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SNDSMagazine

2011|3

Close encounters 3 From print to online – and back again 4 The many faces of visual communication 6 The Oslo tragedy: Norway under attack 8–17 SND GLOBAL: Mexico/Central America – Building a network 20–22 SND GLOBAL: Russia – News design volunteers 24–26 Crossover – La Biennale di Venezia 28–29 Creative characters 30-31 Tone of voice 32


Sweden

NORway

SNDS.ORG

President Anders Tapola Smålandsposten, S-351 70 Växjö, Sweden Tel.: +46 470 770 686 E-mail: anders.tapola@smp.se

Secretary Sissel Bigset Sunnmørsposten, Boks 123, sentrum, N-6001 Ålesund, Norway Tel.: +47 70 12 00 00 E-mail: sissel.bigset@smp.no

Web-editor Kartin Hansen Morgenavisen Jyllands-Posten Grøndalsvej 3, DK-8260 Viby J, Denmark Tel.: +45 87 38 38 38 / 31 07 Fax: +45 87 38 31 99 E-mail: kartin.hansen@jp.dk

Seminars Lars Andersson Upsala Nya Tidning, Box 36, S-751 03 Upsala, Sweden Tel.: +46 18-478 16 79 E-mail: lars.andersson@unt.se FINLAND Communication Petri Salmén Helsingin Sanomat PB 71, FI-00089 Sanoma Helsinki, Finland Tel.: +358 91 22 24 02 Fax: +358 91 22 23 88 E-mail: petri.salmen@hs.fi

DeNMARK Vice -President/ Treasurer Frank Stjerne JP/Politikens Hus Rådhuspladsen 37, DK-1785 Copenhagen V, Denmark Tel.: +45 33 47 23 99 Fax: +45 33 14 72 17 E-mail: frank.stjerne@jppol.dk SNDS Secretariat Lone Jürgensen Morgenavisen Jyllands-Posten Grøndalsvej 3, DK-8260 Viby J, Denmark Tel.: +45 87 38 38 38 / 31 08 Fax: +45 87 38 31 99 E-mail: lone.jurgensen@jp.dk

SNDS MAGAZINE

Best of Scandinavian News Design Chairman of the Competition Committee Flemming Hvidtfeldt Århus Stiftstidende Banegårdspladsen 11, DK-8000 Århus C, Denmark Tel.: +45 20 91 17 52 E-mail: flhv@stiften.dk Substitutes for the board Jørn Broch, JydskeVestkysten, Denmark Pieta Forssell-Nieminen, Keskisuomalainen, Finland Kristoffer Nilsen, Morgenbladet, Norway Petra Villani, Sydsvenskan, Sweden

SNDSMagazine

2011|3

Editor, Art Director Lars Pryds Mob.: +45 30 53 87 14 E-mail: pryds@mac.com

SNDSMagazine 2011|3

Co-editor, Journalist DJ Lisbeth Tolstrup Mob.: +45 51 32 89 62 E-mail: mamamanus@mac.com

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SNDS Magazine editorial office Østerbrogade 158, 3. TH., DK-2100 Copenhagen Ø, Denmark Tel.: +45 39 20 80 19

Print: Svendborg Tryk www.svendborgtryk.dk Typography: SNDS Magazine is set in Myriad Pro, Myriad Pro Condensed and Adobe Jenson Pro and designed in Adobe Indesign for Macintosh. Articles and ideas for SNDS Magazine and snds.org are most welcome. Please contact us if you have any tips or ideas. SNDS Magazine is published four times a year, in March, June, September and December. Deadlines: 15 February, 15 May, 15 August, and 15 November. Published by: Society for News Design Scandinavia E www.snds.org ISSN 0909-1459

Close encounters 3 From print to online – and back again 4 The many faces of visual communication 6 The Oslo tragedy: Norway under attack 8–17 SND GLOBAL: Mexico/Central America – Building a network 20–22 SND GLOBAL: Russia – News design volunteers 24–26 Crossover – La Biennale di Venezia 28–29 Creative characters 30-31 Tone of voice 32

The front page shows “The World”, a fiberglass sculpture by the artist A Shin (Chen Shih-Hung), shown at the 54th Venice Biennale. See more about the Biennale on page 28-29. Photo: Lars Pryds.

E-mag: All recent issues of SNDS Magazine can be read online as e-magazines: E www.snds.org/magazine

SNDS is on Facebook:

E facebook.com/sndscandinavia


SNDS Magazine 2011|3 Editorial

Close encounters » If one man can show this much hate, think about how much love we can show together«

A member of AUF (Arbeiderpartiets Ungdomsforbund), quoted from the front page of Dagsavisen 25 July 2011. n That

Friday, we were visiting friends in another part of the country. Artist friends, not known for wasting time watching the television, but when we arrived late that afternoon, the TV was on and pictures of buildings struck by explosion were on the screen. We started joking – if we were going to watch TV at all, couldn’t it please be the last few minutes of that day’s Tour de France stage? Until we realized that there really had been a bombing close by – in Oslo, of all places. As the trage­ dy evolved through the evening, we were struck by both the cruelty and the closeness of the terrible actions. Could this really be true – in Norway? In a terror action like the one in Oslo the complexity is huge and the paradoxes are numerous. The news media’s way of reacting to the events are also complicated – but as can be seen in this issue’s large showcase of front pages from the first few days follow­ ing the Norwegian tragedy, the media were well prepared for the unforseen. So head on to page 8 and see how a selection of media in Norway, Finland, Sweden, and Denmark chose to present

the news to their readers in print. A warm thanks to those of you who sent examples for us to show – and our sympathy to all Norwegian friends who were hurt by the tragedy and still suffer. Italy is always worth a trip – and every second year the wonderful city of Venice hosts the Biennale di Venezia – the world’s largest art exhibition with participants from practically every country in the world. We look for new trends within this year’s theme ‘ILLUMINATIONS’ and many of the exhibitions look into the freedom of speech. Certainly, there are similarities between the way artists and reporters work and in the subjects they choose to examine. The globe on our cover, for instance, is a harsh comment on what we are doing to our world. Read about the art on pages 26 to 29. We have also visited Mexico and Russia – or rather: our SND friends from these two areas visit our pages in this issue with the tale about how the Society work goes on in their part of the world. The SND Global series continues on page 18 to 24.

