artforum’s September 2015 issue, which was accompanied by what is probably one of the most arresting covers for the magazine I’ve ever seen (Torbjørn Rødland’s Baby (2007)). Can you describe how his innovative approach to photography, as you say, “the entire image made punctum”, holds your interest in reference to your larger research interests?

Torbjørn Rødland’s Baby, 2007, as seen on Artforum, September, 2015. Photo Credit: Artforum

IB: I’m not sure that there is a direct link, per se. As an art critic, I tend to be most interested in works that I don’t immediately “get”– when I can’t instantly tell what the work is about or what exactly the artist’s project is. Rødland’s work is very much like that; his photographs are always somewhat mysterious to me and I feel I’m always kind of scrambling to understand what he’s doing, and my own response. In the mid-90s, he got a lot of attention because he appeared to rehearse an nineteenth-century Nordic Romanticism that seemed contrary to the conceptually-oriented art practices that was re-entering art practices at that time, and also very much at odds with my own preoccupation with Dadaism, Constructivism, Fluxus and other anti-romantic- and anti-expressionist forms of art. Rødland seemed to recirculate Romanticism with a strange and idiosyncratic twist that made you pay attention. This was something completely different from conservative-post-modern pleas for past glories or ironic recirculation of too-familiar motifs. You simply had to pay attention in a new way. So that was the beginning of my interest in this work, but as his project grew I think the images just got stranger and stranger. And increasingly I started to think about them as opening up the horizon of what photography is and can be, in really new ways – pertaining, among other things, to the relationship between images, technical apparatuses and various types of natural phenomena, as well as the question of the contagiousness of images and their affective dimensions. These were ways of trying to approach his take on photography, but I still think they are inadequate in terms of just appreciating the weirdness of his work, which I think is great.

One of the first articles I wrote about his work was called “I’m With Stupid”, because I was obsessed with rock and roll stupidity, which I think is a sensibility I shared with Rødland. The celebration of idiocy, all those things for which there’s no explanation and no excuse. So I wrote a long essay about how that sensibility made its way into his work, and how that’s also linked to a celebration of vulgarity, which Robert Pattison sees as the underlying romantic impulse in rock. Vulgarity here has nothing to do with bad taste – it is rather a sort of blankness that refuses to recognize given hierarchies of values or systems of knowledge. This is yet another half-baked critical approximation which may be meaningful to some extent, but which does not say all there is to say about the work.

KH: In a studio visit I had with you while at the School of the Art Institute Chicago, I seem to remember that in your own words, you encouraged me not to beat the dead horse of Conceptualism, and emphasized the importance of sincerity over the ironic in contemporary production. I’m wondering if you can talk about sincerity after Conceptualism and Minimalism?

IB: It’s not as though I want to promote one attitude or approach over another. I’m just afraid of anything that becomes a default mode of operation that art students feel obligated to follow no matter what. The critical/conceptual art practices and their traditions are incredibly important to me, but they carry a specific form of authority which can be crushing, and which, in its less intelligent or self-critical moments, becomes just another form of academicism. Anything that is able to present itself as the one proper critical approach may have this effect, and will easily appear as more valid than something whose framework or mode of operation is less clearly formulated. I believe that art students should be thoughtful and critical in their approach, but good art does not always emerge from well-formulated critique. So this is why I get a bit concerned when students seem to feel they need to justify their work in terms that are perhaps at odds with their best capacities and resources. There should be a lot of room for following pathways that have as yet no clear direction.

Bill Viola, still from Reflecting Pool, 1979. Photo Credit: Bill Viola

KH: And you have a lot of different modes yourself, in terms of your focuses throughout your research. Shifting to one of these modes, I’m thinking about a term you briefly used in On the Style Site. Art, Sociality and Media Culture from back in 2007: the term “social site”. Can you talk about how it does or does not relate to Nicolas Bourriaud’s Relational Aesthetics?

IB: The key term for me there was “style site”, which I used in order to honour the idea of site specificity while also questioning the idea of the simple access to something called “the social” in art practices of the 1990s and early 2000s. I was profoundly skeptical of the concept of relational aesthetics, and the way a number of works seemed to have been reduced to the idea of convivial togetherness of one kind or another. I saw very different things in the work of a lot of the artists associated with this new form of sociality in art, such Philippe Parreno, Liam Gillick, Rirkrit Tirivinijia, Dominique Gonzalez-Foerster and others. These works were not just about people gathering and doing things together, such as cooking. Every single one of these works was actually a media machine. They were without exception channeling other times and other places, inserting them into the live “here and now” of togetherness through a dynamic that was reminiscent of what is accomplished with real-time technologies such as television or digital networks. On closer look, these works turned out to be exceptionally complex assemblages that often associated televisual dynamics with the time-machine aspect of architecture, fashion and design elements – a whole range of phenomena traditionally linked to the phenomenon of “style”. Style used in this way was not about the look of things, or a static description and periodization of art history. It was all about the open-ended becoming or self-styling of modern subjects. In the works in question, architecture, design and fashion appeared as integral elements of media machineries that were no longer defined in terms of the programs or messages it presented to the public. Instead they were understood in terms of their role in the modern “production of subjectivity”, which many would claim is the key product of media and information industries, and their appeal to our apparently endless desire for self-development. Does this make sense?

KH: Yes, it does, and it makes me think about how you’re approaching media not only in terms of communicating the subjective but also in terms of the collective legacy of our technologies and data. I know some have referred to your research practice as a “media-archaeological approach”, which makes me think about your collaboration with Jussi Parikka, Matthew Fuller and many others in your latest anthology Memory in Motion. Archives, Technology and the Social.

