Publishers Beware! Why you NEED to know about Defamation and Rebel Wilson

In an era of citizen journalism, it can be difficult to know what you can publish to whom. This blog post will explain the legality of defamation and why you need to know the details of Rebel Wilson’s case against Bauer Media.

“Far too often I feel the tabloid magazines and the journalists who work for them don’t abide by professional ethics. Far too often I feel their conduct can only be described as disgusting and disgraceful.”

Wilson told reporters outside court during her fight against Bauer Media.
Actress Rebel Wilson stood up to Bauer Media
Photo: Media Week

What was the fuss about?

In 2015, Bauer Media published eight articles in a three day period claiming actress Rebel Wilson had lied about multiple aspects of her upbringing. The first article Bauer Media printed, headlined ‘Just Who Is the REAL Rebel’ in magazine Woman’s Day which claimed that Wilson had lied about her name, childhood, age and personal life. Bauer Media then published follow-up stories on its website, including Woman’s Day, Woman’s Weekly, New Weekly and OK Magazine. Wilson began a civil suit against Bauer Media for defamation in 2016 due to the implications the articles caused, including loss of work, income and damages to reputation.

Wilson vs Bauer Media

The headlines Bauer Media used to defame Rebel Wilson

So what is defamation?

In the text Journalists Guide to Media Law by Mark Pearson and Mark Polden defines DEFAMATION as “the wrong of injuring another’s reputation without good reason or justification.”

What protects people from defamation?

Defamation laws used to vary between states in Australia but are now unified and protected under the Defamation Act 2005. The unified law made it easier for publishers to interpret the law across most of the nation. In the Rebel Wilson case, Wilson claimed Bauer Media damaged her reputation by publishing defamatory material.

Defamatory material includes:

Defamatory material is explained under the Defamation Act as,

  • an article, report, advertisement or other thing communicated by means of a newspaper, magazine or other periodical; and
  • a program, report, advertisement or other thing communicated by means of television, radio, the internet or any other form of electronic communication; and
  • a letter, note or other writing; and
  • a picture, gesture or oral utterance; and
  • any other thing by means of which something may be communicated to a person

It also explains that electronic communication such as a text, image, data, sound or a combination of these can also be defamatory.

In Wilson’s case the defamatory material was a magazine article and several internet publications.

Imputations

The Journalists Guide to Media Law, by Pearson and Polden explains “an imputation is the defamatory meaning conveyed by the published material.” This means the plaintiff (the person who has been defamed) must prove that the publication conveyed a meaning (imputation) that made others think less of them. It is not enough to say it portrayed them in a negatively or that it offended them, this isn’t defamation. For example, according to the guardian in the Wilson case, the material by Bauer Media

“painted her as a fake and a liar”

which caused the actress to miss out on acting roles and income.

Wilson appearing to face Bauer Media in court
Photo: ABC (AAP: David Crosling)

What Bauer Media said about Rebel Wilson

The imputations the jury found to arise from the original article and were defamatory: “That Ms Wilson is a serial liar who has invented fantastic stories in order to make it in Hollywood…”

What if I didn’t mean to defame someone?

Unfortunately, it doesn’t matter. The jury is required to question what an ‘ordinary reasonable person in the community’ could understand the material as. Pearson and Polden’s text explains an imputation can be conveyed by the following:

  • a natural and ordinary meaning of the words/material
  • a ‘false innuendo’- a secondary meaning through ‘reading between the lines’
  • a ‘true innuendo’- relying on other facts known to the receiver of the publication (background knowledge)

“They have no idea how actually brutally hard it is … yes I am an actress and I am in the public eye, but I’m a human being.” Wilson told Channel Seven’s Sunday Night program.

In short, imputations that come from the material expose a victim to hatred, concept or ridicule and what is being said or published will lower that persons social, professional or personal standing in society. In Australia, there is no legal distinction between ‘libel’ (published) and ‘slander’ (spoken) material- both can be defamatory.

Identifying the defamed person

The defamed person must prove that the publication referred to them or could be interpreted as them.

To sue, the Defamation Act states the plaintiff has to be identifiable:

  • They have to be named, or
  • If no one has been named, there must be a clear description, or
  • Small group of people must be described or
  • A fictious person has been named that bears the clear resemblance of the defamed person, or
  • The wrong person has been named or depicted

In Rebel Wilson’s case, she was directly named, therefore it was easy to identify the material was directed at the actress.

