The Technological Downside of Algorithms: an 'Elsagate' Case Study

Total Page:16

File Type:pdf, Size:1020Kb

The Technological Downside of Algorithms: an 'Elsagate' Case Study Master´s Thesis TFG 8 – Changing Power relationships The technological downside of algorithms: an ‘ElsaGate’ case study Author: Mathijs Stals Student number: u1273312 Date of conclusion: August 2020 Supervisors Mr. Dr. Colette Cuijpers Sascha van Schendel Department: TILT Table of contents Chapter 1: The introduction to the ElsaGate Scandal P.1 1.1 Introduction p.1 1.1.1 YouTube Kids p.1 1.1.2 Violence & sexual misconduct on the YouTube Kids App p.2 1.1.3 The rationale behind the ElsaGate videos p.3 1.2 What is the legal/social problem associated with the ElsaGate? p.4 1.3 Existing Literature & Gap p.5 1.4 Research question p.8 1.5 Methodology p.8 1.6 Structure/Roadmap p.9 Chapter 2: What are the algorithms that YouTube currently uses, and in what way do they not function as intended? P.9 2.1 Which Algorithms are utilized by the YouTube platform? p.9 2.2 How does the recommendation algorithm work? p.10 2.2.1. The input data p.11 2.2.2. Related videos p.11 2.2.3. The selection of recommendation candidates p.12 2.2.4. Ranking p.12 2.2.5. User Interface p.13 2.2.6. System implementation p.13 2.2.7. Sub conclusion p.13 2.3. The challenges of the personalized recommendation system used by YouTube p.13 2.4. How does the algorithm not function as intended? p.14 Chapter 3: ‘What is the impact of COPPA and the GDPR in relation to YouTube and how are these legal instruments perceived in legal literature?’ P.15 3.1 US regulation on the privacy and data protection of minors p.16 3.1.1 The Children’s Online Privacy Protection Act p.16 3.1.2 The required compliance for commercial websites and online services p.17 3.1.3 The relevance of the COPPA Rule for YouTube p.17 3.2 The case between the FTC and YouTube p.18 3.3 COPPA’s reception in legal literature p.20 3.4 The European situation p.21 3.4.1 The General Data Protection Regulation (GDPR) p.21 Chapter 4: How does YouTube implement the various international regulations onto their platform? p.25 4.1.1 Terms of Service YouTube p.25 4.1.2 Privacy policy p.26 4.1.3 YouTube Kids Privacy notice p.28 4.1.4 Sub conclusion p.29 4.2 The application of the COPPA Rule by YouTube p.30 4.3 The impact of the COPPA Rule on ElsaGate p.31 4.4 The relationship between COPPA and GDPR p.33 4.5 The difference in compliance between COPPA and the GDPR on YouTube p.34 4.6 Conclusion p.35 Chapter 5: Conclusion p.36 Bibliography p.40 Chapter 1 ‘The introduction of the ElsaGate scandal’ 1.1 Introduction 1.1.1. YouTube Kids On 23 February 2015, YouTube LLC developed an alternative to its widely popular video website YouTube, being specifically tailored for kids. This ‘YouTube Kids’ app, which can be downloaded on all devices via the Google Play Store or the Apple App Store, is a different product than the standard YouTube app. YouTube Kids features a children-friendly layout, which, according to YouTube, is designed to “make it safer for children to explore the world through online video”.1 The app has multiple integrated parental controls. Prior to using the YouTube Kids app for instance, a parent is required to unlock the app and verify their children’s age. Other parental controls include the possibility to turn the ‘search’ option on or off, with the latter meaning that the kid can only see video’s from video creators verified by YouTube itself, and a timer which limits the amount of time that a user can use the app. The YouTube Kids app therefore offers a ‘barebones’ version of the original YouTube app, by removing several features. It is not possible to leave a rating on videos in the YouTube Kids app, and there is no comment section below the videos where the viewers can leave their thoughts. This is purposefully designed in order to limit the unwanted exposure to some of the content that is available on YouTube, which was deemed inappropriate for younger audiences. In order to prevent exposure to inappropriate content, all videos on the YouTube Kids app are checked whether they are child friendly. The YouTube Kids app contains a ‘recommended’ tab under videos, which displays other videos that are related to the video that a user is currently watching. These videos are all videos from the YouTube Kids app only, subjected to the same age restrictions as other YouTube Kids videos. Advertisements are also displayed on the videos. These advertisements are extensively checked by YouTube to ensure that these are family-friendly.2 All the content submitted to the YouTube Kids app is subjected to a verification process by a machine algorithm.34 In the case that the algorithm approves a video for YouTube Kids, then every user can view this video. 