Table of Contents

Abstract

Part One: Introduction

1.1.  Aim and Purpose of The Project

1.2.  The Structure of The Report and Scope of The Study

References

Part Two: Industry Review

2.1. Introduction

2.2. Art Media and Content

2.3. Reconfiguration of Users

2.4. New Approaches to Advertising

2.5. Conclusion: Criticism and Revenue

References

Part Three: Literature Review

3.1. Introduction

3.2. Convergence Culture and Readership

3.3. Technology and Mobility

3.4. Conclusion

References

Part Four: Presentation and Analysis of Research Findings: Interviews

4.1. Introduction

4.2. Opening Questions: Strategies, Advantages and Disadvantages of Digital Publishing

 Print Vs Digital

4.4. Revenue and Advertising

4.5. Interactivity, Blogs and Citizen Journalism

4.6. Mobile Technology

References

Part Five: Presentation and Analysis of Research Findings: Interviews: Surveys

5.1. Introduction

5.2. Demographic and Reading Habits

5.3. Reader Experiences and Attitudes

5.4. Online Vs Print

5.5. Advertising

References

Part Six: Discussion

6.1. Introduction

6.2. Content, Advertising and Revenue.

6.3. Readership, Technology and Convergence Culture

Part Seven: Conclusions and Recommendations

7.1. Digital Magazine Publishing

7.2. Readership

7.3. Criticality

7.4. Physical and Tactile Experience

7.5. Revenue

7.6. The Future of Digital Magazine Publishing

7.7. Limitations and Directions for Further Research

Bibliography

Appendices

Interview Results

Graphs

Can UK magazines be effectively developed through the utilization of new digital forms of publishing?

Abstract

This dissertation addresses the issue of the shift to digital publishing for UK art magazines. It approaches this issue from the perspective of the industry producer, from the perspective of the consumer, and from the perspective of the cultural analyst. Its main focuses are: the distinctions between print and online forms of art magazine; the effects of digital publishing on producing new definitions of readership; innovative strategies in digital publishing; and the impact of digital on art magazine producers and readers. It aims to analyse what is at stake for art magazines in a digital context, including issues of nostalgia, tactility, representation, interactivity and critical writing. It places these issues within relevant broader social contexts such as blogging, citizen journalism and the art market. Its objective is to highlight what are the main issues to be addressed when making the transition to digital modes of publishing. It proposes that technological developments, an increased focus on interactivity, the development of convergence culture, and tactics of citizen journalism have radically altered the way readers engage with magazines and that new online strategies are demanded in this context. It raises the issue of how revenue can be raised in non-print formats, focusing specifically on advertising and addressing issues such as the use of targeted advertising. Its main conclusions, in the wake of primary research, are, firstly, that issues of visuality, tactility and experience must be addressed innovatively and appropriately theorized if digital publishing is to be successful, and secondly, that while immediacy is increasingly important in journalism, associations of online content as lacking in critical and analytical depth of content must be challenged. This leads the author to conclude that more research is needed both in concepts of embodied spectatorship, and in innovative web design.

It employs a variety of methodological techniques: First of all, semiotic analysis of a sample art magazine and a variety of digital art magazine sites. Secondly, it draws on theoretical secondary research to provide critical context for the discussion. Thirdly, it undertakes and analyses qualitative interviews with leading industry professionals. Fourthly, it uses both quantitative and qualitative techniques in a public survey conducted on the internet. Finally, it draws all of these methodologies together to provide a multi-faceted approach to the issues at stake. Data has been acquired from a variety of sources including libraries, internet sources, publicly available materials (such as magazines) and interviews.

Part One. Introduction

1.1. Aim and Purpose of The Project

The potential for UK magazines to be effectively developed through the utilization of new digital forms of publishing can be approached under three broad categories – readership, technology and content. Firstly, if a transition to digital media is to be possible then traditional models of readership must change. Models of readership based on media producers (magazines) sending out a text to be passively consumed by readers must change. Furthermore, this change in readership must achieve enough acceptance in mainstream culture in order to make the transition effective. Secondly, developments in technology must be able to provide effective modes of digital publishing, which can develop or create emerging forms of readership in a coherent and creative way. Thirdly, content must change, adapting to a digital model and digital structures. This dissertation will address all of these categories and key points of intersection, with specific examples, throughout, in order to establish how UK art magazines can be developed through digital publishing.

1.2. The Structure of The Report and Scope of The Study

In Part Two, the Industry Review focuses on content in relation to technology. In terms of content there are two main issues at stake – firstly, the incorporation of different types of content made possible by digital publishing, and secondly, shifts in the whole structure of content delivery. In order to explore this, the key focus of this work is on the sector of contemporary visual arts magazines. This seems an interesting sector to explore as it could be described as in a state of crisis. On one hand, a move towards glossy celebrity-style coverage in print magazines has alienated some readers, Guardian art journalist Jonathan Jones for example as well as sharing his distaste at “the slick, ugly new breed of mags that feed off art’s perceived glamour” (Jones 2009), also points out their increasing irrelevance as providers of information in the face of new-media competition, “I’m relieved I haven’t needed to fork out more than I need on magazines…Google goes a long way” (Jones 2009). On the other hand however, modes of digital publishing seem to offer potentially new and exciting modes of relating to diverse visual material, and of reflecting shifts in media in art practice itself. While art magazine circulation is falling, and more titles are disappearing completely (Szanto 2009),  Technorati reports a huge rise in the number of online art blogs, criticism and journalism (Szanto 2009), leading Andras Szanto to raise important questions such as what directions this coverage will take, and who will pay for it (Szanto 2009). Flicking through a contemporary art magazine such as Frieze, it is clear how much space is given, and revenue is made, from advertising, as well as how, effectively the whole magazine operates as a form of publicity, marketing and advertising for galleries, institutions and events. As Eugenia Bell points out, “Art magazines have, of course, always been dependent on advertising revenue…Publishers have often been criticized for being open to the influence of advertisers…but [it] contributes to the literary and design style of a magazine while keeping rates affordable” (Bell 2006). While this may well be true of print art magazines, this dissertation will go on to show how this must change greatly in digital publishing. The Industry Review then focuses mainly on shifts in advertising content between print and digital formats, considering issues such as the possible effectiveness of models such as targeted advertising imported from social networking sites.

All of this then, has to be underpinned with theoretical research on the reformulation of theories of readership. The Literature Review, in Part Three, focuses mainly on this issue, considering the theoretical history of technological convergence, and what impact this can have on contemporary modes of digital readership. A key point of interest here is what Henry Jenkins has defined as ‘convergence culture’, suggesting a different mode of engaging with content, based on among other things, increased user interaction. This section also considers the effects of developments in technology. The issues of content, readership and technology can not of course be separated, but interact and resonate with one another at multiple levels.  How these interactions can be understood is key to considering the effectiveness of digital modes of publishing.

The next sections go on to test the hypotheses proposed against primary research from industry professionals and members of the public. Part Four outlines and analyses the key responses made by industry professionals. Part Five presents and analyses the results of a public survey, and Part Six discusses both of these sections in relation to the dissertation as a whole. Finally Part Seven provides a Conclusion. All interviews are included in the Appendix.

References:

Bell, E. (2006) ‘Collected Writings’, Frieze Issue 100, June-August 2006, http://www.frieze.com/issue/article/collected_writings, [accessed 4/9/09].

Jones, J. (2009) ‘Why must art magazines be so glamour obsessed?’ The Guardian, Thursday 16^th April 2009, http://www.guardian.co.uk/artanddesign/jonathanjonesblog/2009/apr/16/art-magazines

[accessed 4/9/09].

Szanto, A. (2009) ‘With newspapers in terminal decline, what future for arts journalism’, The Art Newspaper, May 2009, http://www.theartnewspaper.com/article.asp?id=17214, [accessed 4/9/09].

Part Two: Industry Review

2.1. Introduction

A review of the industry can be approached by first of all taking an example of an existing print contemporary art magazine, the September Issue of Frieze, as a case-study. Moving from this, it focuses on areas of the digital industry, which are innovative, such as the Art Review Project Space and Tank.TV. This includes the relation of shifts in art media to digital publishing, the role of advertising in digital formats, and modes of combining critical writing with effective revenue production.

2.2. Art Media and Content

Traditional modes of art publishing may seem to lend themselves to the reproduction of certain art media. Glossy A4 reproductions of paintings or photographs for example are common and seductive images in the September 2009 issue of Frieze magazine (Frieze 2009: 1,2,3,4,5). These function most commonly as advertising for commercial gallery exhibitions. The first few pages of the issue for example, provide advertising for, among others, Marian Goodman Gallery in New York, Hauser & Wirth Gallery in Zurich, and Victoria Miro Gallery in London, suggesting that galleries are well served by the magazine format. The first element that stands out is the sheer quantity of advertising space. In this issue, there are 75 full-page adverts, taking up approximately half of the magazine’s 152 page content.  The rest of the content, while not always being presented directly as advertising, usually functions as advertising, publicity or marketing for particular galleries, publications or events through short, glossily illustrated articles, which read like press releases. Secondly, the style of this advertising – heavily visual, using modern design styles and representations of artist’s work becomes, as Eugenia Bell has pointed out, an important part of the magazine’s design style (Bell 2009). This situation, where the content and design of the magazine is heavily dependent on advertiser’s style, contrasts directly with the Frieze website where gallery advertising is placed minimally on the right of the page, with no images other than gallery logos, taking up less than a fifth of the page, which is instead dominated by text-content, listings and images used to illustrate articles (FriezeWeb 2009). On one hand, this shift in balance suggests, as Szanto points out (Szanto 2009), that advertising revenue may be lost if more emphasis is placed on digital publishing, as galleries would be less likely to pay large fees for smaller online advertising space. On the other hand however, it may offer potential for galleries to develop new modes of advertising incorporating developments in digital technologies, readership and delivery. Indeed this central opposition stands as a general point in relation to the adoption of digital strategies – the loss of old models but space of potential to develop new. If it is to succeed then innovation is required.

