Burdseed

I’m still testing out a few more tumblelog-like site features.

One is a pretty basic feed of current social conversations. Right now, this has my twitter feed (with pretty lame styling), but I’m hoping to add in Google+ at some point soon and improve the general look and feel.

Today’s post of the day is actually a series of posts from earlier in the week about the design of news sites.

Photo by Robert Scoble

Andy Rutledge, a designer, published an analysis of the layout of New York Times web site, along with some hypothetical changes, and used it as an example of the design challenges faced by today’s news sites. This sparked a bunch of conversation on Twitter, including from current and former designers at the times. Om summarizes the discussion nicely.

Although Rutledge missed a bit with his comments about the Times and with some of the elements of his redesign, the essence of his message is correct: many news sites desperately need to be redesigned for the modern web. This problem is not limited to news, but extends to many first-generation web portals and sites in areas such as sports, entertainment, and finance. It’s also true for many of the early web 2.0 sites. Use of the web is changing and is increasingly being driven by social, devices, video, and living room or mobile use cases. Less is more in most cases.

Call me a luddite, but I’m rediscovering RSS.

The rise of Google+ has caused me to reconsider my social network use and information needs. And, strangely enough, the losers are the Big 3 social networks themselves.

I used to be a heavy RSS user. Then, at some point, I began to rely more on Twitter for social curation and news feeds and stopped reading RSS. But I’ve been getting increasingly frustrated by Twitter’s signal to noise ratio. In my case, the worsening feed hasn’t been caused by a bigger list of sources; rather, it’s been caused by my sources tweeting more and more about less interesting things (check-ins, link bait, off-topic RTs, Instagram, and so on). Unfortunately, this loss of fidelity hasn’t been offset by an increase in serendipity.

Enter Google+.

Google+ exacerbates the fidelity problem by focusing on threaded conversations and commentary, often by people I don’t know. Although Google+’s topical organization is helpful for creating conversations, the noise within these threads is exceedingly high and will only get worse as more people join the network. “Engagement” appears to be trumping “relevancy” and serendipity is low. This has long been a problem on discussion boards and doesn’t appear to be solved on Google+.

I’m still using Twitter for real-time updates and chat, Google+ for occasional threaded topical conversations, and Facebook for friend network posts. But I’m spending more time as a consumer with raw signal and, by and large, that seems to be long-form articles or micro-blog posts distributed via RSS.

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Update (July 23, 2011)

Robert Scoble has posted a Google+ thread about the noise issue, which serves to illustrate the problem beautifully.

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Update (July 24, 2011)

One unexpected benefit of my return to RSS is the fact that I can enjoy the writing of certain authors without suffering from the terrible website designs of their employers.

Do social networks mark the end to endings?

Paul Ford argues in this week’s New York magazine that the Facebook wall (and by extension, the Twitter stream and Google+ conversation) are bringing an end to drama, narrative, and literary closure: “The tide brings in status updates; the tide takes them out.”

This is definitely a central design (or failing) of today’s social networks. However, it’s not necessarily a preference of broader society or the always-connected consumer. People crave entertainment, and entertainment comes from drama. Curation of social feeds, algorithmic or otherwise, will increasingly need to extend beyond the basic filtering of LOLcats and checkins. Ultimately, social applications will provide consumers with context and weave together coherent stories using social feeds and content snippets and traditional dramatic devices, like beginnings and endings.