1 This snippet is taken from the app description available on the Apple App Store. 2 The statement regarding advertisements on the YouTube Kids app can be found here: https://support.google.com/youtube/answer/6168681?hl=en 3 Kantrowitz, Alex. ‘YouTube Kids Is Going To Release A Whitelisted, Non-Algorithmic Version Of Its App’ (Buzzfeed News, April 6, 2018). Retrieved 2 April 2019 from https://www.buzzfeednews.com/article/alexkantrowitz/youtube-kids-is-going-to-release-a-whitelisted- non#.ftVwoX5dp 4 Wojcicki, Susan. ‘Protecting Our Community’ (YouTube Creator Blog, 2017). Accessed April 2 2019. https://youtube-creators.googleblog.com/2017/12/protecting-our-community.html 1 1.1.2. Violence and sexual misconduct on the YouTube Kids app A problem emerged for YouTube however, when it was discovered that the algorithm did not function as intended, and approved videos that contained content not suited for kids, such as violence and sexual misconduct. After the inappropriate videos were discovered by parents and other (older) users, multiple articles were written about this phenomenon.5 This period of controversial videos being widely spread on the website was later referred to as the ‘ElsaGate’6. These ElsaGate videos featured videos of reoccurring topics and characters, such as Spiderman, Elsa from Frozen and the Joker from Batman.7 These animated figures engaged in controversial and inappropriate behavior, such as decapitation, pornographic acts and criminal behavior including, but not limited to, murder, theft and sexual assault. Younger audiences were thus subjected to severely disturbing behavior, which is detrimental to their emotional development. Multiple studies have found that media has a vast impact on youth, with studies finding correlations between increased violent behavior when subjected to violent television programming8, and promoting sexual behavior.910These ElsaGate videos were exposed to millions of kids, whose behavior and emotional development has been impacted due to these videos. The ElsaGate videos were discovered by YouTubers and were later subjected to countless articles written by media outlets such as the BBC11, The Guardian12 and Der Standard13. The respective journalists documented fragments from the videos ranging from teeth being pulled out from the mouth of Peppa Pig, to animated figurines being buried alive while distressed music is being played in the background. This was everything but the content that should have been available on the kids app. Scientific research concerning deep learning architectures were published in response to the ElsaGate, bringing up further discussion alongside potential solutions to the problem14. 5 Maheshwari, Sapna. ‘On YouTube Kids, Startling videos slip past filters’. (New York Times, 2017). Accessed April 2, 2019, from <https://www.nytimes.com/2017/11/04/business/media/youtube-kids-paw-patrol.html?_r=0> 6 Brandom, Russell. "Inside Elsagate, The Conspiracy-Fueled War On Creepy Youtube Kids Videos". 2017. The Verge. Accessed May 1 2019. https://www.theverge.com/2017/12/8/16751206/elsagate-youtube-kids-creepy- conspiracy-theory. 7 Dornhoeschen, ‘What is ElsaGate?’ (Reddit, 2017). Retrieved April 2 from https://www.reddit.com/r/ElsaGate/comments/6o6baf/what_is_elsagate/ 8 Johnson, JG et. al. ‘Television viewing and aggressive behavior during adolescence and adulthood’ (2002). Accessed June 23 2019. https://www.ncbi.nlm.nih.gov/pubmed/11923542 9 Strasburger, Victor C. ‘Adolescent Sexuality and the Media’ (1989). Accessed June 23 2019. https://www.sciencedirect.com/science/article/pii/S0031395516366949 10 Brown, Jane D. ‘Mass media influences on sexuality’. Accessed June 23 2019. https://www.tandfonline.com/doi/abs/10.1080/00224490209552118 11 Subedar, Anisa. "The Disturbing Youtube Videos That Are Tricking Children" (2019). Accessed April 2 2019. https://www.bbc.com/news/blogs-trending-39381889. 12 Dredge, Stuart. 2016. "Youtube's Latest Hit: Neon Superheroes, Giant Ducks And Plenty Of Lycra". The Guardian. Accessed April 2 2019. https://www.theguardian.com/technology/2016/jun/29/youtube-superheroes- children-webs-tiaras. 