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Oliver Ding

Flickr: The Help Forum: [Official Topic] Find Your Friends! - 0 views

  • I didn't find any of my friends using this, but I did find an old account of my own that I had completely forgotten about. For a split second I was like, "how did this person find all those photos of me???" Lol.
  • Any thoughts on the privacy issue I raised above? Revealing information about users shouldn't be something a user has to opt out of. For example some people may not want their co-workers or potential employers to know that they have a flickr account. They should have to opt in instead of opt out. I think this could get ugly for some people who don't want to be found. Also the setting for opting out should be changed. I may want to be found by my flickr buddy name, but just not by the new email address way. There should be a way to leave things the same way they were before. Now I can only opt out of everything or opt in for everything.
  • Proggie: Privacy is something we take very seriously at Flickr. People have actually always been searchable by email address on Flickr (via "People Search"), and we chose to respect our member's existing people search preference settings (as well as make that preference page easier to find). On the opt-out versus opt-in issue, this is something where we carefully weighed the options, and chose the default option based on what we feel would have the greatest benefit for the majority of our members. Just as we chose to make "public" the default for uploaded photos, we chose to preserve opt-out as the default for people search on Flickr.
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    This is case of you are one of your friends on web :)
Oliver Ding

英文原版《社会研究方法》教材导读--浙江在线-传播学 - 0 views

  • 在第九版中,Babbie作了两个引人注目的调整。首先,在“质化实地研究”(Qualitative Field Research,即第十章)一章中,对有关质化研究的几种主要思潮或方法,包括自然主义(naturalism),人类学方法(ethnomethodology),扎根理论(grounded theory),个案研究(case study)和扩展个案研究(extended case methods),制度人类学(institutional ethnography),参与研究(participatory action research)等等,作了着力介绍,并配以精心挑选的具体实例。其次,第九版专门增加了一章“质化数据分析”(Qualitative Data Analysis),对卓有特色的几种主要的质化数据处理方法,结合具体的质化研究方法,作了详细介绍。虽然现在SPSS(Statistical Package for the Social Sciences)数据处理软件已经广泛应用于各种量化研究中,但在质化研究领域,计算机辅助数据分析软件的开发和使用却仍处于起步阶段。在这一章,Babbie结合实例介绍了一个近年比较流行的质化数据处理软件NUD*IST。
  • 社会研究最重要的特点,也许在于研究主体和研究对象的能动性及其动态互动。
  • 社会研究是一种严肃而竞争激烈的学术生涯,研究者不仅要对社会负责,也要对自身负责——确信自己所从事的研究,是可信而有意义的;同时,研究者更要接受近乎残酷的同行评议。所有这一切,离不开研究者在研究方法方面的基本修养。
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  • 第二部分论述社会研究的基本过程,包括研究设计(第四章)、概念定义和操作定义(第五章)、各种测量量表及其构建(第六章)、取样的原理与方法(第七章)。
  • 学者陈国明(美国University of Rhode Island副教授)
  • 与前一版相比,本版的最大特点是对质化研究(qualitative research)的重视。
  • 英文书名:The Practice of Social Research (9th Edition) 中文译名:《社会研究方法》(第九版) 作者:Earl Babbie
Oliver Ding