Third party

“The plaintiff has to show that the material was published to at least one other person other than themselves.” Pearson and Polden’s text explains. This means you can write a message directly to someone saying whatever you want, and it isn’t defamatory but if you send the text to one other person, then it is defamatory.

Bauer Media published the articles to their magazine Woman’s Day which has 859,857 readers. As well as to the website, which states it has 1,603,417 digital members. These statistics are for the original publication alone and doesn’t include the other magazines and sites they published to in the following days.

Screenshot taken from Woman’s Day website

“I just think it’s really important that the truth comes out.”

Wilson explained to reporters outside the court room.

Limitation period

Plaintiffs have 12 months from the date of publication to launch an action of defamation but according to Pearson and Polden’s text “for web publishers, the clock restarts for the one-year limitation period every time the material is downloaded and read.”

Wilson asked for an apology after the articles were released but Bauer Media thought their defence was strong and told Wilson if she sued they would prove in court she was a dishonest person.

Who can sue or be sued for defamation?

  • Any individual
  • Companies that employ less than 10 people and are not related to another corporation
  • Local government bodies and public authorities CANNOT sue- but their officers can if they can prove their reputation was damaged as individuals
  • Deceased CANNOT be defamed, except in Tasmania
Wilson’s interview with Sunday Night

Is there a defence for defamation?

Yes, and there are a few! The following are explained by Pearson and Polden’s text:

Truth

A complete defence where publishing the truth about someone doesn’t lower their reputation and the meaning taken from the publication is substantially true.

Contextual truth

The material carried other meaning that was substantially true and that their publication will not further harm the person’s reputation as it is already diminished.

Public Interest and Fair Reporting

The public ‘right’ of the audience to be informed about what may affect them but must be a ‘correct record’.

Absolute privilege

Applies to parliament proceedings where defamatory statements can be made in legal proceedings, reports published, proceedings of courts and information published by the crown.

Qualified privilege

Allows defamatory material where there is a legal or moral obligation to do so, which applies to business, educational and professional communications.

Malice and Intent

Defeats a defence of qualified privilege and honest opinion where “an ulterior purpose in publishing defamatory material” applies Pearson and Polden’s text explains.

Triviality

The circumstances of the publication were unlikely to cause harm to the person’s reputation.

Bauer Media’s defences were justification, truth and triviality which were dismissed, and Wilson won the case.

“I had to stand up to a bully, a huge media organisation, Bauer Media Group, who maliciously took me down in 2015 with a series of grubby and completely false articles.”

Wilson said in the news conference outside court
Rebel Wilson speaks to the media after the jury returns unanimous verdicts in favour of Wilson.
Picture: Scott Barbour/Getty Images

Remedies

Defamation remedies are usually monetary amounts that are awarded as compensation for the injury to reputation.

Wilson was originally awarded $4.7 million all up which is the largest defamation payout in Australian history. In awarding the damages, Justice John Dixon said the defamation extent was “unprecedented in this country” because of the articles’ global reach. The Supreme Court of Victoria states the damages awards consists of:

(a)       $650,000 in general damages, including aggravated damages; and

(b)       $3,917,472 in special damages for Ms Wilson’s opportunity for new screen roles lost by reason of the defendants’ publications.

Wilson fist-pumps after winning defamation case

Appeal

BAUER MEDIA V WILSON

Bauer Media appealed the amount of money that was awarded to Ms Wilson which reduced the payout to $600,000 and made Wilson pay 80% of the appeal costs.

The Court of Appeal’s reasoning was that “there was no basis in the evidence for making any award of damages for economic loss.”

The appeal and reduction of damages doesn’t mean Wilson lost the case, just that the original judge awarded too much.

How is this relevant to me and the media?

Whether you are a journalist, freelance writer, blogger or social media user, you need to be aware of the above implications that defamation can bring. As a journalist or media professional, it is essential to identify whether your work could be defamatory. Articles CAN reach celebrities or people who you think may not see the publication. It doesn’t matter whether you have 100 followers or 100,000, a defamation case could damage future prospects of your employment and your own reputation as a media professional as well as serious financial penalties.

The Wrap-Up

The Wilson vs Bauer Media case should be a warning to all media professionals, especially those who believe they will escape a defamation suit.