13 "Youtube: Wie Gefälschte Disney-Cartoons Kinder Verstören - Derstandard.At". 2019. DER STANDARD. Accessed April 2 2019. https://derstandard.at/2000055049856/Youtube-Wie-gefaelschte-Disney-Cartoons- Kinder-verstoeren. 14 Ishikawa, Akari et. al. “Combating the ElsaGate Phenomenon: Deep Learning Architectures for Disturbing Cartoons”. 2019. Arxiv. Accessed July 3, 2020, from <https://www.semanticscholar.org/paper/Combating-the- Elsagate-Phenomenon%3A-Deep-Learning-Ishikawa-Bollis/938d3fd2cede997006cae88bdc26b2af92e4d384> 2 The disturbing content remained under the radar for a while. The reason why the disturbing content was not detected directly, is because the content were mainly short fragments embedded within videos of over 10 minutes long. Parents would therefore not immediately see what their kids were watching. Once a video has finished, the YouTube Kids app immediately opens a new video based on the viewing behavior of the user, where the algorithm recommends a video to the user.
Recommended publications
  • Media Nations 2019
    Media nations: UK 2019 Published 7 August 2019 Overview This is Ofcom’s second annual Media Nations report. It reviews key trends in the television and online video sectors as well as the radio and other audio sectors. Accompanying this narrative report is an interactive report which includes an extensive range of data. There are also separate reports for Northern Ireland, Scotland and Wales. The Media Nations report is a reference publication for industry, policy makers, academics and consumers. This year’s publication is particularly important as it provides evidence to inform discussions around the future of public service broadcasting, supporting the nationwide forum which Ofcom launched in July 2019: Small Screen: Big Debate. We publish this report to support our regulatory goal to research markets and to remain at the forefront of technological understanding. It addresses the requirement to undertake and make public our consumer research (as set out in Sections 14 and 15 of the Communications Act 2003). It also meets the requirements on Ofcom under Section 358 of the Communications Act 2003 to publish an annual factual and statistical report on the TV and radio sector. This year we have structured the findings into four chapters. • The total video chapter looks at trends across all types of video including traditional broadcast TV, video-on-demand services and online video. • In the second chapter, we take a deeper look at public service broadcasting and some wider aspects of broadcast TV. • The third chapter is about online video. This is where we examine in greater depth subscription video on demand and YouTube.
    [Show full text]
  • Youtube 1 Youtube
    YouTube 1 YouTube YouTube, LLC Type Subsidiary, limited liability company Founded February 2005 Founder Steve Chen Chad Hurley Jawed Karim Headquarters 901 Cherry Ave, San Bruno, California, United States Area served Worldwide Key people Salar Kamangar, CEO Chad Hurley, Advisor Owner Independent (2005–2006) Google Inc. (2006–present) Slogan Broadcast Yourself Website [youtube.com youtube.com] (see list of localized domain names) [1] Alexa rank 3 (February 2011) Type of site video hosting service Advertising Google AdSense Registration Optional (Only required for certain tasks such as viewing flagged videos, viewing flagged comments and uploading videos) [2] Available in 34 languages available through user interface Launched February 14, 2005 Current status Active YouTube is a video-sharing website on which users can upload, share, and view videos, created by three former PayPal employees in February 2005.[3] The company is based in San Bruno, California, and uses Adobe Flash Video and HTML5[4] technology to display a wide variety of user-generated video content, including movie clips, TV clips, and music videos, as well as amateur content such as video blogging and short original videos. Most of the content on YouTube has been uploaded by individuals, although media corporations including CBS, BBC, Vevo, Hulu and other organizations offer some of their material via the site, as part of the YouTube partnership program.[5] Unregistered users may watch videos, and registered users may upload an unlimited number of videos. Videos that are considered to contain potentially offensive content are available only to registered users 18 years old and older. In November 2006, YouTube, LLC was bought by Google Inc.
