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jurasovaib

Ovarian cyst - Wikipedia, the free encyclopedia - 0 views

  • Most ovarian cysts are functional in nature and harmless (benign).[1][2] Ovarian cysts affect women of all ages. They occur most often, however, during a woman's childbearing years. Some ovarian cysts cause problems, such as bleeding and pain. Surgery may be required to remove cysts larger than 5 centimeters in diameter.
  • Functional cysts form as a normal part of the menstrual cycle. Such cysts may include: Follicular cyst, the most common type of ovarian cyst. In menstruation, a follicle containing the ovum (unfertilized egg) will rupture during ovulation. If this does not occur, a follicular cyst of more than 2.5 cm diameter may result.[3] Corpus luteum cysts appear after ovulation. The corpus luteum is the remnant of the follicle after the ovum has moved to the fallopian tubes. This normally degrades within 5–9 days. A corpus lutem that is more than 3 cm is defined as cystic.[3] Thecal cysts occur within the thecal layer of cells surrounding developing oocytes. Under the influence of excessive hCG, thecal cells may proliferate and become cystic. This is usually on both ovaries.[3]
  • Non-functional cysts may include: An ovary with many cysts, which may be found in normal women, or within the setting of polycystic ovary syndrome. Cysts caused by endometriosis, known as chocolate cysts. Hemorrhagic ovarian cyst Dermoid cyst Ovarian serous cystadenoma Ovarian mucinous cystadenoma Paraovarian cyst Cystic adenofibroma Borderline tumoral cysts
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  • There are several systems for scoring of the risk of an ovarian cyst of being an ovarian cancer, including RMI (risk of malignancy index), LR2 and SR (simple rules). Sensitivities and specificities of these systems are given in tables below:[5] Scoring systems Premenopausal Postmenopausal Sensitivity Specificity Sensitivity Specificity RMI I 44% 95% 79% 90% LR2 85% 91% 94% 70% SR 93% 83% 93% 76% Risk of malignancy index[edit] A widely recognized method of estimating the risk of malignant ovarian cancer based on initial workup is the risk of malignancy index (RMI).[6] It is recommended that women with an RMI score over 200 should be referred to a center with experience in ovarian cancer surgery.[7] The RMI is calculated as follows:[7]
jurasovaib

Recognising the proteins that indicate cancer : News : News + Events : National Physica... - 0 views

  • All diseases have proteins, or concentrations of proteins, specifically linked to them called biomarkers, and identifying these can prove a powerful diagnostic tool. Antibodies can be used to test for specific biomarkers because they only bind to specific molecules or groups of molecules. Problems can arise when they bind to groups of similar molecules, leading to false positives and unreliable information.
perezmv

How Do Companies Make Any Money in Digital? - 0 views

  • The entire infrastructure of the ad industry has been re-architected, and redeployed.  The critical change is that the infrastructure is now open across the entire "stack" of technologies, and pretty much every major platform is open and extensible. This means that new companies can innovate on specific problems without having to build out their own copy of the stack.  They can build the pieces they care about, the pieces that add specific value and utility for specific purposes – e.g. New Monetization Models for Publishers and Brand Advertisers, New Ad Formats, New Ad Inventory Types, New Impression Standards, New Innovation across Mobile, Video and Social, and so on.
  • targeting systems
jurasovaib

Specific glycosylation of membrane prote... [Mol Cell Proteomics. 2014] - PubMed - NCBI - 0 views

  • Epithelial ovarian cancer is the fifth most common cause of cancer in women worldwide bearing the highest mortality rate among all gynaecological cancers.
anonymous

Pepper the Robot: Tech News Today 1022 - YouTube - 0 views

  •  
    This "humanoid robot" has lots of sensors, facial recognition, voice recognition, articulate hands. Design company claims to be able to read and express human emotions. Suggested plans are to use robot for babysitting and storytelling with young children. I wonder whether young children left alone with a robot limited to artificial intelligence would respond positively or would be frightened or upset without the presence of a parent, caregiver, or teacher to mediate their interactions with the robot. I imagine an early childhood classroom would be highly entertained and their attention stimulated by the presence of this humanoid robot. But I can't imagine having this robot replace responsible teaching or caregiver staff with the social interactions presented in this video. Based on Alan Kay's comments that computer artifacts are meta-medium that need to go beyond demonstrations and build artificial intelligence for specific user groups and age-appropriate curriculums, I will review the literature about interactive storytelling with socially assistive robots in early childhood classrooms.
peppermara

Michigan Womyn's Music Festival - 0 views

  •  
    This journal was a recap of an All-Woman's (Womyn's) Music Festival in Michigan in 1984. Though it doesn't provide specific instances of a woman's connection of music to building her confidence and self-esteem-it's an interesting insight to understand where woman who were heavily doused with feminism, musicality, community, radicalness. Speaking of woman coming together as one community versus drawing the divides between sexual preferences and ways of identifying oneself. I felt most connected to this article since I had the privilege for two years to attend a festival/conference as open and eclectic as this but definitely not as full of frustration and anger to the anti-feminists.
anonymous

