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In an interview with The Paris Review twenty years ago, Don DeLillo mentioned that “lists are a form of cultural hysteria.” From the vantage point of today, you wonder how much anyone—even someone as routinely prescient as DeLillo—could possibly have identified list-based hysteria in 1993.

prioritizes

The list gives a structure—a numerical narrative—to a text that would otherwise lack any kind of internal architecture. If you wanted to write something about, say, the phrases people use on Twitter that you find highly irritating, you can get away with not making any kind of over-all, analytical point by imposing the framework of a list. The enumeration itself, the getting to the end of the counting, becomes the point of the writing (and the reading). It’s not simply a jumbled heap of complaints about how people talk on Twitter; it’s a list, and in this sense it means business.

This emphasis on organic growth has a side benefit of distributing authority. In Holacratic systems, individuals operate without managers because many of them have decision-making power in a particular area.

Decision-making is further aided and hastened by airing ‘tensions’ in meetings. Stirman defines this use of tension broadly, calling it “any difference between what is and what could be.” In this sense, tensions can be negative (e.g. I don’t have time for that project, my chair isn’t ergonomic, etc.) or positive (e.g. I have a vision for a feature we should create).

“Once you identify what a tension is, you can feel it in your shoulders, in your ears. You know you’re worried about something. Now, when I identify a tension, I jot it down. If I can’t resolve it by myself, I bring it to my circle’s next tactical meeting. With these meetings, you’re always making things a little bit better.”

There are great reasons for why The Stream triumphed. In a world of infinite variety, it's difficult to categorize or even find, especially before a thing has been linked. So time, newness, began to stand in for many other things. And now the Internet's media landscape is like a never-ending store, where everything is free. No matter how hard you sprint for the horizon, it keeps receding. There is always something more.  Nowness also transmits this sense of presence, of other people, that you get in a city when you go to a highway overpass and look down at all the cars at any time of the day or night. Things are happening. I am not alone. Look at all this. 

Schonfeld cited Betaworks CEO John Borthwick's thinkpiece, "Distribution Now," which he wrote in April of 2009, just as all this was really getting going. Borthwick concludes his post on the rise of The Stream with two quotes from musician Brian Eno. The old (and better) one begins like this: "In a blinding flash of inspiration, the other day I realized that 'interactive' anything is the wrong word. Interactive makes you imagine people sitting with their hands on controls, some kind of gamelike thing. The right word is 'unfinished.' Think of cultural products, or art works, or the people who use them even, as being unfinished. Permanently unfinished. "

I am not joking when I say: it is easier to read Ulysses than it is to read the Internet. Because at least Ulysses has an end, an edge. Ulysses can be finished. The Internet is never finished. 

Ricardo Semler, author of the book Maverick. He said that only two things grow for the sake of growth: businesses and tumors.

Jason Fried is a founder and CEO of 37signals, a software company based in Chicago. Fried also treats 37signals as something of a laboratory for innovative workplace practices--such as a recent experiment in shortening the summer workweek to just four days.

If you’re a short-term thinker you’d think so, but we’re long-term thinkers. We’re about being in business for the long haul and keeping the team together over the long haul. I would never trade a short-term burst for a long-term decline in morale. That happens a lot in the tech business: They burn people out and get someone else. I like the people who work here too much. I don’t want them to burn out. Lots of startups burn people out with 60, 70, 80 hours of work per week. They know that both the people or the company will flame out or be bought or whatever, and they don’t care, they just burn their resources. It’s like drilling for as much oil as you possibly can. You can look at people the same way.

Our product strategy for ITV News was simple, bold and probably as obvious in hindsight as any good idea should be. We set out to create a digitally native news service, something made for the web and mobile that left behind the Guttenberg-era baggage of ‘pages’, ‘articles’ and ‘editions’ that most news websites haven’t been able to shake off, as well as reworking some proto-web typologies like ‘navigation’, ‘liveblogging’ and ‘galleries’. 