    [Show full text]
  • Disturbed Youtube for Kids: Characterizing and Detecting Inappropriate Videos Targeting Young Children
    Proceedings of the Fourteenth International AAAI Conference on Web and Social Media (ICWSM 2020) Disturbed YouTube for Kids: Characterizing and Detecting Inappropriate Videos Targeting Young Children Kostantinos Papadamou, Antonis Papasavva, Savvas Zannettou,∗ Jeremy Blackburn,† Nicolas Kourtellis,‡ Ilias Leontiadis,‡ Gianluca Stringhini, Michael Sirivianos Cyprus University of Technology, ∗Max-Planck-Institut fur¨ Informatik, †Binghamton University, ‡Telefonica Research, Boston University {ck.papadamou, as.papasavva}@edu.cut.ac.cy, [email protected], [email protected] {nicolas.kourtellis, ilias.leontiadis}@telefonica.com, [email protected], [email protected] Abstract A large number of the most-subscribed YouTube channels tar- get children of very young age. Hundreds of toddler-oriented channels on YouTube feature inoffensive, well produced, and educational videos. Unfortunately, inappropriate content that targets this demographic is also common. YouTube’s algo- rithmic recommendation system regrettably suggests inap- propriate content because some of it mimics or is derived Figure 1: Examples of disturbing videos, i.e. inappropriate from otherwise appropriate content. Considering the risk for early childhood development, and an increasing trend in tod- videos that target toddlers. dler’s consumption of YouTube media, this is a worrisome problem. In this work, we build a classifier able to discern inappropriate content that targets toddlers on YouTube with Frozen, Mickey Mouse, etc., combined with disturbing con- 84.3% accuracy, and leverage it to perform a large-scale, tent containing, for example, mild violence and sexual con- quantitative characterization that reveals some of the risks of notations. These disturbing videos usually include an inno- YouTube media consumption by young children. Our analy- cent thumbnail aiming at tricking the toddlers and their cus- sis reveals that YouTube is still plagued by such disturbing todians.
    [Show full text]
  • "Youtube Kids" – Another Door Opener for Pedophilia?
    Online link: www.kla.tv/12561 | Published: 08.06.2018 "YouTube Kids" – another door opener for Pedophilia? „Elsagate“: With the App „You Tube-Kids”, You Tube offers a service that is supposed to help parents to protect their children from inappropriate contents. However, while parents think they are safe, children are confronted with brutal videos including scenes of violence, perverse sex fantasies and cannibalism. These disturbing contents are staged by characters like Ice Queen "Elsa, “Spiderman” or “Mickey Mouse”. Is “YouTube-Kids” being abused as door-opener to make children receptive to abhorrent practices and pedophilia “socially acceptable”? Since 2015 YouTube has been offering a service with the App "YouTube Kids" to help parents and children to receive only those video-clips in the proposal bar that are child and family friendly. An algorithm (that is a method of calculation) takes over the function of filtering the content that is unsuitable for children. The App has been installed more than 60 million times and is available in 37 countries and eight languages – since September 2017 also in Germany. Unfortunately, this App – that promises safety for children – however, is in no way as reliable as many parents wish it was. On the contrary: it is even dangerous. Already since June 2016 media reports have increased that children are confronted with a number of brutal children's series and animated videos that – beyond any morality – convey extremely repulsive content and that are filled with topics that are in no way suitable for children. It's about violence scenes, perverse sex fantasies or cannibalism.