Media Presence and Inner Presence: The Sense of Presence in Virtual Reality Technologie... - 1 views

  • Presence is widely accepted as the key concept to be considered in any research involving human interaction with Virtual Reality (VR). Since its original description, the concept of presence has developed over the past decade to be considered by many researchers as the essence of any experience in a virtual environment. The VR generating systems comprise two main parts: a technological component and a psychological experience. The different relevance given to them produced two different but coexisting visions of presence: the rationalist and the psychological/ecological points of view. The rationalist point of view considers a VR system as a collection of specific machines with the necessity of the inclusion of the concept of presence. The researchers agreeing with this approach describe the sense of presence as a function of the experience of a given medium (Media Presence). The main result of this approach is the definition of presence as the perceptual illusion of non-mediation produced by means of the disappearance of the medium from the conscious attention of the subject. At the other extreme, there is the psychological or ecological perspective (Inner Presence). Specifically, this perspective considers presence as a neuropsychological phenomenon, evolved from the interplay of our biological and cultural inheritance, whose goal is the control of the human activity. Given its key role and the rate at which new approaches to understanding and examining presence are appearing, this chapter draws together current research on presence to provide an up to date overview of the most widely accepted approaches to its understanding and measurement.
morganaletarg

Everyday Fandom: Fan Clubs, Blogging, and the Quotidian Rhythms of the Internet | Thebe... - 1 views

shared by morganaletarg on 24 Jun 14 - No Cached
  • fan clubs become more than simple, isolated groups of individuals with a particularly strong attachment to an individual celebrity or media text. Indeed, fan clubs as a medium serve specific, though different, functions for both fans and the music industry: they act as a conduit through which the fans' desire for contact with the artist is channelled, at the same time as they serve as a means for the promotion of tours and commercial releases. They can be used both to create a sense of identity and belonging and as a means of direct marketing.
    • morganaletarg
       
      "desire for contact" particularly stirring word choice
  • popular culture is, by definition, "of the people," and it works against commodification (1989). In the present context, however, the fan clubs appear to operate in a more complex modality, with fan interests and industry interests feeding off of and reinforcing each other, rather than acting in opposition
    • morganaletarg
       
      lol, not in my neck of the woods
George Neff

Netflix vs. Cable: How Viewers Watch TV in the Summer - 0 views

  • About 99% of U.S. households (the total of which are in the 115 million range) have a TV, and 56% have cable. Compare that to Netflix, which has more than 48 million members worldwide. That means its entire global viewership is still not even half the U.S. However, that's not bad for a company founded in 1997, tackling a nearly 64-year-old industry.
  • In the summer months, it's easy to assume Netflix usage would go through the roof, thanks in part to younger students who now have three free months of time.
  • While Netflix doesn't share specific data on its viewers, spokeswoman Jenny McCabe said the site doesn't acquire more subscribers during the summer months. Rather, it picks up more viewers in Q1 (January, February and March) and Q4 (October, November and December).
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  • In Q4 2013, Netflix acquired 2.3 million new American households, the highest performance in three years.
  • From a strategic standpoint, Netflix is starting to up the ante for summer viewers by airing original shows like Orange is the New Black in June.
  • It just cares about what people are watching, McCabe says.
  • The average user prefers to watch a series from beginning to end, consume it wholly, then move on to the next thing, according to McCabe.
  • Thanks to summer vacations, kids are watching way more Netflix. Considering how tech-literate children have become, it will be interesting to watch how cable TV fares against Netflix as this younger generation gets older, raised with both options.
George Neff

Report: Netflix Plans to Order First Original Series for French Market | Variety - 0 views

  • Ahead of its launch in France, Netflix is reportedly set to order an exclusive original series in France, according to news channel BFMTV’s website.
  • Netflix approached select local producers to submit pitches for original series
  • France wouldn’t be the first overseas territory where the company has targeted specific original programming, having already done so in Latin America.
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  • an exec at EuropaCorp Television told Variety, “Netflix (had) not commissioned a French series to (them) as of today.”
  • Netflix has already worked with GIT on Eli Roth’s “Hemlock Grove,” which was reupped for a second season; and recently ordered “Narcos” with Wagner Moura set to play Pablo Escobar.
  • Per BFMTV, Netflix is on track to launch this fall and will likely be priced at €7.99 ($10.90) per month for the standard-definition service; $12.23 for high-definition and reception on two devices and $16.30 for high-def and reception on four devices.
jurasovaib

Ovarian Cancer Symptoms, Blood Test Offer Early Detection - 0 views

  • une 23, 2008 -- A symptoms checklist, combined with a blood test, can catch 80% of ovarian cancer in its earliest, most curable stages, a new study suggests.
  • "The symptom index and the CA125 test each finds 50% to 60% of women with early disease," Andersen tells WebMD. "But when they're combined, if either one is positive, we might be able to identify 80.6% of women with early stage ovarian cancer. Women with early stage disease have good chance of a cure -- it's just that right now, we don't find many of them in time.
  • The symptoms that warn of ovarian cancer aren't, in themselves, very specific. They may seem to be gastrointestinal or psychological rather than gynecological in nature.
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  • So what are these warning signs? Andersen says there are three basic symptoms:Bloating or increased abdominal sizePelvic or abdominal painEating difficulty or feeling full too quickly
braxtondn