The articles about Wilson were published without any thought of defamation being brought against them. For this reason, as a media professional, it is detrimental to your career and your employer that you understand and avoid defamation in its entirety and ensure you can support your writing.

Therefore, when publishing, consider the information above and whether your material should be published. If Rebel Wilson can bring Bauer Media down, there is little chance for you. If you have any doubt, seek legal advice.

Association Chains

Photo by Joey Kyber on Pexels.com

Association chains are built in our brains from a very young age. They are how we react to stimuli around us. For example, we know a fire is hot but we did not know this as a toddler because we hadn’t built that association yet. We had to learn by looking and feeling the warmth of the fire that it was hot. Now when you think of a fire, you might associate that with winter (in Australia) and camping while cooking some marshmellows. This is an association chain which is referred to as schema in our brains. Schema is our previous experiences and knowledge stored in our memory which is the foundation for association chains to grow. Its works by showing us a ‘frame’ of reality which becomes our own perception of events.

For my remediation this week I made a meme of a simple association chain I formed while thinking of stereotypical Australia.

In range of techniques, marketing agencies and even political campaigns play on the schema we have formed to get an idea across to us- which is propaganda. They play on emotions and the simple association chains we have formed over years to make it seem like their ideas are our own by showing us this ‘frame’ of ‘reality’. This can be a very dangerous tool in shaping society and diminishing democracy.

Distributed media & Meme Warfare

A meme is “the unit of cultural inheritance… copying an idea from one brain to another” Richard Dawkins The Selfish Gene (1976)

Whilst we mostly think of memes as funny and non-serious media that often floods our screens on a daily basis, in reality they have the most serious of implications you could imagine for something that isn’t taken too seriously in our generation.

Memes are everywhere. They are produced, reproduced, spread, mutated, they disappear, they reappear by anyone at any of the stages it goes through- it is never a finished product. So why should we be paying more attention?

‘Memetic Warfare’ has been the forefront of election campaigns, most famously Trump and #Brexit where memes are used as propaganda to control ideas and spread ideology through social media targeting the most niche of groups as well as not-so discretely.

Tactics include:

  • leaks
  • hacking
  • #’s
  • fake news
  • memes
  • cartoons
  • videos
  • comments
  • tweets
  • specific advertising
  • mockery
  • statistics
  • graphics
  • harassment
  • street art
  • spreading misinformation

The purpose of campaigns using these tactics is to influence behavior by changing perceptions through this specific targeting of groups of people. This has been seen in Trump election campaigns and even Australia’s federal election campaigning. The influence of memes and these tactics can have profound implications on literally the world “Control the narrative, Control the world” NATO CDE (2017).

This ‘battle’ for control of ideas in the social media world is “ruining democracy” as how are we supposed to vote freely if we are being persuaded by these sly tactics without even knowing it is happening. Does this undermine our democratic right? “To be self-governing, people require the capacity to form public opinion…” (Baker, 2006 p.7) Doesn’t this mean that Memetic Warfare is interrupting this capacity? It is no longer public OPINION if it is politically biased.

References:

Baker, C. E. (2006) ‘Democracy at the Crossroads: Why Ownership Matters,’ in Media Concentration and Democracy: Why Ownership Matters. Cambridge: Cambridge University Press (Communication, Society and Politics), pp. 5–53. Viewed 21st April 2020 https://books.google.com.au/books?hl=en&lr=&id=yxA1Cc8pB3UC&oi=fnd&pg=PA5&dq=media+ownership&ots=_lBE8YL0l6&sig=Gvvaf99qVpXkDHmsezxWz9qEMQ4&redir_esc=y#v=onepage&q=media%20ownership&f=false

NATO CDE (2017) ‘Memetic Warfare’ accessed 21st April 2020 https://www.youtube.com/watch?v=-Kv8RT2JJCs#action=share

Collective Intelligence

https://vnresource.vn/hrmblog/wp-content/uploads/2019/07/van-hoa-hoc-t%E1%BA%A1p-learning-culture.gif

Collective Intelligence can be described as a collaboration of specialised knowledge that is distributed in nature. Effectively, everything we own or use is made up of collective intelligence. Take a pencil for example, the wood is cut from trees, the lead is mined, the rubber on the end made somewhere else and all these skills specialised themselves. It becomes a cross-fertilisation of skill and ideas where no one makes pencil from start to finish, it is distributed.