If print magazines lend themselves well to some art media they are particularly ill-suited to others. It is difficult to get much sense of the work from reproductions of video or sound work for example. In the September Issue of Frieze, the photograph of an art-school seminar (Frieze 2009: 103), the review of a Warp Records box set (Frieze 2009: 41), and the Focus article on a video artist Kerry Tribe (Frieze 2009: 120-1) could all be made more engaging to readers through the use of digital video or sound formats. In relation to these newer media, modes of digital distribution seem more appropriate, and digital publishing is merely a mode of the magazine sector keeping up with developments in the technologies of its subject matter. There are many cases, for example, of publications, which exist in an online format, as this is seen as the best mode of presenting new-media work. www.tank.tv for example, while originally operating as an off-shoot of Tank magazine, now functions as an autonomous web-based space showing artist’s film and video work (Tank 2009). However, utilizing digital publishing as a more effective way of reproducing work being written about is still a limiting use of the technology, maintaining the same one-way structure of producer (writer) / audience (reader). Some magazines have been more innovative in their incorporation of artist’s work. Art Review for example, has established a specialist ‘project space’ where artists are commissioned to make work specifically to be shown online as part of the online magazine content. This allows artists to work within the parameters, expectations and limitations of online publishing in a media-specific way, rather than having their work simply imported from a gallery context to images on a webpage. Current work online for example, by Jack Strange, utilizes the specific aspect ratio format of the digital exhibition screen to make a split-screen work. Others such as Doug Fishbone, who draws on imagery thrown up by Google image search, use the project space to explore the internet itself as media for their work. Each online exhibition lasts for a fixed duration before moving to an archive space. The page then contains links to an artist interview, and as a whole, operates as a semi-autonomous space linked from the main magazine site. (Project Space 2009). This combination of print publishing techniques with media-specific exhibition strategies suggests an effective mode of digital art publishing.

2.3. Reconfiguration of Users

While this structure may give the represented artist more space, it does little however to change the relation to readers. The reader, reconfigured as ‘user’ may pause, rewind or fast forward the video, but this is a limited mode of control, analogous really to the ability to shuffle between pages of a magazine. Other sites have adopted more radical strategies in reconfiguring the relationship between reader/user and magazine content. Saatchi Online for example operates as part of the Saatchi art franchise, including The Saatchi Gallery and The Saatchi Gallery Magazine. The online space however, rather than recreating gallery work or magazine articles adopts web 2.0 strategies to allow far greater user generated content and interaction. The opening page provides a space for an artist member of the public to upload their work, along with links to other sites such as Twitter where they may be contacted,  (Saatchi 2009). Users of this site are reconfigured as creators of its content, rather than passive readers, staff writers acting more as organizers of content. This model has many consequences. In one sense it empowers, or at least offers a sense of empowerment to readers, who may be encouraged by their increased interactivity to engage with other articles and features on the site. It can be read in this sense as a mode of shifting institutional relations. Here, in contrast with the curated project space on Art Review, someone with no institutional art education or relation to gallery institutions is offered a space to display art work. Exposure moves away from the hands of selectors to the random algorithms of a search engine. On one hand, this suggests the democratizing potential of digital media publishing. On the other hand however, with supposedly no quality control, it could seem to represent a lowering of the quality of content – a particularly important issue in the contemporary art magazine sector where well-informed and critical magazines have traditionally been useful in distinguishing work. Taking this point further it removes the element of ‘criticism’ from the magazine, something traditionally vital in art journalism. Thirdly, it could also be seen as a cynical attempt to gain more users, exploiting their desires to be published in order to direct potentially lucrative web traffic. In this case, this raises further questions of associations with existing brands. Tank.TV has become independent enough from the Tank magazine to become its own brand, operating in a different context. The Art Review Project Space effectively uses the main magazine brand to confer legitimacy on the screened projects. At the same time however, it is difficult to assume that something with the Saatchi brand would operate entirely altruistically with no commercial interests. Digital publishing offers the potential, not only of developing new content and new modes of relation to content, but also of developing or re-branding existing print magazine brands.

2.4. New Approaches to Advertising

There are also other modes of interaction developing which attempt to find more creative interplay between producer and reader at the level of content. Google for example is offering ‘personalised publishing’, a system where users can adopt a ‘cut n paste’ strategy to select material and create a ‘personal’ magazine or e-zine.  According to the blogger ‘Dave’ writing on the HuoMah blog, users would not only select articles but also be sold related advertising,  (HuoMah 2007), suggesting a way for publishers to increasingly target advertising in a way not possible in traditional print media.  Such ‘targeting’ of advertising is a specifically digital development. Social networking sites, such as Facebook for example, trawl through keywords and available personal data to build consumer profiles of their users, and then ‘personalise’ advertising according to this data. (Everingham 2009). This may offer the suggestion of a possible answer to the lack of advertising revenue proposed above. Advertising would become, while less widespread, potentially more effective by being increasingly targeted, based on consumer profiling strategies.

Some bloggers seem enthusiastic about the potential of targeted advertising being developed alongside ‘choose your own content’ strategies. “It’s a great idea that might just turn the whole publishing industry on its head” suggests Arun Radhakrishnan. (Radhakrishnan 2007). “We even get to pick our own ads?? Sounds like fun to me” claims ‘Dave’ (HuoMah 2007). Unfortunately, most responses have been less enthusiastic.  There are concerns first of all over privacy and data protection, Duncan Riley for example describing it as an “Orwellian development” (Riley 2007), capturing the sense of invasion people feel at having their subjectivity colonized for the maximization of corporate profit. Others have pointed out the potential for identity fraud, Sara Everingham for example criticizing the possibilities it opens for “social phishing” (Everingham 2009). Others simply express intuitive distaste and paranoia at the strangeness of a system designed to infiltrate your desires even before you have recognized those desires yourself, “Facebook can’t know I was planning to get married abroad – can it ?!?!?!” (Mell  2009). From the perspective of the industry, problems have also been pointed out with the ineffectiveness of the model.  Emma Barnett for example points to research carried out by LinkShare, which suggests that “adverts on social networking sites fail to engage 96 percent of users” (Barnett 2009). On the other hand, the research suggests the increasing popularity of online targeted marketing as more brands opt in. This suggests an interesting imbalance in online marketing trends – more companies adopting its strategies, with little evidence of user response, and generally negative user feedback.

2.5. Conclusion: Criticism and Revenue

While this may offer one direction for the development of revenue through digital marketing strategies, it may not be the most effective for the contemporary art sector. As readership is quite specialist already, the consumer profile strategies adopted by sites with a far less specialist audience (such as Facebook) may not be as effective for, say, Frieze, or Art Review. There are ways it could be implemented however, allowing for example gallery advertising to be targeted at exhibitions in the same location as the user, or based on the preferences of types of artwork in their user history. Other modes of digital revenue have been adopted in the sector. On way of avoiding completely free access to content is the limited access or pay-subscription. Visitors to the Frieze website for example can access some areas of the site, but others are limited to paid subscribers only. Szanto however argues that this has also been ineffective:

[Art] Publishers have tried every game in the book to monetize content on the web – from charging online subscriptions, to fencing off ‘walled gardens’ of premium content, to surrounding journalism with clever advertising. Lately some executives have been pinning their hopes on an iTunes style micro-payment scheme…But so far nothing has worked. (Szanto 2009)

His analysis suggests that while arts readership is rising, “thanks to the web” (Szanto 2009), what is being produced is a proliferation of individual blogs making it difficult for magazines to make any money from digital publishing. What this proliferation of voices does suggest however, is that if, as Jonathon Jones argued, and as referred to in the introduction, print art magazines are becoming increasingly glossy documents of social events, more like Hello than spaces for critical debate, then there does exist a lively space of critical debate already on the web. Artsjournal .com is one example of many sites that collate blogs and news stories into easily navigatable form. The question for art magazines then becomes how they can harness this space, in order to provide quality critical journalism in digital formats, while operating as profit-making companies.  The answer lies potentially in forms of hybridization. While Saatchi’s site seems too dominated by public access uploads of dubious quality, and other such as Frieze import top-down hierarchical models from print traditions, there exists the possibility of more interplay.  The Guardian newspaper for example, adopts a ‘layer-cake’ model where  editorially supervised staff journalists provide one tier of content. A second tier contains blogs by staff and freelance writers, and below this a vast ‘commentosphere’ of readers. This is not a perfect solution – it is still hierarchical, and lends itself to a multitude of meaningless posts questioning writer’s grammar and such like. However, some form of hybridization, effectively managed, and combined with the new media opportunities of digital could make transition more effective.  Modes of hybridization, in the form of convergence, will be explored in the Literature Review.

References:

Barnett, E. (2009) ‘Adverts fail to engage the majority of social networkers’, The Telegraph 12^th August 2009, http://www.telegraph.co.uk/technology/social-media/6016722/Adverts-fail-to-engage-majority-of-social-networkers.html [accessed 2/9/09].

Bell, E. (2006) ‘Collected Writings’, Frieze Issue 100, June-August 2006, http://www.frieze.com/issue/article/collected_writings, [accessed 4/9/09].

Everingham, S. (2009) ‘Facebook’s targeted advertising plans disturbing, critics say’ ABC News,  Tue Feb 3^rd 2009, http://www.abc.net.au/news/stories/2009/02/03/2481480.htm, [accessed 4/9/09]

Frieze (2009), Frieze: Contemporary Art and Culture. Issue 125, September 2009.

FriezeWeb (2009), http://www.frieze.com/magazine/ [accessed 1/9/09]

HuoMah (2007), http://www.huomah.com/business-development/internet-business/google-looking-at-diy-magazine-publishing.html [accessed 31/8/09].

