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"The online encyclopedia is set to trial two systems aimed at boosting readers' confidence in its accuracy. Over the past few years, a series of measures aimed at reducing the threat of vandalism and boosting public confidence in Wikipedia have been developed. Last month a project designed independently of Wikipedia, called WikiScanner, allowed people to work out what the motivations behind certain entries might be by revealing which people or organisations the contributions were made by . Meanwhile the Wikimedia Foundation, the charity that oversees the online encyclopedia, now says it is poised to trial a host of new trust-based capabilities."

upposedly, the Kane & Lynch debacle was settled weeks ago, but it’s very possible that Eidos recently decided to pull future ad campaigns, which definitely could have been the straw that broke the camel’s back for the bigwigs at CNET. Like it or not, the “professional” sites, whose opinions seemingly matter most, battle with the balance of journalistic integrity and advertising relationships day-in and day-out. And it should come as no surprise that it’s the “community” sites that are much more resistant to these influences because advertisers aren’t flocking to them as frequently.

I remember a story from an old college professor of mine who works for Time Inc.: Time magazine published an article that slightly badmouthed one of IBM’s computers, which resulted in the computer giant in pulling its advertising for the following three years. Whether or not the writer was fired, I don’t know.

"The anonymity of the Netflix Prize dataset has been broken by a pair of computer scientists from the University of Texas, according to a report from the physics arXivblog. It turns out that an individual's set of ratings and the dates on which they were made are pretty unique, particularly if the ratings involve films outside the most popular 100 movies. So it's straightforward to find a match by comparing the anonymized data against publicly available ratings on the Internet Movie Database (IMDb) (abstract on the physics arxiv). The researchers used this method to find how individuals on the IMDb privately rated films on Netflix, in the process possibly working out their political affiliation, sexual preferences and a number of other personal details"

I met up with Robert Scoble last night at an Orange party in San Francisco (my photos from the party are here). He brought along his Amazon Kindle and let me and others test it out. It was the first time I’d held one - the Kindle I bought hasn’t arrived yet and my co-editor Erick covered the New York launch. Anyway, he took video of me giving my opinion of the Kindle (thumbs down). The problem is the UI is completely non-intuitive and the screen is unreadable in medium light (it was much brighter in the room than the video suggests and it was easily bright enough to read a normal book). I was trying to simply pull up the browser and go to a web page and I couldn’t figure it out. The scroll wheel on the side is obviously designed only to frustrate users. And without any sort of mouse, I kept touching the screen to try to get it to do what I wanted (which of course doesn’t work). I also compare it in the video unfavorably to the etch-a-sketch. I asked Robert to pull up a web browser and load TechCrunch. He did it once and it took so long I asked him if I could video it. He agreed, and did it again. It took him 55 seconds to pull up the browser and enter the TechCrunch URL. I then pulled out my iPhone and did the same thing in 14 seconds. The Kindle can be given some slack since web browsing isn’t its core function. But web browsing on the iPhone isn’t the key feature of that device, either. Amazon just didn’t design a good device (the user interface, keyboard and screen are all very flawed), and they had all the time in the world to get it right. Hopefully v.2 will be an improvement. Of course this is just my opinion after trying it out for a few minutes, and I’d had a couple of beers. Don MacAskill wrote up his own review after a day with the device and says its wonderful.

« Previous post Next post » November 22 2007 The Secret Strategies Behind Many “Viral” Videos Dan Ackerman Greenberg 443 comments » Update: Dan has a follow up to this post, here. This guest post was written by Dan Ackerman Greenberg, co-founder of viral video marketing company The Comotion Group and lead TA for the Stanford Facebook Class. Dan will graduate from the Stanford Management Science & Engineering Masters program in June. Have you ever watched a video with 100,000 views on YouTube and thought to yourself: “How the hell did that video get so many views?” Chances are pretty good that this didn’t happen naturally, but rather that some company worked hard to make it happen – some company like mine. When most people talk about “viral videos,” they’re usually referring to videos like Miss Teen South Carolina, Smirnoff’s Tea Partay music video, the Sony Bravia ads, Soulja Boy - videos that have traveled all around the internet and been posted on YouTube, MySpace, Google Video, Facebook, Digg, blogs, etc. - videos with millions and millions of views. Over the past year, I have run clandestine marketing campaigns meant to ensure that promotional videos become truly viral, as these examples have become in the extreme. In this post, I will share some of the techniques I use to do my job: to get at least 100,000 people to watch my clients’ “viral” videos.

Danto has argued that what all works of art have in common is that they all relate in some way to an `artworld', to an accepted artistic theory, or to the history of art as a whole. So if someone puts a toilet in the middle of an art gallery and calls it art, then it is art if (and only if) it makes sense in the history of the development of art over the centuries. Maybe the history of art was just ready for a toilet in an art gallery then, and what distinguishes it from ordinary toilets are the interpretations which those educated in art history put upon it. Danto has a view of the development of the history of art inspired by Hegel. He claims that eventually, through its growing consciousness of itself, art becomes philosophy and thus comes to an end.

It tries to authorize sharing and reuse — not within a commercial economy, but within a sharing economy. It tries to do so in a way that wouldn't trigger at least most non-copyright rights (though again, most is not all -- a CC BY-NC licensed photograph by a voyeur still violates rights of privacy, for example). And it tries to do so in a way that protects the copyright owner against presumptions about the waiver of his rights suggested by posting a work freely.

What is true in the Netherlands and Europe is true all over the world: reducing the inequalities that exist between men and women is not only a matter of justice; it also makes economic sense.

According to the Dutch historians Tine de Moor and Jan Luyten van Zanden, the early break with patriarchy in Europe in the late Middle-Ages (1200-1500) accounts for the rise of capitalism and growing prosperity in the Western World. Girls were no longer married off, but selected their own spouses. As a result, it became worthwhile for parents to invest in girls’ education and wellbeing.

In 1988, NLR Editorial Board member Anthony Barnett distracted a disappointed left into the desert of Constitutional Reform to complete the bourgeois revolution with the organisation Charter 88; in 1995 Will Hutton retailed a version of the Nairn-Anderson thesis in his book The State We’re In effectively drafting Tony Blair’s apolitical modernisation agenda.

Far from being too theoretical the Review was not theoretical enough. The tendency to manufacture deep sociological explanations for transient events certainly showed literary productivity, but it would be wrong to see that as necessarily representing theoretical work. ‘Theories’ were produced that in the end only echoed contemporary trends, without really criticising them. So between them Anderson and Tom Nairn manufactured the theory that Britain’s political revolution was, unlike its Continental counterparts, incomplete; an argument that became known as the Nairn-Anderson thesis. The idea was that the emerging capitalist class in Britain had done a deal with the old aristocracy to gain influence, leaving the old pre-democratic power structures in place; the inordinate influence of the City of London over the British economy, with its old-Etonian clubbishness, Nairn and Anderson thought, was evidence of the persistence of a ‘Gentlemanly Capitalism’.

NLR is financially buoyant because of the library subscriptions from American colleges.