Studio 20 @ Arthur L. Carter Journalism Institute

The STUDIO 20 concentration at NYU offers master's level instruction with a focus on innovation and adapting journalism to the web. The curriculum emphasizes project-based learning. Students, faculty and visiting talent work on editorial and web development projects together, typically with media partners who themselves need to find new approaches or face problems in succeeding online. By participating in these projects and later running their own, students learn to grapple with all the factors that go into updating journalism for the web era.

The program seeks to draw together a diversely talented team of students who can produce excellent work that pushes the field forward and realizes some of the possibilities inherent in a multi-media, interactive and constantly evolving platform for journalism-- namely, the World Wide Web.

Studio classes provide a "hub" for organizing activity and a common space for inquiry and reflection around the program's various projects. Students are expected to be flexible and curious, generous in sharing skills, eager to pick up new knowledge and willing to adapt to what the project--and its deadlines--demand.

The curriculum has three parts: 1.) the traditional requirements of two basic reporting classes plus "the ethics of the web;" 2.) a core of three project-based classes called Studio I, II and III; and 3.) elective enrichment courses that allow students to pursue interests and work on initiatives of their own. In their third and final semester, students design their own projects with an appropriate media partner and try to create innovation--as well as a name--for themselves.

Each year Studio 20 will recruit a mix of writers, editors, videographers, audio journalists, programmers, designers and Web producers under the principle of "bring skills, share skills, learn new stuff." Recruiting will emphasize students comfortable in more than one medium and ready to tackle new challenges. One of our mottos is: "Everyone works on everything." Another: "acquire what the project requires."

In 2009-10, one of Studio 20's major partners was the New York Times. Working with editors at the Times, students and faculty designed and planned a hyperlocal news site for the East Village neighborhood in Manhattan. It launched in September, 2010: The Local East Village.

One of the innovations that came out of that project is The Virtual Assignment Desk, a WordPress plug-in. You can read more about it here.

In 2010-11 Studio20's major project was a collaboration with ProPublica, the investigative reporting non-profit. Students experimented with the genre of "the explainer," a form of journalism that provides essential background knowledge and brings clarity to complex issues in the news. Read more here and see the project site, Explainer.net.

In 2011-12, Studio 20's major project was a collaboration with The Guardian around a different approach to election coverage. You can read a summary from the Nieman Lab. Then see the project in action on the Guardian: here and here.

In December of 2010, NYU announced that the renowned Internet thinker Clay Shirky would be joining the Carter Institute and Studio 20, where he will teach courses and consult on projects.

Think you might be interested in applying? Email studio20.journalism@nyu.edu to let us know. Tell us about yourself and your background and how we can find you and your work on the web.

Here is Studio's 20's official page at New York University's Arthur L. Carter Institute of Journalism.

Here are the official instructions on how to apply. (The initial deadline is Jan. 10; we will accept applications after that but cannot guarantee space or financial aid. Please note that the GRE General Exam is required of all applicants. See our How to Apply page for more details.

Here is a map showing where we are located.

Follow professors Jay Rosen and Jason Samuels on Twitter, as well as Clay Shirky. And check back at this site for updates.
Posts tagged "Conference"

Photo by Jay Bryant

Studio 20 Director Jay Rosen spoke on the topic of the self-informing public at the 140 Characters conference. Watch the video of his talk.

Studio 20 Graduate Student Matylda Czarnecka is part of the planning committee at the second annual Social Media Week conference. Check out the schedule of New York events.

Studio 20 Professor Jay Rosen spoke at a conference at Yale this weekend. The experience inspired this post:

jayrosen:

I was asked to speak recently at a conference organized by Yale University with the title “Journalism & The New Media Ecology: Who Will Pay The Messenger?”  This irritated me. The question should have been “who will subsidize news production?” because news production has always been subsidized by someone or something.  Very rarely have users paid directly the costs of editorial production.

So here’s my list of known sources of subsidy, with examples to illustrate each. What I have left out please put in the comments and I will edit the list.  If you have a link that provides an example, that would help a lot.

1. Government can subsidize, through general tax revenues. As in some Scandanavian countries.

2. Rate-payers can subsidize, a solution that has to be enforced by government. As with the BBC license fee, or proposals to require Internet Service Providers to support journalism through a surcharge.

3. Political interests can subsidize the press, as with the party press in 19th century America or labor’s willingness to fund some new media operations today.

4. Philanthropy is a possible source of subsidy, as with the rolling grants that Paul Bass secures for the New Haven Independent, or the donations that flowed to the start-up, Texas Tribune.

5. Rich egoists will sometimes subsidize, as with Mort Zuckerman’s ownership of The Atlantic magazine from 1980 to 1999.

6. Advertisers are of course the most common subsidizers, though as Clay Shirky says, Best Buy never signed up to fund the Baghdad bureau. They just didn’t have a choice.

