The Gamergate Controversy and Journalistic Paradigm Maintenance
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Wetlands Mapper Frequently Asked Questions
Frequently Asked Questions: Wetlands Mapper December 2015 Mapper Content and Display How does the public access the new Mapper? The Wetlands Mapper can be found at: http://www.fws.gov/wetlands/ Does the updated mapper display all wetland polygons from the Wetlands Geodatabase? Yes. All available wetland map data both vector and raster scanned images are on the Mapper. Does the updated mapper display all wetland labels? Yes. Larger polygon labels will display right away. Smaller polygon labels will display at larger scale and appear inside the feature. At what scale do the Wetlands display on screen? Wetlands first display at 1:144,448 scale. The nominal scale for wetland data is 1:12,000 or 1:24,000 although higher resolution is possible. How is the display scale determined? Display scales are pre-determined intervals. The maximum zoom scale is 1:71. ESRI base maps will not display below 1:1,128 scale resolution for the contiguous United States and Puerto Rico, 1:9,028 for Alaska, and 1:4,514 for Hawaii, and the Pacific Trust Islands. Can I minimize the Available Layers Window? Yes. Click on minimize + or – symbol in the upper right hand corner of the Available Layers Window. Can I zoom to locations? How do I find the Pacific Trust Islands? Yes. Use the “Zoom to” tool to quickly go to Alaska, Hawaii, Puerto Rico and Virgin Islands or the Pacific Trust Islands. Enter the name, address, or zip code into the “Find Location” tool to go to a specific location. Latitude and longitude coordinates may also be entered using the format [longitude, latitude]. -
Deconstructing the Editorial and Production Workflow
Deconstructing the Editorial and Production Workflow Bill Kasdorf Vice President, Apex Content Solutions General Editor, The Columbia Guide to Digital Publishing Metadata Subgroup Lead, EPUB 3.0 & 3.0.1 WG Chair, BISG Content Structure Committee We all know what the stages of the editorial and production workflow are. Design. Copyediting. Typesetting. Artwork. Indexing. Quality Control. Ebook Creation. Ummm. They’re usually done in silos. Which are hard to see into, and are starting to break down. Thinking of these stages in the traditional way leads to suboptimization. In today’s digital ecosystem we need to deconstruct them in order to optimize: Who does what? At what stage(s) of the workflow? How to best manage the process? Who Does What? Do it in-house? Outsource it? Automate it? You can’t answer these questions properly without deconstructing the categories. And the answers differ from publisher to publisher. At What Stage(s) of the Workflow? How do these aspects intersect? How do you avoid duplication and rework? How do you get out of “loopy QC”? Getting the right things right upstream eliminates a lot of headaches downstream. How Best to Manage the Process? Balancing predictability and creativity: where to be strict, and where to be flexible? How can systems and standards help? Buy vs. build vs. wing it? Your systems, partners, and processes should make it easy for you to do the right work and keep you from doing the wrong work. Let’s deconstruct two key workflow stages to see what options there are for optimizing them. Copyediting -
Gamergate and Digital Humanities
Loyola University Chicago Loyola eCommons School of Communication: Faculty Publications and Other Works Faculty Publications 2-2019 Applying an Ethics of Care to Internet Research: Gamergate and Digital Humanities Todd Suomela Bucknell University Florence Chee [email protected] Bettina Berendt University of Kansas Geoffrey Rockwell University of Alberta Follow this and additional works at: https://ecommons.luc.edu/communication_facpubs Part of the Communication Commons, and the Digital Humanities Commons Recommended Citation Suomela, Todd; Chee, Florence; Berendt, Bettina; and Rockwell, Geoffrey. Applying an Ethics of Care to Internet Research: Gamergate and Digital Humanities. Digital Studies/ Le champ numérique, 9, 1: 1-28, 2019. Retrieved from Loyola eCommons, School of Communication: Faculty Publications and Other Works, http://dx.doi.org/10.16995/dscn.302 This Article is brought to you for free and open access by the Faculty Publications at Loyola eCommons. It has been accepted for inclusion in School of Communication: Faculty Publications and Other Works by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution 4.0 License. © 2019 The Author(s). Suomela, Todd, et al. 2019. “Applying an Ethics of Care to Internet Research: Gamergate and Digital Humanities.” Digital Studies/Le champ numérique 9(1): 4, pp. 1–28. DOI: https://doi.org/10.16995/dscn.302 RESEARCH Applying an Ethics of Care to Internet Research: Gamergate and Digital Humanities Todd Suomela1, Florence Chee2, Bettina Berendt3 and Geoffrey Rockwell4 1 Bucknell University Lewisburg, PA, US 2 Loyola University Chicago, US 3 KU Leuven, NL 4 University of Alberta Edmonton, AB, CA Corresponding author: Todd Suomela ([email protected]) This article examines key ethical issues that are continuing to emerge from the task of archiving data scraped from online sources such as social media sites, blogs, and forums, particularly pertaining to online harassment and hostile groups. -
