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MA Design Management Problem Definition Report

  • Karina Abbott

Describing a problem I'd like to try and solve within the print, media, and music industries.

MA Design Management Problem Definition Report by Karina Abbott
The State of Print Music Publications
How to keep them socially relevant?

Karina Abbott | 05.12.2019

"It is not impossible, on the contrary it is certain to come about, if you are at heart desirous to quicken the arts; if the world will, for the sake of beauty and decency, sacrifice some of the things it is so busy over (many of which I think are not very worthy of its trouble), art will begin to grow again..."- William Morris, Father of the Arts and Crafts Movement, (The Lesser Arts, 1888).

Introduction

As the world has matured, and the human race with it, society has become faster paced; “such changes have been made possible through advances in manufacturing and technology. These new products have helped us complete tasks with greater speed and accuracy, and have created more flexible ways of living and working” (Designer, Maker, User, 2019). However, this technological advancement does not constitute ‘progress’. The device-centered perspective concerns itself mostly with efficiency, neglecting arguably more important aspects such as quality, future goals, worker appreciation, and our need for “a nurturing social environment" (Norman, 1993).There was an exercise that our course leader had us do in class where we took off our shoes and walked around the room, greeting one another as we gradually sped up our pace. The exercise was about empathy, and what stuck out to me, was the fact that the faster we went, the less we greeted each other. I think modern society works the same way, moving faster than ever before in human history, and arguably less social (Picard, 2011).
Music is one aspect of culture that has transformed spectacularly through technology; music is meant to be social, but technology has made it increasingly anti-social (Lingard, 2013), to the point that it has become a tool for disengagement. The print publication aspect of music culture is especially relevant, because magazines are more engaging than televis, the internet, or radio, in terms that they capture more of a consumer’s attention instead of acting as a sort of “wallpaper” to the rest of their lives or other forms of media (Sumner, 2006). As society becomes more technologically inclined, the trend of disengagement may grow (Ministry of Defence, 2018) and that is reflected in the decline of print music publications; “according to a recent industry estimate, while U.K. magazine publishers saw a modest overall decline in revenue of 0.9% in 2013, circulations of many printed magazines are set for a sharper decline in future years, especially in areas where digital and mobile media provide alternative and often free content—such as women’s monthly magazines, music magazines, and most of all men’s magazines" (Das, 2016).
I will be focusing on breaking down the barrier that music has become through technology, separating us from each other, by reclaiming this wonderous tactile medium of social music culture from the shadows. Print music publications should not only be able to survive in our increasingly digital, disengaged, and environmentally vulnerable world, but flourish. This project is about the prosperity of those magazines.

Context

Technology has changed a lot in the music industry, primarily how we buy and consume music, but also how we buy and consume the media surrounding it. NME, one of the most well known and respected music magazines in the UK, stopped printing their physical magazine just last year, and made the switch to digital (Sweney, 2018). Though they are not gone, the move of this legendary music magazine from print to online has implications for other publications in the industry. NME fought hard to keep their print issue; in 2012 they reported a 17.6% drop in circulation from the year before (Reynolds, 2012), and then in 2015 they started giving their magazine away for free (BBC, 2015). Why, if print is frivolous, would a major player in the industry try so hard to keep it? The meaning behind this is simple; the music community, if it gave up print so easily, would be losing a key social aspect of its culture. As technology altered music, it made it less social with each wave; from live performances attended by large groups of people, to listening in your own home with your family gathered around a phonograph then a record player, to listening in your own room and then, wherever you went, with headphones. The very thing music is supposed to do, connect people, has been undermined by the new technology that has warped and changed it over the years, essentially turning music against itself. Now is the time to bring back a tool for engagement, a tactile medium capable of making lasting widespread social connections.
Music is not a singular social influencer, the entire culture surrounding it gets people engaged and involved, and including print publications. The social aspects of music culture include live performances and events, sharing physicals, radio, and print media: fan zines, magazines, posters, and handbills, among others. Some might not see magazines as being a social aspect of music culture; it is entirely possible to buy and read them alone, to never share them with anyone, but that is not the true nature of magazines. Magazines are meant to be social; according to Loviglio (2005), back in the 1930s, they were a huge part of engaging radio audiences by making them feel they had a vital part in the lives of broadcasters, production, and the direction of programming. “Radioland”, a popular fan magazine in the 1930s and 40s, changed its name to “Radio Mirror” in 1936 to show how they felt about radio’s appeal, that at its core, radio was a reflection of its audience (Loviglio, 2005). Those magazines were a vital communication tool to keep fans engaged; an ability magazines still have today.
Fan zines are an off-shoot of magazines, less formal, fueled by a love for music and the “do it yourself” or D.I.Y. method of creation. They are one of the most accessible mediums, eliminating them from ever being eclipsed by digital alternatives; as long as materials are available, the motivation to make them never fails to present itself in each new generation. More superfluous print tools such as flyers, posters, and handbills have largely been transitioned to online social media platforms. Though venues still have a propensity for putting up the genuine item on their walls, the overzealous spreading of these materials has almost entirely ceased; replaced by social media promotion. Magazines, however, have merged with digital platforms in order to survive. When Andrew Losowsky (2009, pp. 148-167) asked “where do you want your magazine to be in five years?”, independent magazine makers gave various answers, many of which were along the lines of hoping they were still around and with a growing readership rather than a declining one. One publication in particular, ‘Creative Review’ (CR), still has a successful print magazine, and their deputy editor at the time, Mark Sinclair, answered by saying that “there will always be a core of readers who will prefer the magazine in printed form”, but that the future of growth was in the integration of digital platforms, which CR would be implementing with their newly launched blog and soon-to-come website.