At the end of September/beginning of October, we will be visiting St. Louis, Missoury and the annual SND confer­ ence. There’s an inspiring list of great speakers to choose from, so it will be quite a treat. Lars has even been asked to give a presentation in the ‘Design Roots’ track – and will speak about how ‘In cold Scandinavia, magazines are hot’. It will be a great chance to show some of our great Scandinavian design to the rest of the world! Thanks to all of you who helped with input for the presen­ tation. See the STL programme and sign up for it on sndstl.com. Please also pay a visit to our FB page facebook.com/sndscandinavia – or our website snds.org. We are in the process of moving the website to a new publish­ ing system, so please stay tuned for a brand new experience. See you soon – in one or more of these many wonderful places! n Lars Pryds Lisbeth Tolstrup Editors, SNDS Magazine

THE BOOK n 80 pages, A4 format, colour images of all winning entries in the competition THE DVD n High resolution image files of the winning

pages / websites n Catalogues 2006-2011 (pdf) n SNDS Magazines 2006-2011 (pdf) n SNDS logos for print and web n Competition rules

PRICE: n Book+DVD: 30 € / 240 NOK / 225 DKK n Book only: 25 € / 200 NOK / 185 DKK n DVD only: 20 € / 160 NOK / 150 DKK To order your copy: Contact SNDS Secretariat, Lone Jürgensen by e-mail: lone.jurgensen@jp.dk

Remember: The books from previous years are still available

SNDSMagazine 2011|3

Best of Scandinavian News Design 2011 book & dvd

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From print to online – and back again Lars Pryds pryds@mac.com

Photo: mrmagazine.com

Cool Infographics

Photos in Stockholm

n “Any magazine, that existed in ink on paper, and cannot survive in its original medium is DEAD. If a magazine loses its two sources of revenue, the readers and the advertisers, how on earth it is going to survive by the mere change of the platform? Do magazine publishers really think they can save money by not printing and distributing the ink on paper publication and can get the advertisers back just by trans­ forming their publication to digital only? They better think twice.” This is probably not groundbreaking news to many in the news publishing busines, but it can’t hurt to say it again, can it? Samir Husni, aka Mr. Magazine™, on mrmagazine.wordpress.com tells us that it will take a little extra to succeed online than just making a replica of your (unsuccesful) print edition. “The problem with print today is not digital or on-line. The problem with print is the content we are produc­ ing for print. It is the message that has the problem and not the messenger.” Mr. Magazine’s point is: Reinvent the content and make it “necessary, sufficient and relevant” – and it will succeed on any platform. Read Mr. Magazine’s blog post at E bit.ly/youaredead

n Want to see some great examples of infographics? Simply head on to coolinfographics.com. The blog – with the slogan: “Charts and graphs can communicate data; infographics can turn data into infor­ mation” – highlights some of the best examples of data visualizations and infographics found in magazines, news­ papers and on the Internet. Among the infographics are links to interactive graphics online, s well as print graphics like the one pictured below showing that in Michigan, the average spending per prisoner is close to three times that spent per student. One of the subsites to the info­ graphics blog is the Cool Infographics Bookstore, where you can find the best books about – yup: infographics. Visit the Cool Infographics blog at E coolinfographics.com

n Is Stockholm the new Scandinavian center for photography? Maybe. The new museum for photography Fotografiska, which opened in Stockholm in May 2010, is a great addition to the exhibition scene, and has literally forced Moderna Museet to dig deep in the ar­ chives and show some of the enormous col­ lection (about 100,000 works) of photography. Seems there is a bit of healthy competition Cindy Sherman: Untitled, here, and the 2008. Moderna Museet. winner is – the photography loving audience. From 14 November Fotografiska will show Johan Wik’s new work ‘Un­ titled’ – a video that depicts a series of men engaged in a fistfight. The fighting men are filmed in slow motion, so that we can study their movements – no special effects applied. Until 31 December Moderna Museet shows selected works under the title ‘Another Story – Written in Light’. Among the photographers on show are Cindy Sherman, Hilla and Bern­ hard Becher, Tuija Lindström, Robert Mapple­thorpe, Lennart Olson and Man Ray. Fotografiska E fotografiska.eu Moderna Museet E modernamuseet.se

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n Ole Munk (see page 6) has launched a design blog where he will be discuss­ ing phenomenons in and practical examples of editorial design. In his first posts, he has been especially focused on how photography is used – and mis­ used – in newspapers and magazines, but the use of typographic effects have also been scrutinized by the observant design consultant. Follow the Munkytalk blog at E olemunk.blogspot.com

Photo: olemunk.blogspot.com

Munkytalk

Photo: moderna museet

mags  Mr. Maga­zine, Samir Husni, in front of a newsstand with lots of magazines.

You Are Dead


prepare yourself

for the most

important

design competition in scandinavia

for online and print media Start now collecting your best mobile applications, web pages, printed pages, magazine spreads, or any other great stuff, published in 2011, that combines news and design. Deadline for participating in the next Best of Scandinavian News Design competition is January 28, 2012.

www.snds.org/best


Trønder-avisa Photo reportage about a ski jumper. Winner of an Award of Excellence. Photos: Lars Aarø

Svenska Dagbladet Silver Award for six spreads dominated by infographics about a royal wedding.

Helsingin Sanomat MOKIA looks like NOKIA, but it means ’screw ups’ in Finnish. Silver Aaward. Photos: Lars Aarø

Complicated infographics, clean-cut typography, evocative photography and artistic illustrations. Should they all belong to the same category in the SNDS news design competition? Ole Munk comments on a preface in the catalogue of this years’ winners.