The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole
Chapter 4: Editing Film 125: The Textbook © Lynne Lerych The general idea behind editing in narrative film is the coordination of one shot with another in order to create a coherent, artistically pleasing, meaningful whole. The system of editing employed in narrative film is called continuity editing – its purpose is to create and provide efficient, functional transitions. Sounds simple enough, right?1 Yeah, no. It’s not really that simple. These three desired qualities of narrative film editing – coherence, artistry, and meaning – are not easy to achieve, especially when you consider what the film editor begins with. The typical shooting phase of a typical two-hour narrative feature film lasts about eight weeks. During that time, the cinematography team may record anywhere from 20 or 30 hours of film on the relatively low end – up to the 240 hours of film that James Cameron and his cinematographer, Russell Carpenter, shot for Titanic – which eventually weighed in at 3 hours and 14 minutes by the time it reached theatres. Most filmmakers will shoot somewhere in between these extremes. No matter how you look at it, though, the editor knows from the outset that in all likelihood less than ten percent of the film shot will make its way into the final product. As if the sheer weight of the available footage weren’t enough, there is the reality that most scenes in feature films are shot out of sequence – in other words, they are typically shot in neither the chronological order of the story nor the temporal order of the film. -
Please Please Don't Buy This Game Like I Did. I
“Please please don't buy this game like I did. I feel terrible and wish I could return it!”: A corpus-based study of professional and consumer reviews of video games Andrew Kehoe and Matt Gee (Birmingham City University, UK) Background This paper is a corpus-based comparison of professional and consumer reviews of video games. Professional video games journalism is a well-established field, with the first dedicated publications launched in 1981 (Computer and Video Games in the UK, followed by Electronic Games in the US). Over the next 30 years, such publications were highly influential in the success of particular video games, often leading to accusations of conflicts of interest, with the publishers of the games under review also paying substantial amounts of money to advertise their products in the same video games magazines. The rapid growth of the web since the early 2000s has seen a decline in all traditional print media, and games magazines are no exception. Such publications have now been largely replaced by professional video games review sites such as IGN.com, established in 1996 as the Imagine Games Network. However, the influence of professional review sites such as IGN appears to be waning, with a recent report by the Entertainment Software Association suggesting that only 3% of consumers rely on professional reviews as the most important factor when making a decision on which game to purchase (ESA 2015). The decline of professional games reviews does not reflect the state of the video games industry in general. It has been estimated (Newzoo 2016) that the industry generated almost $100 billion of revenue worldwide during 2016. -
Gamergate, Eine Retrospektive
GamerGate Eine Retrospektive November 2020 @KeinenPixel_de [email protected] keinenpixel.de @KeinenPixel_de GAMERGATE, EINE RETROSPEKTIVE Abstract: GamerGate war eine 2014 beginnende anti-feministische und rechtsextreme Bewegung, die große Teile der Computer- und Videospielszene sowie angrenzende Bereiche der Popkultur erfasste und weitreichende politische Folgen nach sich zog. Anhand von Primär-, wie auch Sekundärquellen zeichnet diese Retrospektive die Entwicklung von GamerGate in drei Phasen nach: Wie sich 1.) aus persönlicher Rache und den unkoordinierten Angriffen auf Einzelpersonen eine 2.) breite, anti-feministische Bewegung herausbildete, die sich 3.) mit rechtsextremen Elementen zu einer politischen Bewegung vereint. Diese wurde maßgeblich von Steve Bannon initiiert, der damit den Wahlkampf von Donald Trump in den USA unterstützte. Wie der vierte und letzte Teil darstellt, nimmt GamerGate deshalb noch heute eine Schlüsselposition in der Entwicklung der neuen Rechten ein, die Popkultur mit rechtsextremer Politik verbindet. Bestehende Tendenzen und kleinere Strömungen haben sich in GamerGate vereinigt, weshalb die Bewegung einen neue Möglichkeit zur Rekrutierung und Radikalisierung am rechten Rand gebildet hat. Obwohl GamerGate bereits oft in Artikeln thematisiert wurde, gibt es nur wenige Gesamtüberblicke über die Entwicklung der Bewegung. Die Retrospektive will als ausführliche deutschsprachige Ressource zukünftige Arbeit mit dem Thema erleichtern. Hinweis: Aufgrund rechtsextremer Inhalte ist es vielfach nicht möglich auf Originalquellen zu verlinken. In diesen Fällen werden Sekundärquellen genutzt, die die kritischen Inhalte kontextualisiert wiedergeben. Über die Autor*innen: " ForschungskollektivenKeinen Pixel den Faschisten! und Entwicklerstudios ist eine Initiative aus der von Computerspielekultur, Webseiten, Medienschaffenden, die sich durch antifaschistische Arbeit für ein inklusives Klima in ihren Communitys stark machen wollen. Zum Statement mit mehr Informationen über das Netzwerk: Hier klicken. -