Reasoning

According to The Oxford Dictionary, the origin of the word ‘magazine’ starts with the Arabic words ‘ḵazana’ and ‘maḵzin’, ‘maḵzan’ meaning “store up” and “storehouse”, then the Italian ‘magazzino’, meaning “store” or “warehouse”, the French ‘magasin’, also meaning “store”, and finally the English ‘magazine’ meaning “a container or detachable receptacle for holding a supply of cartridges to be fed automatically to the breech of a gun” or “a periodical publication containing articles and illustrations, often on a particular subject or aimed at a particular readership”. Though the meaning has altered slightly, the idea of ‘containment’ is consistent. Magazines are a collection of information and their journey through history has been all about adaptation; from collections of “satirical writing” to their prolific advertisement (ad) carrier of the nineteenth century, and finally, after radio and TV outdid them on the ad front, evolving into what we know today, “the specialist magazine” (Das, 2016).
Since that last adaptation though, the internet has become widely used among the public, starting in the ‘digital revolution’ of the 90s. It claimed to be the “death of print”, but however changed it may be, print is still around; the internet just presented a new set of challenges (Das, 2016). The main problem is how fast the internet evolves compared to magazines; “print media didn’t go through the level of change online media has endured in the last 20 years, in the previous hundred” (Holmes, 2013). Magazines as repositories of information are never going to be able to surpass the collection amassed by the internet since its inception, nor will they be able to organize and recall that information as efficiently. According to Frances Cairncross, the media could not have been prepared for the scale of change that occurred over the last ten years in terms of how rapidly content can be provided or consumed, as well as how readers go about consuming it (2019, pp.6). The reality is that magazines can not compete against digital media in that respect, but advancement in technology is not the root cause of the decline in print music publications, only an accelerant.
Getting down to the root of the problem requires finding the ‘why’; why have print music publications gone out of the mainstream and into the shadows? For one, focus has shifted to technology and digital advancement, meaning a decrease in engagement with magazines. The reason for that may be that technology promised ‘progress’, in the form of efficiency. The more we get done faster, the more time we will have to enjoy life, which would presumably make us happier. Everyone wants to be ‘happy’, and according to Maslow’s Hierarchy of Needs, there are certain things we have to achieve to get there.
First there are foundational needs for survival such as nutrition and shelter, but as we move up the pyramid the needs get more complex, as we have over time. This highlights how the function of ‘work’ in our lives has evolved. We used to work to gather those basic foundational needs at the bottom of the pyramid, as ‘life’ was solely about survival. Now, those basic needs have become a lot easier to come by, so we are able to strive for more than mere survival. This desire to live well has built up over time; we can shoot for the more convoluted goals at the top of the pyramid, but the levels get harder to satisfy closer to the top. Technology promised to get us there faster and with greater ease. Whether that promise has been delivered on is subjective, but for the majority of people it has not. The discrepancy lies in that middle piece of the pyramid, the “social” needs. Technology was supposed to make us more social, connecting more people than ever before with a further reach across the world, by increasing access to information. Indeed it has made it easier to learn about far away places and even far away people, but that is not the same as physically going somewhere and meeting those people. On the level of human interaction, technology has not increased how “social” we are. Some would argue that it has actually made us less social than ever before; “the population is becoming less engaged in previously facilitated social interactions, because they’re replacing them with virtual counterparts” (Picard, 2011). This disengagement comes from the speed at which we can live under technology’s influence, and as we continue living ‘in the bubble’, Thackara fears sociability will suffer (2006, pp. 35), which may result in a loss of empathy. Maybe music is a way for us to cope with that loss. Lingard wrote about Jacques Attali’s Noise: the political economy of music (1977) and how “he anticipated that music would cease to function as a social mirror, becoming instead "a solitary listening, the stockpiling of sociality" (2013, pp. 23). Listening to music may help us to feel social, but the way we go about consuming it can affect how social we actually are; headphones for example, tend to isolate us rather than bring us closer to people. Print music publications reflect their audience (Loviglio, 2005), therefore their decline is a parallel symptom to our loss, of sociability, and empathy.