Indymedia (2009) http://www.indymedia.org.uk/, [accessed 31/8/09]

Lewis, P. (2009) ‘Climate campers get a lesson in citizen journalism’, The Guardian, Thursday 27^th August 2009, http://www.guardian.co.uk/media/2009/aug/27/climate-camp-citizen-journalism, [accessed 31/8/09].

Mell, J. (2009) ‘Web 2.0 Ideas and Strategy’, http://jonmell.co.uk/facebook-targeted-advertising/ [accessed 1/9/09].

PDA (2008), PDA: The Digital Content Blog

http://www.guardian.co.uk/media/pda/2008/jan/11/facebooktargetedadswillmak, [accessed 7/9/09].

Project Space (2009) http://www.artreview.com/projectspace [accessed 1/9/09]

Radhakrishnan, A. (2007) ‘Google Magazine: Patent points to magazine patented with articles and ads you choose’, Tech Republic, http://blogs.techrepublic.com.com/tech-news/?p=1612, [accessed 2/9/09]

Riley, D. (2007), http://www.techcrunch.com/2007/08/22/facebook-will-use-profiles-to-target-ads-predict-future/ [accessed 4/9/09].

Saatchi (2009), http://www.saatchi-gallery.co.uk/yourgallery/artist_profile/Nick+Treadway/44864.html, [accessed 7/9/09]

Szanto, A. (2009) ‘With newspapers in terminal decline, what future for arts journalism’, The Art Newspaper, May 2009, http://www.theartnewspaper.com/article.asp?id=17214, [accessed 4/9/09].

Tank (2009) http://www.tank.tv/, [accessed7/9/09]

T-Mobile (2008) ‘Share Life with T-Mobile’ TV Advertising Campaign, http://www.visit4info.com/advert/Share-Life-with-T-Mobile-T-Mobile/68274/2, [accessed 31/8/09]

Weaver, M. & Nasaw, D. (2009) ‘Iran Protests: Live’ The Guardian News Blog, Wednesday 17^th June 2009, http://www.guardian.co.uk/news/blog/2009/jun/17/iran-uprising, [accessed 31/8/09].

Part Three: Literature Review

3.1. Introduction

If UK consumer titles are to be effectively served through the utilization of new digital forms of publishing, then two important initial considerations follow. Firstly, there must be an understanding of how old and new media technologies could effectively converge, and what impact this could have. Secondly, new forms of readership must emerge to replace traditional models. These points are closely linked, as it is the convergence of technologies that is enabling new forms of readership. This section first of all focuses on how readership has changed specifically in relation to convergence.  It argues that convergence has become so widespread that forms of readership necessary for digital publishing are quickly entering mainstream culture, suggesting the potential effectiveness and user-readiness for the transition to digital.  In order to do this it considers how convergence has been defined, what effects it has had, and how these could be relevant in a magazine publishing context.  Secondly, it focuses on changes in technology in relation to mobility. As was mentioned in the Introduction, the three main areas to be investigated  – readership, content and technology all intersect at various points, and mobility is another key point of intersection.  Technological developments affect not only media content and modes of readership but also impact upon cultural theory and cultural generally.

3.2. Convergence Culture and Readership

The concept of convergence has traditionally been understood in technological terms. According to this view, it can be understood as a mode of bringing together different media functions in a single device. An iPhone for example, by operating as a web browser and MP3 player as well as a phone would offer a good example of convergence understood in this way. Rayner, Wall and Kruger offer an expression of this view, defining convergence as “the coming together of different communication technologies such as the telephone, the computer and the internet” (Rayner et al. 2004: 351).  Gracie-Lawson Borders summarises definitions as “the blending of technological capabilities to deliver content” (Lawson-Borders 2006: 4). Brian Winston similarly defines it as “the idea that all the machinery of communications is coming together” but adds, “with profound effect” (Winston 2003: 134), in order to give a sense that convergence is not generally used as a neutral description but with the assumption that the coming together of technologies will have an important effect. While maintaining the original definition, he is critical of this ‘profound effect’, suggesting instead that as technological change has always been based on such processes there is no need to, as he expresses it, get caught up in convergence ‘hype’ (Winston 2003: 134). Others have had a more enthusiastic reaction.  Nicholas Negroponte for example, argued that increased convergence was going to make media companies so powerful that tighter regulation was necessary, “what will happen to broadcast television over the next five years is so phenomenal it is difficult to comprehend” (Negroponte 1995: 57). While Winston’s anti-revolutionary approach to technological  history may provide a useful counterbalance to  Negroponte’s sense of rapid inassimilable change (and vice versa), they both offer essentially negative reactionary views – either that convergence is nothing new, or that it is something new and disturbing. This negativity is not very useful in starting to think what positive effects modes of convergence could have on a specific industry such as magazine publishing.

Henry Jenkins, on the other hand, by moving away from purely technological definitions starts to offer suggestions of potentially positive effects of media convergence:

Instead [of understanding it primarily as a technological process], convergence represents a cultural shift as consumers are encouraged to seek out new information and make connections amongst dispersed media content.  (Jenkins 2008: 3)

His move away from the single focus on technology allows him to develop a focus on how modes of spectatorship (or readership) have been affected by shifts in digital technology. His definition then is based not only on “the flow of content across media platforms” (Jenkins 2008: 2), similar to Winston’s definition, but also, “the migratory behaviour of media audiences who will go almost anywhere in search of the kinds of entertainment experiences they want” (Jenkins 2008: 3). This combination of audience/ readership, technology and media content allows Jenkins to introduce the broader term of ‘convergence culture’, which he defines as the space where:

Old and new media collide, where grassroots and corporate media intersect, where the power of the media producer and the power of the media consumer interact in unpredictable ways (Jenkins 2008: 2).

Convergence then, according to this definition, plays out not only a shift in technology but also a shift in power. Rather than a traditional ‘top-down’ model of media producer creating and publishing content to be consumed by audiences, a vital part of Jenkins’ ‘convergence culture’ is the shift to increased interaction, and therefore increased power, of media audiences or readers. Similarly, Lawson-Borders defines convergence as a “realm of possibilities” (Lawson-Borders 2006: 6), suggesting that, rather than simply increasing the power of media companies, it can operate as a force for readers to redefine their relation to texts.

In some contexts, the shifts in power suggested by Jenkins or Lawson-Borders analysis are obvious and embedded in oppositional politics. The recent Climate Camp in London for example started with a workshop in ‘citizen journalism’ teaching protestors how to take advantage of developments in digital technology in order to reclaim control over news reporting:

Mobile phones, laptops, digital cameras and camcorders were laid out on bails of hay – a display of weaponry at the heart of the UK’s increasingly technological  protest movement. (Lewis 2009: 1)

Media convergence – through for example, the ability to quickly shoot and upload content on a lightweight phone, and immediately upload the content to an internet distribution platform such as YouTube has increasingly become a vital part of global protest movements. Protestors at the G20 Summit in London in April 2009 for example captured many cases of alleged police brutality, which were quickly broadcast around the world (Lewis 2009: 3). In another case, strategies enabled by media convergence allowed news stories of protests in the wake of elections in Iran to be seen around the world, within the context of a far tighter regulated media. As pointed out on The Guardian blog “Twitter users are providing vital updates on the situation at a time when foreign journalists are facing severe restrictions” (Weaver & Nasaw 2009: 8AM). The converegence in this case of mobile phones operating as internet browsers, and the internet platform Twitter,  allowed  instant global coverage of what was allegedly happening in Iran, against the wishes and powers of state-controlled media.

Both of these examples show how the convergence of digital technologies has been used in the construction of new modes of active readership.  It could be argued that Jenkins account of ‘convergence culture’ is utopian in its focus on self-organised power, or that it has little relevance to consumer culture, including magazine culture, as a whole. It seems to be the case however that examples of citizen journalism show how important convergence has become in culture generally, and that it will necessarily have a powerful effect on all modes of readership, including the magazine sector.

These effects have been most commonly broadcast in relation to the politics of reclaiming the media. The web-based platform Indymedia for example prides itself on “offering grassroots, non-corporate, non-commercial, coverage of important social and political issues.” (indymedia.org.uk). However, while shifts to digital publishing may have been driven by politically motivated oppositions to institutional forms, it is interesting how its formats, assumptions and styles (if not its politics) are increasingly part of mainstream culture.  Recent advertising for T-Mobile phones for example shows a supposedly self-organised flasmob style event at Liverpool St. Station, where people record their surroundings on telephones to pass on information to friends. The structure of citizen journalism is retained but, in this sense, to represent the assertion of individuality that is part of T-Mobile’s campaign.  The prevalence of such imagery in contemporary advertising suggests that strategies of digital publishing made possible by media convergence operate not only in a specialist niche market, but are part of mainstream expressions of belonging in capitalist society.

Several elements emerge from such examples. Firstly, digitally converged technologies have been particularly useful in situations where traditional media forms, for whatever reason, have no access. Secondly, it has offered consumers the possibility of rejecting particular political, ideological or corporate allegiances in the self-generation of content.  Thirdly, it has led to a much more rapid globalization of information than traditional media, breaking down traditional barriers of culture and national law. Fourthly, as personal accounts become more common, notions of the authority and truth of the media become more fluid, and truth becomes pluralized, subjectified and scattered.  Fifthly, the mobility of digital media has led to shifts in definitions of location and identity.  Sixthly, a generation of people are becoming increasingly adapted to forms of digital publishing, leading to negative associations for old media forms.

