PBS Short Video “Bad Behavior Online” Takes on the Phenomenon of Cyberbullying

Inter­net trolls are very touchy peo­ple. Some­times their rage is tar­get­ed at pub­lic fig­ures, insti­tu­tions, or groups who do and say hor­ri­ble things (the West­boro Bap­tist Church comes to mind). More often, the phe­nom­e­non of “trolling” is a free-for-all of absur­dist online pranks or ver­bal abuse direct­ed at any­one and every­one. And far too often, online abuse is specif­i­cal­ly direct­ed at vul­ner­a­ble peo­ple or vic­tims of tragedy. But, as you’ll see from the com­ments on the above video from PBS’s Off­book series (if you care to peruse them) almost noth­ing makes the inter­net angri­er than dis­cus­sions of trolling itself, since so many peo­ple see these con­ver­sa­tions as pre­ludes to cen­sor­ship or nan­ny­ish and uncon­sti­tu­tion­al reg­u­la­tion.

The researchers in the above video don’t, how­ev­er, make any rec­om­men­da­tions for curb­ing speech. Whit­ney Phillips, a lec­tur­er at New York Uni­ver­si­ty, allows for the poten­tial of trolling to open up dia­logues that would oth­er­wise be smoth­ered by taboos. Har­vard University’s Andy Sel­l­ars makes an impor­tant dis­tinc­tion between pub­lic speech reg­u­lat­ed by the gov­ern­ment and that restrict­ed by pri­vate enti­ties, like online ser­vice providers—an impor­tant legal dis­tinc­tion in first amend­ment cas­es (he cites the recent fra­cas over the inflam­ma­to­ry “Inno­cence of Mus­lims” video). Sel­l­ars points out that, at the moment, the author­i­ty for reg­u­lat­ing online speech rests with cor­po­ra­tions (who, unfor­tu­nate­ly, do bow to gov­ern­ment pres­sure, espe­cial­ly abroad). Attempts to reg­u­late the inter­net by the gov­ern­ment have been ham-hand­ed, unpop­u­lar, and most­ly dri­ven by the prof­it-motives of the record­ing and film indus­tries, and Sel­l­ars does­n’t address them.

Some attempts at leg­is­la­tion have specif­i­cal­ly tar­get­ed the cher­ished cul­ture of online anonymi­ty in order to deal with the ugly phe­nom­e­non of cyber­bul­ly­ing. Sel­l­ars defends the impor­tance of anonymi­ty, say­ing it pro­tects vic­tims of real world abuse and oppres­sion from being iden­ti­fied and tar­get­ed if they speak out on safe spaces on the inter­net. Unfor­tu­nate­ly, anonymi­ty can also enable what Fordham’s Alice Mar­wick calls the “online dis­in­hi­bi­tion effect,” a psy­cho­log­i­cal term for the free­dom trolls feel to say abu­sive things online that they would nev­er say in per­son.

Mar­wick dis­cuss­es this effect in the con­text of what she calls “aggres­sive speech acts” but allows that the preva­lence of bul­ly­ing on Face­book, which ties online iden­ti­ties to real names and faces, acts as a counter-exam­ple to the the­o­ry that anonymi­ty is sole­ly respon­si­ble for online abuse. She frames her research as tak­ing a look at our cul­tur­al val­ues and “see­ing how those play out in tech­ni­cal spaces” and points out that an exclu­sive focus on cyber­bul­ly­ing ignores the range of oth­er, offline behav­iors gen­er­al­ly present in—most dis­turbing­ly—cas­es of sui­cide fol­low­ing online bul­ly­ing. While the advo­ca­cy group Cyber­bul­ly­ing Research Cen­ter has adopt­ed the term “cyber­bul­li­cide,” defined as “sui­cide indi­rect­ly or direct­ly influ­enced by expe­ri­ences with online aggres­sion,” and offers pol­i­cy sug­ges­tions to deal with the prob­lem, Mar­wick is more cir­cum­spect. She calls these cas­es “com­pli­cat­ed” and says that they don’t war­rant restrict­ing con­tent but instead improv­ing respons­es to kids who need help.

Com­pli­cat­ed is pre­cise­ly the word for the tan­gle of issues relat­ing to inter­net speech. After watch­ing the bal­anced, if cur­so­ry, dis­cus­sion above, how­ev­er, I found the respons­es of the trolls baf­fling and lack­ing all pro­por­tion, since no one in the video calls for leg­is­la­tion to lim­it online speech. But that’s instruc­tive. Trolling is a per­va­sive hum sur­round­ing almost all pop­u­lar online con­tent. Some­times it’s polit­i­cal­ly point­ed, some­times it’s clever or sur­re­al­ly fun­ny, some­times it’s just low-lev­el noise, and some­times it’s a kind of rage-filled ado­les­cent vicious­ness that is gen­uine­ly unset­tling and hard to under­stand.