Steina Vasulka, still from Orbital Obsessions, 1977. Photo Credit: Steina Vasulka

IB: Yes, this book came out of a research project called the Archive in Motion and that I headed at the University of Oslo. The project took a media-archaeological approach to the question of the contemporary archive, exploring how twentieth-century media technologies have changed our very understanding of what an archive is. The other book that I did which related to that project was called The Autobiography of Video. The Life and Times of a Memory Technology, where I really approach early analog video technologies as a set of agencies that explore their memorizing capacities in interaction with human actors, within the context of 1960s and 70s art. I spent a lot of time learning the ins and outs of video technologies, and the upshot was a story about the way in which these technologies propelled new social ontologies in the field of art production. In related ways, the point of departure for the Memory in Motion anthology was the basic sociological claim that society is memory. The idea was that fundamental changes in the technologies of memory might also change our idea of what the social is, how we should define whatever it is that we call social. Older memory technologies seem to privilege storage, containment, and stability over time, and seem to have promoted an idea of the social as something contained. But the ephemerality of contemporary memory technologies – which are all about updating and transferring in the present moment – may support a very different social ontology. So ultimately we were exploring the connection between technology and social thought, in many instances as articulated through early artistic prehensions of the implications of new media technologies.

KH: Both of these books were released very recently, but in regard to this call you put forward within them asking us rethink social memory from the ground up through the lens of digital and media technologies – I’m wondering whether you’ve noted historians beginning to rise to this challenge? [Laughs]

IB: [Laughs] I think it’s a bit early for that. All I can say is that the writing seems to have a lot of downloads on academia.edu! [Laughs] But it is not as though we were working with these topics in a vacuum. Gabriel Tarde and Bruno Latour’s writings speak to these issues at a sociological and philosophical level, as does Maurizio Lazzarato’s contributions to the Italian post-workerist tradition in political philosophy. Additionally, important work on digital archives has been done by Wolfgang Ernst, among others, who are among the contributors to our book. Our job, as I saw it, was to connect theories of new memory technologies with certain traditions in social thought and study this from a media archaeological and historical perspective. We are currently living in an almost hysterical memory culture, obsessed with storage and safekeeping, and where the old museum principles of careful critical selection are replaced by digital technologies that seem to promise that now there will be storage capacity for everything. The reality is that nothing is stored in digital space – documents only exist in terms of code that may or may not regenerate an image or object depending on whether your software and file format has been updated. Our desperate quest for infinite storage is an effect of this half-awareness of potentially catastrophic memory loss. These are strange times for archives and collections, and we were curious about the wider social, technical and aesthetic scenarios associated with these developments, both historically and in the present.

KH: You talk about the way encoded material feels but is not actually immaterial, and how computer memory is an active electronic event. To me this seems to relate to the well-known psychological understanding that memory is created in the mind through the activity of remembering – that it is not accessed as a pre-existing object and then replaced like a book on a shelf. Would you say that we humans have a tendency to forget or misunderstand this about our own memories, or, that perhaps we understand this all too well, and we’re hoping that technology will succeed where we fail in creating an indexical record?

IB: There are many different ways of studying memory. If you follow the thinking of Henri Bergson, memory is essentially a function that serves our basic need for mobility. It relates to our capacity to propel our bodies into the future, so that memories are basically created as a function of such movement. Other theories – particularly related to sociological studies of collective memory – pay more attention to distinct monument-like memories of the past and the need for safeguarding such memories. There is nothing wrong with that perspective per se, except for the fact that it may tend towards unnecessarily rigid conceptions of what it means to be a collective. It can potentially underplay the fact that memory-monuments, whether they are rituals, institutions, language or works of art, only appear as stable and everlasting because their relevance has been constantly renegotiated or recreated through new networks of influence and new forms of attention. I am not saying this to advocate change for change’s sake, but because the idea of a collective based on a rigid idea of identity modeled on an unchanging past is not helpful in a globalized world where the worst forms of xenophobia are one the rise. We need social ontologies that make it easier, not harder, to handle the encounter with and co-existence with new “others”.

Aldo Tambellini, still from Black TV, 1968. Photo Credit: Aldo Tambellini

KH: Yes, and this idea of memory as mobility, or memory as the active present rather than the unchanging past – it reminds me of your use of Bill Viola’s “Video Black – The Mortality of the Image” in the beginning of The Autobiography of Video and the Transformation of the Artist’s Studio, where Viola was lamenting that a surveillance camera lacked the memory and comprehension of the human subject. He describes it as having no history and limitless present. So I’m thinking about that in reference to what you just said, but I’m also thinking about it in reference to something that interests me personally, which is the notion of ascribing subjecthood to the video camera. You appear critical of Viola for forcing subjecthood onto the camera, but you also talk about the technological agency of camera, and its “power to unfold” outside of the will of the artist. Can you talk about the difference between your assertion that video has “subject-like properties” and Bill Viola’s assertion that the security camera is a failed subject?

IB: I found Bill Viola’s statement interesting because when he wrote that video has no memory, he pointed to something very important, notably that closed circuit video has no storage memory. (I could add that what is “stored” on videotape also challenges ideas of storage, since videotape does not safeguard images, like film or photography does, only electromagnetic patterns that may generate an electronic image which is always a new, live, phenomenon.) But once you think memory beyond the concept of storage, video of course does have memory. These ideas are much more developed in the work of Frank Gilette and Paul Ryan, who thought of analog video as a quasi-biological memory system exemplifying the future-oriented memory of living bodies, bodies that act and react to whatever is going on around them. So I would say that Viola’s statement was basically the negative point of departure from which I could approach the ways in which video, as a memory technology, also had certain rudimentary features in common with human forms of memory. And how knowing this might affect our understanding of the encounter between artists and new technologies in the 1960s and 70s.