We wanted to make a news service that answered the question: “What would news be like if we had networked digital media (and digital cameras and phones and laptops) but there had never been newspapers or broadcast TV news programmes?”.   

video - would be a massive culture shock. There was nervousness, especially about time and resources, offset by enthusiasm for change and a leadership determined to exploit the potential of real-time news delivered across multiple devices. We also had a strong conviction that opening up the news gathering process - rather than adding new work - would give us the content we needed for the stream. 

he would have to "moderate" his ad budget because Facebook and Google can be "more efficient" than the traditional media that usually eats the lion's share of P&G's ad budget.This is coming from the man who increased P&G's adspend by a staggering 24 percent over the two years through October 2011, even though sales rose only 6 percent in the same period.

Note that P&G's revenues were up 4 percent to $22 billion in the quarter but the company's costs for sales, general and administrative work were flat.

n the call, McDonald and his crew were asked about ad costs three different times. McDonald eventually said: As we've said historically, the 9% to 11% range [for advertising as a percentage of sales] has been what we have spent. Actually, I believe that over time, we will see the increase in the cost of advertising moderate. There are just so many different media available today and we're quickly moving more and more of our businesses into digital. And in that space, there are lots of different avenues available. In the digital space, with things like Facebook and Google and others, we find that the return on investment of the advertising, when properly designed, when the big idea is there, can be much more efficient. One example is our Old Spice campaign, where we had 1.8 billion free impressions and there are many other examples I can cite from all over the world. So while there may be pressure on advertising, particularly in the United States, for example, during the year of a presidential election, there are mitigating factors like the plethora of media available.

Why the spike? A good chunk of it, I assume, has to do with the death of Whitney Houston the day before, and viewers who wanted to see how the biggest stars in music responded to the loss of a peer.

Big, live TV events are big events on Twitter and Facebook, which generate lots of online chatter and drive more eyeballs back to the TV screen, where they inspire even more chatter. Cue virtuous cycle.

. It says it attracted a million visitors to the various sites and iPad/iPhone apps it operated over the three days leading up to the show. It says it attracted a peak of 165,000 concurrent viewers to a livestream of pre-Grammys red carpet coverage Sunday afternoon.

Once upon a time, the hush-hush plans and special-access security clearance would have been about some cutting-edge sneaker technology: the discovery of a new kind of foam-blown polyurethane, say, or some other breakthrough in cushioning science. But the employees in this lab aren't making shoes or clothes. They're quietly engineering a revolution in marketing.

Nike Digital Sport, a new division the company launched in 2010.

On one level, it aims to develop devices and technologies that allow users to track their personal statistics in any sport in which they participate. Its best-known product is the Nike+ running sensor, the blockbuster performance-tracking tool developed with Apple (AAPL). Some 5 million runners now log on to Nike (NKE) to check their performance. Last month Digital Sport released its first major follow-up product, a wristband that tracks energy output called the FuelBand.

I spoke to Samantha Silberberg, integrated marketing manager, and Patrick McIntee, senior marketing manager, in The Economist Group’s integrated marketing department about the top

Advertisers are creating their own content in-house, and requesting it from media companies. So much of advertising today is about relinquishing control of brand image, but white-label content [content produced by media companies that advertisers rebrand to appear as their own] allows them to provide information that is valuable to readers while creating a positive brand image.

The truth is that many advertisers lack the time, skills, expertise and resources to produce effective white-label content. There is also still distrust from audiences towards companies that are not already content providers offering content.

This is a very appealing metaphor, because it largely absolves anyone who was involved in the media from any blame for failing to see the writing on the wall or failing to move quickly enough to change their behavior or their corporate culture.

But is this true? Disruption guru Clay Christensen, also associated with Harvard, has written about how industries — including the car-manufacturing business and the steel industry — have failed to adapt because they didn’t appreciate just how disruptive new entrants or new technologies would be. And it’s arguable that the media industry in the 1990s and early 2000s also failed to appreciate just how disruptive the web would be to their business and to journalism in general. Should we blame them for that? I think we should blame them a little, and here’s why: because there were senior people in the industry who saw the disruption coming — saw it clearly, appreciated the implications, and talked about the potential damage. These weren’t voices crying in the wilderness, but fairly powerful players. To take just one example, there was Knight Ridder excecutive Kathy Yates, who ran the company’s digital unit, and eventually grew frustrated with the industry and moved on to Women.com and then CBSMarketwatch.