The many faces of visual communication

SNDSMagazine 2011|3

Ole Munk ole@ribmunk.dk

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n In the presentation of this year’s Best of Scandinavian News Design winners, jury member Hannu Pulkkinen sug­ gests the division of ”Visual Commu­ nication” into more categories, thereby making infographics a separate category and – this is what Hannu hopes – giv­ ing photo reportage a better chance of winning awards. If you dig deep enough into the history of the SNDS Awards, you will find that this division into different cat­ egories was exactly the way things were in the (good?) old days. And as I am the person who originally – some ten or more years ago – suggested merging infographics, illustration, and photo reportage into one common category, I guess it would be appropriate if I made an attempt to explain why. However, simply taking a look at this year’s gold and silver award

winners – on the very same pages as Hannu’s remarks – will illuminate the point. Which is: Making that kind of division will force everyone, including the participants of the contest, into making some very strange, difficult, and basically artificial distinctions. Well, perhaps Philip Ytournel’s gold winner can pretty easily be categorized as an il­ lustration ... but in fact, it is also a page layout. And Helsingin Sanomat’s sixpage silver winner is definitely every­ thing at the same time – as it combines photography, illustration, and info­ graphics into exactly what the category name says: Visual communication. I can recall long and fruitless jury discussions on whether a certain entry in the infographics category was actually an illustration, and vice versa. And I will strongly recommend that instead of further bureaucratizing this competition by introducing more detail and formalization of the rules, the competition committee should use its energy on explaining to the Visual

Communication jury that what they are expected to evaluate is the strength and impact of the visual communication – seen from the reader’s point of view – not how much computer skill and how many workdays it may have taken to create the piece. That way, photo reportage ought to stand a good chance against the major­ ity of infographics which – impressive as they may be – often appear some­ what distant and impersonal to a nonprofessional audience. Which is, ladies and gentlemen, the audience for which mass media are made. Ole Munk is Design & communication consultant and former president of SNDS (1987-89). n

What do YOU think?

Join the discussion: E facebook.com/sndscandinavia


See updated session schedules and speaker bios at www.sndstl.com

You won’t want to miss: Dave Gray (author of ‘Gamestorming’), ESPN’s Rob King, Robin Sloan + Matt Thompson, Lars Pryds, Josh Clark (author of ‘Tapworthy’), Regina McCombs + Roger Fidler, University of Missouri’s Reynold’s Journalism Institute, Digital Publishing Alliance, GOOD’s Alissa Walker, data visualization graphics in partnership with IRE, Jaimi Dowdell + Derek Willis, FREE Student Workshop focuses on ‘The 21st Century Visual Journalist: What you need to succeed,’ Jennifer George-Palilonis, Bonita Burton checks in with The Interns — 5 years later, Tim Harrower, Tito Bottitta + Mike Swartz, Teresa Schmedding, Laura Stanton, Karl Gude, Miranda Mulligan + Mat ‘Wilto’ Marquis, Joe Grimm, Bill Gaspard, Joy Mayer, The National Press Photographers Association, Qingjun Zhang, blogger Charles Apple ... and so much more!


Norway under attack On Friday 22 July 2011 Scandinavia was hit by the largest terror attack ever. Norwegian right wing extremist Anders Breivik detonated a bomb in the centre of Oslo and later shot youngsters to death on the small island Utøya, just outside Oslo. These attacks touched all Scandinavians, and media coverage was enormous. We asked some Scandinavian newspapers to send us their front pages from the first few days following the attacks. The examples show how editors put all power available into presenting this terrible event in a dignified and precise way – often doing extraordinary things. There are also a few section front pages and inside spreads to show the volume of the coverage. Some of the pages are accompanied by comments from the editors, other pages speak for themselves. Lars Pryds pryds@mac.com

Sunnmørsposten (N)

26.7.2011 Front page. ’Grieving together’.

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23.7.2011 Saturdays front page: ’The Tragedy’.

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25.7.2011 Monday: ’93 dead. 97 hurt. 5 missing. An ocean of flowers and lit candles mark the grief following the attacks on Utøya and the government area.’

Hanna Relling Berg, Editor-in-chief, explains Sunnmørsposten’s front page for Monday 25 July 2011: “The catastrophy was so overwhelming and the sorrow so deep, that we chose to make a very silent front page. A photo of flowers, candles and a note with a message of love is the main illustration. Sunnmørsposten’s logo is usually white letters in a blue block, but on this special Monday the logo is black. We wanted to express that we were a nation in sorrow, and the logo is used as a ribbon of sadness. We emphasized that all our reporting and presentation should be done with dignity, and the feedback from our readers have been positive.

26.7.2011 Dagsavisen, Tuesday: Inside spread with illustration by Siri Dokken.


Dagsavisen (N) Arne Strand, Editor-in-chief at Dagsavisen, ex­ plains the newspaper’s coverage of the Oslo attack: “We thought that the front page photo chosen for our Saturday edition showed the impact of the Oslo catastrophy better than if we had run photos of hurt and bloody victims in shock, which we saw that other newspapers did. It is our opinion that recognizable faces in shock and interviews with traumatized people would have laid a much heavier load on relatives and victims than showing the larger view of the situation, including a dead person. Our judgment was that the dead person could only be identified by the closest relatives, and that to them it would be only a small extra burden com­ pared to the total shock they would suffer anyway. Other media blurred the faces of casualties. We chose to print a dead person seen from the back. This was an extraordinary situation which we decided to visualize in an extraordinary way. We would never communicate a “normal” accident this way. We thought that this photo was a symbol of the whole tragedy – the attack on the Norwegian state and community and on the individual. All in all, we are proud of our coverage of this tragedy and we think we have covered these terrible days in a dignified manner.”

23.7.2011 Front page, made by Eirik Lysholm, Marie Marqvardsen and Lars West.

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25.7.2011 Front page, made by Eirik Lysholm, Marie Marqvardsen and Lars West.

26.7.2011 Front page, made by Lars West and Trude Hansen, photo by Fartein Rudjord.

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Aftenposten (N) Aftenposten’s four front pages from Saturday through Tuesday present the tragedy in four different ways. “For Mon­ day the 25 July, we printed a large photo that covered both the front page and the back page of the newspaper,” says chief sub-editor Trond Myklebust. The text on Tuesday’s front page is the words by Norway’s Crown Prince Haakon spoken at a ceremony to 150,000 people in Oslo the day before.

