Spoiler: no, you are not.

We live in the Content Overproduction Ages. We even coined a new word to explain what’s happening in the information ecosystem during the COVID-19 emergency. The word is infodemic [1].

Grammatically, i is a of “information” and “epidemic”. It refers to the fast increasing amount of content production about a topic, no regard if accurate, non-accurate, even completely false.

The fast content over-production is a typical characteristic of the infosphere: it’s a natural consequence of the digital revolution and of the decreasing cost for content production and distribution.

We only need

  • a device connected…

Paparazzi Dogs, sculpture by Gillie and Marc, San Francisco

There are a free speech problem and a journalism business model problem: we know it.

The first one is in some ways a new struggle we have to face.

The second one is not new at all. And even for the contemporary landscape, we have several founding essays with deep analysis of the problem. In 2014, Anderson, Bell, Shirky wrote and published a paper called Post Industrial Journalism: Adapting to the Present.

A must-quote sentence from that paper is:

In my room, waiting for a video call

This is a personal story and it can be used as a metaphor of the journalism ecosystem in Italy. I’m writing it in English because I think it could be useful also for people outside my country, to better understand our media landscape.

I’ve been the Editor-in-chief of Blogo.it for four years and half. At one point, I was forced to quit since I was opposing the publisher progressive demand for more and more click-baiting-style-articles less and less paid. Nobody — nor the Italian Journalist Guild or the Unions — has helped me in that short but difficult struggle I’ve…

June 30, 2019. New York, several minutes before the Pride March.

Follow the money
Sometimes it’s the best way to understand what’s happening since the money has a so huge role and importance in our society.

is, of course, a good prescription for journalists.

It’s also a famous line spoken by Deep Throat (Hal Holbrook) in the film All the President’s Men. The Deep Throat — the film is based on the true story of about the Watergate scandal — apparently never said exactly that sentence. But it’s perfect for a movie.

is a prescription I wrote in one of Slow Journalism’s chapter I…

Newseum, Washington D.C.

Since the end of 2016 in the journalistic ecosystem, we started talking about and .

I personally found a ridiculous fake label, since we have always had problems of disinformation and misinformation, propaganda and hoaxes and so on. Fake news is a contemporary version of an old issue.

Donation of Constantine was a fake document which gave the Catholic Churc ha huge power in the central part of Italy. It took 500 years to discover and prove that it was a fake document. Now, if a piece of fake news is spreading, we can debunk…

This article has been published for the first time for Wolf, a Slow News magazine, in Italian.

One of the big issues at stake since Trump was elected to the USA 2016 presidential election is political propaganda on Facebook.

Is it true that the elections were manipulated through Facebook? Is it true that people can be influenced by social media? Is it true that I can send targeted messages to individuals by leveraging their weaknesses thanks to all the data collected on this platform?

The answers to these questions risk being too partial.

We know that by using advanced Facebook tools I can send differentiated messages to groups of people with specific interests, in a fairly precise…

Photo by 1AmFcS on Unsplash

I think an era of (digital) awareness has begun.

I will continue to put in brackets that adjective, (digital), because it is important to do so. To put it in brackets reminds us that we come from the age of non-awareness.

In the age of non-awareness there were two worlds: the real one and the digital one.
The second was a world where, according to some, the rules that were valid in the first were not valid.

It was a world where the value was not perceived. It was a world where you could infinitely multiply the “users” — a…

De Correspondent raised €1.3 million with crowdfunding in the Netherlands as a journalistic startup.
A few years later, The Correspondent, the English, global version, raised $ 2.6 million with crowdfunding (after a $ 1.8 private “runaway funding”).

The Correspondent’s mission statement is: .

With a clear manifesto they called “Our 10 founding principles”, the founders explained how to rethink and rebuild the journalism itself.

The second crowdfunding was born and developed mainly in the USA. If you search you can find the content of the campaign and you can see, for example

  • the Correspondent van in action in…

La sperimentazione del gruppo SESAAB che raccontiamo in questo spazio su Medium si muove su vari binari.

Se da un lato c’è quello della comunicazione nativa, dall’altro il lavoro di consulenza rispetto alle potenzialità e alle caratteristiche del gruppo ha suggerito di puntare su:

  • verticalità tematiche
  • concetto di comunità

Nella convinzione che la possibilità di offrire un nuovo valore aggiunto per il lettore non si trovi nell’essere generalisti e nell’idea di fondo che ci siano fonti di sostentamento — per un’editoria capace ad adattarsi ai tempi che cambiano — da ricercarsi proprio nel sostegno da parte dei lettori, ci siamo…

Nella ricerca di modelli di business alternativi rispetto a quello tradizionale, all’interno del gruppo SESAAB abbiamo messo in moto un processo di analisi degli esempi più belli di pubblicità nativa. Non intendiamo, come pubblicità nativa, il ovvero la creazione di contenuti automatici che assomigliano a contenuti editoriali. Intendiamo, anzi, contenuti di valore aggiunto per il pubblico.

Gli esempi che abbiamo analizzato sono partiti da grandi casi di studio internazionali, come per esempio

ma anche da casi di…

Alberto Puliafito

Slow News Editor-in-Chief. My nickname is Malaparte. I resist against state of emergency. Formerly Blogo. Director, SEO, communication strategist.

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