Ako se netko pita je li Aeon najbolji intelektualni magazin na webu, znači da ima i vatre.
aeon.co/magazine/
aeon.co/film
By
Hamish McKenzie
If “
slow media” needs a poster child, it can find one in
Aeon Magazine,
an online publication about culture and ideas that marks its first
birthday tomorrow. In the space of a year, the magazine, started by a
London-based Australian couple who have no background in media, has
established itself as a first-rate example of a modern-day magazine,
free from the constraints of legacy press and proudly aloof from the
pageview-chasing linkbaitery of the Web 2.0 era. It publishes top
writers, carries no ads, and encourages readers to save its stories for
reading later via the likes of Instapaper, Kindle, or Pocket. Publishing
just one essay a day, five days a week, it serves as a venue for
considered cultural critiques, thoughtful essays on existentialism, and
deep dives on science and nature.
Aeon is, right now, my favorite magazine. It is also, I
think, the best example of a magazine built for the age of mobile. It
focuses on reading over revenue. It favors contemplation over
consumption. In letting its articles travel anywhere its readers go, it
pays no heed to the “bundle.”
“We saw Aeon as something of a corrective to the sense that
a lot of people have of drowning in information,” says Paul Hains,
co-founder and managing director of the company. “We really try to look
at the deeper issues, the ideas, and the values that are animating the
news, and we focus on those things in particular.”
Standout stories published by Aeon in its first year include Ross Andersen’s
8,000-word report on the likelihood of imminent human extinction, neuroscientist Michael Graziano’s
essay about a new theory of consciousness, Mary HK Choi’s
paean to her mother, and Jessica Gamble’s
rumination
on contemporary sleeping habits. The articles, grouped under categories
entitled “World Views,” “Nature & Cosmos,” “Being Human,” “Living
Together,” and “Altered States,” always run long and are sharply edited
(the editorial team includes editors with experience at The Daily
Telegraph, The New Statesman, and the Los Angeles Review of Books).
While the essays often trade in academic subjects, they are communicated
in plain terms accessible to a wide readership.
“We don’t want our pieces to feel abstruse or specialist,”
says Aeon’s editor Brigid Hains, who has an academic background, holding
a PhD in history and a graduate degree in anthropology. Instead, the
publication strives for what the Hainses call “idea egalitarianism.”
The Hainses are a married couple who wanted to start an
online forum for what is essentially the antidote to the Twitterized
hyper-torrent of information splidgets that now assault us on a daily
basis. “Brigid and I had a view that there were ideas and ways of
thinking that were under-represented in the cultural conversation,” says
Paul. “Aeon as a magazine is a vehicle to create a focus on these ideas
and foster discussion around them.”
Paul, who used to work in finance but has an abiding
interest in psychology and comparative religion, funds Aeon. He has put
up enough capital (he declines to say how much) to last for three years,
so the company can focus on the quality of its product without having
to worry about money. So if you’re looking to Aeon for magic solutions
to journalism’s business model problem, you won’t find it here.
“The longer we can defer making any commitments to a
specific business model, the better we’ll be,” says Paul, “because the
landscape is changing all the time.”
That means Aeon’s stories are free, even while the
publication pays its writers at rates comparable to those paid by
broadsheet newspapers. (The founders won’t say exactly what that rate
is, but Brigid says 60 cents a word is “not a bad guess.”) It also means
there are no ads, and the editors don’t mind if you leave the Aeon
website to read a story somewhere else. A link to “Read later or Kindle”
is placed on the same line as the by-line and the word-count, a subtle
indicator that the story is king, even if it means readers ultimately
spend less time on the site.
The content-first approach to modern publishing may turn
out to be a winner, even as the business challenges for journalism
remain significant and unresolved. Thanks to the distributive networks
such as Twitter, Facebook, and email, and the concurrent rise of mobile
devices as the mediums to which those networks pump content, the idea of
a homepage or a magazine bundle just simply doesn’t matter as much as
it did in the print age or the first two decades of the Web.
Stories must now travel on their own, to be judged on their
individual strengths independent of the context within which they were
originally placed. Soon, if it’s not true already, magazine brands will
matter more as marks of quality or tone than they do as gatherers and
arrangers of content in a unified experience. By predicating its
publishing model on stories that can be pried from the bundle and whose
ideas stand on their own, Aeon confirms itself as a bankable brand
synonymous with quality and depth. It publishes stories based not on how
many clicks their headlines might generate, but on engaging people’s
attention for a meaningful period of time. That is the standard to which
magazines of the mobile era must aspire.
Of course, unlike other startup publications, Aeon can
afford such luxuries, because it doesn’t yet have to worry about making
money. In three years’ time, it may be forced to take a less
reader-friendly approach in a search for revenue. In terms of business,
all Aeon has proven in its first 12 months is that it can fund its own
boutique publishing operation. The real tests come as it scales, and
when the numbers in the bank account approach zero. For now, traffic on
the site seems to be doing okay. Some stories do much better than
others, with the most-circulated pieces attracting as many as 2,000
tweets or Facebook likes. But the founders decline to share traffic
numbers.
Next, Aeon will build on its brand by launching a companion
site dedicated to films (as distinct from “videos,” Paul stresses).
Aeon Film will reflect the ethos of the magazine, say the Hainses, with
an emphasis on short documentaries. The films showcased will be a mix of
material curated from around the Web and exclusives that the company
pays to license.
The film vertical, says Paul, will seed the transition from
the text-based digital publication to a multimedia product. At that
point, Aeon will be one step more unconventional than it already is. It
is the magazine that isn’t, the anti-aggregator, the publication that
insists on going slow when every other force of the Internet demands
that we speed up.
But considering how well traditional models are working in today’s media landscape, unconventional is probably a good thing. -
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