How the Media Affects the Self Esteem and Body Image of Young Girls | Divine Caroline - 0 views

  • The medias harmful affect on the self body image and self esteem of young girls has brought about some of these three damaging effects: eating disorders, mental depression, and physical depression.
    • braxtondn
       
      It is interesting and sad knowing that new media has this affect on young teens. Something should be done in order to help prevent such negative affect. The media needs to recognize that everybody will come in different shapes and sizes, instead of just focusing on one specific image.
  • “Women may directly model unhealthy eating habits presented in the media, such as fasting or purging, because the media-portrayed thin ideal body type is related to eating pathology”(Stice, Schupak-Neuberg, Shaw & Stein, 1994)
  • In Allie Kovar’s article, Effects of the Media on Body Image, she mentions that “the national eating disorder Association (2006) reports that in the past 70 years national rates of incidences of all eating disorders have dramatically increased across the board . . . Bulimia in women between the ages of 10 to 39 has more than tripled.” (Kovar, 1).
    • braxtondn
       
      The media's "thin ideal' is causing young teens to feel so poorly about themselves that it is causing more women to become diagnosed with eating disorders. There is no reason that the media should be having that much of an affect on teens that it is tripling the amount of eating disorders. The media ( actresses, models, and celebrities) should be looked upon by their success not by their body image.
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  • “If children grow up seeing thin women in advertisements, on television, and in film they accept this as reality and try to imitate their appearance and their actions”(Nature vs. Nurture, Shea, 1).
    • braxtondn
       
      THis is very true. Parents can stop this by controlling what their children can and can't watch. THere are so many things that parents can do to help boost their child's self-esteem also, they just need to try harder so that the media doesn't win.
  • “The ideal female has become thinner while the average American woman has become heavier…”(Domil, 2).
    • braxtondn
       
      Whats acceptable to the world is not acceptable to the media. Whats more important though? All that should matter is what each person thinks about themselves. Media is just negatively effecting society's image
  • The media is only going to get worse and put more pressure on the self body image of how it should “ideally” look
    • braxtondn
       
      The media is like an annoying bug that will never go away. We have to be stronger than what the media wants us to be and be above the media's influence.
andhearsonars

School Systems Blog - Four Ways to Use Pinterest in Education - 1 views

  • Pins are also shared and searchable, which makes Pinterest a wonderful resource for visual information.
  • specific theme
  • original source, where you may find more inspiration
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  • organizing
  • social networking
  • collaborate
  • set up boards that allow multiple people to pin
  • categorizing
  • tutorials
  • write a note to yourself about the pin so you will remember exactly why you chose it
  • organize resources for presentations, projects, essays
  • visual journal
jurasovaib

Cervical cancer - Wikipedia, the free encyclopedia - 0 views

  • Cervical cancer is cancer arising from the cervix.[1] It is due to the abnormal growth of cells that have the ability to invade or spread to other parts of the body.[2] Early on there are typically no symptoms. Later symptoms may include: abnormal vaginal bleeding, pelvic pain or pain during sex.[1]
  • Cervical cancer typically develops from precancerous changes over 10 to 20 years
  • HPV vaccines protect against two high risk strains of this family of viruses and may prevent up to 65 to 75% of cervical cancers
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  • Worldwide, cervical cancer is both the fourth most common cause of cancer and the fourth most common cause of death from cancer in women.
  • 70% of cervical cancers occur in developing countries.[5] In low income countries it is the most common cause of cancer death.[11] In developed countries, the widespread use of cervical screening programs has dramatically reduced rates of cervical cancer.
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    Do you think you need to focus on one specific type of cancer? I see cervical and breast cancers in your research.
morganaletarg

Homosexuality at the Online Hogwarts: Harry Potter Slash Fanfiction - 1 views

  • rites observes that the majority of YA novels about gay and lesbian teens "are very Foucaultian in their tendency to privilege the discourse of homosexuality over the physical sexual acts of gay men, defining homosexuality more rhetorically than physically" (102-03).
    • morganaletarg
       
      reasons no one has ever actually enjoyed an LGBT YA book
  • Star Trek is widely considered to be the first "modern" fandom, and the majority of studies of participatory media fandom begin their history with Trek fans. However, activities that could be called "fannish" go back much further, and include eighteenthcentury unauthorized sequels of works such as Gulliver's Travels, the aforementioned Sherlock Holmes pastiches, and the entire body of literary and folk "retellings." See Brewer, Pflieger, Derecho, and Stasi.
    • morganaletarg
       
