Two sides of the road and the gutter next to it

I have a mid-October deadline for an essay so obviously when I started reading up on the topic this morning, I ended up on a different part of the web – where I found this: a piece by a journalist talking about the problems with displaying one’s biases. Its headline:

It’s a straightforward statement until you start thinking about what bias is, and according to whom. On 99% of occasions when a speaker uses the word, she means it as a deviation from the view from nowhere. But the view from nowhere seldom exists. It’s almost always a view from somewhere even if many of us don’t care to acknowledge that, especially in stories where people are involved.

It’s very easy to say Richard Feynman and Kary Mullis deserved to win their Nobel Prizes in 1965 and 1993, resp., and stake your claim to being objective, but the natural universe is little like the anthropological one. For example, it’s nearly impossible to separate your opinion of Feynman’s or Mullis’s greatness from your opinions about how they treated women, which leads to the question whether the prizes Feynman and Mullis won might have been awarded to others – perhaps to women who would’ve stayed in science if not for these men and made the discoveries they did.

One way or another, we are all biased. Those of us who are journalists writing articles involving people and their peopleness are required to be aware of these biases and eliminate them according to the requirements of each story. Only those of us who are monks are getting rid of biases entirely (if at all).

It’s important to note here that the Poynter article makes a simpler mistake. It narrates the story of two reporters: one, Omar Kelly, doubted an alleged rape victim’s story because the woman in question had reported the incident many months after it happened; the other, the author herself, didn’t express such biases publicly, allowing her to be approached by another victim (from a different incident) to have her allegations brought to a wider audience.

Do you see the problem here? Doubting the victim or blaming the victim for what happened to her in the event of a sexual crime is not bias. It’s stupid and insensitive. Poynter’s headline should’ve been “Reporters who are stupid and insensitive fail their sources – and their profession”. The author of the piece further writes about Kelly:

He took sides. He acted like a fan, not a journalist. He attacked the victim instead of seeking out the facts as a journalist should do.

Doubting the victim is not a side; if it is, then seeking the facts would be a form of bias. It’s like saying a road has two sides: the road itself and the gutter next to it. Elevating unreason and treating it at par with reasonable positions on a common issue is what has brought large chunks of our entire industry to its current moment – when, for example, the New York Times looks at Trump and sees just another American president or when Swarajya looks at Surjit Bhalla and sees just another economist.

Indeed, many people have demonised the idea of a bias by synonymising it with untenable positions better described (courteously) as ignorant. So when the moment comes for us to admit our biases, we become wary, maybe even feel ashamed, when in fact they are simply preferences that we engender as we go about our lives.

Ultimately, if the expectation is that bias – as in its opposition to objectivity, a.k.a. the view from nowhere – shouldn’t exist, then the optimal course of action is to eliminate our specious preference for objectivity (different from factuality) itself, and replace it with honesty and a commitment to reason. I, for example, don’t blame people for their victimisation; I also subject an article exhorting agricultural workers to switch to organic farming to more scrutiny than I would an article about programmes to sensitise farmers about issues with pesticide overuse.

On that Poynter debate about stock images and ethical visual journalism

Response to Mark Johnson, Article about free images ‘contradicts everything I hold true about journalism’, Poynter, February 9, 2018. 

Let’s get the caveats out of the way:

  • The article to which Johnson is responding did get some of its messaging wrong. As Johnson wrote, it suggested the following: “We don’t think about visuals BUT visuals are critically important. The solutions offered amount to scouring the web for royalty-free and (hopefully) copyright-released stock images.”
  • In doing so, the original article may have further diminished prospects for visual journalists in newsrooms around the country (whether the US or India), especially since Poynter is such a well-regarded publisher among editors and since there already aren’t enough jobs available on the visual journalism front.
  • I think visual journalists are important in any newsroom that includes a visual presentation component because they’re particularly qualified to interrogate how journalism can be adapted to multimedia forms and in what circumstances such adaptations can strain or liberate its participants’ moral and ethical positions.