23.7.2011 Saturday’s front page.

24.7.2011 Sunday.

25.7.2011 Tuesday – a rose and the Crown Prince’s speech.

23.7.2011 ’’The day that changed Norway’

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25.7.2011 Monday’s cover – one photo stretching across back and front page.

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VG (N)


Adresseavisen (N)

23.7.2011 ’Norway shocked by terror’

24.7.2011 ’Coming home without friends’

25.7.2011 ’Emil (a5) will never come home’.

Adresseavisen’s three front pages were made by the deskteam. Adresseavisen is normally a Monday to Saturday newspaper, but the editors decided to publish a Sunday edition because of the Oslo tragedy. “This was such an important event, that we chose to spend that extra money to publish the extra edition,” says Ingrid Meisingseth, head of design at Adresseavisen. The Sunday paper was only sold in newsstand and as e-paper, not distrubuted to subscribers.

24.7.2011 ’This was how he planned mass murder’

25.7.2011’They gave their life for the children’.

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23.7.2011 ’Extra edition: ’Captured!’

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Svenska dagbladet (S)

23.7.2011 Photo: Morten Holm/AP. ’Norway’s Black Day’.

24.7.2011 Photo: Fabrizio Bensch/Reuters. ’Norway in mourning’.

25.7.2011 Photo: SvD’s photographer: Simon Paulin. ’The water sprinkled when the bullets hit them’.

Upsala Nya Tidning. (S)

SNDSMagazine 2011|3

23.7.2011 Saturday’s front page: ’At least 17 casualties from terrorist action in Norway’

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24.7.2011 Sunday: ’A nation in shock’.

25.7.2011 Monday: ’Norway honoured the dead’.


Anna W Thurfjell, head of design at Svenska Dagbladet: “SvD’s design is prepared for the presentation of large news events. We clear the whole front page; we make a major coverage in section 1; we set the headline in all caps and in a stronger weight of Sueca, Sueca Bold on the front page. Everything on the cover is about the story – even the promo boxes. Generally we emphasize the power of visual journalism and use photography and infographics to report from major events – often running a full photo on the opening spread. If the story is really big, we present it through all three major sec­ tions of the paper.”

26.7.2011 Photo: Emilio Morenatti/AP. ’The Strength Gathering’.

23.7.2011 Made by Per Lindbladh. ’Act of terror shakes Norway’.

25.7.2011 Made by Per Lindbladh. ’Norway in grief’.

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26.7.2011 Cover of culture section: ’You can say what you feel and build up a hate until you almost burst’.

26.7.2011 Made by Jonas Allgulin.

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HBL / Hufvudstadsbaldet (F)

23.7.2011 Marita Granroth: “As we started to understand the size of the Norwegian tragedy, we chose to layout the front page with a black background.” (Layout: Marita Granroth and Edward Holmberg)

24.7.2011 “Our reporter and photographer went to Oslo and they captured the mourning royal family on the picture. We used the whole front page, except for the bottom line, for the Norwegian tragedy.” Layout: Marita Granroth and Staffan Samåros.

25.7.2011 ”Our photographer’s picture from inside the Dome in Oslo was very sensitive, it made our picture choise easy. The front page is much alike the day before,” says Marita Granroth, who did the layout for this page.

SNDSMagazine 2011|3

23.7.2011 Front page, 1st edition. Lead-in: ’Bombing caused chaos in the city, several dead’. The headline reads: ’Terror nightmare in Norway’.

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Helsingin Sanomat (F) “On Saturday the front page changed during the evening. We printed four different editions,” says Petri Salmén from Hel­ singin Sanomat.

23.7.2011 Front page, 4th (last) edition. Leadin: ’Ten immediate deaths, disguised police was shooting at youngsters camp’. Headline: ’Nightmare paralyzed Norway’.

24.7.2011 Front page, Sunday. Headline: ’Isle of grief’. The text says that Finland flys flags for Norway today. Next follows a brief reminder of the news. The text ends with a quote from Jens Stoltenberg: ”Norway cannot be silenced by bombing”.


Aamulehti (F)

23.7.2011 ’The Tragedy on Utøya’

24.7.2011 ’85 of them died’

25.7.2011 ’Norway met with grief, which is difficult to put into words’

24.7.2011 Section page. The text in the mast-head reads : ’Norway massacre’. Headline: ’Extreme right-wing terrorist from Oslo’.

24.7.2011 Page 3 on Sunday. Lead-in: ’The worst one-man massmurder ever at Utøya isle’. Headline: ’Paradise turned to hell’.

“On Sunday we threw away the advertisments from the cover page and made a ‘real news cover page’ for the paper”, says Design Editor Ari Kinnari. “Our ‘first page’ is usually page three, but now we wanted to emphasize the magnitude of the incident and cleared the cover page for editorial purposes”, Kinnari continues. Helsingin Sanomat produced seven broadsheet pages all together for Sunday’s edition.

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25.7.2011 Monday’s front page. The lead-in reads: ’Norway prepares to a long and exhausting legal proceedings’. Headline: ’Terrorist’s victims still missing’.

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Berlingske (DK)

23.7.2011 ’Norway shaken by terror attack’.

24.7.2011 ’Terror hit Norway from within’.

25.7.2011 ’Will use courtroom for propaganda’.

Mette Terkelsen, editor in charge at Berlingske on July 22: “A powerful photo shows human reaction. I wanted a photo showing hu­ man feelings, one that was different from the photos with blood, dead people, ambulances and rubble – those we had already seen on websites and television all Friday afternoon. When our photo editor found the photo, we were not in doubt. Berlingske’s cover photo tells the story of two fragile people who only a few minutes earlier had been working in well-organized offices. Now they struggle to climb out from a bombed out ruin. Their world has collapsed, and modern civilization has turned into chaos. The photo is similar to iconic images from other terror actions. Not until Friday night and Saturday morning did we – and the rest of the world – realize what had really happened at Utøya. This knowledge became the starting point for the front pages of the days that followed.”