      sources on history of fandom
  • According to Francesca Coppa, the Internet enabled "an increasingly customizable fannish experience" (54). As a result, "[a]rguably, this may be fandom's postmodern moment, where the rules are 'there ain't no rules' and traditions are made to be broken" (57).
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  • One avenue that has yet to be explored, with specific regard to adolescent fans, is the potential to encounter and experiment with alternative modes of sexual discourse, particularly queer discourse.
  • how do depictions of adolescent sexuality in Potter fanfiction differ from those of published literature for adolescents?
  • "adolescent literature is as often an ideological tool used to curb teenagers' libido as it is some sort of depiction of what adolescents' sexuality actually is"
  • Slash, like other forms of fanfiction in the modern era, initially circulated by way of self-published zines. Because of the controversial nature of the stories, slash was available only to those who knew the right people in order to be put on mailing lists, and who had the financial resources to order zines and attend conventions-in other words, adults.
  • [S]lash is not so much queer in the act as it is queer in the space . . . . Slash is a sandbox where women come to be strange and unusual, or to do strange and unusual things, or to play with strange and unusual sand. The women may be queer or not, strange or not, unusual or not. The many different acts and behaviors of slash may be queer or not, strange or not, unusual or not. The queerness may be sexualized or it may not, and what is sexual for one woman may not be for another. The space is simply that: a space, where women can be strange and unusual and/or do strange and unusual things.8
  • Harry's discovery of his wizard nature is akin to a coming-out narrative-he escapes from a literal closet, and his relatives' horrified reactions bear a striking resemblance to the language of homophobia, especially in the way they hurl about words like "abnormality" (Chamber 2) as weapons. Thus, one can, from the perspective of the Muggle realm, read the entire wizarding world in terms of Julad's "queer space."
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    representation, history, fanwork does what published works don't
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    Your commentary provides a nice selection of pieces for readers. You model the best of Diigo work here! : ) (Even though I found this in a file cabinet -- of sorts!) YA novels are "Foucoultian" ?? Really? I've never read a YA book featuring homosexuality, but much media represents gay behaviors from heterosexual framework. Even Orange..New Black -- I think, anyway. Agree about fanwork doing what published works don't.
andhearsonars

Curators of databases: circulating images, managing attention and making value on socia... - 0 views

  • relationships between cultural spaces, the image-making practices of smartphone users and social media platforms.
  • curatorial
  • In addition to targeted advertising, value is created by leveraging a continuous circulation of meaning and attention
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  • They are a significant site in the development of a mode of media driven not only by ideological or representational forms of control, but also by the effort to manage participation and social space in order to harness and modulate an ongoing circulation of meaning, attention and data.
  • monitor and respond
  • This activity involves the affective labour of structuring image-based relationships between people, places and practices
  • In this article, I propose that conceptualising how value is made on social media involves examining how the analytic capacities of platforms are interrelated with the flows of images created by smartphone users within material cultural spaces.
  • On the social and mobile web, images are more than just representations of people, events and places. They also capture attention, and generate data and networks. An image is a device that holds in place a network of associations and affects in time and place, that can be tracked and responded to.
  • structuring feeling
  • persuade them with specific messages
  • Hashtags, tags, likes, comments and shares are 'manual' devices users employ to position images within a larger flow. Algorithms are 'automated' devices that determine how images circulate within a network based on a set of rules.
  • Users often know that posting certain kinds of content at certain times or places will attain more or less interaction from peers in their network. Efforts users make to position content--for instance, by tagging or liking an image--create data that algorithms use to manage the circulation of content in general by recognising patterns of interaction over time.
Mirna Shaban