Taking these points individually in relation to digital art magazine publishing, the first point could have interesting ramifications. While conventionally, print art magazines have focused on specific galleries or other established institutional events such as biennials or art fairs, digital modes of publishing may allow more reflection on or analysis of sites which they may not previously have considered or had access to, effecting a possible shift away from existing institutional art centres. This is developed in the second point, which emphasizes how user-generated content offers a way of potentially escaping ideological biases in magazine content, and therefore the possibility of the incorporation of more diverse and critical opinions. The third point is especially relevant to readers who may have been excluded from art magazine readership, whether due to cost, geographical location, or lack of exposure to specialist outlets. The fourth point may have important critical and theoretical consequences for art publishing, and the increased fluidity of interpretation inevitable with the shift to user interaction, is something that can affect the discourse of art itself. The fifth point could be developed in various ways, including for example, more accounting for mobility in readership through the use of locational softwares and mobile technology. Mobile phone applications for example, could provide instant reviews of exhibitions near to where the user is located at any time. The sixth point is perhaps one of the most important from the perspective of the producers. As the cultural shift which Jenkins defines as convergence culture continues at speed, then user demand will ensure further decline of print magazine circulation figures, and the necessity of digital publishing strategies.

Overall then, an analysis of convergence culture reveals many important factors in the transition to digital in art magazine publishing. It is not one-way traffic but a constant negotiation between users and the mobilization of its codes in relation to the marketing discourse of institutions. The reformulation of producer / audience has allowed for the potential of more control and freedom for readers (or users). As Jenkins has described, audiences become “migratory” (Jenkins 2008: 3) seeking out content across a range of media forms. Care must be taken however to avoid binary oppositions between old and dated traditional institutional media forms, and entirely subjective user-generated replacements. It is rather the ‘clash’ that is interesting, as institutions adapt to shifts in readership, and readers adapt to shifts in the possibilities of interaction.  Jenkins describes this clash as having “unpredictable effects” (Jenkins 2008: 3) but from the perspective of media producers, the task must be to allow for the spontaneity of unpredictability, while also, to an extent, managing and controlling it.

3.3. Technology and Mobility

This section has outlined developments in digital culture creating a shift whereby notions of readership become more interactive, as ‘users’ are potentially more interactive with magazine content then in passive reader models. Another shift is the mobility of information made possible with developments in digital technology.  This can be interpreted in different ways. The ‘migratory’ experience described by Jenkins alludes to the lack of control for single providers, as users can move freely between different sources, a range of magazines for example, applying a cut n paste strategy to their information sources. In another sense, the migration is more literal, as Nicholas Mirzoeff has argued, “the digital is all about space” (Mirzoeff 2002: 164), and changes in digital technology have affected not only modes of interactivity but also personal relations to space and movement around space. An increasingly mobile population using converged devices such as Apple’s iPhone to access internet from outside of home or office locations suggests the possibility of increased interaction between magazine publishing and existing platforms, devices or software such as Apple’s use of locational software to, say, recommend restaurants near to users. In terms of publishing, mobile devices are currently playing an important role in transitions to digital content. Readers such as the Kindle have been vital in digital shifts in book publishing, making over 240,000 titles available in electronic format (PDA 2009). Issues at stake in reading on mobile electronic devices rather than paper formats are not necessarily around interactivity but have generally been around the subtle adapting of readership to a similar experience.  In terms of magazines however, the reader relation is different, while a device such as the Kindle may be able to provide an approximation of reading a paper novel, it is ill-equipped to reproduce the seductive use of image, texture and colour in a glossy magazine. New developments have however attempted to address this. The Plastic Logic, currently being developed in the US for example, is a reader aimed specifically at screening newspapers and magazines, as its developer Daren Benzi argues in an interview with journalist Gillian Reagan:

Those palm sized screens [of e-readers such as the Kindle] don’t provide enough room for the visual experiences magazines will need to appeal to readers and advertisers . (Reagan 2009)

There is a sense in the interview that a market exists but is lying in wait for the most appropriate technological development, “Kindle numbers aren’t on fire – yet” (Reagan 2009).  Leander Kahney describes how one of the reasons Apple’s ipod became so successful was the way it created an entire culture around digital music,  “what’s on it – the music – tells you who you are” (Kahney 2005: 8). Kahney’s writing captures a sense of the cultural shift necessary for transition to digital modes of readership. This is shared by Tara Brabazon:

The surprise of the ipod was that it rejuvenated the dying singles market…Remarkable creativity emerged from this change. The Kindle may refire poetry, short stories, investigative journalism, book reviews and serials (Brabazon 2008: 120)

Her focus on how shifts in mobility effected by mobile devices will produce new modes of writing for those “at the margins of profitability” (Brabazon 2008: 120), through distribution strategies such as podcasts, could suggest the possibility for modes of content which focus more on critical writing, with less emphasis on heavily visual advertising.  In this case, technology affects the whole mode of culture around magazine readership, rather than attempting to directly translate current reading experiences to new technologies. An obvious example is the increased focus on audio-visual material rather than static images, but another direction yet to be as developed in art publishing would be hybridisation with other technological cultures – mobile guided tours around museums, or communities base around people near you with shared interests. Some writers have emphasized the potential opened up by shifts in culture away from the traditional media authority. Des Freedman argues for example:

The multiplication of information sources and extension of previously restricted mediated spaces…is the beginning of a thriving  and democratic media culture in direct opposition to traditional mass media. (Freedman 2006 :278)

The increased focus on technology however also leads to the inevitable exclusion of some from its possibilities, as Brabazon points out,  “opportunities are available to the affluent few and geographically fortunate” (Brabazon 2008: 120). If magazine publishers are to exploit the increased interactivity and mobility offered by digitization of content, then access and affordability of technologies must also be a key issue. Jenkins has outlined key oppositions between media consumers and producers in the shift to digital modes of distribution:

Convergence, as we can see, is both a top-down corporate-driven process and a bottom-up consumer-driven process. Corporate convergence co-exists with grassroots convergence. Media companies are learning to accelerate the flow of media content across delivery channels to expand revenue opportunities. Consumers are learning how to bring these flow of media more under their control and interact with other consumers. (Jenkins 2006: 18)

Technological developments must account for both of these directions by innovation in content. Mobility seems to be one key issue here. While technologies such as Apple’s Tablet are much discussed on the internet, “I never fully belived the Apple Tablet was real beyond dreams…It’s going to have a 10 inch screen like a giant iPhone”  (Lam 2009), there doesn’t appear yet to be appropriate technological developments to match shifts in reader desire, whether fuelled by institutional marketing or grassroots cultural shifts, creating an interesting space of potential for new developments.

3.4. Conclusion

It was outlined here how shifts in concepts of readership, along with shifts in content and technology are vital for the transition to digital publishing. While concepts of convergence have traditionally been defined in reductively purely technological terms, or in negative terms, theorists such as Jenkins or Lawson-Borders, by focusing on the social effects of technological convergence provide more positive opportunity for theorizing new modes of readership. Important aspects to develop from this are notions of an empowered user, seeking out and making connections across a range of media and the unpredictability of interaction between media producer and media consumer. Through examples in culture generally, the argument was that new modes of readership have developed most effectively through political channels, but have now entered mainstream culture enough to suggest the effectiveness of digital magazine publishing. The possibilities for self-generated and location-specific content, changing notions of space, truth and authority, offer great potential for modes of digital publishing. While the increased mobility of digital devices could offer important developments, further research is required in how mobile devices could be effectively distinguished from text-focused readers, and also how content could adapt to the new possibilities and demands of digital mobile readership.

References:

Brabazon, T. (2008) Thinking Popular Culture: War, Terrorism and Writing. Oxford: Chandos.

Freedman, D. (2006) ‘Internet Transformations: Old media resilience in the new media revolution’, in Curran, J. and Morley, D. (Eds.) Media and Cultural Theory. London: Routledge.

Hesmondhalgh, D. (2002) The Cultural Industries. London: Sage.

Jenkins, H. (2008) Convergence Culture: Where Old and New Media Collide. New York: New York University Press.

Kahney, L. (2005) The Cult of Ipod. No Starch Press

Lam, B. (2009) ‘An Insider on the Apple Tablet’, http://gizmodo.com/5335942/an-insider-on-the-apple-tablet [accessed9/9/09].

Lawson-Borders, G. (2006) Media Organisations and Convergence: Case Studies of Media Convergence Pioneers. Philadelphia: Lawrence Erlbaum Associates.

Manovich, L. (2001) The Language of New Media. Cambridge, Mass.: MIT Press.

Mirzoeff, N. (2002) The Visual Culture Reader. London: Routledge

Negroponte, N. (1995) Being Digital. New York: Knopf.

PDA (2009) PDA: The Digital Content Blog ‘First Look: Amazon launches iPhone Kindle app’, http://www.guardian.co.uk/media/pda/2009/mar/04/amazon-ebooks, [accessed 4/9/09].

Radhakrishnan, A. (2007) ‘Google Magazine: Patent points to magazine patented with articles and ads you choose’, Tech Republic, http://blogs.techrepublic.com.com/tech-news/?p=1612, [accessed 2/9/09]

Rayner, P. Wall, P & Kruger, S. (2004) Media Studies: The Essential Introduction. London & New York: Routledge.

Reagan, G. (2009) ‘Toy Story: Are those 5,000 magazines in your messenger bag, or are you just pleased to see me?’, The New York Observer, March 31^st 2009, http://www.observer.com/2009/media/toy-story-are-those-5000-magazines-your-messenger-bag-or-are-you-just-happy-see-me, [accessed 5/9/09].

Singh, V.P. (2005) Digital Economy: Impacts, Influences, Challenges. Idea Group.

Storey, J. (2006) Cultural Theory and Popular Culture: An Introduction. London: Pearson.

Winston, B. (2003) Media Technology and Society: A History. London & New York: Routledge.