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Politiken (DK)

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23.7.2011 Politiken’s Saturday front page is an example of ”here-and-now” repor­tage, with focus on the bombing in Oslo. ”What had happened on Utøya was still a little unclear on Friday evening, so the main photo on the cover is from the centre of Oslo,” says head of design Søren Nyeland.

24.7.2011 Sunday, the second day: “Instead of showing death and blood we wanted to create space for afterthought, by letting the quote from Jens Stoltenberg sit beneath the iconic photo of the island,” says Nyeland. The page was designed by Liv Ajse Olsen.


Morgenavisen Jyllands-Posten (DK)

23.7.2011 Front page, Saturday. Made by Lone Sørensen and Annelise Ploug.

24.7.2011 Front page, Sunday. Made by Lone Sørensen. The text is a quote from 15-year-old Lisa, who escaped from Utøya by swimming away from the island.

25.7.2011 Front page. Made by Lone Sørensen and Thorgerd Broni Jensen. Headline reads: ’The diary of a mass murderer’.

Ekstra Bladet (DK)

25.7.2011 This photo was chosen for Monday’s front page because the two men, Norway’s Prime Minister Jens Stoltenberg (right) and Tore Eikeland, leader of Arbeiderpartiets youth organization, represent two generations that were both victims in this terror action. A quiet and dignified choice to express sympathy with Norway.

24.7.2011 Front page Sunday: ’Here, he executes’.

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23.7.2011 Front page Saturday: ’The Blonde Killer’.

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facebook.com/sndscandinavia


www.snds.org/space2012


Building a network SND Region 11, which covers Mexico and Central America, is building a network of designers and journalists. Oscar Santiago Mendez, who was named Regional Director in December 2010, tells us how – and gives us a glimpse of what’s going on in the region. Oscar Santiago Méndez oscar.santiago@eluniversal.com.mx n In

SND Region 11, we do not have a regular board yet, but we are working on it! At present I am working with a pair of colleagues from my work team, and we are building a general board with members who are associates and some who are not associates of SND. We have been exchanging e-mails to report generalities of the media where we work. Our activities are focused on the formative part of the new professionals of the graphic journalism, we are in a road show organized by universities to bring to light the activities of the SND. We are also preparing an event for the end of the year where participating designers and journalists can be known personally and they exchange their experiences. In the region 11 there is a great variety of mass media, but the greater representation is of daily newspapers. Some media have diverse platforms

SND

GLOBAL SNDSMagazine 2011|3

n All SND members belong to

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geographic regions, each represented by a regional director on the SND board. Some directors report directly to SND HQ, some are Presidents of an affiliate organization, like for example SND Scandinavia. In a series of articles, we give you a glimpse of what is going on in the rest of the world. Our SND network really is a global one.

besides the printed newspaper and online, like television and radio. Some publishing houses also have divisions of specialized magazines, of niche publica­ tions. Also there is a series of free daily newspapers that are charging force in the market. The new generations No method of direct cooperation between the design universities and the newspaper publishing houses exists in a formal way. Nevertheless, there are very

experienced colleagues in the graphic journalism in diverse disciplines of the editorial design, computer graphics and multimedia, and they are giving classes in the careers of design and commu­ nication, and this situation about our professional experience to the students in formation of design and journalism. There is a great effort of the private and public universities to incorporate themes that satisfy the demands of the market of printed journalistic design and multimedia. The majority of the

excelsior A 95 years old national newspaper , was redesigned recently by Danilo Black. Is one of the oldest daily publications.


All newspapers shown with this article are published in Mexico.

universities already they have incorpo­ rated in their plans of study, matters focused on illustration and computer graphics, editorial design and design web, shaped 3D and multimedia, as well as production and editing of audio and video. In spite of these large efforts still lacks a lot to do before we have a direct link with the mass media during the formation of the youths. Practically all the mass media have plans to incorpo­ rate students in their rows as assistants and thus they acquire experience in the real world of the editorial market. New strategies The part of the printed media has decelerated in question of redesign of newspapers and magazines. Never­ theless – although not with the same frequency of 5 years ago – newspapers and magazines of all sizes are still being redesigned. Now we are watch­ ing a strategy in the market, to fortify above all the online versions of the

E

Diario de Mexico is 61 years old daily publication and this redesign was launched last February in 2011.

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El universal is 95 years old, and is the largest daily newspaper in Mexico. In recent years every redesign or launch for new product have been done by an in-house design team.

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La Razén is 6 years old daily newspaper, and was relaunched in May in 2009, when it was changed from Berliner format to tabloid.

Good places to start in Region 11, recom­ mended by Oscar Santiago Mendez: 3 museums in Mexico City: Bellas Artes (photo above) E www.bellasartes.gob.mx Carrillo Gil Museum E www.museodeartecarrillogil.com Mexican Museum of Design E www.mumedi.org Media Websites: E www.excelsior.com.mx E www.reforma.com.mx E www.eluniversal.com.mx E www.cnnexpansion.com E www.diariopresente.com.mx/ edicion-digital E www.laprensagrafica.com E www.nacion.com E www.milenio.com E www.razon.com.mx/flip/razon/ E www.diariodemexico.com.mx/ edicionImpresa/Virtual/

REFORMA is 17 years old and has been reference in design issue, both in print version, web and apps. Reforma is a daily publication.

Apps: El Universal; Reforma; Excelsior; Milenio Semanal; Revista Vértigo; Expansion; Vanguardia.