The Revolution Will Be Tweeted - 1 views

  • Much of the organization and mobilization occurred through the Internet, particularly on social media such as Facebook and Twitter. But social media also played a vital role as a democratic model. Its inclusive space indirectly taught lessons in democracy to a wide sector of Egyptian youth that was not necessarily politically inclined. When the right moment arrived, they were ready to join the revolt.
  • What happened in January 2011 in Egypt did not start in January 2011. It began at least ten years earlier, and it’s not over yet
  • The main catalyst for the January 25 revolution was the Internet, so it may be accurate to describe this as an Internet-based revolution. Not that the Internet was the only factor involved, or that Internet users were the only ones protesting. But the Internet was the tool that showed every dissident voice in Egypt that he or she is not alone, and is indeed joined by at least hundreds of thousands who seek change.
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  • Facebook did not go to Tahrir Square. The people did. Twitter did not go to Al-Qaied Ibrahim Square. The people did.
  • More than one-third of Egypt’s population of eighty million remains illiterate, and just 25 percent of Egyptians use the Internet. However, Facebook and Twitter were instrumental in organizing, motivating, and directing these crowds as to where to go and what to do. Egypt’s revolution was created as an event on Facebook eleven days in advance. People clicked “I’m attending.” Certainly, this was a people’s revolution, yet one based on and accelerated in many ways by the Internet. What happened in Tahrir and every square in Egypt was the accumulation of years and years of activism, including Internet activism. Social media prepared Egyptians for the revolution and enabled them to capitalize on an opportunity for change when the time came.
  • The Internet, by definition, is a democratic medium, at least in the sense that anyone with Internet access is a potential publisher of information.
  • The mere presence of the Internet as a source of information helps open up a freer space for public debate, and makes it much more difficult for governments to censor information.
  • Internet activism started in Egypt with the appearance of Web 2.0 technology in the country around 2003
  • Blogging was the first valuable brainchild of Web 2.0 technologies.
  • The phenomenon exploded in the Arab world, with Egyptian bloggers pioneering and leading the scene. Blogger numbers in the region approached half a million by the beginning of 2009, the great majority of them coming from Egypt.
  • Political blogging in particular became more popular, as users felt that they could remain anonymous if they so wished
  • Nevertheless, most Egyptian political bloggers choose to blog under their real names, which frequently got them in trouble with the regime. The state security crackdown on bloggers was testimony to their potential impact.
  • Undoubtedly, blogging created a space for the voiceless in Egypt.
  • It was the first time individuals felt they could make themselves heard. That in itself was important, whether or not the content was political, and whether or not anyone was reading the blogs. The phenomenon created a venting space for people who had long gone unheard.
  • Early on, Alaa Abdel Fattah and Manal Hassan were awarded the Special Award from Reporters Without Borders in the international Deutsche Welle’s 2005 Weblog Awards (Best of Blogs) contest, where their blog was cited as an instrumental information source for the country’s human rights and democratic reform movement. The husband-and-wife team had created one of Egypt’s earliest blogs, “Manal and Alaa’s Bit Bucket,” where they documented their off-line activism and posted credible information on protests and political movements, election monitoring and rigging, and police brutality.
  • Another award-winning blogger was Wael Abbas. He received several honors, including the 2007 Knight International Journalism Award of the International Center for Journalists for “raising the standards of media excellence” in his country. This was the first time that a blogger, rather than a traditional journalist, won the prestigious journalism award, a testament to the important work such bloggers were doing. In the same year, CNN named Abbas Middle East Person of the Year. He has been instrumental in bringing to light videos of police brutality in Egypt, a topic that was taboo before he and other bloggers ventured into it. As a result of these efforts, the Egyptian government at one point brought three police officers to justice on charges of police brutality for the first time in Egypt’s history; they were convicted and sentenced to three years in jail.
  • As blogging was becoming a phenomenon in Egypt, some political movements started having a strong on-line presence, and taking to the streets based on their on-line organization. The most important was probably the Kefaya movement, whose formal name is The Egyptian Movement for Change. The movement was established in 2004 by a coalition of political forces, and became better known by its Arabic slogan. The word kefaya is Arabic for ‘enough,’ and as the name implies, the movement called for an end to the decades-old Mubarak regime, and for guarantees that his son would not succeed him as president. Kefaya was instrumental in taking people to the streets, thus bridging the gap between the on-line and the off-line worlds. Many of its supporters were bloggers, and many of the street protesters started blogging. So, increasingly, reports on the demonstrations found their way into blogs and were provided media coverage even when the traditional media ignored them or were afraid to cover them. One result was that many more Egyptians gained the courage to write blogs that openly criticized the authoritarian system and crossed the ‘red line’ of challenging their president.
  • nternet applications such as the video-sharing platform YouTube, which appeared in 2005, took blogging to a higher level.
  • hey were also capable of videotaping street protests and uploading the clips on YouTube. Watching people chanting “Down with Hosni Mubarak” in the mid-2000s was a totally new, riveting experience, which led many other brave Egyptians to join these demonstrations. Internet activists and blogger stars such as Wael Abbas, Alaa Abdel Fattah, Manal Hassan, Hossam El-Hamalawy, Malek Mostafa, and others uploaded hundreds of videos of police brutality, election rigging, and different violations of human and civic rights.
  • media, the platforms that allow for wider user discussions and user-generated content such as MySpace, Facebook, and Twitter
  • he next important development came with the introduction of what is typically known as social
  • The structure of social media taught Egyptians that space exists that you can call your own, your space, where you can speak your mind. To many in the West, this is probably no big deal. There are countless venues where they can express their opinions relatively freely. But for people in Egypt, and in the Arab world in general, this was a new phenomenon, and one I believe to be of profound importance.
  • horizontal communication.’ Before social networks, Egyptian youth were accustomed to being talked at, rather than talked to or spoken with. Communication was mostly vertical, coming from the regime down to everyone else
  • Authoritarian patterns of communication do not allow for much horizontal interaction. But social networks do, and eventually their existence on the Internet taught Egyptian youths a few lessons in democratic communication, even if the essence of the conversations carried out was not necessarily political in nature.
  • The bulk of those that I believe were affected by these lessons in democratic expression were clusters of the population that were not previously politically oriented. These form a good sector of those who took to the streets on January 25, and were joined by millions who held their ground in Tahrir Square and in every square in Egypt until Mubarak was toppled. The majority of these millions, including myself, were people who had never participated in a demonstration before. They were not political activists before January 25, but they saw or heard the call for action, and it touched a nerve as they found safety in numbers
  • another function that social networks served: making you realize that you’re not alone.
  • Perhaps the first time Egyptians learned about the power of social networks was on April 6, 2008. Workers in the Egyptian city of Al-Mahalla Al-Kobra planned a demonstration to demand higher wages. Esraa Abdel Fattah, an activist then twenty eight years old, felt for the workers and wanted to help them. She formed a group on Facebook and called it ‘April 6 Strike’ to rally support for the workers.