Why it Matters

Magazines are made by people, for people, with the intention of entertaining them, informing them, giving them something to hold and cherish, sharing something important with them. There is an inherent humanity to magazines, with everything that goes into making them, and how they bring people together. Music is about connecting people. Art is about expression. Music magazines bring together this humanity, spirit of connection, and expression to create something truly special, an experience. “Magazines are the most intimate form of media because they can establish a relationship with their readers unequalled by newspapers, television, or radio stations” (Sumner, 2006). This ability to hold the attention of their readers, pull them in and get them invested in their content, is what makes magazines uniquely powerful. “The power of magazines” originates from their ability to convey “personal identity” through visual aspects and exclusive tone of “voice” (Sumner, 2006). Magazines reflect their readers, so we see ourselves within those pages, and it means something to be able to hold a magazine in our hands; "people will never get tired of being able to hold something" as Christian Brown, the editor for Maverick magazine, put it (Lloyd, 2019).
Magazines are not only for the readers, they are for the makers; there are people all around the world that make magazines in an effort to make a connection, for so many reasons, some more abstract than others; Andrew Losowsky puts it beautifully in “We Make Magazines, as “[helping] them capture a feeling, distill a sensation, bottle an attitude” (2009, pp. 007). Another reason is for posterity; if a magazine is made right, it stands the test of time. Magazines can reach beyond time in this way, as their influence is not hindered by its passage. The preservation of a whole generation through what they made.

We are social creatures; "belongingness hypothesis states that every human being has the insistent drive to create and maintain long-lasting and significant interpersonal relationships; and the failure to do so may lead to psychopathology and other ill effects" (Sintos, 2017). This social need can not truly be satisfied by digital media. The goal is not to abolish technology, but to support humanity. “Technology should be our friend in the creation of a better life; it should compliment human abilities" (Norman, 1993).
Environmental awareness has grown over the years, with the issue of climate change appearing on the world stage. The digital revolution enables the use of better sustainability practices through demand management and minimization (Mitchell, 1998); we are more capable of dealing with this crisis than ever before, all we need is motivation. Contrary to what some may think, supporting ‘print’ does not mean one is opposed to resolving the climate crisis. "As awareness grows of the mining of ores, energy and other environmental costs of digital devices production and media consumption, dispelling the notion of magically harmless virtual consumption, the opposition of dirty, resource-heavy paper against clean, post-industrial digital increasingly is being challenged" (Fortunati, 2018). There are better ways to do both digital and print, and we must find them. “In a less-stuff-more-people world, we still need systems, platforms, and services that enable people to interact more effectively and enjoyably” (Thackara, 2006). We must find a sustainable way to continue making the essential print mediums and integrating a healthy amount of technology to assist us in being more environmentally conservative with our resources.

Conclusion

Music culture needs its social aspect of magazines to help take it back from technology’s grasp, but they also threaten the world of sustainability some try so hard to cultivate. We run the risk of losing magazines in the future if they do not improve (Ormesher, 2019). Not only must they be sustainable themselves, but they must make a difference; they must re-engage society, make the population less apathetic and empower them to protect our planet from environmental ruin. Technology and magazines can effectively work together towards this goal. Magazines need to integrate digital interfaces to keep up with the changing times (Rowlands, 2013), but mass print media is unsustainable, and to survive long-term print needs to be environmentally conservative and niche (Ormesher, 2019). Having already had the necessity of specialization in the mid-20th century, thanks to the superior advertisement capabilities of radio and TV (Das, 2016), it is difficult to think of magazines evolving further. So how can they continue, not merely surviving in the shadows, but thriving in a new spotlight? That is the challenge I have taken on with this project.

List of References:

