Check it throughout the blackout period for the latest updates.

I’d also been thinking along Rushkoff’s lines. What exactly was Occupy Wall Street trying to achieve? In many ways, it resembled the WTO protests I covered in 2005 in Hong Kong. That mishmash of protesters from the “Global South,” subsidized farmers from Korea, Southeast Asian sex workers, and domestic maids, among others, had common gripes, but exhibited no central leadership or coherent manifesto. You felt the vibe. You knew what they were against. But you didn’t know where it was going.

To me, Occupy Wall Street reminds me a lot like the folks who edit Wikipedia — a leaderless grassroots gathering of passionate individuals with similar concerns, trying to find consensus. Rushkoff describes this better as: a “decentralized network-era culture,” concerned about sustainability in their movement, rather than victory.

“It is not about one-pointedness, but inclusion and groping toward consensus. It is not like a book; it is like the Internet,” says Rushkoff.

The full piece is worth the read, because it’s this type of analysis Rushkoff does best: Think Occupy Wall St. is a phase? You don’t get it – CNN.com.

When Steve Jobs was forced out as the head of Apple Computer in 1987, he stayed in Silicon Valley and put his energies into a new start-up called NeXT. This was while Apple was still shipping computers with nine-inch screens and Microsoft’s most advanced product was an anemic and stiff-looking Windows 2.0. The NeXT machine, on the other hand, launched in October 1988, introduced pioneering features we’re all used to now: a high-resolution “million pixel” display, a read/write optical drive, and a true multitasking operating system. And in classic Steve Jobs style, it was clad in a sexy all-black magnesium cube form factor that made it the envy of computer science departments around the world.

The NeXT megapixel grayscale computer display was its most stunning feature. What it lacked in color it made up for in fineness and texture. It was so large and sharp, folks compared it to reading on paper. This was no coincidence—it used PostScript, a special language from Adobe Systems usually reserved for high-end paper printers.

So when [WWW creator Tim] Berners-Lee was testing out his idea for a World Wide Web to share documents, he used his NeXT cube computer that was geared toward handling high-resolution documents. The first Web browser he ever built was for the NeXT machine, in February 1991. But he had much grander plans than simply creating a “browser” for reading, and in fact called his program a “browser-editor.”

Not only did his program on the NeXT read and display Web pages, it could also alter them and save them. This was a function Berners-Lee had envisioned from the start—a read-write Web of information for sharing.

Given its rich and ambitious origins, it is then quite peculiar that the Web that became popular in the mid-1990s was known only for reading, browsing, and surfing. In the exuberance to push the reading experience, the “write” stuff, which was always meant to be part of the Web, was left behind as a cumbersome feature.

While the first Web browser from Tim Berners-Lee gained notoriety, there was a problem. The sexy features of the NeXT were not cheap. They offered only one model, and few folks could afford a $6,500 NeXT cube. Even NeXT’s follow-on budget version, the NeXT “slab,” was $4,995. It was hardly a computer for the masses.

But oh, what Steve was able to do since then. He returned to Apple, made the NeXT operating system the basis of all Macs, and came to dominate the world of music players, smart phones, and tablet computing.

RIP Steve Jobs, you really did make “computers for the rest of us.”

I answer with a question: Why is learning (and teaching) video so hard for journalists?

I’ve taught new media journalism for over a decade and trained correspondents with news organizations (Wall Street Journal, Reuters, et al.) all over the world.

Without exception, the weakest part of training journalists old and new is understanding visual literacy while alone, shooting in the field. We can train them before they go out in the field, and coach them after. But video storytelling is technical, complicated and all too often, a lone act while shooting.

The journalist is solo and overwhelmed by all the other duties of reporting. And increasingly news organizations are asking journalists to capture video, without the right training to get it done.

It should be no surprise then, the majority of footage that comes back is shaky and unusable in the edit room, and the visual skills of journalists rarely get better without a lot more determined training.

We don’t train journalists well in video, and we need to do it better.

But there is a solution and it’s through “video patterns.”

One of the most famous, and useful of these, is Michael Rosenblum’s “five shot” method that he developed training journalists from the NY Times to the BBC. It’s actually something he’s preached since the late 1990s, and those who are fortunate enough to learn it get an insight into shooting better video, immediately.

I’ve successfully used this in the classroom to teach visual literacy, because it hones in immediately on what’s important. The five shot method always prescribes these, shot in this exact order (my handout here):

1. A closeup on the hands of a subject – showing WHAT is happening
2. A closeup on the face – WHO is doing it
3. A wide shot – WHERE its happening
4. An over the shoulder shot (OTS) – linking together the previous three concepts
5. An unusual, or side/low shot – providing story-specific context

Rosenblum stresses that this provides usable footage every time, and this sequence always cuts together logically in the editing room. He’s right.