My remediation is based on the Clay Shirky: How cellphones, Twitter, Facebook can make history video. He explains that “All media gets digitised, the internet also becomes the mode of carriage for all other media.” This means that monologic media such as television, print, radio and even phone calls have migrated to the internet. The remediation is the internet taking charge and adopting monologic media and making it more conversational, to dialogic. Shirky also explains that “the internet is the first medium in history that has native support for groups AND conversation at the SAME time.” This has taken shape from the phone being a one-to-one process, to tv/radio being one-to-many and finally the internet being many-to-many demonstrating a large network of distributed participation as a consumer can now be a user – a ‘produser’.

The Public Sphere

The Media Theory toolbox comprises of media theories that are used to shape ideas of what media does to people and what people do with media.

Media theories so far range from:

  • Media effects/Casualty (Alfred Bandura)
  • Linear Models of Communication (Artistotle)
  • Ideology (Louis Althusser)
  • Semiotics (Pierce and Sassure)
  • Coding and Encoding (Stuart Hall)
  • The Public Sphere (Jurgen Habermas)

The ‘public sphere’ is explained by Jurgen Habermas, ‘The Structural Transformation of the Public Sphere’ as:

A social space in which different opinions are expressed, problems and general concern are discussed and collective solutions are developed.

He also describes it as an imaginary ‘coffee house’ where people get together and debate current social, political and cultural issues of the day. According to Habermas, key features of an ‘ideal’ public sphere are that it is:

  • Separate from the state
  • Separate from the official economy
  • Egalitarian and open

My public sphere

The public sphere in which I am involved with ranges from Channel 9 News, social media such as Twitter (using the trending hashtags) and Instagram. Although I read the news and current debates on issues, I don’t participate in the discussion on these platforms.

However, I listen to a weekly podcast called Shameless Podcast, which features two journalists who discuss social, political, cultural and headline news of the week and debate their views on the topics. It operates as a listening platform but The Shameless podcast have a Facebook group which their listeners come together and discuss their own views on the weekly topics either under a thread or posting their own research into the group. This Facebook group is my main public sphere for discussion and debate.

Issues:

The main issues that arise with this type of public sphere are:

  • the audience can’t debate with the hosts live
  • the Facebook group that operates can be ‘mediated‘ by the hosts
  • the hosts don’t discuss their viewpoints with experts live on the podcast.
  • the hosts chose which topics to cover (although they often disagree with each others view points) so they can control what you hear from them and what you see in the Facebook group
  • the audience have the freedom to believe what they want to believe

Included/Excluded

The podcast is very broad in the topics that are covered on a weekly basis both on the podcast and in the Facebook group, some topics include:

The audience is encouraged to debate their own points of views and discuss whether they agree or disagree with the content the hosts have presented to them. The hosts engage with the Facebook group as well by acknowledging their audience when they have a differing or interesting point of view.

They also interview people relevant to social and cultural issues to gain an insight into the issues at hand such as media personalities, athletes, activists, people with a disability, transgender people, people with an illness, entrepreneurs, influencers and reality tv personalities.

Who may be excluded?

  • The audience is excluded from discussion with the hosts but can participate with each other through live threads.
  • Discriminatory comments are mediated in the Facebook group
  • No politicians have been interviewed
  • Scientists or ‘experts’
  • Someone who may not be interested in the topics they cover as they are more ‘feminine’ topics (emotional, trivial, fragmented)

What role does the media play in all this?

The media’s role in my public sphere (the Shameless podcast and Facebook group) is at the center of the discussion. It operates solely around news headlines of the week and relevant social issues brought to their attention through the media.

There are two views of how the public sphere has been effected due to the rise of the internet:

  • that it has been degraded due to consumer capitalism and fragmentation of the media
  • that is has been enhanced through the emergence of different public’s and ‘spaces’

The phenomenon of ‘fake news‘ demonstrates how the public sphere can bee seen as being degraded, as “participants more likely to believe headlines to be credible when they aligned with the user’s political beliefs” (Moravec et al. 2019) this type of influence can be dangerous for society.