Master Thesis
1 Master Thesis THE VALUE OF METACRITIC AND ITS RELATIONSHIP WITH VIDEO GAME SALES FLAVIO TONA SHNEIDER MIKE-E January, 2020 2 3 Contents 1 INTRODUCTION ................................................................................................................................ 5 2 LITERATURE REVIEW ..................................................................................................................... 8 3 MARKET ANALYSIS ....................................................................................................................... 13 3.1 METASCORE ............................................................................................................................ 14 3.1.1 GRADE CONVERSION .................................................................................................... 17 3.2 HARDWARE MARKET ............................................................................................................ 19 3.3 SOFTWARE MARKET ............................................................................................................. 20 4 - VALUE ..................................................................................................................................................... 21 4.1 CONSUMER ....................................................................................................................................... 21 4.2 - VALUE FOR THE INDUSTRY AND USAGE ......................................................................................... 22 4 METHODOLOGY -
Online Media and the 2016 US Presidential Election
Partisanship, Propaganda, and Disinformation: Online Media and the 2016 U.S. Presidential Election The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Faris, Robert M., Hal Roberts, Bruce Etling, Nikki Bourassa, Ethan Zuckerman, and Yochai Benkler. 2017. Partisanship, Propaganda, and Disinformation: Online Media and the 2016 U.S. Presidential Election. Berkman Klein Center for Internet & Society Research Paper. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33759251 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA AUGUST 2017 PARTISANSHIP, Robert Faris Hal Roberts PROPAGANDA, & Bruce Etling Nikki Bourassa DISINFORMATION Ethan Zuckerman Yochai Benkler Online Media & the 2016 U.S. Presidential Election ACKNOWLEDGMENTS This paper is the result of months of effort and has only come to be as a result of the generous input of many people from the Berkman Klein Center and beyond. Jonas Kaiser and Paola Villarreal expanded our thinking around methods and interpretation. Brendan Roach provided excellent research assistance. Rebekah Heacock Jones helped get this research off the ground, and Justin Clark helped bring it home. We are grateful to Gretchen Weber, David Talbot, and Daniel Dennis Jones for their assistance in the production and publication of this study. This paper has also benefited from contributions of many outside the Berkman Klein community. The entire Media Cloud team at the Center for Civic Media at MIT’s Media Lab has been essential to this research. -
2020 Journalism-Sports Media Major
Major Map: Journalism Bachelor of Arts in Journalism & Mass Communications (B.A.J.M.C.) Sports Media Concentration College of Information and Communications School of Journalism and Mass Communications Bulletin Year: 2020-2021 This course plan is a recommended sequence for this major. Courses designated as critical (!) may have a deadline for completion and/or affect time to graduation. Please see the Program Notes section for details regarding “critical courses” for this particular Program of Study. Credit Min. Major Critical Course Subject and Title Hours Grade1 GPA2 Code Prerequisites Notes Semester One (15-16 Credit Hours) ENGL 101 Critical Reading and Composition 3 C CC-CMW STAT 201 Elementary Statistics3 3 CC-ARP MATH 111, 115, or STAT 110 JOUR 101 Media & Society 3 C MR Foreign language4 or other Carolina Core 3-4 CC-GFL Requirement5 UNIV 101 The Student in the University 3 PR/CC or Carolina Core Requirement5 Semester Two (15-16 Credit Hours) ENGL 102 Rhetoric and Composition 3 C CC-CMW C or better in ENGL 101 CC-INF Carolina Core ARP3 3 CC-ARP ! JOUR 204 Principles of Journalism 3 C MR JOUR 101 Carolina Core Requirement5 3-4 CC Foreign language4 or other Carolina Core 3 CC-GFL Requirement5 Semester Three (15-16 Credit Hours) ! JOUR 291 Writing for Mass Communications 3 C MR ENGL 101 & 102 JOUR Elective6 3 C MR See Bulletin listing. Cognate or Minor Course7 3 C PR Carolina Core Requirement5 3-4 CC Foreign language4 or Carolina Core Requirement5 3 CR/CC Semester Four (15 Credit Hours) JOUR 303 Law & Ethics of Mass Media 3 C MR JOUR Elective / Concentration Course6 3 C MR See Bulletin listing. -