7. Entertainment and the revenues it produces can subsidize news production, as with the early days of network television, when the news divisions lost money. Good old fashioned sensationalism also fits under this heading.

8. Soft news can subsidize the hard, as with travel and food sections that pay for other kinds of coverage. (A point suggested by Richard Gingras of Salon.)

9. Unrelated businesses are sometimes a sources of subsidy, as with the Washington Post Company’s ownership of the highly profitable Stanley Kaplan.

10. Then there’s logically-related businesses, as with Bloomberg L.P. and Thomson Reuters, both of which make big money providing data to businesses and then subsidize news production (mostly business news) from that. (More on selling data.)  See also USA Today’s Buzz Bureau. Another example would be selling web services—setting up a website or social media tools—to the people formerly known as the advertisers. (One example, in pdf form.)

11. Clever spin-offs can subsidize editorial costs, as with Techdirt’s Insight Community, basically a focus group business featuring the highly informed community that gathers at Techdirt. At the level of the stand alone journalist, this becomes: “Some people who blog make money because they blog,” as against revenue from the blog itself.

12. Educational institutions—especially university-based journalism schools—can be the source of subsidy, as with the partnership between Northeastern University’s journalism program and the Boston Globe.

13. Non-governmental organizations (NGOs) are increasingly likely to sponsor or support journalistic work, often in partnership with traditional news producers.

14. High earning spouses sometimes subsidize stand alone journalists with start-up sites.

15. Live performances featuring editorial talent, as with magazine conferences or this event: “KCRW & NPR Present ‘Planet Money — Live!’ at the Broad Stage in Santa Monica.”

16. E-commerce, also known as selling stuff, sometimes works, as with Techdirt’s “Connect with Fans and give them a reason to buy” program.

17. The most passionate users (those who can afford it) will sometimes subsidize the production of news available to all through small donations, as with public radio’s membership model in the U.S., or Firedoglake at the Libby Trial, or the community-funding platform spot.us and its garbage patch story.

18. Premium memberships: those who pay get extra benefits,  and thus help to subsidize the rest. An example of an extra benefit: fruitful interaction with highly informed journalists.

Subsidy ideas in development:

A possible source of subsidy is what’s known as “lead generation.” It means providing good information to businesses on who is exceptionally likely to buy. I’m still trying to determine if this is actually subsidizing news production anywhere yet.

Scott Karp of publish2.com writes of the possibility of high value advertising that would represent a conceptual break with the whole display ad regime. If such a system existed it would be added to my list as a different type of subsidy. The idea is to create advertising of such quality and informational value to users that it enhances the value of high-end editorial production.

Currently in development are voluntary micropayment systems, which would represent a new type of subsidy. No one knows if they’ll be successful, of course. Two to watch are Emanci-pay (“a choosing system… readers, listeners and viewers can easily choose to pay whatever they like, whenever they like, for the media goods they use”) and Kachingle (“crowdfunding sites you love.”)

Also in the concept phase is Lyn Headley’s restrospective funding model for news. “A retrospective news medium is an organization that bestows a continuing stream of awards, each with a monetary component, on the producers of the best pieces of journalism it finds, shortly after each piece is published.”

Notes: I do not talk about subscriptions or paywalls in this post, because that is not a subsidy system: that’s direct payment for editorial goods.

Kevin Coates in the comments says: “The BBC has a profit-making arm which among other things, commercializes rate-payer funded content in other geographic markets. Profits go back to the BBC to supplement the rate-payer funds. Similar to your #7, but revenue does not just come from entertainment (e.g, if you view the BBC news website in the US, you see ads; in the UK, you don’t.)

Worth mentioning is the newsroom-as-cafe concept, which appears to be succeeding in the Czech Republic. Here, the idea is to take a business that already works—the bustling cafe—and turn it into a news gathering operation.

Studio 20 Professor Jay Rosen blogs about ten key ideas for the future of journalism in the social media age:

jayrosen:

Here are the ten key ideas I plan to share with the Media140/Sydney conference underway right now in Sydney, Australia. I will be speaking to the conference via Skype in a few hours.  The theme of the event is “the future of journalism in the social media age.”  These ten Twitter-able ideas are my contribution to that puzzle.

1. Audience atomization has been overcome. (Link)

2. Open systems don’t work like closed systems. (Link)

3. The sources go direct.  (Dave Winer)

4. When the people formerly known as the audience use the press tools they have to inform one another— that’s citizen journalism. (Link)

5. “There’s no such thing as information overload, there’s only filter failure.” (Clay Shirky)

6. “Do what you do best and link to the rest.” (Jeff Jarvis)

7. “Half the money I spend on advertising is wasted; I just don’t know which half.” (John Wanamaker)

8. “Here’s where we’re coming from” is more likely to be trusted than the View from Nowhere. (Link)

9. The hybrid forms will be the strongest forms. (Link)

10. “My readers know more than I do.” (Dan Gillmor)

Bonus notion: You gotta grok it before you can rock it. (Link)