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newspapers and some news websites are charging force. Another strategy of the newspapers is the development of applications for mobile (cell, iPhone, Blackberry, Android) and tablets (iPad and Playbook). For example you cand find Apps for El Universal, Reforma, Milenio, Magazine Vertigo, Magazine Expan­ sion, Excélsior, Vanguardia. In the future The major challenge for the coming years, on the one hand in the printed versions, is to continue with the search for how to present the news in a crea­ tive way, but above all so that it will turn out to be useful for the reader, to turn around to convert a fact, in infor­ mation that contribute to its daily life. On the other hand, a large challenge is to stay up-to-date in the way of com­ munication tendency of the technology, to be involved with the new forms of how to deliver information in mobiles

and tablets and without doubt the on­ line versions; another challenge is to be maintained involved in the road of the social networks as a means to commu­ nicate to our readers and users. There is no doubt that the multime­ dia issues and the convergence of news­ rooms is a matter of developing new processes that help to think, to plan and to execute for the printed platform, for websites and for mobile applications at the same time. As graphic journal­ ists we have to see our mass media as a turbine of information, a newsroom of generating and editing of contents to distribute for diverse channels. We have to adapt to this and to involve ourselves in the new dynamics of our users. n E santiago_oscar@hotmail.com E oscar.santiago@eluniversal.com.mx E Twitter: @oscarsantiagom E Skype: oscarsantiagomendez

Oscar Santiago Méndez E Design Director of El Universal newspaper in Mexico City since 2002. Oscar is responsible for a team of fifty print and web designers and graphic artists – working for El Universal Newspaper, El Gráfico Newspaper and eluniversal.com.mx. Under his tenure, the graphic team has won more than 40 awards of Excellence and three Silver Medals. E He started his career in the Mexican newspaper Reforma. Then, he was invited by La Opinión newspaper (in Los Angeles) to be their Graphic Editor. Later, he returned to Mexico to collaborate with Editorial Televisa as Sports Magazines Art Director. E In February 2010, Oscar was a judge at the Best of News Design Competition in Syracuse, New York. E In December 2010 named Regional Director for SND Mexico and Central America.


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front pages Award Winners of the Russian Newspaper Design Competition 2009, in the front page category: ”Chelyabinsky Rabochy”, Chelyabinsk (award of excellence), ”Moy Rayon”, St. Petersburg (special prize for the child’s illustration), ”Economica i vremya”, St. Petersburg (silver). The pages are examples of photomontage, illustration, and creative typography.

News design volunteers SND Region 17, Russia + Russian-language newspapers, depends on people who volunteer to work for SND for free. In return, all events undertaken by SND Russia are free for the participants.

SND

GLOBAL SNDSMagazine 2011|3

n All SND members belong to geo-

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graphic regions, each represented by a regional director on the SND board. Some directors report directly to SND HQ, some are Presidents of an affiliate organization, like for example SND Scandinavia. In a series of articles, we give you a glimpse of what is going on in the rest of the world. Our SND network really is a global one.

Svetlana Maximchenko maximchenko@gmail.com n SND

Russia doesn’t have any board or membership. We have volunteers who are inspired by SND ideas – a few people who help with events and other activities in SND Russia. And we have people that participate in our events – we can call them non-official SND Russia members. Some of them are real members of SND, but not many now­adays. So, I’m the only “of­ ficial” person at SND Russia as SND regional director and member of the SND board. The other person that stands behind

SND Russia is Dmitri Surnin – the first SND Regional Director for Rus­ sia. He brought SND ideas to Russia from US where he studied news design at Missouri School of Journalism, and he organized the first Newspaper Design Competition and Conference in 2004. I visited that conference and joined him as volunteer for organizing these events in 2005. We may say I joined SND Russia in 2004 but there was no SND Russia then. There were just a competition and conference made with rules of SND’s competitions and workshops. Officially I became SND Regional Director in 2008 after I met Gayle Grin – SND President that year – at Copenhagen Crash (SNDS Workshop 2008).


Gold winner Moscow’s sky scrapers: the set of four spreads from ”Moy Rayon” (Moscow’s district paper) was the only gold winner at the Russian Newspaper Design Competition 2009 – and also won an Award of excellence at SND Competition 2009. Below left is a spread with politician’s masks from ”Segodnya” (Kiev, Ukraine), winner of a bronze award in the Russian Newspaper Design Competition 2009.

judging Judges of the Russian Newspaper Design Competition 2010 discuss papers from the short-list (from left): Katerina Kozhuhova, Alexandr Tarbeev, Evgeny Gladin, Thomas Molén (Svenska Dagbladet), Irina Rudakova (translator), Hannah Fairfield Wallander (Washington Post).

Photo: Alexey Konkov

why SND Russia events are free for participants. We also have another partner – RIA Novosti (http://en.rian.ru) – information agency that provides us their great conference rooms for our Conference without any charge. The Journalism School of Lomono­ sov Moscow State University (http:// www.msu.ru/en/) provides us rooms and students’ help for the judging. From 2010 we also organize together the Stu­ dent News Design Conference. It’s held close to the dates of the main confer­ ence and the speakers are pretty much the same but they speak especially for students. This year, in May, we also had our first Infographics Conference in St.

Petersburg – “iGraphics” – that was organized by the Journalism School of St. Petersburg State University (http://eng.spbu.ru/) with SND Russia support. Print or online? Print is still pretty strong especially in regions. But it’s dying anyway! There is a huge growth in online especially in Moscow. And news on mobile and tablets has just begun to appear and grow pretty fast. We have a few growing multimedia brands. Even new ones. As an exam­ ple of a new project – Moscovskiye Novosti that was relaunched this spring with the help of Dr. Mario R. Garcia (kortlink.dk/9bhw). It was relaunched

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Participate – for free! From 2004 we have 2 annual events: the Best of Russian Newspaper Design Competition (the judging usually in May) and the News Design Conference (usually in October or November). In 2011 we’ll have our News Design Conference on 19-20 November. Both events are held in Moscow. More that 60 newspapers participate in the competition and more than 200 people participate at the conference. The invaluable help for these events comes from “New Eurasia Media Foundation” (http://efmedia.ru) – the noncommercial fund that helps Rus­ sian independent media. They provide financial and organizational support for SND Russia annual events. That’s

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E

in print and launched on web, mobile and iPad. Mostly people who participate in our events work with printed media (newspapers and magazines) and now start to work with online (&mobile&tablets). Every year we pay more attention to the topics on online/ mobile/tablets at our conference.