Part Four: Presentation and Analysis of Research Findings: Interviews

4.1. Introduction

Qualitative interview were undertaken via email with industry professionals, in order to address issues and test hypotheses raised in the reviews. Those interviewed included editors of art magazines – Dan Fox from Frieze, Kendrick Daye from an, and Daniel Tapper from Art and Music, magazine of the Saatchi Gallery; editorial staff from other magazines related to the arts –  Dan Rolfe Johnson from the design magazine Grafik, George Macdonald from graffiti magazine Very Nearly Almost, and Holdein Frith from digital culture magazine Wired; as well as Pippa Pollard, the digital director of the consumer magazine publisher IPC. This allowed to relate questions to digital magazine publishing in general, and to art magazines specifically. All quotes and references here are taken from the primary research, which has been included in the Appendix.

4.2. Opening Questions: Strategies, Advantages and Disadvantages of Digital Publishing

All of the interview respondents were actively engaged in modes of digital publishing.  This was mainly in the form of websites existing in relation to, yet also independently, from print magazines. Pippa Pollard, Digital Director of IPC described their websites as “branded web companions” (IPC) creating this sense of connection but also independence from print formats. In terms of differences from print, many respondents emphasized how web formats could incorporate video and audio (Frieze, Saatchi, Grafik). Others emphasized how they are developing interaction with other digital platforms such as Twitter (Wired), or Blogs (VNA). The question of revenue was also raised here when Dan Rolfe Johnson, Deputy Editor of Grafik Magazine pointed out plans to provide a digital issue for print subscribers. In terms of advantages of digital formats, the most common responses were increased interaction (Grafik, Wired, IPC) and the possibility of more up to date information (Grafik, Saatchi). In terms of disadvantages, the most common problems were the increase in work for magazine teams (Grafik, Wired, VNA, Frieze), and the question of sustainability or revenue production (IPC, Saatchi). There was more disagreement over advantages and disadvantages for the magazine consumers. While some respondents argued that there would be no negatives for readers (Wired, Frieze), an increase in quality of content (AN) and free material (Saatchi), others suggested the opposite. Dan Rolfe Johnson for example proposed a possible loss of quality in digital formats, “an increase in recycled content and press releases” (Grafik), while others pointed out more subtle losses from print format such as the loss of tactility. “Websites are commodities, while magazines are experiences” (Saatchi) argued Daniel Tapper, the Online Editor of The Saatchi Gallery Art and Music Magazine, suggesting that while there may be much to be gained for the consumer in digital formats, there are also potential losses, which must be taken into account.

This section of the interview was also interesting in establishing what producers thought was innovative in the current market. Again here opinions ranged, Holden Frith from Wired for example suggesting that “pretty much everyone who stands a chance of surviving is doing interesting and innovative things” (Wired), while Dan Fox from Frieze argued that nothing stands out as “many innovations of recent years have become standard” (Frieze). Interestingly, the types of innovations pointed out varied greatly. Kendrick Daye, Editor of AN was impressed by “a lot of Twitter integration in online publishing” (AN), Dan Rolfe Johnson from Grafik liked the subscription only content and high quality of monocle.com, as well as the innovative interface of grindstate.com. Grindstate uses navigatable full screen images in photo blogs in a way quite different from the usual fragmentation of text and small images in online magazines. This perhaps suggests a way for online content to regain some of the lost visual experience, if not the direct tactility of the magazine. Vice Magazine’s creation of it’s own online broadcast channel VBSTV was pointed out by Daniel Tapper from Saatchi, suggesting an interesting hybridization not only between print and online forms, but the incorporation of other media such as television to create a more integrated media experience, far removed from print tradition. VBSTV’s buy-out by MTV suggests its commercial success.  Such a channel allows magazines the possibility of creating more directly audio-visual material not limited by the usual conventions of short clips integrated into text sites. On the other hand, it does bring up the issue of an increase in work for staff. In contrast with the Vice Channel’s move away from print, George MacDonald from VNA pointed out the use of online PDFs, a direct translation from print to online.  Pippa Pollard suggested that, as discussed briefly in the Industry Review, newspaper sites like guardian.co.uk are actually the most innovative in the UK right now. Interestingly in relation to the findings of the Literature and Industry Reviews, mobile technologies were not much discussed here, only Kendrick Daye from AN mentioning, “a lot of use with phones but nothing too dynamic” (AN), suggesting the potential for more innovations in this field.

These opening questions provided an interesting overview, which correlated with a lot of the issues raised in the Industry and Literature Reviews, particularly those of increased interactivity, diversification of content and revenue production. They also raised new issues such as the sheer labour involved, on behalf of the industry, in relation to such diverse and interactive content, “it takes time and energy, both of which can be in very short supply” (Wired). This in turn raises further issues such as possible restructuring or organizations, the need for new staff, or increased fluidity between staff writers, freelance writers and other contributors (As touched upon in discussions of The Guardian website ‘layer cake model) in the Conclusion of the Industry Review.  The lack of agreement in the answers, and the diversity of issues raised and innovations pointed out suggests a high level of non-standardization in the industry, and interesting possibilities for developments. In order to explore the issues further, it is necessary to analyze the more specific questions which followed.

4.3.  Print Vs Digital

Many of the respondents shared views on the differences in content demanded by online publishing, as Kendrick Daye from AN argued, “reading online is very different from reading something from a tangible magazine. The eyes can’t take it as much.” (AN). This along with shorter attention spans, he suggested, led to shorter articles which would not necessarily be all read in one go. Daniel Tapper from Saatchi agreed with this, proposing the necessity for shorter more succinct articles, and also emphasizing the importance of audio and video content.  Holden Frith from Wired made a direct contrast between reader expectations of short new-led stories online and “long, beautifully presented features in the [print] magazine” (Wired). Such analysis confirmed the trend for ‘migratory’ audiences which was discussed in the Literature Review. Tapper confirmed that the trend to move between five or six different online magazines at once, Frith connected this to the nature of the web in general, “the web, in particular, encourages people to use a range of publications, as everything in the world is just one click away” (Wired). Pollard from IPC used the metaphor of ‘snacking’ on content, which seemed to chime with a lot of the respondents’ feedback. On the other hand however, they were equally keen to point out the importance of making sure than their magazine in particular is the one being ‘snacked’ on. Frith defined this in terms of producing, “the kind of high quality content that will keep your readers coming back” (Wired), while Pollard emphasized the importance of retaining a distinct brand in a saturated market.  Attitudes towards the use of web 2.0 varied from MacDonald’s claim that it is “essential” (VNA) to Tapper’s view that it is “not hugely important” (Saatchi). Most were unsure, Daye suggesting it “could work” and Fox, from Frieze, suggesting it would be useful “only for publicity”. There was little depth of analysis here, suggesting either the irrelevance of the topic, or the need for more creative integration into online magazine structure.

There was more response to questions of ‘the death of print’, with nearly all arguing against this view. As Pollard argued, “format, convenience and tactile experience are all part of the enjoyment of magazine reading. The web can’t replicate that”  (IPC). The physicality or tactility of the magazine, as against the impersonal interface of the web was also emphasised by others. MacDonald argued that some people will always want physicality, or to invert the terms of the reader-magazine relationship, “publishers will find new ways to encourage you to purchase a physical magazine” (VNA). MacDonald also suggested that there is less confusion and complexity about a print magazine. Others were less enthusiastic about print, arguing that while it will continue, it will become more of a specialist object, “high-end coffee table book” (AN), or unique designed object (Grafik). The associations of print and those of digital, the interviews suggested, are still very different, “when people buy a magazine they’re buying a lifestyle and an experience as well as words” (Wired). How to create a lifestyle experience in the form of an online magazine is a vital question then for future developments.

4.4. Revenue and Advertising

Responses to questions about revenue and advertising were minimal, reflecting the fact that either this information was too confidential (as suggested by Johnson), that the respondents did not have this information (as suggested by Fox), or that developments really are currently in early stages. MacDonald claimed that “it is something we are looking into at the moment” (VNA), Fox said it was “under discussion” (Frieze), and Tapper described research as in “embryonic stages” (Saatchi). Of those who did respond, similar problems to those proposed in the Reviews emerged. Pollard pointed out that while print magazine revenue was approximately 60% from circulation and 40% from advertising, online revenue is currently “virtually 100% advertising” (IPC). She also pointed out strategies for future developments, suggesting that, “increasingly we will focus on taking a share of ‘transactional’ revenues” (IPC). This is something which was suggested as a possibility in the Reviews. It could include things like taking a percentage on items sold through the website, and could suggests an important avenue of income if online magazines are to remain sustainable, as was pointed out by Daye, “with digital publishing… ad sales alone cannot sustain a company” (AN).  There was no response to questions of targeted advertising except for from Frith who said that Wired had “no current plans” (Wired) to use it. This section of the interview proved rather frustrating, as it is hard to conclude and analyse future trends from the limited responses given. It does however confirm the arguments from the Reviews of the importance of developing alternative forms of revenue and suggest directions for further research, should there be a necessity for more work in this area.

4.5. Interactivity, Blogs and Citizen Journalism

Other major issues to emerge from the Reviews were those relating to questions of interactivity, user-generated content, blogging and the rise of styles of citizen journalism. All of the respondents acknowledged the increase in interactivity, but there were mixed responses to it. Some were very positive, Pollard argued that interactivity should be “encouraged” (IPC), MacDonald described positively how,  “our readers have turned into our photographers and writers within the space of a few days” (VNA), and Johnson described the increased connection with readers as “a definite benefit” (Grafik). At the same time, there was also caution and general desire for regulation. Johnson went on to refine his comments, “It is a fine line to walk though, there should always be a differentiation between user-generated content and commissioned journalism. Comment should always remain comment and not take the place of the article/piece. (Grafik). This view, that interactivity should be encouraged, but it should not swamp the existing magazine brand was shared by many, “we must not let the reader dictate what we can and cant publish – this is ‘our publication’ with its own values” argued Tapper (Saatchi).  Frith would encourage user-content but only “within the high standards that we set for ourselves” (Wired).