By writing the “autobiography of video”, I was not actually trying to say that video technology is like a human subject or to portray video as a form of subjectivity. What I was interested in was the idea of technical concretization or individuation, which I take from the philosopher Gilbert Simondon. The history of technology is not a linear set of developments that take place in reference to the world of intra-machinic functions only. Simondon described the fact that technologies change as a result of their interaction with a specific environment: this is how the inner workings of a machine become more concrete, or more specific or individuated. So I was interested in how video technologies became something very specific in interaction with an environment dominated by artists, artist-engineers and political activists, in contrast to what they became within the context of state or corporate broadcasting. Each of these contexts produced different technical/social realities. Here it is important to note that Simondon does not approach the individuation from the perspective of a finished individual, but from the dynamic process of individuation itself. It was such a process – or, more precisely, set of processes– that I tried to get at in my book, as best I could, and with all the limitations that will necessarily haunt such a project.

Keith Sonnier, still from TV In and TV Out, 1972. Photo Credit: Keith Sonnier

KH: What are you working on now?

IB: I’m a bit hesitant to discuss it because it’s so new, but I just gave a keynote lecture on the transformation of the straight line in twentieth-century art – a topic that I related to the ongoing discussions about the concept of “contemporaneity” and its institutional and discursive realities, the topic of the conference. I’ve been working for quite a while now with La Monte Young’s seminal 1960 composition, Draw a Straight Line and Follow It, and everything that happened around this work. It is a long story, but I am interested in how this work might be related to the sensorial alignment and coordination in contemporary computing and new concepts of so-called “common sense”.

Another aspect of my current work returns to the issue of machine environments, more specifically by looking into the way in which new media technologies are increasingly associated with all sorts of meteorological phenomena. Machine weathers, in other words. This is something slightly different from John Durham Peter’s discussion, in The Marvelous Clouds, of all sorts of natural phenomena as media. I am more interested in the way in which machine realities, technical realities, are approached in atmospheric terms, and also in psychological terms, having to do with moods, with subtle environmental shifts and changes. Such ideas have a long history, and it probably was the constant appearance of snow and rain in the media-oriented works of Philippe Parreno, among others, that first made me think about these ideas.

KH: Anything else?

IB: Well, there are lots of other subjects I could talk about that annoy me a great deal, but that I should probably avoid since it may turn into a rant. [Laughs]

KH: You can rant! This is Bad at Sports, after all. [Laughs]

IB: [Laughs] No no, let’s end before I do.

Ina Blom is an art historian, critic and writer working between Norway and the United States. You can find her faculty pages here and here.

Episode 583 Paul Catanese

Episode 567 Yesomi Umolu

In The Late Afternoon of Modernism: An Interview with Graham Harman

The Aesthetic Origins of the Anthropocene: An Interview with Jeremy Bolen, Emily Eliza Scott, and Andrew Yang

Economies of resignation

Thinks: Ina Blom published first on http://ift.tt/2pLTmlv

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nofomoartworld · 8 years ago

Text

Thinks: Ina Blom

Appreciating the Weirdness: An Interview with Ina Blom

Ina Blom: If I’m a little bit off, it’s because for some time now I haven’t slept much, after a bad bout of flu. But I’m symptom free now!

Torbjørn Rødland’s Baby, 2007, as seen on Artforum, September, 2015. Photo Credit: Artforum

Bill Viola, still from Reflecting Pool, 1979. Photo Credit: Bill Viola

Steina Vasulka, still from Orbital Obsessions, 1977. Photo Credit: Steina Vasulka

Aldo Tambellini, still from Black TV, 1968. Photo Credit: Aldo Tambellini

Keith Sonnier, still from TV In and TV Out, 1972. Photo Credit: Keith Sonnier

KH: What are you working on now?

KH: Anything else?

IB: Well, there are lots of other subjects I could talk about that annoy me a great deal, but that I should probably avoid since it may turn into a rant. [Laughs]

KH: You can rant! This is Bad at Sports, after all. [Laughs]

IB: [Laughs] No no, let’s end before I do.

Ina Blom is an art historian, critic and writer working between Norway and the United States. You can find her faculty pages here and here.

Episode 583 Paul Catanese

Episode 567 Yesomi Umolu

In The Late Afternoon of Modernism: An Interview with Graham Harman

The Aesthetic Origins of the Anthropocene: An Interview with Jeremy Bolen, Emily Eliza Scott, and Andrew Yang

Economies of resignation

from Bad at Sports http://ift.tt/2uxxpqK via IFTTT

#IFTTT #Bad at Sports

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lucyariablog · 8 years ago

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17 No-Cost Ways Writers Can Extend Reach of Their Editorial

On LinkedIn, a writer recently lamented:

The frustrating thing is, time spent on (promotion) strategies would detract from time spent doing my job, writing content for my clients. It feels like we are focusing more on the pot of gold, not the rainbow.

As a writer, do you feel the same way?

My take is that organizations need to look at how the team as a whole is spending its time to make sure there is ample time to promote. And the person who commented on LinkedIn is also right that writers need to spend most of their time writing. But, there are things writers and editors can do to extend the reach of the content they have spent so much time and passion creating.

In fact, this was the focus of a recent internal lunch-and-learn presentation that CMI Community Manager Monina Wagner and I put together. The tips were helpful to the companywide UBM team, and we wanted to share them here as well.

These ideas aren’t meant to be comprehensive of everything an organization can do to extend its reach. Rather, these are all things writers can do on their own or with the help of another team member (such as a designer or web person). We did not talk about things like email or paid promotions, which are valid ways to extend your reach as well.

The list below is practical – and, perhaps even better, everything on this list does not require any budget asks.

One additional note before we dig in:

This tip – as well as many of the others below – is about extending the reach of your best content. How do you know what your best content is? You can read about the key reports and the process I follow in Google Analytics to determine what content we want to prioritize for sharing. And, if you want to get yourself even more organized, use these insights to come up with your content essentials checklist.

Ideas using existing website traffic

We all spend so much time on our websites with the production of new content, it only makes sense to get as much from that time – and traffic – as possible. This first set of ideas covers how to do just that.