  • he knew it was too much to ask people to join in the protest, so she simply asked them to participate in spirit by staying home that day, not going to work, and not engaging in any monetary transactions such as buying or selling. The group was brought to the attention of the traditional media and was featured on one of Egypt’s popular talk shows, thus getting more exposure. What ensued surpassed all expectations. To Abdel Fattah’s own surprise (and everyone else’s), the Facebook group immediately attracted some seventy three thousand members. Many of these, and others who got the message through traditional media, decided to stay home in solidarity with the workers. Others were encouraged to stay home by a bad sandstorm that swept across parts of Egypt that day, and yet others stayed home for fear of the strong police presence on the streets.
  • The overall outcome made political activists realize that social networks could be a vital tool in generating support for a political cause, and in encouraging people to join a call for action.
  • The April 6 event was meaningful because it provided a sense that people were actually willing to take an action, to do something beyond clicking a mouse
  • three months before the January 25 revolution, Malcolm Gladwell argued in a much-discussed article in The New Yorker under the title “Small Change: Why the revolution will not be tweeted” that social media can’t provide what social change has always required. He said that social media is good when you’re asking people for small-scale, low-risk action, but not for anything more. “Facebook activism succeeds,” he wrote, “not by motivating people to make a real sacrifice but by motivating them to do the things that people do when they are not motivated enough to make a real sacrifice.” He explained that this is because high-risk activism is a “strong-tie phenomenon,” meaning that those who carry out such acts of activism have to personally know each other well and develop strong personal ties before they would risk their lives for each other or for a common cause. Since Facebook and Twitter provide mostly “weak-tie” connections, since users typically have a strong off-line social tie with only a small percentage of their ‘friends’ or ‘followers,’ these social networks were therefore not capable of motivating people for a high-risk cause. He therefore concluded that a social network “makes it easier for activists to express themselves, and harder for that expression to have any impact.”
  • nowing that you are in the company of many who share your utter belief in the same cause. That is something that social networks delivered
  • ne of the Facebook pages that played a major role in this regard was the Khaled Said page. Khaled Said was a young Egyptian who was brutally beaten to death by police informants outside an Internet café in Alexandria in June 2010. He had an innocent face that everyone could identify with. He could be anyone, and anyone could’ve been him. The Facebook page “We Are All Khaled Said” appeared shortly thereafter. It started asking its members, whose numbers increased steadily, to go out on silent standing protests in black shirts with their back to the streets. The demonstrations started in Alexandria and soon spread to every governorate in Egypt. Numbers increased with every protest. More and more people gained a little more courage and tasted the freedom of dissent.
  • One of the main advantages of the Khaled Said page was how well organized the events were. Protesters were provided with exact times and locations, and given exact instructions on what to wear, what to do, as well as who to contact in the case of any problems with security forces.
  • t was the Khaled Said page that eventually posted the ‘event’ for a massive demonstration on January 25, Egypt’s Police Day.
  • The administrators usually polled their users, asking them to vote for their place or time of preference for the next protest. The responses would be in the thousands, sometimes tens of thousands, and the administrators would read them all, and give a breakdown, with exact numbers and percentages, of the votes.
  • The January 25 demonstration was motivated and aided by an important intervening variable, the revolt in Tunisia. When Tunisian protesters succeeded in ousting President Zine El-Abidine Ben Ali on January 14, Egyptians felt that toppling a dictator through demonstrations was finally possible.
  • he Khaled Said page, which by then had about six hundred thousand followers, demonstrated its strong ability to organize. They listed all the major squares in every Egyptian governorate where they expected people to gather, and again gave specific instructions on what to wear, what to take with you, and who to contact in times of trouble. They then alerted the users that the listed venues for demonstration would change at midnight on January 24 to give police forces a lesser chance of mobilizing against them the next day. On the morning of January 25, there were close to half a million people who had clicked “I’m attending” the revolution. Today, the Khaled Said page has more than 1.7 million users, by far more than any other Egyptian Facebook page.
  • nd indeed that was what happened. We witnessed another key moment illustrating the power of the interaction between social media, traditional media, and interpersonal communication. Newspapers, broadcasters, and on-line outlets had been discussing the potential ‘Facebook demonstration’ for a few days prior to January 25. As groups of demonstrators marched through the streets enroute to main squares chanting “Ya ahalina endamo lina,” (“Friends and family, come join us”), people watching from their balconies and windows heeded the calls and enabled the protests to snowball to unprecedented numbers. People were galvanized by the sight. The core activists, who attended every demonstration for years, were suddenly seeing new faces on January 25, mostly mobilized by the Internet. They came by the thousands, and then by the hundreds of thousands, numbers larger than anyone had expected.
  • Twitter played an important though slightly different role. Crucial messages relayed in short bursts of one hundred and forty characters or less made protesters ‘cut to the chase.’ Most activists tweeted events live rather than posting them on Facebook. Twitter was mainly used to let people know what was happening on the ground, and alert them to any potential danger. It usually was ahead of Facebook in such efforts. Twitter also enabled activists to keep an eye on each other. Some managed to tweet ‘arrested’ or ‘taken by police’ before their mobile phones were confiscated. Those words were incredibly important in determining what happened to them and in trying to help them. Most activists are, to this day, in the habit of tweeting their whereabouts constantly, even before they go to sleep, because they know that fellow activists worry if they disappear from the Twittersphere.
  • When the Egyptian regime belatedly realized on January 25 how dangerous social networks could be to its survival, the first thing it did was block Twitter. Internet censorship is a ridiculously ineffective strategy, though. Users were tech-savvy enough to find their way onto proxy servers within minutes, and to post on Facebook how to gain access to Twitter and how to remain on Facebook if the regime blocks it, which indeed happened later. The government felt it didn’t have any other option but to block all Internet access in the country for five days starting January 27 (as well as mobile telephone communications for one day). By then it was too late. People had already found their way to Tahrir and nearly every square in Egypt. Ironically, some were partly motivated by the Internet and communication blockage to take to the streets to find out what was happening and be part of it. And they were joined by workers’ movements in many governorates that expanded the protester numbers into the millions. The major squares of Egypt were full of people of every age, gender, religion, creed, and socio-economic status
  • Gladwell, it turned out, was wrong. These people didn’t know each other personally, but the “weak” personal ties had not proved a barrier to high-risk activism. Egyptians discovered the strong tie of belonging to the common cause of ousting a dictator
  • ocial network users were not the only ones revolting, and social networks were not the only reason or motivation for revolt. However, the role that social media have played over the years in indirectly preparing sectors of Egyptian youths for this moment, and in enabling them to capitalize on an opportunity for change when the time came, cannot be understated.  It can also be said that the role of social networks in Egypt has hardly ended. The revolution is not yet complete. 
brookerobinson