The new public sphere has allowed for a wide range of viewpoints and connectivity of audiences, “People started to be individual information sources, and they became a part of limitless sharing community.” (Alp Cenk Arslan, 2019). This is due to the ‘freedom’ of citizen journalism and the ease of access to the internet.

Although it may be harder to find reliable information through the rise social media due to find reliable information, it is important to realise how the internet has shaped the public sphere/s in which we engage today.

References:

Cenk Arslan, A. (2019). Has Social Media Changed The Public Sphere?. Avaliable at https://medium.com/@alpcenkarslan/has-social-media-changed-the-public-sphere-90866ef34fb9 (Accessed on 15/04/2020)

Middlestone, R. (2020). The Media Theory Toolbox. Avaliable at https://moodle.uowplatform.edu.au/pluginfile.php/2225781/mod_resource/content/1/BCM110%202020%20Week%205%20Lecture%20Public%20Sphere.pdf (Accessed on 15/04/2020)

Moravec, P.L. Minas, R.K. Dennis, A.R. (2019). Fake news on social media: People believe what they want to believe when it makes no sense at All. Available at https://eds-a-ebscohost-com.ezproxy.uow.edu.au/eds/pdfviewer/pdfviewer?vid=6&sid=09adf1b5-5ab9-47a7-b751-6449bcb41b82%40sessionmgr4007 (Accessed on 15/04/2020)

Sharing media online- copyright infringement or means of communication?

Sharing and embedding media is part of the way we communicate online. But could this potentially be regarded as copyright infringement?

Photo by Kaboompics .com on Pexels.com

Social media copyright infringement is potentially a serious offence and can land you into trouble if you are reckless. (Hyland, 2018) Turns out embedding a tweet could potentially be considered as copyright infringement as it holds the possibility of violating the exclusive rights to display a copyrighted image. [1]

     Here are a few examples of celebrities who ended up getting sued for social media copyright infringement.

In 2017, Hadid posted a photo of herself to her Instagram that was taken by photographer, Peter Cepeda. The photo received 1.2 million likes and after numerous requests for Hadid to take down the photo which she refused, Cepeda turned to legal action against Hadid.

The problem with this is Cepeda had registered his work and licensed the photo to the Daily Mail and TMZ but after Hadid removed the watermark and posted to her account, the photo was then used by other publications without consent or crediting Cepeda.

Subsequently, Cepeda was seeking compensation for damages, including any profits realised by Hadid and IMG attributed to the photo as he claimed it violated his rights of reproduction and distribution of his work that was copyrighted.

However, they quickly settled out of court.

Gigi Hadid Receives Backlash for Instagram About Mykonos Robbery
https://www.cosmopolitan.com/entertainment/celebs/a28685380/gigi-hadid-mykonos-greece-robbery-backlash/
Robert Kamau//Getty Images

Unlike Cepeda, the case against Hadid in January 2019 was quickly dismissed due to the photographer’s failure to register the photo, which Hadid posted on Instagram to her 43.7 million followers (at the time) to the Copyright Office which is required by US law. Although a person has automatic copyright Xclusive-Lee (plaintiff) was unable to receive compensation due to this technicality, as registration allows the plaintiff to receive all the protections contained in US copyright law. 

Despite the dismissal Xclusive-Lee still has the option to file a new lawsuit once it receives its registration from the copyright office. If the company decides to refile they have a strong case for copyright infringement, considering the defences Hadid’s legal team posed in the original case. If refiled it is likely that Xclusive-Lee would win the case as copyright protects paparazzi from the reuse of their image without license or permission. Hadid’s defence although believes she had the right to post the image of herself to her social media as she considered her smile to be co-authorship of the image, suggesting that she worked together with the photographer, suggesting an implied license. 

Despite multiple suits, Gigi Hadid is a repeat offender in regards to the sharing of copyrighted images online, posting another photo of her then-boyfriend Zayn Malick on her Instagram feed only months after the dismissal of Xclusive-Lee v Jelena ‘Gigi’ Hadid case without applying for permission. Hadid wishes for copyright law to change in regards to the repurposing of paparazzi images on social media.