And it mostly depends on the people who work in journalism & design schools and people from the industry (who for example has graduated from these schools and now need trainee or employee). So it’s not a system. But the future is beyond the print. The future is digital. And I believe SND will also become more digital.

The future In the years to come, the new digital world will be a big challenge. Online, mobile, iPad. Nobody teaches journal­ ism and visual journalism on these platforms here (the annual conference is not enough). There are no courses or schools teaching these things. Most people are learning by themselves. There is a weak connection between the media houses and the educational system but very-very weak right now.

Get in touch If you want to follow SND Russia please visit our website for the compe­ tition: www.newspaperdesign.ru. We also have a group on Facebook: on.fb.me/sndrussia – with 130 mem­ bers right now. Facebook is still not so popular here as in US or Europe – so not all the people that participate in SND Russia’s events are on Facebook. You’re all welcome to join us but mostly we write in Russian, sorry :-) n

Some good places to go in Russia, recom­mended by Svetlana Maximchenko: Where to bring your foreign friend in Moscow – A special issue of Akzia, download PDF (in Russian): E http://bit.ly/rmv5pz The Red Square and Kremlin: You should go underground and go by Metro – Moscow’s metro is very special. Arbat Street – beautiful walking street. Tretyakov Gallery at Krymsky Val (modern art – from the 1900). Park MUSEON near the Gallery and Gorky Park also close (better in summer). Media companies to visit: E RIA NOVOSTI – contact Vasily Gatov who is the head of their Media Lab – by this email: vassgatov@gmail.com E AKZIA (Akzia.Media Company, Akzia News­paper) – you’re always welcome. Contact: maximchenko@gmail.com Other cities to visit in Russia The second capital St. Petersburg and small old town Suzdal (by car or bus from Moscow). Feel free to contact me for more recommendations when you go to Russia. If you read Russian, go to www.afisha.ru .

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Svetlana Maximchenko E SND’s Regional Director – region #17, SND Russia (since 2008). E One of the founders of Akzia Newspaper in 2001, Editor-in-Chief since 2001. Akzia won World’s Best-Designed Newspaper award two years in a row (for 2007 and 2008) and more than 30 awards at the Russian Newspaper Design Competition (2003-2010). E CEO and Editor-in-Chief of Akzia Media Company (part of Akzia Group) since May 2011. Akzia Media & Akzia Group: www.akzia.com Akzia on Flickr: www.flickr.com/akzia Akzia on FB: www.facebook.com/akzia Akzia Newspaper in PDF: www.akzia.ru/pdf E Speaker at SNDS Copenhagen Crash 2008, SND Vegas 2008, SND Denver 2010, Malofiej Infographics Summit 2010. President of the Jury at the Malofiej Infographics Awards in 2010. Member of the World’s Best-Designed Jury 2011.

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Akzia Cover, March 2009. Cover story: 10 advices how to survive during the financial crisis. Art Director: Ksenia Vekshina, Designer: Peter Morgorsky.

E maximchenko@gmail.com E facebook.com/svetlana.maximchenko


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Crossover – Venezia 2011 Every second year, Venezia in Italy forms a picturesque frame for showing art from all over the world. La Biennale di Venezia, Esposizione Internazionale d’Arte was established in 1895 and is still going strong in mirroring tendencies in art. One very strong issue this year was the crossover between art and news media. Research, story boards, documentation and photography were here being used – not as professional media of reporting – but as media of expressing tendencies, experiences and opinions in an artistic way. Lisbeth Tolstrup mamamanus@mac.com Dayanita Singh: File Room, 2011. Based in New Delhi, this Indian artist (born 1961) uses her camera to explore and document quiet places that tell anynomous stories. Piles of papers are filed – we do not know the purpose, but in this digitalized world of wikileaks and free access to the social media it might be of a growing interest to discuss where we expect the borders of privacy to be.

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Anastasia Ryabova: Artists’ private collection, 2011. Being part of the exhibition Modern Ikon – Contemporary Art from Russia, Ryabova had a lot to make up to. Instead of trying to look back at some of the strong Russian artists, she presented a network, illustrated by lines and snapshots taken by 90 colleagues all over the world. The coloured lines show their connections. Research or documentation?

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Jananne Al-Ani: Shadow Sites II, 2011. By using the media of airborn photography Al-Ani (born 1966 in Iraq) is challenging our impression of a deserted landscape. Her references goes back to images from the Desert Storm (1991) and to the question of ’genius loci’ as it has been interpreted through media. Her main point is, that the picture of her region being grey, deserted and empty is a lie created by foreigners.


A shin (Chen Shih-Hung): Globes of the World 1-3, 2011. One day white and iconic, the next day a symbol of terror, pollution or upper class life. The young Chinese artist A Shin uses a well known symbol in his clean and at the same time critical approach to what is happening around the globe. Being part of the project ‘From Asia to the World’ his work can be seen as a visual question to us all – what do we want tomorrow? (The third globe is shown of this magazine’s cover).

Carloalberto Treccani: In Google We Trust, 2011. Research is under development, and a lot of things have changed since ’Auntie Google’ was launched in August 2004. The young Italian artist Treccani (born 1984) plays with images to be found on Google Maps. In this example he has found roofs in the shape of different letters and by combining them made the ironic statement ’In Google We Trust’.

La Biennale di Venezia Open until 27 November 2011 E www.labiennale.org

iBiennale - application E Apple App Store E bit.ly/iBiennale

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Manal Al-Dowayan: Suspended Together (2011). Very often the white dove has been seen as a symbol of freedom and peace. In this work, Dubai-based artist Manal AlDowayan (born 1973) adds an extra dimension to the symbol by gluing a certain permission on each dove. In Saudi-Arabia women have to have a permission signed by a male guardian if they want to travel. This is a story that really needs to be told – and the artist tells it by the using genuine permissions in her work. Photos: Lars Pryds

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Creative characters The boys and girls who design typefaces are a varied collection of people – and they all work in different ways. Myfonts lets us meet some of them.