These questions also raised a distinction between different ‘levels’ of journalism – firstly, the immediate report, which has been given much more possibility through modes of citizen journalism and online forums – and  secondly, analysis or comment on this report, which is seen as a feature both of professional journalism and of print journalism, but something lacking from spontaneous techniques. Pollard argues for example that strategies of citizen journalism are good for immediacy but, “I think people like analysis, interpretation, editorial comment etc. that only professional journalism can provide”. (IPC). Tapper also made this distinction, “ it must be noted that journalism is also an art form in its self and is very different from straight documentation” (Saatchi). While they mainly welcomed new forms of immediacy and interactivity and acknowledged the effect on publishing citizen journalism has had (AN), there was still awareness of its limitations as a forum for critical debate, analysis and informed and fact-checked comment. Tapper was most critical, arguing that Twitter is “a massive waste of time” (Saatchi), giving the example of The Guardian’s use of Tweets during the G8 Protests. He suggests that while it may have been fashionable to do this, making The Guardian seem more open to comment, there was nothing to actually be gained from the content, “I learnt nothing from it”  (Saatchi).

4.6. Mobile Technology

Again, the respondents had very little to say on this issue, AN and Grafik not answering at all for example, suggesting either confidentiality of strategy, lack of information, or a general situation where, as Frith argued, and as proposed in the Reviews, “the technology isn’t quite ready yet” (Wired). Tapper suggested that “immediate documentation will probably be the next big thing” (Saatchi), making a connection between tactics of citizen journalism and mobile technology. Pollard pointed out the lack of any reading devices able to rival the magazine reading experience, “magazines though remain enormously convenient to read / carry around and enjoyable to consumer (glossy paper, great images etc.). Technology should be used to create a companion content experience, not replace what already works”  (IPC).

4.7. Art Magazines and Art World Context

Those respondents working within the field of art magazines were able to develop the discussed issues in relation specifically to the situation of art magazines. One issue discussed here was, as pointed out in the Reviews, the rise of art blogs. Daye thought that art blogs are a good source of news, acknowledged their saturation but argued that this is not a major problem as readers are able to distinguish between good and bad blogs (AN). Fox was much more critical, “I don’t think there are that many interesting art blogs” (Frieze).  He argued, against the conception that blogging culture has a more authentic or immediate relation to reality than established magazines, that actually magazines “are far more easily able to tap into networks of information than individual bloggers, and so are much better placed for gaining access to artists, shows, images etc. “ (Frieze).  He also pointed out the fact that, in contrast with other cultural areas, no established art writers have moved from magazines to starting their own blogs.

The other main issues to arise were the effect of digital publishing on the relationship of art magazines to institutions such as museums and galleries , and the relation of print art magazines to online versions. In terms of relations to institutions, Tapper argued that online publication create a “more direct relationship” (Saatchi) between galleries and magazines. Daye agreed with this view, “galleries have gotten hip to art blogs …galleries know art blogs are the new way to distribute information (AN), while Fox pointed out that not all institutions would be quick to embrace this directness, “the art world power structures operate in curiously old-fashioned ways, and galleries and museums like to see their names advertised next to other galleries and museums!” (Frieze)

Discussions of the future of print art magazines brought up the issues raised in the Introduction and Reviews, developing points made from previous questions. One of the main points here was, as discussed, that art magazines could fulfil a more critical and analytical role, alongside the news immediacy offered by online publications, “Art mags have other functions than news – they review, critique, analyse and discuss culture” (Saatchi). There was also the sense of tactility and design of the magazine, which was seen as important, “arts mags are generally more about the design, feel and overall texture of a publication rather than just news” (Saatchi). While they admitted that magazines would have to adapt to digital forms, respondents were also wary about the effects of relying too heavily on the immediacy of online content, “I think one needs to be wary of the idea that the speed of digital publication – whilst advantageous for news – is somehow synonymous with critical agency or integrity” (Frieze). Finally here there were some interesting media-specific points. The glossy, visual and tactile nature of the magazine may have uses not only for readers wanting to collect a desirable object but also, as pointed out by Fox and as discussed in the Reviews, for artists or institutions who want to retain control over how their work is seen, “artists and galleries guard the reproduction of their images fiercely, and many artists have extremely high standards and demands when it comes to the conditions under which their images are reproduced” (Frieze). This point offers a useful counterbalance to rushes to embrace tactics of citizen journalism in art magazines. Fox also develops this point in a broader perspective, “visual documentation of art is what comprises art history and what use is a crappy image to future scholars of art” (Frieze). The answers as a whole suggest the need to balance, while increased interacivity, blogging and online discussion can be useful, there are also demands over issues such as quality of represented image, which are important specifically in an art context, whether in relation to the market or to the discourse of art history.

References:

IPC (2009) Interview 1, Pippa Pollard, Digital Director of IPC Media

VNA (2009) Interview 2, George Macdonald, Editor of Very Nearly Almost Magazine

Saatchi (2009), Interview 3, Daniel Tapper, Online Editor of Art and Music Magazine

Frieze (2009), Interview 4, Dan Fox, Editor of Frieze Magazine

AN (2009), Interview 5, Kendrick Daye, Editor and Co-Creator of a-n Magazine

Frith (2009), Interview 6, Holden Frith, Editor of Wired Website

Grafik (2009), Interview 7, Dan Rolfe Johnson, Deputy Web Editor of Grafik Magazine

Part Five: Presentation and Analysis of Research Findings: Interviews: Surveys

5.1. Introduction

This section presents the results of a survey distributed on the internet, addressing key issues raised in the Reviews in relation to readers. It mixed quantitative data with the space for providing more qualitative responses. All quotes here are anonymous and taken from the survey, which is available to view online.

5.2. Demographic and Reading Habits

Initial questions established basic demographics of the surveyed people, who all stated that they read art magazines. There was a general balance in terms of gender, with 16 males and 17 females responding. The overall sample size of 33 was large enough to allow for a range of answers and the spotting of dominant patterns and trends in answers. In terms of age, respondents clustered around the 19-29 year old age range, with 22 respondents in this group. There was a greater number of females in the 19-25 age range (9), equal males and females in the 26-29 range, but a greater number of males in the older age ranges from 30+ It is hard to make many general conclusions about the balance of age and gender, although it can be argued that art magazines attract a non-gender specific audience, and that they are slightly more popular with younger female readers and older male readers. These figures were not really remarkable enough, or the sample size large enough however, to affect my analysis. The data is also skewed towards those who use the internet, and those who have the time and inclination to complete internet surveys, rather than providing accurate insights into art magazine readership.

In terms of specific magazines mentioned, there was a fairly broad range. The most common were ArtForum, Frieze, Modern Painters, Art Review, FlashArt and Wallpaper, largely reflecting those most readily available on the UK newsagents shelf. More specialist independent publications were also mentioned suggesting that the readership sample were a specialist rather than purely mainstream audience. Many could not think of any particularly innovative digital publishing examples, reflecting either a lack of engagement or a genuine space for remarkable innovation. Some discussed in the Industry Review, such as Art Review, were pointed out, along with others such as Lost in E Minor, Fecal Face, and Enfocarte. Reasons for liking these sites were also varied, Frieze was described as “very classic, informative and easy to use, which is innovative for an art site”. Sites were mainly chosen for informative and engaging content, rather than any actual technical or structural innovations.

5.3. Reader Experiences and Attitudes

The hypothesis of the migratory reader proposed in the Literature Review was generally proven accurate by the respondents. One stating that this “describes my reading exactly!”. Overall 87.9% agreed that their experience was based on moving between and taking content from different sites, while only 12.1% disagreed. Opinions also suggested that this mode of reading has become normalized, “But surely this is normal?”. Others expanded on the point to discuss how their reading experience was constructed, “I read certain ones specifically for their fashion sections, others for articles, others for gossip, others for competitions, etc.”, or “go to Art Newspaper for all my current events around the world, for the more opinionated crit reads I go to the magazines”. The second response here is interesting as it maintains the distinction between immediate news coverage and critical writing proposed by the interview respondents, associating critical writing with print magazines, and an online source for news.  ‘Personalisation’ was another key thread, “Now I read only articles useful for me” for example, suggesting the modes of reading proposed in the Reviews relating to DIY choice of content. This answer alludes to both the sense of empowerment for ‘users’ of online texts, and the way, against answers from the interview respondents, reading online can become a lifestyle choice, and actually in fact a far more specifically tailored lifestyle choice than buying a magazine.

There were also other interesting differences in responses from those of the interview respondents. There was a belief for example that, against the interview results, that there was a greater connection to events in non-traditional media, “it’s not possible for the establishment to know what’s on the street so you need to read the taste makers and the rule breakers”. Some also acknowledged the power of existing media forms, “there’s still limitation in the scope of spread or the power comparing with authoritative existing media”.  There was a definite belief however, that strategies of citizen journalism has had some effect on publishing in general, with only 9.1% disagreeing with this statement.

5.4. Online Vs Print

In terms of differences between print and online experience, similar issues were raised to those previously discussed. There was a focus on advantages of online publishing from the perspective of consumers such as immediacy, “quicker dissemination of breaking news”;  “can be updated constantly” and the free nature of content (seen as a disadvantage for producers, but a distinct advantage for consumers). There was no rush to embrace a complete democratizing of content however as quality control was a major issue raised. While increased interactivity was welcomed by some, “Every form of media, particularly print, benefits from user interaction. It makes it more ‘real’, more appealing, fun and gripping”, other were more wary, “let the professional writers handle it” and there were many fears expressed over “basically people writing who are not well read”, and lack of critical depth, “you’re missing the depth [when reading online]”. Despite these reservations, 62.5% of respondents still stated that they would welcome increased interactivity, with only 6.3% not welcoming it, and the other 31.3% unsure.  With so many comments critical of the opening up of content, “the effect will be poor writing as style and substance will be replaced by low cost and speed”; “people think that because they have a camera and they write something, they are journalists”, it suggests that either those who were against interactivity had stronger opinions, that respondents were for interactivity in theory but not practice, or most likely, that interactivity is popular but only in a regulated and quality controlled fashion. As in the interview responses, very little reference was made to mobile technology. One respondent focused on the mobile advantages of print magazines, “people will always like to buy a mag to read on the tube or to wait for the doctor”, while only one spoke of accessing art magazine content on a mobile, “I also enjoy iPhone apps that feature content from these publications”.