Design Observer - 0 views

  • In its Standards of Professional Practice the AIGA makes this unequivocal statement regarding authorship, “When not the sole author of a design, it is incumbent upon a professional designer to clearly identify his or her specific responsibilities or involvement with the design. Examples of such work may not be used for publicity, display or portfolio samples without clear identification of precise areas of authorship.” Unfortunately, this dictum has not led to consistency in the way graphic design is credited in magazines, books, websites, or contests and doesn't address the problem of unattributed work.
  • The AIGA's stance speaks to what has traditionally been the major issue in graphic design attribution — in such collaborative work why does a single designer end up getting the credit?
  • What about young designers who put work done at a well-known studio on their personal portfolio site? What about big studios that use a monolithic studio credit for the work done by individual employees? And (as in the Sundance Channel example) what about work that goes completely uncredited?
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  • On the other hand designers now have seemingly limitless opportunities to promote themselves. On a portfolio site, a blog post or a Facebook page, designers are free to make their own assertions about their contribution to a given project. This was not the case when the only opportunities for recognition were only a handful of contests and publications each year. Now every designer has their own "catalog" site and design work circulates in a fairly unregulated way even within the design press.
  • In films, for example, credit is acknowledged once and for all and in detail at the end of a film. There is a great deal of horse-trading, arguing, and appeasement regarding the credits for any film project, but by opening night everything’s printed on film, the modern equivalent of being set in stone.
  • Film credits have been instrumental in codifying the labor hierarchy in the film industry, institutionalizing a shared vocabulary of job titles and responsibilities. No such standard has evolved in design — for example the term Art Director means something vastly different in an in-house design department than it does at an advertising agency.
  • Rather than wade into such ambiguous waters, it is easier to simply not credit anyone. Many large design studios have reached a similar conclusion and simply credit any work done at the studio to the studio entity. Frequently the mainstream press simply leaves works of design unattributed as if they were produced out of thin air.
  • Part of the problem is that attribution only becomes an issue after a work has become enduring or “important” and by that time it’s hard to recreate exactly how it came about.
  • In fact, the vast majority of graphic design is still done by unknown designers for unknown clients. It is a testament to the increasing influence of design that people care at all who animated a network interstitial or laid out a signage system. Perhaps this enhanced profile has made an unrealistic expectation that designers should get credit at all in a field with a blurry notion of authorship. Or perhaps the proliferation of design media channels simply offers more opportunities for half-truths and situational ethics when it comes to giving credit (and taking it).
  • Great post. It is a never ending battle to try to make sure that everyone who had some influence on a project be name-checked, and it is the right thing to do to give credit where credit is due, and we try very hard to do so. I recently scoured my records to try to credit a photographer for a project we worked on over 10 years ago. It was the one and only time our office ever worked with this person, and for the life of me I can not remember her name. I feel terrible about it, but there it is, I tried but came up short. If and when I come up with the photographers name I will certainly try to rectify the situation.As for work you're not especially proud of, I love the Alan Smithee idea. Posted by: Mark Kaufman on 05.20.08 at 01:20
Oliver Ding

Guest Post: How the Chinese Internet Becomes a Platform for Earthquake Grief (A local p... - 0 views

  • Jeremiah: Paul Denlinger of Beijing is an internet expert on China, and I’ve offered him the opportunity to help share from an insiders perspective. Keeping in the theme of internet strategy and how the web impacts business, (and in this case the world) Paul, a resident of China, shares his perspective. Although a long post, please show him the same respect that you do for me.
  • Chinese Internet Becomes Platform for Earthquake Grief -A guest post by Paul Denlinger
Oliver Ding

JL McGregor & Company Launches New Brand Image - 0 views

  • The new brand image also better integrates JLM Pacific Epoch into the JL McGregor & Company family.    Acquired in early 2007, JLM Pacific Epoch (formerly Pacific Epoch) offers China media summaries, analyst commentary, and sector research from JL McGregor & Company on its Web site www.pacificepoch.com and through its daily newsletters.
    • Oliver Ding
       
      This is a great case on China PSFs field. Create a node and being the part of a network soon.
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    The new brand image also better integrates JLM Pacific Epoch into the JL McGregor & Company family.
Oliver Ding