The power of music - 1 views

  • Anthony Storr, in his excellent book Music and the Mind, stresses that in all societies, a primary function of music is collective and communal, to bring and bind people together
  • People with Tourette's syndrome—including many I know who are professional musicians—may become composed, tic-free, when they listen to or perform music; but they may also be driven by certain kinds of music into an uncontrollable ticcing that is entrained with the beat
  • There is a wide range of sensitivity to the emotional power of music, ranging from virtual indifference at one extreme (Freud was said to be indifferent to music, and never wrote about it), to a sensitivity that can barely be controlled. Individuals with Williams syndrome, for example, though they have severe visual and cognitive defects, are often musically gifted, and usually extravagantly sensitive to the emotional impact of music. I have seen few sights more extraordinary than a group of 40 young people with Williams syndrome breaking into uncontrollable weeping at tender or sad music, or uncontrollably excited if the music is animated.
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  • speaks of ‘chills’ in this connection, and has shown some of the specific neurobiological basis of these
    • brookerobinson
       
      religious music "chills" from the holy spirit
  • Perseverative music has much more the character of a cerebral automatism, suggesting cerebral networks, perhaps both cortical and subcortical, caught in a circuit of mutual excitation. I do not think there are comparable phenomena with other types of perception—certainly not with visual experience. For instance, I am a verbal creature myself, and though sentences often permute themselves in my mind and suddenly surface as I am writing, I never have verbal ‘earworms’ comparable with musical ones.
andhearsonars