BBC (2015) NME magazine to be given away free. Available at: https://www.bbc.co.uk/news/entertainment-arts-33408435 (Accessed: 8th November, 2019).
Burton, N. (2012) 'Our Hierarchy of Needs', Psychology Today.
Cairncross, F. (2019) The Cairncross Review: a sustainable future for journalism. Available at: https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/779882/021919_DCMS_Cairncross_Review_.pdf(Accessed: October 15, 2019).
Das, Simon (2016) Magazine Publishing Innovation: Two Case Studies on Managing Creativity. Publications, 4 (2). ISSN 2304-6775
Deloitte (2017) Media Metrics-The state of UK media and entertainment 2017. Available at: https://www2.deloitte.com/content/campaigns/uk/media-metrics/media-metrics/mediametrics.html (Accessed: 25th November, 2019).
Deloitte (2017) Media Metrics: The state of UK media and entertainment 2017. Available at: https://www2.deloitte.com/content/dam/Deloitte/uk/Documents/technology-media-telecommunications/deloitte-uk-media-metrics-2017.pdf#page=18 (Accessed: 25th November, 2019).
Fortunati, L. et al. (2018) 'Situating the social sustainability of print media in a world of digital alternatives'. To be published in Telematics and Informatics, Volume 37, pp.137-145. Available at: https://www.sciencedirect.com/science/article/pii/S0736585318300911?via%3Dihub (Accessed: 09 November, 2019).
Holmes, T. (2013) 'Magazines in the digital world', in McKay, J. (au.) The Magazines Handbook. New York: Routledge, pp. 186-203.
Lingard, W. (2013) Sounds Perfect: the evolution of recording technology and music's social future, Thesis for the degree of Doctor of Philosophy. University of Southhampton. Available at: https://eprints.soton.ac.uk/367009/1/Will%2520Lingard%2520PhD%2520e-thesis.pdf (Accessed: 19 November, 2019).
Lloyd, C. (2019) HERE’S WHY PRINT MUSIC JOURNALISM IS FAR FROM DEAD. Available at: https://www.waterbear.org.uk/is-it-the-end-of-the-road-for-print-music-journalism/ (Accessed: 26th November, 2019).
Losowsky, A. (2009) 'Introduction' in Losowsky, A. (ed.) We Make Magazines. Luxembourg: Editions Mike Koedinger, pp. 007-008.
Losowsky, A. (2009) 'Where Do You Want Your Magazine to be in Five Years?' in Losowsky, A. (ed.) We Make Magazines. Luxembourg: Editions Mike Koedinger, pp. 148-167.
Loviglio, J. (2005) 'Vox Pop: Network Radio and the Voice of the People', in Loviglio, J. (au.) Radio's Intimate Public, pp. 38-69.
Ministry of Defence (2018) Global Strategic Trends: the future starts today. UK: the Ministry of Defence or Available at: https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/771309/Global_Strategic_Trends_-_The_Future_Starts_Today.pdf (Accessed: 26th November, 2019).
Mitchell, W. (1998) 'Dematerialization, Demobilization, and Adaption', in Scott, A. (au.) Dimensions of Sustainability. London: Routledge, pp. 10-17.
Morris, W. (1902) 'The Lesser Arts', in Morris, W. (ed.) Hopes and Fears for Art. London : Longmans & Co, pp.1-18.
Norman, D. (1993) 'A Human Centered-Technology' in Things That Make Us Smart, Massachusetts: Addison-Wesley Publishing Company, pp.3-18. Norman, D. (1993) Things That Make Us Smart, Massachusetts: Addison-Wesley Publishing Company.
Ormesher, E. (2019) Print as Mass Media is Dead. Long Live the Print. Available at: www.thedrum.com/news/2019/09/25/print-mass-media-dead-long-live-the-print (Accessed: 09 November, 2019).
Picard, R. (2011) Digitization and Media Business Models. Available at: http://www.robertpicard.net/files/OSF-Media-Report-Handbook_Digitization_and_Media_Business_Models-final-07-18-2011-WEB.pdf (Accessed: October 8th, 2019).
Reynolds, J. (2012) MAGAZINE ABCs: NME and Q suffer major circulation falls. Available at: https://www.campaignlive.co.uk/article/magazine-abcs-nme-q-suffer-major-circulation-falls/1145894?src_site=mediaweek (Accessed: 8th November, 2019).
Rowlands, B. (2013) 'The Rise and Fall of magazines from print to digital' Media Networks Blog, 7 March. Available at: https://www.theguardian.com/media-network/media-network-blog/2013/mar/07/fall-rise-magazines-print-digital (Accessed: 09 November, 2019).
Sintos, M. (2017) 'Experimental Avoidance as a Mediator between rejection sensitivity and social interaction anxiety', IAFOR Journal of Psychology and the Behavioral Sciences, Vol. 3, Issue 2, pp. 13-24.
Sumner, D. et al. (2006) 'How Magazines Embraced the Internet' in Sumner, D. et al. Magazines: A Complete Guide to the Industry. New York: Peter Lang Publishing, Vol. 2, pp. 117-128.
Sumner, D. et al. (2006) 'Why Magazines Are Special' in Sumner, D. et al. Magazines: A Complete Guide to the Industry. New York: Peter Lang Publishing, Vol. 2, pp. 1-14.
Sweney, M. (2018) NME to close print edition after 66 years. Available at: https://www.theguardian.com/media/2018/mar/07/nme-ceases-print-edition-weekly-music-magazine (Accessed: 8th November, 2019).
Thackara, J. (2006) In The Bubble, Massachusetts: MIT Press.


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Report

Skills

Karina Abbott
Account Manager