Click to Tweet

Click to Tweet is a snippet of text called out in your blog post that someone can easily click and tweet (as that name aptly implies). An example:

We’ve been using Clicks to Tweet in our blog posts for the past 18 to 24 months and have loved the results. As a writer, I anecdotally see my posts being shared on Twitter with those Click to Tweet statements.

Use @WordPress plugin Better Click to Tweet to make it easy to share your #blog post, says @MicheleLinn. Click To Tweet

SUGGESTIONS:

Consider how many tweets you want to use per post. We typically include two to four.

Keep the Click to Tweet text to approximately 110 characters to provide ample space for the URL as well as retweets.

Include relevant hashtags and Twitter handles of authors as well as those mentioned in the text.

Review the stats from your Clicks to Tweet to see what is being shared. For instance, we find that tweets with stats and short, impact statements do best. Often, the first Click to Tweet in a post does well.

TOOL SUGGESTION: We use Better Click to Tweet, but there are several options available.

Include links to your best posts within blog posts

Have great posts you want to share more widely? Include them in your new posts. We have tried various formats, and here are two that work well.

Have great posts you want to share more widely? Include them in your new posts, says @MicheleLinn. Click To Tweet

Our “handpicked related content” callout simply includes a link to one or more related pieces of content, as you can see in this image:

Like all blogs, we embed links within our posts to related content. Our general rule of thumb is to only include links that provide additional information to a reader when it would be helpful. We do not want to include a link simply for the sake of adding a backlink.

TOOL SUGGESTION: Wondering what is working well? Use your web analytics tool so you can see what people are clicking and what format works well. I love Google Analytics Chrome extension that lets me see what internal links are being clicked on any page in our website. This example comes from a recent post I created:

Add links to your best posts from older, high-traffic posts and pages

While adding links to great posts as you continue to publish may be somewhat obvious, remember that you can add links to older posts as well.

Andy Crestodina shared that Orbit Media always adds a link to a new post from an old post as part of the publication process. This is a fantastic idea!

Add a link to a new #blog post from an old post as part of your publication process, says @Crestodina. Click To Tweet

Even if you don’t go that far, consider how you can get traffic to your best content. For instance, whenever we publish an e-book, the author sends a list of updates for our web person to make, including updated links and existing articles, as well as updated calls to action on related posts. For instance, here is a snippet from an email that covers some of the changes to make when we published a new influencer marketing e-book.

Have a popular-post widget on your site

Another simple thing to include on your website is a popular-post widget that makes it easy for readers to browse your best posts. If you work with outside writers, this is also a great place to point people when they want to see some examples.

Include a popular-post widget on your website to make it easy for readers to browse best posts. @MicheleLinn Click To Tweet

TOOL SUGGESTION: The popular-post widget we use is WP Tab Widget by MyThemeShop.

Organize your posts by category and topic

Another thing you can do to organically extend the reach of your content is to make sure you have a taxonomy in place, which often manifests itself as your website categories and tags.

This is a work in progress at CMI, and we are doing a lot of work on the back end that is not yet visible. The goal is to help our readers surface related content through breadcrumb trails or other pages – and extend the reach of what we have.

While this conversation could easily be a post in and of itself, if you are starting down this path, figure out five to seven key topic areas your editorial covers. It’s ideal if these areas don’t overlap. While this is not yet visible on our site, we are using the following categories to organize our content:

High-level strategy

Editorial process and teams

Content creation

Distribution and promotion

Measurement and reporting

Trends and research

General success tips

These topics cover the steps of the content marketing process plus two non-process categories. As such, these categories also serve as an additional checkpoint to make sure we are covering the topics that stay true to our editorial (i.e., if a topic doesn’t fit into one of these categories, then why are we covering it?)

Editorial outreach

Lisa Dougherty, who manages our blog, is a master of personal outreach. Each of the following ideas is taken directly from how she works with authors – those mentioned in our posts, as well as team members.

Send blog post previews to your authors

Lisa sends previews of upcoming articles to our blog authors approximately one week before scheduled publication. Not only does this give authors time to make last-minute corrections if needed, but it also gives them easy ways to share their posts. Below is an example :

Send previews to authors w/ ways to share their posts to help w/promotion, says @MicheleLinn via @Brandlovellc. Click To Tweet

Lisa also follows up with each author after the first comment on the blog as a reminder when the post is live – and the author can easily refer to this message for sharing ideas.

TOOL SUGGESTION: Lisa uses Outlook’s Quick Parts to make templates for emails that are sent repeatedly. Google Mail has a Lab that has a similar functionality called Canned Responses. Both tools can be customized easily.

Email previews for roundup posts or mentions

Occasionally we run roundup posts with input from influencers (who are helpful for promotion, by the way). Lisa sends an email about a week in advance with the publish date, the URL, and pre-written tweets so it’s easy to share and schedule in advance as you can see in the example:

You also could send this after the piece is published. See what works best for you and your authors.

Celebrate your top bloggers

If you have contributors to your blog or other content, you can extend the reach by celebrating your top authors after their posts have been published. While we no longer do this, we used to have a top blogger badge we shared with our top authors each month as you can see in the example:

This badge not only shows appreciation for your authors, but it also recirculates your best post. People love awards like this and often share them and/or post them as badges on their website or LinkedIn profiles.

And, as a side benefit, it also gently reminds your best authors to write for you again.

Reach out to individuals on LinkedIn

Another tactic Lisa uses to show our appreciation for our contributors and extend the reach of our posts is to share each post over several months on multiple social platforms like LinkedIn, Facebook, Twitter, and Instagram.

For example, on LinkedIn, mention contributors by name with the @ symbol to increase post visibility. This example had 851 views for 15 minutes of Lisa’s time.

TIP: Long-form content is shared more than short posts on LinkedIn.

Email signature

Another easy thing to do is to include your best posts – or the best posts from your company – in your email signature.