Pinterest, Tumblr and the Trouble With 'Curation' - NYTimes.com - 0 views

  • evoke in the viewer a certain feeling, atmosphere or mood
  • Not just on Pinterest, but also in the form of dopamine-boosting street-fashion blogs and cryptically named Tumblr blogs devoted to the wordless and explanation-free juxtaposition of, say, cupcakes and teapots and shoes with shots of starched shirts and J.F.K.
  • artfully arranged pictures of other people’s stuff?
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  • “curation,”
  • rarefied and highly specialized skill, would all of a sudden go viral
  • Not because I don’t like magazines. In many ways, I like them better. But they’re too grounded in space and time, too organized and linear, too collaborative and professional to deliver the synaptic frisson available from the stream-of-consciousness image blog.
  • A friend of a friend calls his addiction to sites like these “avenues for procrastination,” but I think there’s something else involved. Like other forms of pastiche — the mix tape, the playlist, the mash-up — these sites force you to engage and derive meaning or at least significance or at the very least pleasure from a random grouping of pictures. Why not dive into an alternative world full of beauty and novelty and emotion and the hard-to-put-your-finger-on feeling that there’s something more, somewhere, where you’re not chained to your laptop, half dead from monotony, frustration and boredom
  • the sudden rise of the mood board as mood regulator, a kind of low-dose visual lithium
  • So maybe we are like the rats, and what we’re seeking while idly yet compulsively cruising Pinterest is really just the reliably unpredictable jumble of emotions that their wistful, quirky juxtapositions evoke. Maybe that is our rectangularity.
  • This is, I think, what these sites evoke: the feeling of being addicted to longing for something; specifically being addicted to the feeling that something is missing or incomplete. The point is not the thing that is being longed for, but the feeling of longing for the thing.
  • In other words, your average Pinterest board or inspiration Tumblr basically functions as a longing machine.
  • They target aspects of our lives that “are incomplete or imperfect”; involve “overly positive, idealized, utopian imaginations of these missing aspects”; focus on “incompleteness on the one hand and fantasies about ideal, alternative realities on the other hand”
  • frivolous and feminine
  • People don’t post stuff because they wish they owned it, but because they think they are it, and they long to be understood, which is different.
  • In fact, the company discourages people from posting images they have created themselves, preferring that they venture out into the wilds of the Internet looking for beautiful things to bring back to the cave.
  • “Curation” does imply something far more deliberate than these inspiration blogs, whose very point is to put the viewer into an aesthetic reverie unencumbered by thought or analysis. These sites are not meant (as curation is) to make us more conscious, but less so.
  • But products are no longer the point. The feeling is the point. And now we can create that feeling for ourselves, then pass it around like a photo album of the life we think we were meant to have but don’t, the people we think we should be but aren’t.
George Neff

Will Netflix Kill TV? | PopMatters - 0 views

  • Live and weekly DVR ratings have plummeted for most broadcast programs, as many viewers can now catch their favorite shows on demand via Hulu or illegal torrents.
  • Neither of these represent the biggest problem facing TV – that would be Netflix. More specifically, it’s the streaming giant’s foray into the original programming game that should cause all couch potatoes’ skin to crawl.
  • The service is a massive hit. Netflix currently takes up one-third of all the downstream bandwidth the web can provide. The average subscriber watches 87 minutes of programming per day. While short of the 18-24-year-old live television average of 3.5 hours per day, that latter number is split across hundreds of network and cable channels. Netflix has a captive audience.
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  • Netflix is like an indulgent parent – offering unlimited sweets without any responsibility on the child’s behalf. Subscribers are spoiled with the model, gratifying themselves on a whim by binging new releases without regard for any psychological implications that may take place. American culture now expects instant gratification: fast food, instant messaging, instant streaming. There is virtue in patience, a virtue Netflix disregards in the name of better serving the consumer. Unfortunately, faster service does not always equal better service.
  • When network shows are stripped of commercials and sent to Netflix, the viewing experience is somewhat hollowed. Audiences have grown more used to this with TV on DVD and the restructuring of story beats on premium cable channels, but many comedies still require room to laugh and dramas room to breathe. Binging on Netflix turns distinct three-act episodes into an elongated 13th-act behemoth.
  • Conversation becomes stunted or clandestine, which eliminates much of the buzz that builds pre-season – buzz that is necessary come June when Emmy voters fill out their ballots.
  • Television executives have a right to be both frustrated with and terrified by the advent of the Netflix model.
  • Original shows ushered in using the Netflix model, like House of Cards and Hemlock Grove, have cut out the advertisers. Netflix functions as the network, and if the company decides to evolve from simply licensing original programming to actually producing, they’ll be the studio, too. Netflix is making all the money, monopolizing our attention and making poor consumers out of its subscribers. If this model becomes the norm, the producer/advertiser relationship will be pushed to the breaking point.
  • The folks at Netflix have little to fear. House of Cards executive producer Beau Willimon, in a recent Q&A for Vulture, responded to a question regarding the Netflix model and said, “Our show simply gave people the experience they had already grown accustomed to on Netflix — viewer empowerment. People like being able to decide for themselves when, where, and in what quantities they will watch their content.”
  • We’ve seen how this user-driven, consumerist approach has transformed the music industry into a shell of its former self.
  • What is the informed television devotee to do? Netflix is not inherently evil, and at only $8 a month, the access to vast libraries of programming is an invaluable asset. The answer doesn’t lie in unsubscribing from Netflix, but rather in promoting the traditional broadcast model. By watching live, conversing with friends, coworkers and strangers on Twitter, and even purchasing overpriced merchandise from beloved shows, TV buffs everywhere can help keep the industry afloat. In the hands of the responsible, Netflix is a mighty tool for good. In the hands of the ignorant, it’s a weapon that could destroy all television.
  • But what happens once Netflix reaches the point where profiting only on its own original programming makes more sense than continuing to pay licensing fees, which will skyrocket as the studios jack up prices due to diminished on-air returns? Netflix is positioning itself as its own network, assembling a lineup of programming that will survive the inevitable scripted network TV apocalypse. And once the people lose instant access to former network favorites like How I Met Your Mother and The Office, they’ll rebel by cancelling their subscriptions, the fees will also increase as competition is defeated. But by that point the damage will be irreparable – both television and Netflix will be dismantled by the impatient viewer.
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