The Tragedy of the Gamer: a Dramatistic Study of Gamergate By
The Tragedy of the Gamer: A Dramatistic Study of GamerGate by Mason Stephen Langenbach A thesis submitted to the Graduate Faculty of Auburn University in partial fulfillment of the requirements for the Degree of Master of Arts Auburn, Alabama May 5, 2019 Keywords: dramatism, scapegoat, mortification, GamerGate Copyright 2019 by Mason Stephen Langenbach Approved by Michael Milford, Chair, Professor of Communication Andrea Kelley, Professor of Media Studies Elizabeth Larson, Professor of Communication Abstract In August 2014, a small but active group of gamers began a relentless online harassment campaign against notable women in the videogame industry in a controversy known as GamerGate. In response, game journalists from several prominent gaming websites published op-eds condemning the incident and declared that “gamers are dead.” Using Burke’s dramatistic method, this thesis will examine these articles as operating within the genre of tragedy, outlining the journalists’ efforts to scapegoat the gamer. It will argue that game journalists simultaneously engaged in mortification not to purge the guilt within themselves but to further the scapegoating process. An extension of dramatistic theory will be offered which asserts that mortification can be appropriated by rhetors seeking to ascend within their social order’s hierarchy. ii Acknowledgments This project was long and arduous, and I would not have been able to complete it without the help of several individuals. First, I would like to thank all of my graduate professors who have given me the gift of education and knowledge throughout these past two years. To the members of my committee, Dr. Milford, Dr. Kelley, and Dr. -
Download Download
Proceedings of the Thirteenth International AAAI Conference on Web and Social Media (ICWSM 2019) Different Spirals of Sameness: A Study of Content Sharing in Mainstream and Alternative Media Benjamin D. Horne,* Jeppe Nørregaard,y Sibel Adalı* Rensselaer Polytechnic Institute*, Technical University of Denmarky [email protected], [email protected], [email protected] Abstract Vos, and Shoemaker 2009; Allcott and Gentzkow 2017; Mele et al. 2017). Thus, we may have a more diverse set of In this paper, we analyze content sharing between news news to read than in years past, but the standards of quality sources in the alternative and mainstream media using a dataset of 713K articles and 194 sources. We find that content have wavered, creating a new set of concerns. sharing happens in tightly formed communities, and these This rise in low-quality and potentially malicious news communities represent relatively homogeneous portions of producers has been the focus of many recent studies such the media landscape. Through a mix-method analysis, we as those focusing on detecting false content (Potthast et al. find several primary content sharing behaviors. First, we find 2017; Popat et al. 2016; Singhania, Fernandez, and Rao that the vast majority of shared articles are only shared with 2017; Horne et al. 2018; Baly et al. 2018). Some other stud- similar news sources (i.e. same community). Second, we find ies have focused on the tactics used to spread low-quality that despite these echo-chambers of sharing, specific sources, news, such as the use of social bots (Shao et al. 2017) such as The Drudge Report, mix content from both main- stream and conspiracy communities. -
Web Editing Guide
CAMERON UNIVERSITY 2021-2022 Website Editing Guide Table of Contents Getting Logged In………………………………………………………..2 Finding or Creating a Page……………………………………………….4 Setting Up Your Page for Edits…………………………………………..7 Page Layout Options…………………………………………………..…8 Layout Components……………………………………………………...9 Editing a Content Area………………………………………………….10 Making a List……………………………………………………………12 Adding or Editing a Contact Box………………………………………..13 Linking Email Addresses………………………………………………..14 File Manager…………………………………………………………….14 Forms…………………………………………………………………...15 1 Welcome to Cameron University Web Editing It is great to have you as part of our web editing team. A little bit of background on our website - it was launched in March 2020. It replaced the previous website that was built on the WebGui Content Management System (CMS). That site was born in 2012. By 2020, it had roughly 5600 pages. When we transitioned to our new site, we converted those 5600 pages into 1200. Our website was developed by a third-party company named Liquidfish. It was created on a content management system named Laravel. Luckily for our web editors, this CMS requires very little coding on your part. Feel free to reach out to me if you run into anything that you want help with. Your time is valuable, so lets get started. Getting Logged In By now, you should have credentials sent to you (included in the email this was attached to). If you did not, please take a moment to contact me so that I can get this taken care of for you. That way, you can get logged in and follow along if you like. For the best editing experience, please use Google Chrome or Mozilla Firefox 1.