Similar points were made about print magazines to those from the interview respondents. The status of the magazine as a tactile object was frequently mentioned, “the feel of a book in the hand”; “the tactile feel of a printed object”, as well as the design quality, “I like the layout [ of print magazines]”, and, as discussed before, the collectibilty of print magazines, “i can collect as objects and save as historic documents”. The status of magazine as material object, whether as a collectible, or as sensuous experience, is clearly an important factor for both producers and consumers. Points about content however were also raised, “publishing needs to have a presence on the Web that offers to-the-minute news, but readers still rely on print for long, factual (hopefully), and thoughtful editorial content”. This response mirrors many of the assumptions discussed before from both categories, that the internet has a role to play for up to the minute information, but associations of thought, analysis and critical content still lie with print magazines. This is something that must be changed if a transition to digital is to be effective in developing modes of reading beyond the simply informative.

5.5. Advertising

Responses to advertising were mixed. An equal amount of respondents (21.2%) stated that they liked advertising (in general) as those who disliked it (also 21.2%). A further 36.4% claimed to ignore it. The biggest discrepancy in this category came with the distinction between print and online advertising, where only 3% of respondents stated that they preferred online advertising over print advertising. On the other hand, 30.3% stated that they preferred print.  Although some did complain about the sheer quantity of print ads, “usually there are more ads than content” attitudes were mainly ambivalent, “if they keep the prices down all well and good”, or, “I like creative or useful ads” for example. Others commented that they liked them, “print ads, I quite like them, especially the classifieds”.  Responses to online advertising was far more negative, with ‘annoying’ being a key word in responses,  “online ads have less aesthetic aspects and sometimes very annoying, especially flashes or pop-ups”, or “online ads are just so annoying i hate them and never click on them unless i get caught out”. This sharp difference in attitudes is something that needs to be addressed by publications when creating digital content. It could be argued that it is the relative newness of internet advertising compared to print which people are not adapted to, or it could be that its techniques are more direct and intrusive.

Further questioning revealed attitudes to targeted advertising, confirming generally the conclusions from the Reviews that, while some don’t mind it, it is generally seen as intrusive and ineffective. 45.5% of respondents stated that they feel negatively towards targeted advertising, as against only 21.2% who feel positively, and 33.3% who are neutral. Some did see it as potentially useful, “It might benefit me!”, and others claimed to be unaffected by it, “I am immune to internet advertising”, but the most common responses were either inefficiency, “even though they are targeted it is usually not applicable to me and is a waste of time”, or negative reaction to intrusion, “I find adverts that have scanned my data slightly creepy and usually dismiss them as spam”; “I always feel violated in such cases”, “I hate being spied on”. This confirms the research in the Reviews and suggests that, either new forms of targeted advertising need to be developed, or that reader attitudes need to change, if it is to offer a possibility for successful alternative revenue production.

5.6. Art Magazines

This then developed into thoughts on art magazines in particular, where, as discussed in the Interviews, the importance of the visual and tactile were given a greater prominence (than in the magazine market generally), “art magazines will prevail. That is their point – beautiful printed images along with information”; “Pictures can’t be reproduced to the same effect on a computer”. It is interesting to note here that initial hypotheses that online publishing could be a better context for newer media artwork such as sound or video work have not been supported by answers from the public or from the industry. There has been little engagement from either with how digital forms could develop to provide a more effective way of representing artwork, but a lot of focus on what is lost in glossy colour magazine images.

Opinions on interactivity and user-generated content became more polarized when it came to the specifics of an art context. Some argued for more interactivity, “I wish art magazines encouraged more interactivity with their fans”; “ I believe in the democratization of art appreciation. I think interactivity will level the playing field and allow publishers to see what the mass audience really likes”. On the other hand, some reacted strongly against notions of democratization, “Let the professional writers handle it. I don’t need joe-smoe or anyone else who has not been studying contemporary art and other material for years to give me their opinions in magazine”; “Sites like Art Review and Saatchi have been taken over by amateur artists and the standard of online interactivity is too lowest-common denominator”. These diverse opinions are vital for the future of digital art magazines. On one hand, the public demand a form of interactivity, yet on the other hand, they demand professional opinion and quality. How these demands can be balanced, along with the issues of visual and tactile representation, are key elements for art magazines moving to digital modes.

References:

All quotes are taken from anonymous public responses on http://www.surveymonkey.com/MySurvey_Responses.aspx?sm=a4Njh%2bNnkBntnNbXPvNX2jAfZG24ar%2fgwEXkI%2fh7t74%3d

Part Six: Discussion

6.1. Introduction

The questionnaire and interview results have proved very interesting in relation to the hypotheses proposed in the reviews. It was initially proposed to address three key areas. Firstly, it was proposed that, if a transition to digital media is to be possible for art magazines then traditional models of readership must change.  Models of readership based on sending out a text to be passively consumed by readers must change. This was developed through an analysis of convergence culture, raising the question of the effect of increased user interactivity.  Secondly, it was proposed that developments in technology must support and be effectively utilized by digital publishing, in relation to shifts in readership. Thirdly, it was also proposed that content must change, adapting to a digital model and digital structures. The issue of revenue and advertising was also raised in relation to content. This section follows the division into these key areas, addressing how hypotheses have been supported or contradicted in relation, firstly to content, secondly to advertising and revenue, thirdly to readership and convergence, and fourthly, to technology.

6.2. Content, Advertising and Revenue.

Two problems were pointed out at the start for art magazine content, Firstly, that a move towards glossy celebrity-style coverage in print magazines has alienated some readers, and secondly that print magazines have proved increasingly irrelevant as providers of information in the face of new-media competition. The second point was supported by primary research in relation to both the industry interviews and the public survey. As has been discussed in Chapter Five, the immediacy of the internet as a news source has proved a vital tool for both producers and consumers, leaving print magazines lagging behind in terms of news coverage. However, interestingly, this did not lead onto support for the first point. As can be seen from responses in Chapter Five, The industry and public responses were in general agreement that, against the initial hypothesis, magazines still have more associations of critical, analytical and editorial quality than online sources. There was very little criticism of art magazines as shallow entertainment. This may reflect an industry belief in the value of its own work, or a public belief in the value of its reading choice, but it is definitely in sharp contrast with the initial proposal. What emerged instead most strongly was a kind of nostalgia, and an emphasis on the importance of materiality. Firstly, nostalgic responses agreed that digital content would become increasingly important but wanted to keep hold of print magazines as collectibles or desirable objects, even as they become increasingly irrelevant.  Secondly, focuses on materiality either suggested that the tactile experience of the magazine would remain important or that its very quality as ‘glossy’ allowed for better reproduction either for the benefit of artist, reader, gallery or history. This shows other important diversions from the original hypotheses. It was proposed that, while print magazines may represent certain media of art better – painting and photography say, online magazines would offer more potential for representing other media – video and sound say. This view was not sustained by either the industry or public responses, which all held to a belief that print magazines were better for reproduction of images. The other question, of the tactile experience of reading, was addressed in the reviews but came to play a far greater role in the responses, in the public responses in particular, as discussed in Chapter Five.  One of the most interesting examples to emerge here was the reference to grindstate.com, a photo blog site which uses an innovative interface to represent photographs in a way which uses the media effectively – cutting between close-ups for example, and suggests possible ways of recreating some of the ‘tactility’ of the print experience. Art magazines must learn, not to mimic the representation of print, but to find new forms of representation for the digital age. In terms of advertising, the respondents generally supported the initial hypotheses that new forms of revenue must be found but that models of targeted advertising had received negative feedback.

6.3. Readership, Technology and Convergence Culture

It was proposed that the convergence of digital technologies has been used in the construction of new modes of active readership, and that examples of citizen journalism show how important convergence has become in culture generally. Convergence culture was discussed suggesting a different mode of engaging with content, based on among other things, increased user interaction ad the reconfiguration of readers as users. The question was raised of how this ‘clash’ between industry and user content could be managed and controlled. The hypotheses here were largely supported. A sense of balance was proposed, highlighting the empowerment of readers but also the need to maintain quality, and this view was supported by respondents from the industry and the public, as has been discussed in Chapter Five. The most surprising feature here was the way that while the industry respondents seemed largely to welcome the shift in institutional relations that interactivity entails, the public respondents were more wary, being keen to maintain a sense of ‘proper’ or ‘professional’ journalism from the democratization of opinion. This did support the hypotheses but reflects a high public demand for regulation. While the reviews proposed a sense of an industry still waiting for appropriate technological developments, they did propose some hypotheses, such as the development of mobile technologies and the incorporation of locational software. Unfortunately this was the aspect of the primary research that proved least useful, with respondents either unaware of or not much engaged with technological issues beyond the use of online magazines. This is an area which requires further research and more specific questioning.  What has emerged as an interesting area however, through the contrasts between the primary and secondary research is the issue of tactility and spectatorship. Industry and public respondents are both unwilling to give up the visual and tactile experience of the magazine, and while there has been some evidence of digital producers addressing this issue (grindstate for example), the survey results suggest it has not been very successful. This suggests the possibility for increased developments in this area for mainstream art magazines. Furthermore it also suggests the possibility for further theoretical research. Theorists such as Michele White in her book The Body and The Screen: Theories of Internet Spectatorship for example (White 2006) have focused precisely on this issue, addressing how forms of “embodied spectatorship” (White 2006: 177) can be developed in order to understand notions of tactility in a digital age outside of a purely nostalgic mode.

