Deborah Morrison is the chambers distinguished professor of advertising at the University of Oregon’s School of Journalism and Communication. Recently, she wrote a piece for Co.Create in which she calls on advertising people to transcend the consumption cycle and train the full might of their creative firepower on what she calls the great and wicked issues of our day. You know the ones: Global warming. Hunger. Energy. Gun violence. Mass extinctions. Overpopulation.
As I write this, Dr. Morrison and nine advertising students are in Alaska studying climate change. They’re learning how to find the stories in the science—stories that most of us would never see, and not because they aren’t compelling. On the contrary, they’re beyond compelling, the stuff of nightmares without end. The stories are there all right, but they’re mute and colorless and shapeless, entombed beneath a mountain range of data. Not that there’s anything wrong with that. Data can do many things. It can prove theorems, send rockets to the stars and cure diseases of every stripe. What it can’t do is light a fire under the collective ass of society. Data can’t do that, but stories and ideas can.
The New York Times Magazine has a fantastic article by Jody Rosen about The Knowledge, which is as much about London taxi drivers as it is about what it is to commit to be the best in a certain field:
The examination to become a London cabby is possibly the most difficult test in the world — demanding years of study to memorize the labyrinthine city’s 25,000 streets and any business or landmark on them. As GPS and Uber imperil this tradition, is there an argument for learning as an end in itself?
[Matt] McCabe had spent the last three years of his life thinking about London’s roads and landmarks, and how to navigate between them. In the process, he had logged more than 50,000 miles on motorbike and on foot, the equivalent of two circumnavigations of the Earth, nearly all within inner London’s dozen boroughs and the City of London financial district. He was studying to be a London taxi driver, devoting himself full-time to the challenge that would earn him a cabby’s “green badge” and put him behind the wheel of one of the city’s famous boxy black taxis.
It is a world of fragments, filtered by code and delivered on demand. For news organizations, said Cory Haik, senior editor for digital news at The Washington Post, the shift represents “the great unbundling” of journalism. Just as the music industry has moved largely from selling albums to songs bought instantly online, publishers are increasingly reaching readers through individual pieces rather than complete editions of newspapers or magazines. A publication’s home page, said Edward Kim, a co-founder of SimpleReach, will soon be important more as an advertisement of its brand than as a destination for readers.
“People won’t type in WashingtonPost.com anymore,” Ms. Haik said. “It’s search and social.”
The shift raises questions about the ability of computers to curate news, a role traditionally played by editors. It also has broader implications for the way people consume information, and thus how they see the world.
Another great podcast. On the first episode of Working, David Plotz talks with Stephen Colbert on how he puts his show together and turns himself from Stephen Colbert into the character “Stephen Colbert”—starting from when he wakes up in the morning, what he watches for inspiration, how he knows the material is any good, all the way through to the actual filming of the show.