And it has an Atkins Diet effect — it convinces otherwise despondent journalists that they can indeed do effective video, and that it’s more hard science than unattainable art in getting stories done well.

WSJ multimedia reporter Lam Vo and I have used this to help train professional journalists in the field. I’ve used this in the classroom at USC Annenberg to give folks the starting point for video literacy. Journalists using this have said it’s helped provide an immediate “game plan,” directing them towards good shots and techniques, and reducing training time in the field. (It doesn’t hurt that the first two shots will always be useful B-roll, which can be a savior in the editing room.)

But the method is important not because this particular pattern is a universal story sequence, but because it compels journalists to learn visual literacy by doing, to form good habits, and to understand video is a closeup medium.

By mastering the 5 shot method, they learn:

• Closeups
• Logical sequences
• Respecting the line of action
• Getting effective B-roll
• Editing solutions

So where do we go from the 5 shot?

We can build on the experience of 5 shot to go on to more “patterns” as a way to rapidly gain experience in a visual storytelling. The 5 shot does not handcuff journalists to a particular sequence. It leads them to more possibilities.

At the new USC Annenberg Innovation Lab, I’m looking into how to incorporate patterns into the video shooting process through apps for mobile devices. Instead of a paper 5 shot checklist in one hand and a camera in the other, why not integrate them together into one? Imagine an iPhone or iPad interface that provides a storyboard of the 5 shots that guides the videojournalist through this shot sequence. Visual algorithms can give hints and warnings about how well a shot is framed, or if a shot is shaky (ala iPhone’s motion sensor), or if the lighting is correct.

In this way, the camera is no longer just a capture device, but an instructional device, providing direction and feedback to the operator to learn visual literacy by “doing.”

Instead of learning video shooting from a textbook, or even an e-textbook, such a device is actually an e-workbook, transforming the iPhone or iPad into an integrated capture/learning device. And imagine if we go beyond the 5 shot, to allow many other patterns to be loaded into the e-workbook, providing more visual patterns and tropes to be taught.

It has the potential to revolutionize how we learn and shoot video, opening up video storytelling to journalists and crowdsourcing efforts.

See related Carnival of Journalism posts by Michael Rosenblum and Lam Vo.

I’ll be talking about this project at the Journalism Interactive conference at the University of Maryland, in October. Andrew can be reached at andrew at andrewlih.com.

So the question is, what CMS should I teach in the journalism classroom?

I’ve used the “big three” of Drupal, WordPress and Joomla in the classroom setting and each one has its positives. My brief take: the more you think you need to “graduate” from WordPress to something more sophisticated, it keeps getting better and more impressive. Drupal’s best for its community plumbing and customization, while Joomla has sophisticated and mature front-page layout features. Decide which one’s the most important for your project.

At the University of Southern California, for beginning and advanced classes, I’ve stuck with WordPress for most projects, with many of the plugins and themes suitable for most tasks. This is not to say Drupal and Joomla don’t have their appropriate roles, but WordPress is the Willys Jeep of the CMS world — you keep finding it does more and more things well.

But for those who want to dive deeper, there are lots of reasons to consider Drupal and Joomla:

Usability. From an administration viewpoint, WordPress has practically obviated the need for FTP and requiring shell/command line access for maintenance and customization. This is no small feat, as this makes training much easier, while keeping systems more secure. Don’t underestimate the headache in having to teach folks FTP and UNIX basics.

Scalability. Joomla and Drupal were built from the ground up with the ability to gracefully degrade their performance. That is, if the load on a server gets too much, they can automatically shut off intensive features so visitors can at least read the site quickly. If you think that you may need this capability, take a long look at these two.

Community plumbing. This is where Drupal shines, in that it’s a flexible system for building community-oriented features, like collaborative filtering, and even e-commerce. With little effort, you can create policies that allow your audience to each have their own blog streams and allow folks to collaboratively rank content up/down. Think DailyKOS or Digg. In 2004, I taught a class with Dan Gillmor and used Drupal to have get students to create a community blog site to gather contributions from the community. Only Drupal could have done it so easily.
http://www.cyberjournalist.net/chatter-garden-new-hong-kong-online-community-news-site/

Layout and Customization. Joomla has some nice “front page” features right out of the box. I used it in a 2005 project where students covered the WTO Ministerial conference in Hong Kong. You could reshuffle and re-rank stories quickly that re-flowed the front page 3-column layout in a snap.
http://www.thestandard.com.hk/news_print.asp?art_id=8309&sid=5982453

User roles and workflow. Joomla and Drupal have better support for “workflow” and multiple user roles if you need to have a draft-review-publish cycle with different type of editors. (In recent years, though, WordPress MU and other extensions have made WordPress similarly capable in this area).