Part Seven: Conclusions and Recommendations

7.1. Digital Magazine Publishing

As proposed in the Reviews, and confirmed by both industry and public responses, two of the biggest advantages for digital publishing are the immediacy of news coverage, and increased interaction with users.  The main disadvantages for the industry proves to be the amount of extra work involved and sustainability of revenue production in an online form. The advantages for readers were less clear-cut, some arguing for an increase in quality and others for a decrease in quality of content.

7.2. Readership

The concept proposed of the migratory reader, ‘snacking’ on various sources of information was confirmed, particularly by the public responses, as a normalized mode of readership. This, combined with emerging trends for personalization leads to the necessity for online magazines to maintain a strong brand and distinctive quality content. While some argued for and others against ideas of democratization, all acknowledged that strategies from elsewhere such as citizen journalism and blogging are having an effect on readership, and action must be taken to acknowledge this.

7.3. Criticality

Against the proposed hypothesis of the shift in function of art magazine from forum for critical debate to shallow fashion object, there was general belief on behalf of the industry and public respondents that art magazines still play an important critical function, and they have more depth of analysis than online magazines. This is an issue which must be addressed in the development of online content.

7.4. Physical and Tactile Experience

The hypothesis of the importance of the magazine as a designed object was confirmed, from both industry and public responses. The physicality or tactility of the magazine was emphasized, as either a collectible object, design piece, space for quality image representation, or object for history. Against the hypothesis of the web offering a better way of representing new media art work, answers retained not only a nostalgia for the magazine but also a belief in its importance for the art market and its institutions such as galleries and the documents of history. This raises issues of how to create a lifestyle experience around an online magazine, and questions of visuality and tactility which must be approached innovatively.

7.5. Revenue

As proposed, the difficulty of maintaining revenue is a crucial factor for online publishing. Targeted advertising proved to be an unpopular method and other alternatives, such as transactional revenue, were proposed, but need further analysis.

7.6. The Future of Digital Magazine Publishing

Public responses in particular highlighted sites which had informative and engaging content, rather than any actual technical or structural innovations, suggesting the lack of impact such innovations have had.  There was little engagement from either the industry or public respondents with how digital forms could develop to provide a more effective way of representing artwork. As the types of innovations pointed out in the industry responses varied greatly, a high level of non-standardization can be seen to exist, suggesting potential for more innovations in this field – importantly, this must account for some of the lost visual experience and tactility of the magazine, and offer new and exciting modes of relating to diverse visual material, and of reflecting shifts in media in art practice itself Mobile developments, locational software and web 2.0 strategies all need to be incorporated and developed more effectively, as none had an impact on the respondents.

7.7. Limitations and Directions for Further Research

It was frustrating to not be able to develop further hypotheses on advertising and mobile technologies, but these could be further researched. The most interesting area that emerges from the research is the possibility of combining more theoretical research in embodied spectatorship with practical online experimentation, in order to create a new generation of digital art magazines, fully accounting for interactivity, mobility, tactility and the visual experience.

Bibliography

Secondary Research:

Barnett, E. (2009) ‘Adverts fail to engage the majority of social networkers’, The Telegraph 12^th August 2009, http://www.telegraph.co.uk/technology/social-media/6016722/Adverts-fail-to-engage-majority-of-social-networkers.html [accessed 2/9/09].

Brabazon, T. (2008) Thinking Popular Culture: War, Terrorism and Writing. Oxford: Chandos.

Bell, E. (2006) ‘Collected Writings’, Frieze Issue 100, June-August 2006, http://www.frieze.com/issue/article/collected_writings, [accessed 4/9/09].

Everingham, S. (2009) ‘Facebook’s targeted advertising plans disturbing, critics say’ ABC News,  Tue Feb 3^rd 2009, http://www.abc.net.au/news/stories/2009/02/03/2481480.htm, [accessed 4/9/09]

Freedman, D. (2006) ‘Internet Transformations: Old media resilience in the new media revolution’, in Curran, J. and Morley, D. (Eds.) Media and Cultural Theory. London: Routledge.

Frieze (2009), Frieze: Contemporary Art and Culture. Issue 125, September 2009.

FriezeWeb (2009), http://www.frieze.com/magazine/ [accessed 1/9/09]

Hesmondhalgh, D. (2002) The Cultural Industries. London: Sage.

HuoMah (2007), http://www.huomah.com/business-development/internet-business/google-looking-at-diy-magazine-publishing.html [accessed 31/8/09].

Indymedia (2009) http://www.indymedia.org.uk/, [accessed 31/8/09]

Jenkins, H. (2008) Convergence Culture: Where Old and New Media Collide. New York: New York University Press.

Jones, J. (2009) ‘Why must art magazines be so glamour obsessed?’ The Guardian, Thursday 16^th April 2009, http://www.guardian.co.uk/artanddesign/jonathanjonesblog/2009/apr/16/art-magazines

[accessed 4/9/09].

Kahney, L. (2005) The Cult of Ipod. No Starch Press

Lam, B. (2009) ‘An Insider on the Apple Tablet’, http://gizmodo.com/5335942/an-insider-on-the-apple-tablet [accessed9/9/09].

Lewis, P. (2009) ‘Climate campers get a lesson in citizen journalism’, The Guardian, Thursday 27^th August 2009, http://www.guardian.co.uk/media/2009/aug/27/climate-camp-citizen-journalism, [accessed 31/8/09].

Lawson-Borders, G. (2006) Media Organisations and Convergence: Case Studies of Media Convergence Pioneers. Philadelphia: Lawrence Erlbaum Associates.

Manovich, L. (2001) The Language of New Media. Cambridge, Mass.: MIT Press.

Mell, J. (2009) ‘Web 2.0 Ideas and Strategy’, http://jonmell.co.uk/facebook-targeted-advertising/ [accessed 1/9/09].

Mirzoeff, N. (2002) The Visual Culture Reader. London: Routledge

Negroponte, N. (1995) Being Digital. New York: Knopf.

PDA (2009) PDA: The Digital Content Blog ‘First Look: Amazon launches iPhone Kindle app’, http://www.guardian.co.uk/media/pda/2009/mar/04/amazon-ebooks, [accessed 4/9/09].

PDA (2008), PDA: The Digital Content Blog

http://www.guardian.co.uk/media/pda/2008/jan/11/facebooktargetedadswillmak, [accessed 7/9/09].

Project Space (2009) http://www.artreview.com/projectspace [accessed 1/9/09]

Radhakrishnan, A. (2007) ‘Google Magazine: Patent points to magazine patented with articles and ads you choose’, Tech Republic, http://blogs.techrepublic.com.com/tech-news/?p=1612, [accessed 2/9/09]

Rayner, P. Wall, P & Kruger, S. (2004) Media Studies: The Essential Introduction. London & New York: Routledge.

Reagan, G. (2009) ‘Toy Story: Are those 5,000 magazines in your messenger bag, or are you just pleased to see me?’, The New York Observer, March 31^st 2009, http://www.observer.com/2009/media/toy-story-are-those-5000-magazines-your-messenger-bag-or-are-you-just-happy-see-me, [accessed 5/9/09].

Riley, D. (2007), http://www.techcrunch.com/2007/08/22/facebook-will-use-profiles-to-target-ads-predict-future/ [accessed 4/9/09].

Saatchi (2009), http://www.saatchi-gallery.co.uk/yourgallery/artist_profile/Nick+Treadway/44864.html, [accessed 7/9/09]

Singh, V.P. (2005) Digital Economy: Impacts, Influences, Challenges. Idea Group.

Szanto, A. (2009) ‘With newspapers in terminal decline, what future for arts journalism’, The Art Newspaper, May 2009, http://www.theartnewspaper.com/article.asp?id=17214, [accessed 4/9/09].

Storey, J. (2006) Cultural Theory and Popular Culture: An Introduction. London: Pearson.

Tank (2009) http://www.tank.tv/, [accessed7/9/09]

T-Mobile (2008) ‘Share Life with T-Mobile’ TV Advertising Campaign, http://www.visit4info.com/advert/Share-Life-with-T-Mobile-T-Mobile/68274/2, [accessed 31/8/09]

Weaver, M. & Nasaw, D. (2009) ‘Iran Protests: Live’ The Guardian News Blog, Wednesday 17^th June 2009, http://www.guardian.co.uk/news/blog/2009/jun/17/iran-uprising, [accessed 31/8/09].

White, M. (2006) The Body and The Screen: Theories of Internet Spectatorship. Cambridge, Mass: MIT Press.

Winston, B. (2003) Media Technology and Society: A History. London & New York: Routledge.

Primary Research:

Industry Interviews

IPC (2009) Interview 1, Pippa Pollard, Digital Director of IPC Media

VNA (2009) Interview 2, George Macdonald, Editor of Very Nearly Almost Magazine

Saatchi (2009), Interview 3, Daniel Tapper, Online Editor of Art and Music Magazine

Frieze (2009), Interview 4, Dan Fox, Editor of Frieze Magazine

AN (2009), Interview 5, Kendrick Daye, Editor and Co-Creator of a-n Magazine

Frith (2009), Interview 6, Holden Frith, Editor of Wired Website

Grafik (2009), Interview 7, Dan Rolfe Johnson, Deputy Web Editor of Grafik Magazine

Public Survey

http://www.surveymonkey.com/MySurvey_Responses.aspx?sm=a4Njh%2bNnkBntnNbXPvNX2jAfZG24ar%2fgwEXkI%2fh7t74%3d

Appendices

Interviews

Graphs