Include your best posts in your email signature for additional exposure, says @MicheleLinn via @Brandlovellc. Click To Tweet

Here is an example from Lisa’s email that includes a post that she has written as well as a list of our top posts from 2016.

Make one-on-one asks

In addition to asking contributors to share their posts – and making it as easy for them as possible – we do the same thing for our team members.

Lisa is fantastic about reaching out to team members with occasional, specific asks. For instance, she’ll send me a chat message to ask me to share a specific article on Twitter or LinkedIn. As someone who can have tunnel vision, I appreciate how easy she makes this – and I’ll always share what she is asking.

While shooting an email or making a request to the entire team can also work well, I am partial to one-to-one asks because you don’t see a flood of people from the team all sending the same set of tweets (although that can be effective).

Republish content

This next set of tips extends the reach of some of your best content by publishing it again.

Bring back your best posts

I’ll be honest: Our team had several conversations on the validity of the bring-back approach, but I’m glad we tried it – and the results have been surprisingly good. Our Back by Popular Demand posts are often some of our top-performing posts for the month.

You can read about our process in detail, but here are a few notes:

We republish posts with substantial updates as well as those with few or no updates. In general, the results are equally good.

All republished posts are called out as such through an editor’s note as well as an image that includes the Back by Popular Demand branding.

We wait about a year to republish our posts.

We look at organic search traffic to decide which posts to handle.

As mentioned in the tip above, use Google Analytics to see which links are getting clicked on and update the post using that data. Remove the links that people aren’t clicking on and update the post with better information whenever possible.

Publish your print articles

Do you have articles in print whose life you can extend by publishing them digitally? At CMI, we have CCO magazine, and we republish many of the articles on our blog with a call to action encouraging readers to subscribe to the print version.

Share your best content with your team to see if there are additional opportunities

I also send monthly editorial updates to the team using this process and template.

However, I’ll share a quick story that may help simplify things: The end-of-the year holidays hit and I got busy. I dropped the team update from my to-do list and thought no one would notice – but several people asked about it. It was a great way to follow up and ask what was most useful about that report. Every person told me the slide on top posts was what they cared about the most.

How does the team use this info – and how does it help us extend our reach? Here is one example. I moderated a webinar in April with Aaron Orendorff. He had written a post about building your email list we published in September 2015. It did so well, we brought it back by popular demand in September 2016. That piece also performed fantastically, made this top-performing list, and we reached out to Aaron to present that same topic in April. That’s a lot of exposure that sprang from one post! And that would not have happened had the team not shared what was working well.

Content and social media

Content and social media are intersecting more and more frequently. This is no surprise to those on the front lines (like community managers) because they increasingly see the need for closer collaboration.

Quality content is the key to any successful social media strategy. Users who find content interesting, unique, and informative freely share it on their social channels, leading to higher engagement for the brand. In turn, analyzing that engagement can inform marketers on how their content is resonating with their target audience. It’s a cyclical relationship – informing and depending on each other. At CMI, we employ four tactics to help us extend our reach.

HANDPICKED RELATED CONTENT: How to Build a Smart Yet Simple Social Media Marketing Plan [Template]

Curate

The first tactic is to curate. The way businesses do social isn’t much like the way consumers use social. Yes, our content appears on Facebook, but we use scheduling dashboards, link-shorten tools, image templates, and a lot of tools that the average person doesn’t use. We’re scheduling content well in advance at a much higher volume than most people realize (often dozens of posts per day).

In fact, when CoSchedule, a curating and publishing app, researched the idea of sharing content more than once on social media, it found it can increase clicks by over 3,000%.

Sharing content more than once on #socialmedia can increase clicks by over 3,000% via @CoSchedule. Click To Tweet

Our social media content calendar organizes how we curate content. We keep it simple and straightforward. Our calendar guarantees that our audience will not hear the same message at the same time across all channels. For example, on the day of publishing, we craft three to five separate tweets that we’ll publish at different times.

Here, we post content from our blog on LinkedIn three times a day. These blog posts include items first published at least two months prior. This maximizes attention brought to the post and increases the chances of traffic to the website.

Our social media calendar also ties back in with the best posts that are shared each month. Once Monina, our community manager, receives the top-performing posts for a certain month, she adds them to a spreadsheet because we want to leverage popular posts as much as we can while they are relevant. This is where we can assign specific dates throughout the next three months to make sure they get play in our calendar.

SUGGESTION: A few people on the Lunch and Learn asked about frequency of posts on each of the social channels. While trends change and you need to continually test, this is the frequency at which we post:

Twitter: Once an hour

Facebook: Three times a day

LinkedIn: Three times a day

Google Plus: Twice daily

Instagram: As needed

Create

Our next tactic to promote content is to create new content. You may be thinking: “What? You have to create content to promote existing content?”

Social media has historically been used for sending traffic to your blog, but a relatively new trend is people reading your content on social media itself. How do you use this trend and still promote your blog? By repurposing your blog post into social media content and linking to the original source. You can do this by creating assets in several formats.

Visuals have high viral potential. Images attract more attention in the news feed, and they can be shared more than any other type of content.

Images attract more attention in news feed & can be shared more than other types of content. @MicheleLinn Click To Tweet

For instance, we pick several quotes from our blog posts (or from Joe Pulizzi’s books) and turn them into graphic quotes. One example:

Quotes can be more effective than just including the title of your blog on an image. For example, we tweet a title and the blog post link as text and include an image with an interesting quote from the post, too.

In addition to quotes, we pull charts from our research reports and add a question to engage audiences. Or we pull an image featuring a content marketing example. A link to the corresponding blog post or report is included with each of the images.

Leverage

Our third social media tactic for sharing content is not sharing our content but more supporting our community’s content. Specifically, we look to leverage the influencers. They can be existing community members, speakers, or sponsors. Think of it as building relationships so that when your brand – and content – comes up, they are more willing to listen.