Themes and extensions. It’s hard to out-do WordPress in this area which has perhaps *too* many to choose from. Drupal sports a number of firms that specialize in customization and programming. In terms of numbers, Joomla is more popular that Drupal though there are many high-end, high-profile sites out there that help boost Drupal’s profile beyond the raw numbers.

We are spoiled for choice and that’s a good thing. Eager to hear how other schools have used these CMS’es.

[This post originally appeared as a response to the ONA Educators group on Facebook.]

This builds on a session earlier this year on “Backpack Journalism” we did with the Asian American Journalists Association. The goal: in three hours, we turn any newbie into an effective video storyteller who can start creating pieces right away.

Feel free to pass this along to any reporters or editors in Hong Kong who are interested, as slots are filling up.

Video for Reporters: Adding the Visual Dimension
Date: Saturday, July 16, 2011
Time: 10am – 1pm

Venue: Global Lounge, G/F Swire Building, The University of Hong Kong
Fee: HK $200 (or HK $100 for AAJA members, FCC members and JMSC alumni)
Instructors: Andrew Lih, University of Southern California and Lam Vo, Wall Street Journal
Registration and payment can be made online:
http://hkuems1.hku.hk/hkuems/e?c_regform.aspx?guest=Y&ueid=17?108.

Overview:
In the digital age, reporters are increasingly asked to construct video and multimedia stories on top of their print work. How can one become an effective visual journalist while navigating this new work load? Learn how to manage reporting in the field with this quick introduction to visual storytelling using simple and professional equipment. Instructors Andrew Lih and Lam Vo, have worked with reporters and students in the US and Asia on quick, effective strategies for visual storytelling.

1. Overview of visual storytelling
2. Why video: examples and case studies
3. Live demo: shooting a video story in five steps
4. Transfer and management of media
5. Strategies and checklists for the field
6. Practical tips on gear and kits

Who Should Attend:
Experienced reporters, but beginners in video. Even those with some video experience but looking for streamlining and becoming more efficient will find the session useful.

Outcomes:
Attendees will understand the basics of visual literacy and be able to effectively shoot, report and script short videos stories using the BBC Five Shot method. Takeaways include a field checklist of how to produce these stories in the field.

What to Bring:
Attendees are encouraged to bring any existing audio-visual equipment and kits (amateur or professional) for advice and hints on how to use them.

It was also the first public venue where I described a new project I’m starting called WikiFactCheck, which attempts to bring the culture of reliable sources, verifiability and citations set by Wikipedia to the task of fact checking news outlets and sources. This will start with focusing on the US “Sunday Morning talk show” circuit, a cause taken up prominently by Jay Rosen and projects such as PolitiFact and Meet The Facts. But the effort can be extended to other domains, such as political debates, speeches and briefings, and I look forward to seeing the brainstorming around this.

See the following for the complete presentation, and feel free to visit the wiki above and contribute your ideas. I will be giving a brief talk at AEJMC in Denver, Colorado about the WikiFactCheck project.

The background: I got a call from LA’s public radio station KCRW on Thursday asking if I could participate in discussion about Wikipedia’s pending changes feature. This was while I was on a five day getaway, and just a few hours before driving into the cell phone blackout void known as northern Arizona. Everything from Fredonia (near the Utah border) down to the North Rim of the Grand Canyon is pretty much a cell phone black hole for AT&T, and I suspect pretty much every carrier. Also, radio producers crave land lines for their reliability and general quality over mobiles.

Locals confirmed there was no telecom whatsoever (wired or wireless) between where I was at Jacob Lake (a small outpost/lodge) and the precious pay phones run by the National Park Service 44 miles away. I had to cover that distance in an hour, half of which I could go 70 mph, but the rest a curvy and hilly affair that featured deer and cow crossing warnings.

View Grand Canyon North in a larger map

Driving slightly on the edge of responsibility, I made that distance in roughly 50 minutes. We pulled into the parking lot of the Grand Lodge, grabbed any staff member I could find and asked if they had pay phones that could receive calls. They didn’t know, but pointed to a bank of phone booths.

It was 20 minutes to show time, and I didn’t know how I’d get on air.

AT&T, to their credit, had at the very least a weak circle of cell coverage around the lodge, but it would have been awful for radio broadcasting.

I went into the phone booth, noted the 928 area code number on the pay phone, dialed it from my cell phone and voila — it rang. I texted the number to the KCRW producer, and 15 minutes later, there was a ringback and I was on the radio show.

It worked. And after a spirited discussion on Wikipedia, I took twenty paces and had this beautiful view from the lodge.

Another twenty paces, and I had this panorama.

As I told Warren Olney on the show: “Never underestimate the value of a landline,” especially in Northern Arizona.