    [Show full text]
  • Audio-Visual Genres and Polymediation in Successful Spanish Youtubers †,‡
    future internet Article Audio-Visual Genres and Polymediation in Successful Spanish YouTubers †,‡ Lorenzo J. Torres Hortelano Department of Sciences of Communication, Universidad Rey Juan Carlos, 28943 Fuenlabrada, Madrid, Spain; [email protected]; Tel.: +34-914888445 † This paper is dedicated to our colleague in INFOCENT, Javier López Villanueva, who died on 31 December 2018 during the finalization of this article, RIP. ‡ A short version of this article was presented as “Populism, Media, Politics, and Immigration in a Globalized World”, in Proceedings of the 13th Global Communication Association Conference Rey Juan Carlos University, Madrid, Spain, 17–19 May 2018. Received: 8 January 2019; Accepted: 2 February 2019; Published: 11 February 2019 Abstract: This paper is part of broader research entitled “Analysis of the YouTuber Phenomenon in Spain: An Exploration to Identify the Vectors of Change in the Audio-Visual Market”. My main objective was to determine the predominant audio-visual genres among the 10 most influential Spanish YouTubers in 2018. Using a quantitative extrapolation method, I extracted these data from SocialBlade, an independent website, whose main objective is to track YouTube statistics. Other secondary objectives in this research were to analyze: (1) Gender visualization, (2) the originality of these YouTube audio-visual genres with respect to others, and (3) to answer the question as to whether YouTube channels form a new audio-visual genre. I quantitatively analyzed these data to determine how these genres are influenced by the presence of polymediation as an integrated communicative environment working in relational terms with other media. My conclusion is that we can talk about a new audio-visual genre.
    [Show full text]
  • Pewdiepie, Popularity, and Profitability
    Pepperdine Journal of Communication Research Volume 8 Article 4 2020 The 3 P's: Pewdiepie, Popularity, and Profitability Lea Medina Pepperdine University, [email protected] Eric Reed Pepperdine University, [email protected] Cameron Davis Pepperdine University, [email protected] Follow this and additional works at: https://digitalcommons.pepperdine.edu/pjcr Part of the Communication Commons Recommended Citation Medina, Lea; Reed, Eric; and Davis, Cameron (2020) "The 3 P's: Pewdiepie, Popularity, and Profitability," Pepperdine Journal of Communication Research: Vol. 8 , Article 4. Available at: https://digitalcommons.pepperdine.edu/pjcr/vol8/iss1/4 This Article is brought to you for free and open access by the Communication at Pepperdine Digital Commons. It has been accepted for inclusion in Pepperdine Journal of Communication Research by an authorized editor of Pepperdine Digital Commons. For more information, please contact [email protected], [email protected], [email protected]. 21 The 3 P’s: Pewdiepie, Popularity, & Popularity Lea Medina Written for COM 300: Media Research (Dr. Klive Oh) Introduction Channel is an online prole created on the Felix Arvid Ul Kjellberg—more website YouTube where users can upload their aectionately referred to as Pewdiepie—is original video content to the site. e factors statistically the most successful YouTuber, o his channel that will be explored are his with a net worth o over $15 million and over relationships with the viewers, his personality, 100 million subscribers. With a channel that relationship with his wife, and behavioral has uploaded over 4,000 videos, it becomes patterns. natural to uestion how one person can gain Horton and Wohl’s Parasocial such popularity and prot just by sitting in Interaction eory states that interacting front o a camera.