Getting on an influencer’s radar is not easy, so we often share pieces of content written by our influencers that would be of interest to our community. When we share their content, they often notice it. And this encourages them to say “thank you” with a share of CMI’s content.

Share #content from your influencers to get on their radar, says @MicheleLinn via @MoninaW. #socialmedia Click To Tweet

To track what our influencers are creating, CMI frequently uses its Twitter lists that are organized by categories of influencers, such as speakers, sponsors, blog contributors, and CMI Twitter Chat participants.

Here, we share content from Jay Baer, a Content Marketing World speaker and friend of CMI. A few days later, Jay’s company, Convince and Convert, shared an article from our blog.

One trick to consider is using social-media listening to see who’s sharing your content and where they’re doing it. We monitor not just “@” mentions but also keywords and general conversations. It helps us stay in tune with what our audience is talking about and foster a community so they are more apt to share our content.

Use #socialmedia listening to stay in tune w/ what your audience is talking about. @MicheleLinn via @MoninaW Click To Tweet

CMI is the first to know when someone needs to take sick leave and we know who their favorite sports teams are. We know when they’ve graduated from Content Marketing University or when they’re excited for our events.

Think of it as seeing what your audience’s lives look like – professionally and personally. Engage with them in a genuine way, even if it doesn’t have to do with a project you are working on. Forming this relationship with them leads to advocacy for your brand – and your content.

Discover

Our last tactic is to discover what the media is up to. You can follow trending news and industry topics to see how your content may be a fit.

At CMI, we follow top reporters from outlets where we’d like to get coverage. When we realize a reporter is talking about a topic we have intel on, we can reach out to them.

Social media is also great when pitching your content. Here we let reporters know about our latest research.

Also, just as you can with influencers, you can form a relationship with reporters via social media. Be on top of what’s happening with them and let them know you’re listening. When you know what they’re talking about, they’ll remember that the next time you call them with a pitch.

For each research report, we put together a targeted Google spreadsheet of influencers who might be interested in the report (you can download and customize this template). We pull the names from our substantial network of CMI bloggers, Content Marketing World speakers, Content Marketing Awards judges, and influencers who are friends of CMI.

For our research, we create a one- to two-page reference guide, which is a cheat sheet of all the information we plan to include in a press release about the research. This information includes: title of the research, a one-paragraph research summary, and other pertinent information. The goal is to make life as easy as possible for bloggers or journalists to increase the chance they will write about us.

Conclusion

While we suspect you already have been using some of these ideas to extend the reach of your content, we hope you picked up some new ideas as well. And we’d love to learn from you – what other ways can writers get the word out about their content?

Editor’s note: CMI Community Manager Monina Wagner and Senior Blog Manager Lisa Dougherty contributed to this post.

Subscribe to CMI’s daily newsletter for more tips, plus trends, insight, and more on content marketing.

Cover image by Joseph Kalinowski/Content Marketing Institute

Please note: All tools included in our blog posts are suggested by authors, not the CMI editorial team. No one post can provide all relevant tools in the space. Feel free to include additional tools in the comments (from your company or ones that you have used).

The post 17 No-Cost Ways Writers Can Extend Reach of Their Editorial appeared first on Content Marketing Institute.

from http://contentmarketinginstitute.com/2017/06/extend-reach-editorial/

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dbapress2017-blog · 8 years ago

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No, Online Gaming Isn't A Breeding Ground For Xenophobia

New Post has been published on https://dbapress.org/no-online-gaming-isnt-a-breeding-ground-for-xenophobia/

No, Online Gaming Isn't A Breeding Ground For Xenophobia

The Dark Side of Online Dating: Getting Dumped and Getting Over It

When you date, you chance being dumped. When you date on-line the hazard of being dumped is elevated. In this post, I am going to study why dumping is inevitable, and why you should not fear about it (an excessive amount of). I’ll finish with a observe the different type of dumps you might experience. The grand finale is an emergency plan to continue to exist a virtually painful sell-off.

Why dumping is inevitable online –

Being dumped sucks. No one loves to be dumped. In evolutionary terms, we are primed to avoid rejection at all costs. The life of generations before us depending on, well, no longer being dumped. Avoiding pain is pivotal to human survival. This is as true when sticking your hand in a camp hearth as it is when receiving a fierce sizzling to the heart.

As certain as eggs is eggs, in case your date on-line, you will (nearly truly) get dumped some instances. Perhaps greater instances that are well mannered, even. If you’re a stranger to the enjoy of being dumped then this could come as a bit of an unfun surprise. It is but, element and parcel of the online relationship. Here’s why –

Dating groups do now not promote relationships per se. They promote get right of entry to a community of humans. The courting/love bit is an opportunity, no longer a given. You could be unwise to realistically don’t forget anybody you meet in the manner to the grocery keep to be a capability lifestyles mate. Despite the courting “clear out”, it’s the good exercise to apply a little little bit of grocery save realism to the online relationship too.

Messaging is handiest a mirrored image of ways you might get on in person. It’s easy to mistake a “spark” online as a cash again guarantee of a spark offline. You certainly have to meet in character to realize the distorted circus mirror that is emailing or texting. This is possibly the principle purpose why dumps that arise online trump the range of dumps that arise offline. Minimize sadness with a pre-date smartphone call.

You can’t scout each other out properly online. terms of eye candy and suitability even as pretending to no longer games ground doing that in any respect.

When on line relationship you have to meet on a “date” – a heady assembly with the sole reason to view each different beneath the harsh strip light of romantic purpose. Dumps without difficulty ensue.

When online relationship you have to meet on a “date” – a heady assembly with the sole reason to view each different beneath the harsh strip light of romantic purpose. Dumps without difficulty ensue.

You do not have the gift of time. Have you ever been nonplussed in the course of a first meet? And then, with the fullness of time, a harmless novice on your social circle is found out to be armed with the equal appeal and joy giving powers of a small pup? Online courting calls for someone to be assessed in a single assembly, consequently the petri dish for dumps.