GiGi Hadid Variety Power of Women
Cliff Watts for Variety
https://variety.com/2019/biz/features/gigi-hadid-social-media-fame-feminism-taylor-swift-1203177840/

Again in September of 2019, another professional photographer Robert O’Neil, based in New York, filed a lawsuit under the citation of copyright infringement against Gigi Hadid. The supermodel at the time had posted a picture which was owned and registered by O’Neil of her now ex-boyfriend, Zayn Malik onto the highlight system on Instagram stories. In the issued court documents, obtained by E! News, it’s stated, “This action arises out of Defendant’s unauthorized reproduction and public display of a copyrighted photograph of English singer and songwriter Zayn Malik”

 The legal repercussions that took place following the lawsuit is that O’Neil wants 24-year-old Hadid to declare that she did infringe his copyrights by posting the photo. But Hadid declares that this “borderline harassment” is part of her daily life due to her job and that her privacy has been rudely intruded upon. The specific case went back and forth between Gigi’s management and the professional photographer. As the case continued, the photographer stated that he is also seeking to be awarded either “actual damages and Defendant’s profits, gains or advantages of any kind attributable to Defendant’s infringement of Plaintiff’s Photograph” or “statutory damages of up to $150,000.” The case was settled in court due to the legal reason, the use of works protected by copyright law without permission for a usage where such permission is required, thereby infringing certain exclusive rights granted to the copyright holder, such as the right to reproduce, distribute, display or perform the protected work, or to make derivative works.

Photo by Wendy Wei on Pexels.com

The server test was basically something that was established after the 2007 case Pearl 10 vs Amazon. The server test aims to protect sites that display copyrighted content on someone else’s server. It pronounces clear guidelines for liability which means that sites can’t be punished for content that is beyond their control. (Robertson, 2018)

Question 3: Chelsea Wood, Georgia Myers, Flora Liu, Grace O’Dea & Manobi Ghose

References:

[1] Hyland, S., 2018. U.S. Federal Court Rules Embedding A Tweet Could Be Copyright Infringement. [online] The National Law Review. Available at: <https://www.natlawreview.com/article/us-federal-court-rules-embedding-tweet-could-be-copyright-infringement>&nbsp;

Robertson, A., 2018. Embedding A Tweet Could Be Copyright Infringement, Says New Court Ruling. [online] The Verge. Available at: <https://www.theverge.com/2018/2/16/17020278/tweet-embed-copyright-infringement-justin-goldman-tom-brady-photo-ruling> &nbsp;

Media Industries & Ownership

What comes to mind when you think of news on your social media platforms?

Do you think they’re reliable? Well sourced? Do you agree with what they’re saying most of the time?

Chances are you will agree with most of it and it will interest you. Why? Because it is targeted directly at you, tailored for you and aligns with your ideologies. Cool right? Wrong.

You don’t have to research too hard to find out who owns the news you rely on and what they are connected to politically and their ideologies on the world. They are wealthy and well involved in exactly what you read or consume. You may think that because it is on your social media page that is wide-spread news and that’s just what the news is right now. It is wide-spread in a way that targets an audience with what they want you to know and in doing this, influence you into having the same ideologies.

This is something I was partially aware of in an advertising sense but I hadn’t really thought about the political power until recently. I source most of my news on television from the Today Show, Nine News, Studio 10 and more in-depth news from A Current Affair and 60 Minutes. All of which come from the Nine Network except for Studio 10 which is Network 10. I don’t consume social media news as I don’t find it reliable but I do know people who rely on it heavily; which is a worry.

Nine Entertainment is a publicly listed company on the ASX. In 2018, Nine merged with Fairfax (Sydney Morning Herald and The Age) after laws in 2017 by the Turnbull government abolished cross-media ownership which before, meant that it prevented media companies from owning two out of three platforms in a single market (radio, newspapers and tv stations). This change was a problem for media companies who argued they needed this in place to survive against Facebook and Google who dominate the market. Chairman of Nine Entertainment Co, Peter Costello, in Nine’s 2019 Annual Report argued “There is more competition for audience, and more competition for revenue. The merger with Fairfax ensures us a strong future within that environment.” They are now operating under the ‘Nine’ brand with Fairfax name being scratched altogether.

Costello is also concerned about the regulations around Facebook and their dealings saying, “The ACCC has rightly acknowledged that these businesses need regulatory oversight in areas including… the spread of disinformation on their platforms and copyright.”

Facebook has been under fire for disseminating its users’ information to companies like the Cambridge Analytica which was an agency hired by 2016 Trump election campaign. They basically took Facebook data from its users and developed strategic ways to manipulate people politically by using this data.

