Tyler Trkowski has written a Feature for NOISEY (Music by Vice) on Rap Game Riff Raff Textual Analysis. It is a neat example of text analysis outside the academy. He used Voyant and Many Eyes to analyze Riff Raff’s lyrical canon. (Riff Raff, or Horst Christian Simco, is an eccentric rapper.) What is neat is that they embedded a Voyant word cloud right into their essay along with Word Trees from Many Eyes. Riff Raff apparently “might” like “diamonds” and “versace”.
Archive for the ‘Social Networking’ Category
HedgeChatter – Social Media Stock Sentiment Analysis Dashboard is a site that analyzes social media chatter about stocks and then lets you see how a stock is doing. In the picture above you can see the dashboard for Apple (APPL). Rolling over it you can see what people are saying over time – what the “Social Sentiment” is for the stock. I’m assuming with an account one can keep a portfolio and perhaps get alerts when the sentiment drops.
To do this they must have some sort of text analysis running that gives them the sentiment.
The New York Public Library has another cool digital project called the Building Inspector. They are crowdsourcing the training and correction of a building recognition tool that is combing through old maps. You see a portion of a map with red dots outlining a building and you click “Yes” (if the outline is correct), “No” (if it is wrong), and “Fix” (if it is close, but needs to be fixed.)
They also have a neat subtitle to the project, “Kill Time. Make History.”
Last week I was interviewed by Judy Aldous on the CBC programme alberta@noon Monday June 10, 2013. We took calls about social media. I was intrigued by the range of reactions from “I don’t need anything other than messaging” to “I use it all the time for my company.” One point I was trying to make is that we all have to now manage our social media presence. There are too many venues to be present in all of them and, as my colleague Julie Rak points out, we are now all celebrities in the sense that we have to worry about how we appear in media. That means we need to educate ourselves to some degree and experiment with developing a voice.
Tomorrow we are organizing an Around the World Symposium on Digital Culture. This symposium brings together scholars from different countries talking about digital culture for about 17-20 hours as it goes from place to place streaming their talks and discussions. The Symposium is being organized by the Kule Institute for Advanced Study here at the University of Alberta. Visit the site to see the speakers and to tune in.
Please join in using the Twitter hashtag #UofAworld
Mike linked me to a Chronicle Bottom Line blog story about how U. of Virginia Teams Up With ‘Crowdfunding’ Site to Finance Research. UVa is teaming up with USEED, a company that has built a “fundraising platform [that] taps the power of social networks and the voice of your students to engage alumni and win new donors…” USEED is unlike Kickstarter in that it creates a unique site for each university rather than forcing them to compete on the same site. It is closer to the FutureFunder.ca site for Carleton.
USEED is an example of a company that is experimenting with “social entrepreneurship” a gray area between for-profit and not-for-profit work. The Chronicle also has a story on the ambiguities of social entrepreurship. At times it seems like there are a lot of startups that are circling universities trying to figure out how to feed on our antiquated corpse.
Ofer showed me a interactive visualization of the collaboration around a Wikipedia article. The visualization shows the edits (deletions/insertions) over time in different ways. It allows one to study distributed collaborations (or lack thereof) around things like a Wikipedia article. The ideas can be applied to visualizing any collaboration for which you have data (as often happens when the collaboration happens through digital tools that record activity.)
His hypothesis is that theories about how site-specific teams collaboration don’t apply to distributed teams. Office teams have been studied, but there isn’t a lot of research on how voluntary and distributed teams work.
I’ve been meaning to write about sexism in games for a while, but today I came across a YouTube video essay More than a Damsel in a Dress: A Response by Commander Kite Tales. This a response to Damsel in Distress: Part 1 – Tropes vs Women in Video Games by Anita Sarkeesian.
But first, a bit of history.
On May 17th, 2012 Anita Sarkeesian launched a Kickstarter campaign to improve the Feminist Frequency video web series of essays on problematic gender representations. The first of the new series came out recently in March 7, 2013, Damsel in Distress: Part 1 – Tropes vs Women in Video Games. It is well worth watching.