Stage fright courting can be scary and you or your date won’t be able to provide your exceptional “display.” Alas, courting “curtains.”

3 Fun Games To Play With Your Yorkie Puppy

Yorkshire Terriers are extremely playful – they love to run around and chase matters. They have a whole lot of electricity which proprietors should learn how to placed on top use. Games, whether indoor or outdoor, are an amazing way to hold your pet entertained at the same time insert some education training. Remember, puppies analyze basic instructions first-rate while they may be skilled younger!

Here are three a laugh games you can play together with your Yorkshire Terrier:

Hide and Seek

This is an high-quality sport to play together with your pup that also teaches him the “Come” command. Play this game in a limited, secure space in your property or higher but, outside in your backyard. Play along with your pet for a couple of minutes then watch for a second when he becomes distracted. Hide behind a sofa (or a bush when outdoor). Peek and wait until he realizes that you’re gone and naturally he’ll come looking for you as Yorkies generally tend to turn out to be clingy and affectionate in their owners. When he gets near your hiding spot, shout “Come!” – in an effort to teach him to visit you anywhere you are.

Find Your Toy

All you need for this sport is your puppy’s favorite toy. Start by means of sitting in front of him in a room, waving his favored toy announcing “Where’s your toy?”. As he looks at the toy in your hand, allow him to take it numerous times and play with it for a few minutes. Then take him out of the room, hide the toy partly and allow him to locate it. Again, ask “Where’s your toy?”. Once he unearths it, take him out of the room once more but this time hid the toy absolutely. Ask the query again and permit your pet sniff the room until he finds his toy. When this game is a hit, the toy can be a wonderful coaching resource for schooling periods.

Catch-Me

This is a game/education method that also teaches the “Come” command. It calls for two human beings sitting across every different in a room about six to eight toes aside, with one retaining the Yorkie and the other one preserving a deal with. The one retaining the treat ought to shout “Come!” in a happy voice, giving the deal with because the domestic dog comes strolling. This teaches your puppy to return to you even when he’s taking part in playing with different people.

Try these a laugh games together with your Yorkshire Terrier as a way to additionally be a learning technique for him!

Enclosed Airliners and Recycled Air – A Breeding Ground for Disease?

How awful is the air in airliners? Is it as awful as they are saying it’s far? Apparently, the solution is yes, it’s far quite terrible. Not long in the past, our suppose tank addressed this problem – the question offered become: Is the restricted area of huge airliner cabins a breeding-floor for ‘flu and in that case, does it help in forming new mutations? Let’s discuss this, shall we?

One of our assume tankers informed us a personal story from a person who travels loads; “One of my fittest girlfriends has been languishing under some thing similar when you consider that early December. Since the divorce, she flies OS plenty on journeys, and her ex-husband did same and became regularly ill on his go back.”

What do I consider this? Well, here is my respond to this topic. Yes, in reality, re-circulated air. Even if there is a water barrier, a few demanding situations come from water-borne bacteria, it’s a huge trouble. It’s no longer excellent, but in a few regards being uncovered to all that minus the TB sorts which might be untreatable, it exposes human beings to small quantities of other matters and as a consequence, heightens their immune systems, which is regularly wished for those folks who live in first-world as a substitute sterile environments.

One of the problems is mixing the first world with 1/3 global vacationers, and the aircraft pass everywhere, regularly the same aircraft. Domestic move u. S . In the US and then when they hit NY, SF, LA, they fly across the oceans. I am also deeply involved with Cruise Ship water deliver and air-conditioning systems. Also, hospitals with recirculated air thru water filters and the enclosed surroundings now not permitting fresh air microbes to get in, for that reason greater possibilities for MRSA and many others.

Indeed, I even have written a ton approximately these issues, and examine the CDC studies on it, and am up at the FLU, virus vectors and virus travels, our international isn’t always as secure as we might be caused believe with the entirety so related, even remote regions, as you may get nearly everywhere on this planet in 2-3 days – nearly anywhere, excluding just a few locations and extraordinarily faraway regions, and commonly those faraway areas are such for a motive; aka: not an easy region to live for human existence. This is REALLY extreme stuff.

So, what’s being accomplished to restoration this problem? Well, loads in reality, currently there was an exciting TEDTalk put out titled: “How germs journey on planes — and how we will forestall them,” by using Raymond Wang who occurs to most effective be 18-years old, he used fluid dynamic PC modeling to examine what happens to the germs while someone coughs or sneezes in an aircraft cabin. He’s designed a device with a view to taking away 99.98% of the germs, whilst stopping germs from journeying from one man or woman unwell who is sitting proper subsequent to a person else.

Maybe in the destiny, this can no longer be a trouble. Problem solved!

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sheminecrafts · 6 years ago

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The danger of “I already pay for Apple News+”

There are so many horrifying aspects of Apple News+ for publishers, it’s best just to list each and break them down.

No Relationship With The Reader

At The Mercy Of The Algorithm

News+ Isn’t Built For News

Apple acquired the magazine industry’s self-distribution app Texture a year ago. Now it’s trying to cram in traditional text-based news with minimal work to adapt the product. That means National Geographic and Sports Illustrated get featured billing with animated magazine covers and ways to browse the latest ‘issue’. News outlets get demoted far below, with no intuitive or productive way to skim between articles beyond swiping through a chronological stack.

Magazines often publish big standalone features that don’t need a ton of context. News articles are part of a continuum of information that can be laid out on a publisher’s own site where they have control but not on Apple News+. And to make articles more visually appealing, Apple strips out some of the cross-promotional recirculation, sign-up forms, and commerce opportunities depend on.

Shattered Subscriptions

The whole situation feels like the music industry stumbling into the disastrous iTunes download era. Musicians earned solid revenue when someone bought their whole physical album for $16 to listen to the single, then fell in love with the other songs and ended up buying merchandise or concert tickets. Then suddenly, fans could just buy the digital single for $0.99 from iTunes, form a bond with Apple instead of the artist, and the whole music business fell into a depression.