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Lars Pryds pryds@mac.com

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n If you happen to be one of the 950.000 subscribers to the Myfonts’ newsletter, you will be familiar with the headline above. We simply could not think of a better one to describe the series of interviews with type designers, so we borrowed it for this article. Every month, a new designer is interviewed and Myfonts let us get a glimpse of the working process and personality behind the (type)faces. Although the majority of people interviewed are Americans, Myfonts looks in our direction once in a while. In August, Bo Berndal from Sweden shows his happy face – and a cap in colours matching the masthead! – in the newsletter. Bo Berndal is one of Sweden’s finest type designers with more than 200 published typefaces. At age 87 he has experienced many different ways to design and produce type designs. In the 1950ies, he tells us, he would draw each letter by hand, before the shape was transferred to the final matrix in a rather cumbersome process. Today this process is fully computersized, and the answer is prompt, when Berndal is asked if he still draws his letterforms by hand: “No! I only use my iMac, with Fontographer, and I am in heaven when working on the computer, drawing pictures of sound. Of course I was also in heaven when I had my Soennecken

broad-nibbed pens and did my beloved calligraphy and knew nothing about the future. In the beginning sketching was necessary for me and the only way to try out forms. Now I still “sketch”

but only on my iMac with many paper proofs of letter-combinations I can’t judge on the screen.” The e-mail newsletters are archived and published on the Myfonts website.


photo: Lars Pryds

The interview book  The designers are, naturally, presented with the head and subhead set in their own typefaces. Illustrations also include examples of other design work and the fonts in use, not only the type designs themselves. From top to bottom: Hans Samuelson, Nick Shinn, and Dino dos Santos.

Creative Characters – The Myfonts interviews, vol. 1 Edited by Jan Middendorp Bis Publishers, 2010 192 pages, 28 x 21 cm Price: £19.13 on amazon.co.uk (list price: £22.50)

Creative Characters archive E new.myfonts.com/newsletters/ Bo Berndal’s fonts at Myfonts: E bit.ly/berndal

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If you prefer print over e-mail and web, a selection of the interviews have been selected for publication in a book, which carries the title Creative Characters – The Myfonts interviews edited by Jan Middendorp. The book presents 26 designers, among them great Americans like Jim Parkinson (who designed the Rolling Stone nameplate and many others), Christian Schwartz (behind modern classic fonts like Farnham and Amplitude), but also European designers including the Frenchman Jean François Porchez (Le Monde, Ambroise, Parisine), and the Portuguese Mário Feliciano (Flama, Morgan, Stella). Hans Samuelson and Ellinor Maria Rapp both from Sweden represent Scandinavia. The book – as well as the online archive – is a great source of inspira­ tion to design and use fonts. It is also a unique chance to look behind the scenes and see how the designers work – both the famous company designers and the more modest one-person busi­ nesses. n

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SNDS Magazine 2011|3 The President

Tone of voice SNDS President Anders Tapola anders.tapola@smp.se I subscribe to a number of news flash messages; among others, one from Washington Post. “Earth­ quake near Washington D.C.” – this was the head­ line of a recent one. Information was sparse. The website did not add much. So, naturally, I logged into Facebook. Much better news coverage here. Learned here that the earthquake had been felt in a series of locations far from the Washington area – even all the way up in Toronto, Canada. I also read that those who live close to the epi­ center were alright, although a bit shaken, so to speak. There were even photos of journalists gather­ ing outside the Washington Post only ten minutes after the news flash. The big question was: Is it a common thing to experience earthquakes in Washington?

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* I’m checking Facebook again. I quickly find a map showing the most active areas for earthquakes, with links to among others huffingtonpost.com, and I real­ ize that out of 50 states in the US, 39 have a ‘medium’ or ‘large’ risk of having earthquakes. Within minutes Ernie Smith on his blog at shortformblog.tumblr.com added to this map the loca­ tions of all the nuclear power plants of the US. The Boston Globe attributed with a large info­ graphic of the east coast, showing where people had reported in that they had registered the earthquake. It looks like a wasp swarm of yellow dots. Charles Apple’s blog apple.copydesk.org also had a very thorough account of what happened within an hour of the quake. Among other things, he stats that Twitter was a great source of information just after the event – if only you follow the right persons. Now, I’m not on Twitter, but quite a bit of the information there ended up on Facebook as well. Mr. Apple, who lives in Virginia Beach, could also feel the earthquake. And he was actually hurt – he sprained his foot when jumping down the stairs to find out what happened to his neighbors. My conclusion is: The social networks are fan­ tastic information channels for news events like this one. Besides, you get personal testimonies from

Photo: Lena Gunnarsson

friends who are in the area. Maybe not in-depth analysis. But how do you analyze an earthquake? The terrible tragedy in Norway in July made me do almost nothing but absorb news for four whole days. I constantly checked Aftenposten, VG, Dagbladet and many other Norwegian news websites. I wanted to know more, I wanted to understand what had happened. But more than anything I watched TV. The Swe­ dish channels soon tapped into the broadcasts of Norwegian NRK that covered the story very well. And how strange – that we need to have a tragedy like this one before we, in Sweden, are able to watch Norwegian television. * Finally, a few words about one of the strongest after­ shocks following the Oslo and Utøya tragedy: the hate that now blossoms on the internet. A hate often hidden behind anonymity – a result of the Facebook revolution, where anybody can be a reporter. In Sweden, a very positive discussion is now go­ ing on about how to handle the internet hate that is showing up in the commentary fields of news postings; among other places the discussion is taking place at medievarlden.se. The media companies must join the discussion – and set the tone of the debate, says Anders Mildner, a journalist who follows the social media intensively. According to CBS radio journalist Ira Basen (in an interview on Sveriges Radio P1:s OBS) the voices on the internet’s so-called citizen journalism represent less than one percent of the population. If this is true a microscopically small minority produces an enormously large amount of content. The question is – how many of these people are actu­ ally racists, extremists, conspiration theorists, terror­ ist, or in short: people who hate? Hopefully not that many after all. The Norwegian prime minister Jens Stoltenberg promises of more openness and democracy as a means to fight the hate seem exactly right at this moment. The word is a mighty weapon. But we must think carefully about the words and n the tone of voice we use. 


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