Alas the campaign and Sarkeesian were attacked systematically; see, for a brutal example, the Amateur game invites player to beat up woman. The obscene and hateful attacks have been documented by columnists like Helen Lewis in the New Statesman article, This is what online harassment looks like. What did Sarkeesian do? Lewis puts it succinctly,
She’s somebody with a big online presence through her website, YouTube channel and social media use. All of that has been targeted by people who – and I can’t say this enough – didn’t like her asking for money to make feminist videos.
So why did all these trolls attack Sarkeesian? 4Chan seems to have been one site where they organized, but what bothered them so much about her campaign? Sarkeesian’s interpretation is that they made a game of harassing her. As she puts it, “in their mind they concocted this grand fiction in which they are the heroic players in a massively multiplayer online game…” She goes on to describe how the players of this “gamified misogyny” were mostly grown men, they used discussion boards as their home base for coordination and bragging, the setting of the game was the whole internet, and the goal was to silence the evil Sarkeesian to save gaming for men. The trolls would go out, harass her, and come back to their boards to show off what they had done. It was a particularly nasty example of an internet flash crowd organizing to silence a woman. It was also an example of how the internet can amplify behaviour and provide haven for misogynist communities.
Sarkeesian’s video essay wasn’t even an attack on men or games. It is clearly the work of someone who likes games but is critical of the repeated use of the “damesel in distress” plot device and other sexist crap. The video essay is, however, effective at challenging the uncritical consumption of cliched tropes in games using a medium commonly used in gamer culture (short video essays that show game play and comment on games.)
Now, back to More than a Damsel in a Dress: A Response which argues that Sarkeesian didn’t look at the evidence with an open mind and that the princess in distress in both the Mario and Zelda series of games should be seen as brave individuals dealing bravely with distress that also represent the peace of their kingdom. While I find Kite Tales’ argument somewhat sophistical and mostly answered already by Sarkeesian, we should probably welcome responses like those of Tale that don’t attack the messager, but try to respond to the argument in some fashion; and there are quite a few responses if you care to work through a lot of poor arguments. It would be nice to say that video essayists are modeling how a conversation on these issues should take place rather than hurl abuse, but the medium doesn’t really lend itself to conversation. Instead we have isolated video essays with lots of comments. Not exactly a dialogue, but better than abuse.
While I’m on this issue of damsel’s in distress like Princess Peach, Ars Technica has a story about how a Dad hacks Donkey Kong for his daughter; Pauline now saves Mario. Alas, it too got abusive comments, the worst of which have been compiled into YouTube Reacts to Donkey Kong: Pauline Edition. The compilation focuses on the sexist and homophobic comments. If you scroll through the comments now you will find that they are mostly supportive of the Dad. The good news seems to be that the sorts of comments Sarkeesian faced are being shamed down or being reflected back.
As for Anita Sarkeesian, her Kickstarter campaign raised much more than she asked for and she now has the funds and attention to do a whole series. I look forward to the next part on Damsel in Distress that promises to look at more contemporary games.
Textal is a moble app (for the iPhone) that lets you “explore the words used in your favourite book, document, website, or twitter stream.” It looks beautiful, but I can’t find it on the app store. I like the idea of having something like this for my iPad on which I read more and more.
I am seeing more and more articles in the media about text analysis and the digital humanities. Ryan Cordell used the platform of the amazing story of his children getting millions of FaceBook likes to get a puppy to discuss the digital humanities and he studies how ideas could go viral before the internet. (See the CBC Q podcast of his interview.)
From Humanist I found a New York Times article by Steve Lohr on Literary History, Seen Through Big Data’s Lens. The story talks about Matt Jockers’ forthcoming work on Macroanalysis: Digital Methods and Literary History (University of Illinois Press). Matt is quoted saying,
Traditionally, literary history was done by studying a relative handful of texts, … What this technology does is let you see the big picture — the context in which a writer worked — on a scale we’ve never seen before.
In today’s Edmonton Journal I came across a story by Misty Harris on If Romeo and Juliet had cellphones: Study views the mobile revolution through a Shakespearean lens. This story reports on a paper by Barry Wellman that uses Romeo and Juliet as a way to think about how mobile media (text messaging especially) have changed how we interact. In Shakespeare’s time you interacted with others through groups (like your family in Verona). Now individuals can have distributed networks of individual friends that don’t have to go through any gatekeepers.