I have trust in the news sources I access as I am quite aware of the bias that can be portrayed and ‘click-bait’ headlines that can keep popping up about the same topics. I am concerned about Facebook “news” and how literal people take information from there. Especially after watching The Guardian’s coverage on Cambridge Analytica

The Guardian: Cambridge Analytica

This idea of concentrated media ownership fundamentally opposes our right in a democratic society to vote freely. “The public sphere influences how people choose to exercise their vote.” (Baker, 2006 (p.7) If our news is flooded with what our politicians want us to read, that undermines our democratic right. “To be self-governing, people require the capacity to form public opinion…” (Baker, 2006 p.7) How do we achieve this if we are relying news sources that are politically biased?

References:

Baker, C. E. (2006) ‘Democracy at the Crossroads: Why Ownership Matters,’ in Media Concentration and Democracy: Why Ownership Matters. Cambridge: Cambridge University Press (Communication, Society and Politics), pp. 5–53. Viewed 9th April 2020 https://books.google.com.au/books?hl=en&lr=&id=yxA1Cc8pB3UC&oi=fnd&pg=PA5&dq=media+ownership&ots=_lBE8YL0l6&sig=Gvvaf99qVpXkDHmsezxWz9qEMQ4&redir_esc=y#v=onepage&q=media%20ownership&f=false

Nine Entertainment Co. (2019) Annual Report, pp 1-3. Viewed 9th April 2020 http://prod.static9.net.au/_/media/Network/NineEntertainmentCo/PDF-Downloads/Nine-Entertainment-Co–2019-Annual-Report.pdf

Medium is the Message II

The Logic of Digital Production & The Network Economy

This week’s lecture was an extension the Medium is the Message concept and how media has changed from legacy to emergent media. Basically relating to industrial vs internet paradigms.

There was a lot packed into the lecture but I think I’ve got the basics down.

Legacy media/Industrial: (newspapers, tv, radio) are mass produced for a mass audience which have high production costs and a high risk of failure. Legacy media can relate to an industrial process such as an assembly line for producing cars on a mass scale. Each person along the assembly line has a specific role in making the car by doing a repetitive and singular task on the car but have no say in the final product. If one car is produced a little different to the others, it is deemed as a ‘failed’ product therefore showing there is no room for individual modification. This means there is no iteration process or conversation with consumers.

Emergent media/ Internet: (digital media) is a low cost process, there is a low risk of failure due to constant iteration with consumers and is produced for niche audiences. Emergent media allows mass customisation and personalisation which Kevin Kelly explains in ‘Better than free’ as “requiring ongoing conversation between the producer and user” and “constant iteration” being one of the eight ‘generatives’ (“uncopyable values”) that are valuable in the network economy as they can’t be purchased. The process of creating is more of a journey in the internet paradigm, this can be seen through craftsman such as jewelers who can adapt to the changes and view their pieces as unique from one another. There is no concept of a ‘failed’ product because there is no pre-set model to follow. This is referred to as an ‘eternal beta’ because the product can always be changed in some way.

Kelly refers to the internet as “a copy machine” as everything on the internet is a copy of a copy meaning there really aren’t any limitations to what can be produced. Due to this unlimited power of the internet paradigm, there are no boundaries to what can be created and all content flows freely throughout. We can produce, reproduce and alter everything to be another copy. This can be seen through the glitch aesthetic, glitching takes one image, video or anything digital and alters it to a ‘broken’ copy. This ‘broken’ aesthetic is a new way of creating content and is seen everywhere- in music videos, music itself, video gaming, social platforms, etc. Glitching demonstrates that the internet paradigm really has no boundaries and reiterates the concept of the ‘eternal beta’ where there is no final product- they are just copies of a copy.

References:

https://www.edge.org/conversation/kevin_kelly-better-than-free

Calmness in COVID-19

Tips on how to remain calm during the pandemic that is COVID-19

With COVID-19 being a VERY prominent in today’s news, it is easy to become overwhelmed with feelings of helplessness and anxiety.

In a recent blog post I wrote for Chae Media, I share all my tips and tricks on how to conquer these feelings and make the most out of your situation during the pandemic.

Check it out by following the link below!

https://chaemedia.wixsite.com/chae/post/how-to-remain-calm-in-the-world-wide-panic-of-covid-19