    [Show full text]
  • The 2Nd International Conference on Internet Pragmatics - Netpra2
    THE 2ND INTERNATIONAL CONFERENCE ON INTERNET PRAGMATICS - NETPRA2 INTERACTIONS, IDENTITIES, INTENTIONS 22–24 October 2020 BOOK OF ABSTRACTS Table of Contents Keynotes ............................................................................................................................................ 6 Anita Fetzer (University of Augsburg) ................................................................................................. 6 “It’s a very good thing to bring democracy erm directly to everybody at home”: Participation and discursive action in mediated political discourse ............................................................................ 6 Tuomo Hiippala (University of Helsinki) ............................................................................................ 7 Communicative situations on social media – a multimodal perspective ........................................ 7 Sirpa Leppänen (University of Jyväskylä) ........................................................................................... 8 Intentional identifications in digital interaction: how semiotization serves in fashioning selves and others ......................................................................................................................................... 8 Julien Longhi (University Cergy-Pontoise) ......................................................................................... 9 Building, exploring and analysing CMC corpora: a pragmatic tool-based approach to political discourse on the internet .................................................................................................................
    [Show full text]
  • Youtube Kids: Parent’S Guide
    YouTube Kids: parent’s guide YouTube Kids launched in the UK in November 2015 as a service suitable for younger children with age-appropriate content. As of April 2018, it has gone under some major changes. What do you need to know about YouTube Kids? What is YouTube Kids? YouTube Kids is an app developed by YouTube aimed at delivering age-appropriate content to young children. The app is available on Android, iOS and some Smart TVs. Until recently, the content that appeared on the app was predominantly curated by computer-algorithms and essentially the app was a filtered version of the regular body of videos available on YouTube. However, the app will now have some human curation, by the YouTube Kids team, and allow for greater parental control. What type of content can you expect to find on YouTube Kids? YouTube Kids offers free-to-watch content. This content is made freely available by having advertisements run before videos. Content on YouTube Kids ranges from cartoons to nursery rhymes and from toys reviews to music videos. Currently, the channel with the greatest number of subscribers, 16.8 million, on YouTube Kids is “ChuChu TV Nursery Rhymes and Kids Songs” which produces animated versions of popular children’s rhymes as well as its own songs and educational videos. The second most subscribed channel, with 15 million subscribers, is LittleBabyBum which is another channel centered on animated nursery rhymes. YouTube Kids also offers a paid for service called YouTube Red. This allows children to watch original content produced by YouTube as well as seasons of cartoon favourites such as Postman Pat.
    [Show full text]
  • How to Create a Youtube Channel You Will Need a Gmail (Google Account)
    How to Create a YouTube Channel You will need a Gmail (google Account) to create a YouTube channel. Create a Gmail account To sign up for Gmail, create a Google Account. You can use the username and password to sign in to Gmail and other Google products like YouTube, Google Play, and Google Drive. 1. Go to the Google Account creation page. 2. Follow the steps on the screen to set up your account. 3. Use the account you created to sign in to Gmail. Create a personal YouTube Channel Follow these instructions to create a channel that only you can manage using your Google Account. 1. Sign in to YouTube on a computer or using the mobile site. 2. Try any action that requires a channel, such as uploading a video, posting a comment, or creating a playlist. 3. If you don't yet have a channel, you'll see a prompt to create a channel. 4. Check the details (with your Google Account name and photo) and confirm to create your new channel. Create a channel with a business or other name Follow these instructions to create a channel that can have multiple managers or owners. You can use a Brand Account to create a channel that has a different name but that's still managed from your Google Account. Learn more about Brand Accounts. 1. Sign in to YouTube on a computer or using the mobile site. 2. Go to your channel list. 3. Choose to create a new channel or use an existing Brand Account: Create a new channel by clicking Create a new channel.