迷途不返◎笑骂江湖 » 关于建立音乐社区--与Andy的谈话纪录 ◎ 在中国做网民,要么修炼成佛,要么历练成魔 - 0 views

  • iFire:很简单的一个问题,用户为什么要付钱?,P2P仍在朝更有科技含量的方向发展,那么多免费的资源 Andy:喜欢这首歌,支持歌手 iFire:中国这些用户为什么要付钱,支持歌手?开玩笑,中国人? Andy:不是下载,而是很方便在先播放,等等,超女短信,这个很有说服力吧 iFire:呵呵,我觉得这都只是超女周边产品而已,核心在超女,不在其他的那些形式,所以我想我说的你没明白,你所说的所有例子,都在其核心成功的基础上,但在中国,目前就是核心出了问题,所以我觉得现在的市场已经坍塌了 Andy:上月,***的一个副总联系过我,说他们要做社区,利用社区销售更多采铃,增加网站黏性 iFire:从事音乐相关工作的人大与购买音乐产品的人,而从事音乐工作的人80%不购买音乐 Andy:你说目前盗版环境使你绝望 iFire:想做音乐社区的人很多很多,跟盗版没关系,是人群的根本问题,在中国,做个擦边球的色情网站都会比音乐社区有希望套钱,其实我并不想让我的观点影响你,只是,我真的认为你现在没有真正弄清楚你将要做些什么 Andy:当然,我不是急于要赚钱的,saying, track, video功能只是满足我个人需求,只是看好,觉得有很好的发展 iFire:我很直接,不想浪费时间,所以我觉得今天再谈彩铃模式的人已经被[抛在后面了 Andy:要做的就是社区啊,然后人气。流量,钱 iFire:社区那么多 Andy:哦,彩铃,在线itunes iFire:用户凭什么去?,中国在线音乐的收费前景我并不看好 Andy:网站有黏性,用户活跃,用户喜欢扎堆 iFire:中国的音乐行业正在面临死后重生,在它彻底死掉一次之前,做什么都是徒劳的,你的那些说法都是空话,黏合性从哪里来?,你的优势资源是什么?,你是拿到了超女的授权还是别的什么授权?,因为你现在谈论的大都是一些已存在的模式 Andy:优势?现在只觉得功能比较新颖 iFire:我不觉得,白手起家的2.0英雄们是要掌握更新的概念 Andy:你可以随时收藏、分享喜欢的音乐并与朋友分享。由于歌曲(Track)都是存放在互联网上的无数台公共服务器上的,所以你可以在家里、学校、公司、网吧等场所不受限制地在线听歌。 iFire:或是更尖端却易用的技术,你所说的这些在一年前就已经不新鲜了 Andy:这个太绝对了把,myspace最初也很简单的 iFire:简单不怕,关键在于创意新颖,我没感觉到维众有什么特别之处 Andy:技术不新鲜,创意不新鲜,只是更简单/实用 iFire:这个更字很关键,你觉得中国人是对更简单有兴趣还是更有名感兴趣? Andy:现在需要技术之外的东西推动 iFire:崂山啤酒就比青岛啤酒更好喝,但为什么那么少的人喝? Andy:名,所以请教您这样的专业人士 iFire:所谓的更简单更易用是不足以吸引用户的,Gtalk就更简单更易用,为什么用户那么少?,我是说真正使用Gtalk的人,这是知识结构造成的分流 Andy:因为google 更有气质,品牌 iFire:你好好想想这些问题 Andy:维众现在没有品牌,所以想培养气质,区别其他网站 iFire:靠什么培养?,维众的品味是由你来决定还是由用户? Andy:网站引导 iFire:仔细想想,用户凭什么听任网站的引导?2.0不是网站引导时代 Andy:现在我觉得基本框架,产品定型了。myspace, digg前期是引导 iFire:那是因为他们起初都是做小众文化,而且那个时候小众没有类似更好的平台,如果myspace是兴起在podcast之后,那它一样死掉 Andy:podcast目前发展也不好啊,odeo的人都做twitter去了 iFire:我觉得现在中国人没有多少真正明白podcast的意义,只去关注那些平台的运营是没有意义的 Andy:不是,podcast用户学习,使用成本高 iFire:看来你没有明白podcast到底带来了什么 Andy:而且没有好的展示形式,声音不如文字/视频/图片表现力强,等等 iFire:podcast从一开始就支持视频,别忘了podcast本身是rss技术,不要把目光放在产品上 Andy:光rss就限制用户了 iFire:网络时代关注现成产品,是最大的错误,podcast技术只是网络传播手段的一页新的开始而已 iFire:网络独立音乐时代还没有真正到来呢
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    很难得的一样本,创业者在做Copy2China的时候,还有很多事情要做,不是单单模仿国外网站的模型和技术这么简单,更需要对国内市场的消费者和相关产业有深入的洞察。然而,敏锐的洞察是来自不易的。
Oliver Ding

MotiveQuest - What's New - Social Computing Reading List - 0 views

  • Social Computing Reading List I. Broad Marketing/Business Theory Focused The Cluetrain Manifesto Christopher Locke The Purple Cow Seth Godin The Long Tail: Why the Future of Business is Selling Less of More Chris Anderson The Age of Conversation Gavin Heaton and Drew McLellan Meatball Sundae: Is Your Marketing Out of Sync? Seth Godin The Open Brand Kelly Mooney and Nita Rollins II. Consumer Behavior/Case Study Focused Made to Stick: Why Some Ideas Survive and Others Die Chip Heath & Dan Heath Naked Conversations: How Blogs are Changing the Way Businesses Talk with Customers (Kindle Edition) Robert Scoble Join the Conversation: How to Engage Marketing Weary Consumers with the Power of Community, Dialogue and Partnership Joseph Jaffe Smart Mobs: The Next Social Revolution Howard Rheingold III. Tactical Focused Word of Mouth Marketing: How Smart Companies Get People Talking Andy Sernovitz Citizen Marketers: When People are the Message Ben McConnell and Jackie Huba   Posted by Brook Miller on April 8, 2008
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