That said, IMO Johnson himself may have missed a bit of the nuances of this issue. Before we go ahead: I’m going to shorten “royalty-free and/or copyright-released” to CC0, which is short for the Creative Commons ‘No Rights Reserved’ license. It allows “scientists, educators, artists and other creators and owners of copyright- or database-protected content to waive those interests in their works and thereby place them as completely as possible in the public domain, so that others may freely build upon, enhance and reuse the works for any purposes without restriction under copyright or database law.” However, what I’m going to say should be true for most other CC licenses (including BY, BY-SA, BY-SA-NC, BY-SA-ND and BY-SA-NC-ND).

By providing an option for publishers to look for CC0 images, the authors of the original piece may have missed an important nuance: publishers come in varying sizes; the bigger the publisher is, the less excusable it is for it to not have a visual journalism department in-house. For smaller (and the smallest) publishers, however, having access to CC0 images is important because (a) producing original images and videos can invoke prohibitive costs and (b) distribution channels of choice such as Facebook and Twitter penalise the absence of images on links shared on these platforms.

Bigger publishers have an option and should, to the extent possible, exercise that option to hire illustrators, designers, video producers and reporters, podcasters, etc. To not do so would be to abdicate professional responsibilities. However, in the interest of leveraging the possibilities afforded by the internet as well as of keeping our news professional but also democratic, it’s not fair to assume that it’s okay to penalise smaller publishers simply because they’re resorting to using CC0 images. A penalty it will be if they don’t: Facebook, for example, will deprioritise their content on people’s feeds. So the message that needs to be broadcast is that it’s okay for smaller publishers to use CC0 images but also that it’s important for them to break away from the practice as they grow.

Second: Johnson writes,

Choosing stock images for news stories is an ethically questionable choice — you don’t know the provenance of the image, you don’t know the conditions under which it was created and you don’t know where else it has been used. It degrades the journalistic integrity of the site. Flip it around — what if there were generic quotes inserted into a story? They wouldn’t advance the narrative at all, they would just act as filler.

He’s absolutely right to equate text and images: they both help tell a story and they should both be treated with equal respect and consequence. (Later in his article, Johnson goes on to suggest visuals may in fact be more consequential because people tend to remember them better.) However, characterising stock images as the journalistic equivalent of blood diamonds is unfair.

For example, it’s not clear what Johnson means by “generic quotes”. Sometimes, some quotes are statements that need to be printed to reflect its author’s official position (or lack thereof). For another, stock images may not be completely specific to a story but they could fit its broader theme, for example, in a quasi-specific way (after all, there are millions of CC0 images to pick from).

But most importantly, the allegations drub the possibilities of the Open Access (OA) movement in the realms of digital knowledge-production and publishing. By saying, “Choosing stock images for news stories is an ethically questionable choice”, Johnson risks offending those who create visual assets and share it with a CC0 license expressly to inject it into the public domain – a process by which those who are starved of resources in one part of the world are not also starved of information produced in another. Journalism shouldn’t – can’t – be free because it includes some well-defined value-adds that need to be paid for. But information (and sometimes knowledge) can be free, especially if those generating them are willing to waive being paid for them.

My go-to example has been The Conversation. Its articles are written by experts with PhDs in the subjects they’re writing about (and are affiliated with reputable institutions). The website is funded by contributions from universities and labs. The affiliations of its contributors and their conflicts of interest, if any, are acknowledged with every article. Best of all, its articles are all available to republish for free under at least a CC BY license. Their content is not of the ‘stock’ variety; their sentences and ideas are not generic. Reusing their articles may not advance the narrative inherent in them but would I say it hurts journalists? No.

Royalty-free and copyright-released images and videos free visual journalists from being involved every step of the way. This is sadly but definitely necessary in circumstances where they might not get paid, where there might not be the room, inclination or expertise necessary to manage and/or work with them, where an audience might not exist that values their work and time.

This is where having, using and contributing to a digital commons can help. Engaging with it is a choice, not a burden. Ignoring those who make this choice to argue that every editor must carefully consider the visual elements of a story together with experts and technicians hired just for this purpose is akin to suggesting that proponents of OA/CC0 content are jeopardising opportunities for visual journalists to leave their mark. This is silly, mostly because it leaves the central agent out of the picture: the publisher.

It’s a publisher’s call to tell a story through just text, just visuals or both. Not stopping to chide those who can hire visual journalists but don’t while insisting “it’s a big part of what we do” doesn’t make sense. Not stopping to help those who opt for text-only because that’s what they can afford doesn’t make sense either.

Featured image credit: StockSnap/pixabay.