    [Show full text]
  • Vlogging the Museum: Youtube As a Tool for Audience Engagement
    Vlogging the Museum: YouTube as a tool for audience engagement Amanda Dearolph A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2014 Committee: Kris Morrissey Scott Magelssen Program Authorized to Offer Degree: Museology ©Copyright 2014 Amanda Dearolph Abstract Vlogging the Museum: YouTube as a tool for audience engagement Amanda Dearolph Chair of the Supervisory Committee: Kris Morrissey, Director Museology Each month more than a billion individual users visit YouTube watching over 6 billion hours of video, giving this platform access to more people than most cable networks. The goal of this study is to describe how museums are taking advantage of YouTube as a tool for audience engagement. Three museum YouTube channels were chosen for analysis: the San Francisco Zoo, the Metropolitan Museum of Art, and the Field Museum of Natural History. To be included the channel had to create content specifically for YouTube and they were chosen to represent a variety of institutions. Using these three case studies this research focuses on describing the content in terms of its subject matter and alignment with the common practices of YouTube as well as analyzing the level of engagement of these channels achieved based on a series of key performance indicators. This was accomplished with a statistical and content analysis of each channels’ five most viewed videos. The research suggests that content that follows the characteristics and culture of YouTube results in a higher number of views, subscriptions, likes, and comments indicating a higher level of engagement. This also results in a more stable and consistent viewership.
    [Show full text]
  • FOR IMMEDIATE RELEASE Youtube Channel
    CONTACT Brian Stemmler 323.401.6416 [email protected] https://youtube.com/makeeverythingtv FOR IMMEDIATE RELEASE YouTube Channel “How to Make Everything” marks 1,000,000 Subscriber milestone by attempting to make a YouTube Play Button from scratch. https://youtu.be/M43lSCeQ8dU It started out as a personal challenge. Then it turned into a documentary. Then a local TV Series...Now, seven years later, “How to Make Everything” seems to have found its niche on YouTube. Since launching on the platform in 2015, the Channel recently passed the 1 million Subscriber mark. The show follows Andy George, Creator and Host of "How to Make Everything", as he makes everything from a sandwich to a suit, tools and even a root beer float from scratch...literally. "This is not a 'How To' show. The show is meant to reveal how complicated it is to make every day items we take for granted, once you strip away the manufacturing and distribution networks which are the backbone of our modern lifestyle" Andy says about his show. "I am by no means an expert in any of the activities I pursue in the series, so the entertainment factor comes in seeing me struggle and sometimes epically fail at my tasks". For example, the premiere episode covers Andy making a sandwich from scratch. This involved growing the wheat to make the bread, sunflowers to make oil for mayonnaise, cucumbers for pickles, lettuce and tomatoes. For salt, Andy had to travel to the Pacific Ocean to gather sea water, which he boiled down. He collected eggs and milk from a farm for mayonnaise and cheese.
    [Show full text]
  • “Decreasing World Suck”
    Dz dzǣ Fan Communities, Mechanisms of Translation, and Participatory Politics Neta Kligler-Vilenchik A Case Study Report Working Paper Media, Activism and Participatory Politics Project AnnenBerg School for Communication and Journalism University of Southern California June 24, 2013 Executive Summary This report describes the mechani sms of translation through which participatory culture communities extend PHPEHUV¶cultural connections toward civic and political outcomes. The report asks: What mechanisms do groups use to translate cultural interests into political outcomes? What are challenges and obstacles to this translation? May some mechanisms be more conducive towards some participatory political outcomes than others? The report addresses these questions through a comparison between two groups: the Harry Potter Alliance and the Nerdfighters. The Harry Potter Alliance is a civic organization with a strong online component which runs campaigns around human rights issues, often in partnership with other advocacy and nonprofit groups; its membership skews college age and above. Nerdfighters are an informal community formed around a YouTube vlog channel; many of the pDUWLFLSDQWVDUHKLJKVFKRRODJHXQLWHGE\DFRPPRQJRDORI³GHFUHDVLQJZRUOGVXFN.´ These two groups have substantial overlapping membership, yet they differ in their strengths and challenges in terms of forging participatory politics around shared cultural interests. The report discusses three mechanisms that enable such translation: 1. Tapping content worlds and communities ± Scaffolding the connections that group members have through their shared passions for popular culture texts and their relationships with each other toward the development of civic identities and political agendas. 2. Creative production ± Encouraging production and circulation of content, especially for political expression. 3. Informal discussion ± Creating and supporting spaces and opportunities for conversations about current events and political issues.
    [Show full text]