I’m personally concerned because TechCrunch has agreed to put its new Extra Crunch $15 per month subscription content inside Apple News+ despite all the warning signs. We’re saving some perks like access to conference calls just for direct Extra Crunch subscribers, and perhaps a taste of EC’s written content might convince people they want the bonus features. But even more likely seems the possibility that readers would balk at paying again for just some extra perks when they already get the rest from Apple News, and many newsrooms aren’t set up to do anything but write articles.

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readersforum · 6 years ago

Text

The danger of ‘I already pay for Apple News+’

New Post has been published on http://www.readersforum.tk/the-danger-of-i-already-pay-for-apple-news/

The danger of ‘I already pay for Apple News+’

There are so many horrifying aspects of Apple News+ for publishers, it’s best just to list each and break them down.

No relationship with the reader

At the mercy of the algorithm

News+ isn’t built for news

Shattered subscriptions

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technicalsolutions88 · 6 years ago

Link

There are so many horrifying aspects of Apple News+ for publishers, it’s best just to list each and break them down.

No Relationship With The Reader

At The Mercy Of The Algorithm

News+ Isn’t Built For News

Apple acquired the magazine industry’s self-distribution app Texture a year ago. Now it’s trying to cram in traditional text-based news with minimal work to adapt the product. That means National Geographic and Sports Illustrated get featured billing with animated magazine covers and ways to browse the latest ‘issue’. News outlets get demoted far below, with no intuitive or productive way to skim between articles beyond swiping through a chronological stack.

Magazines often publish big standalone features that don’t need a ton of context. News articles are part of a continuum of information that can be laid out on a publisher’s own site where they have control but not on Apple News+. And to make articles more visually appealing, Apple strips out some of the cross-promotional recirculation, sign-up forms, and commerce opportunities depend on.

Shattered Subscriptions

The whole situation feels like the music industry stumbling into the disastrous iTunes download era. Musicians earned solid revenue when someone bought their whole physical album for $16 to listen to the single, then fell in love with the other songs and ended up buying merchandise or concert tickets. Then suddenly, fans could just buy the digital single for $0.99 from iTunes, form a bond with Apple instead of the artist, and the whole music business fell into a depression.

I’m personally concerned because TechCrunch has agreed to put its new Extra Crunch $15 per month subscription content inside Apple News+ despite all the warning signs. We’re saving some perks like access to conference calls just for direct Extra Crunch subscribers, and perhaps a taste of EC’s written content might convince people they want the bonus features. But even more likely seems the possibility that readers would balk at paying again for just some extra perks when they already get the rest from Apple News, and many newsrooms aren’t set up to do anything but write articles.

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flauntpage · 8 years ago

Text

Thinks: Ina Blom

Appreciating the Weirdness: An Interview with Ina Blom

Ina Blom: If I’m a little bit off, it’s because for some time now I haven’t slept much, after a bad bout of flu. But I’m symptom free now!

Torbjørn Rødland’s Baby, 2007, as seen on Artforum, September, 2015. Photo Credit: Artforum

Bill Viola, still from Reflecting Pool, 1979. Photo Credit: Bill Viola

Steina Vasulka, still from Orbital Obsessions, 1977. Photo Credit: Steina Vasulka

Aldo Tambellini, still from Black TV, 1968. Photo Credit: Aldo Tambellini

Keith Sonnier, still from TV In and TV Out, 1972. Photo Credit: Keith Sonnier

KH: What are you working on now?

KH: Anything else?

IB: Well, there are lots of other subjects I could talk about that annoy me a great deal, but that I should probably avoid since it may turn into a rant. [Laughs]

KH: You can rant! This is Bad at Sports, after all. [Laughs]

IB: [Laughs] No no, let’s end before I do.

Ina Blom is an art historian, critic and writer working between Norway and the United States. You can find her faculty pages here and here.

Episode 583 Paul Catanese

Episode 567 Yesomi Umolu

In The Late Afternoon of Modernism: An Interview with Graham Harman

The Aesthetic Origins of the Anthropocene: An Interview with Jeremy Bolen, Emily Eliza Scott, and Andrew Yang

Economies of resignation

Thinks: Ina Blom published first on http://ift.tt/2pLTmlv

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flauntpage · 8 years ago

Text

Thinks: Ina Blom

Appreciating the Weirdness: An Interview with Ina Blom

Ina Blom: If I’m a little bit off, it’s because for some time now I haven’t slept much, after a bad bout of flu. But I’m symptom free now!

Torbjørn Rødland’s Baby, 2007, as seen on Artforum, September, 2015. Photo Credit: Artforum

Bill Viola, still from Reflecting Pool, 1979. Photo Credit: Bill Viola

Steina Vasulka, still from Orbital Obsessions, 1977. Photo Credit: Steina Vasulka

Aldo Tambellini, still from Black TV, 1968. Photo Credit: Aldo Tambellini

Keith Sonnier, still from TV In and TV Out, 1972. Photo Credit: Keith Sonnier

KH: What are you working on now?

KH: Anything else?

IB: Well, there are lots of other subjects I could talk about that annoy me a great deal, but that I should probably avoid since it may turn into a rant. [Laughs]

KH: You can rant! This is Bad at Sports, after all. [Laughs]

IB: [Laughs] No no, let’s end before I do.

Ina Blom is an art historian, critic and writer working between Norway and the United States. You can find her faculty pages here and here.

Episode 583 Paul Catanese

Episode 567 Yesomi Umolu

In The Late Afternoon of Modernism: An Interview with Graham Harman

The Aesthetic Origins of the Anthropocene: An Interview with Jeremy Bolen, Emily Eliza Scott, and Andrew Yang

Economies of resignation

Thinks: Ina Blom published first on http://ift.tt/2pLTmlv

0 notes