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

Nate Silver (Sporting a Cookie Monster T‑Shirt) Talks Serious Stats with Conan O’Brien

Even if you hate or fear sta­tis­tics, you’ve sure­ly become more than aware in recent months of one par­tic­u­lar sta­tis­ti­cian: Nate Sil­ver. The young pro­fes­sion­al num­ber-crunch­er has made the news in a big way for a legit­i­mate­ly impres­sive sta­tis­ti­cal feat: pre­dict­ing the win­ner of all fifty states and the Dis­trict of Colum­bia in this year’s Unit­ed States pres­i­den­tial elec­tion. He came near­ly as close back in 2008’s elec­tion, pre­dict­ing the win­ner in 49 states. In between those coups, Time named Sil­ver one of the world’s hun­dred most influ­en­tial peo­ple, and the New York Times has giv­en their offi­cial impri­matur by host­ing his blog FiveThir­tyEight. Now he’s received what some would con­sid­er an even high­er hon­or: an invi­ta­tion to sit down with Conan O’Brien for the bet­ter part of an hour on Seri­ous Jib­ber-Jab­ber.

“Elec­tions are prob­a­bly the most dra­mat­ic moments in the his­to­ry of our coun­try,” O’Brien says to Sil­ver. “The­se’s a dan­ger,” he then dead­pans, “that you’re tak­ing the fun out of it.” We jumped on O’Brien’s new long-form inter­view web series last month, fea­tur­ing his con­ver­sa­tions with pres­i­den­tial his­to­ri­an Edmund Mor­ris and “com­e­dy mas­ter­mind” Judd Apa­tow. Sil­ver, the pro­gram’s third guest, per­fect­ly con­tin­ues its short but strong tra­di­tion of per­son­al­i­ties who bring both zeit­geist rel­e­vance and intel­lec­tu­al sub­stance. The choice also taps into a well of pub­lic curios­i­ty — a great many of us know of Nate Sil­ver with­out quite under­stand­ing why we do — and finds a reserve of goofi­ness to match O’Brien’s own. (If you doubt this, behold Sil­ver’s Cook­ie Mon­ster t‑shirt.) So think hard when you watch this con­ver­sa­tion about polit­i­cal echo cham­bers, media frag­men­ta­tion, data’s rela­tion­ship to instinct, and math­e­mat­i­cal mod­el­ing. But do feel free to laugh at the jokes.

Relat­ed con­tent:

Conan O’Brien Plays Char­lie Rose, Talks Pres­i­den­tial His­to­ry with Edmund Mor­ris

Celebri­ty Sta­tis­ti­cian Nate Sil­ver Fields Ques­tions from Data Wiz­ards at Google

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

How a Crossword Puzzle is Made: Behind the Scenes with The New York Times

If you still sub­scribe to old-fash­ioned print news­pa­pers, chances are it’s because you like doing cross­word puz­zles and putting pen(cil) to paper. If you fall into this camp, we give you this: Will Shortz, the cross­word puz­zle edi­tor for The New York Times (and the only known per­son to hold a col­lege degree in enig­ma­tol­ogy) pre­sent­ing a quick, behind-the-scenes look at how the NYT puz­zle gets made. Off we go.

 

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A Celebration of Retro Media: Vinyl, Cassettes, VHS, and Polaroid Too

In going dig­i­tal, we’ve gained some con­ve­nience. That’s unde­ni­able. But we’ve lost much when it comes to aes­thet­ics and qual­i­ty too. (Neil Young makes that point again and again.) Increas­ing­ly, we’re real­iz­ing what we’ve left behind, and there’s a move­ment afoot to recov­er old school media — things you can see, touch and feel and mar­vel over. Vinyl records. Tape cas­settes. VHS tapes. 8mm Film. Polaroid Pho­tos. All of that good stuff gets revis­it­ed in the lat­est short film pro­duced in the PBS Off Book series. Pre­vi­ous install­ments have cov­ered:

Art in the Era of the Inter­net

The Art of Film and TV Title Design

The Art of Glitch

The Cre­ativ­i­ty of Indie Video Games 

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Jon Hamm and Lena Dunham Unveil The New Yorker’s New iPhone App

In 2010, when The New York­er released its iPad app, Jason Schwartz­man made the com­ic pitch. Now comes the new iPhone app, and it’s Jon Hamm (Mad Men) and Lena Dun­ham (Tiny Fur­ni­ture film­mak­er and Girls cre­ator) doing the hon­ors. As The New York­er will tell you, the new app has “every sto­ry, every car­toon, every em dash, every illus­tra­tion” found in the mag­a­zine, plus extra audio and video fea­tures. Any­one with an iPhone can down­load this week’s issue for free. In the future, read­ers sub­scrib­ing to the mag­a­zine in print, iPad, and Kin­dle Fire for­mats will receive full access to the mobile app. Android users, don’t despair. It looks like the mag­a­zine will take care of your dig­i­tal needs down the line.…

Relat­ed Con­tent:

The New Yorker’s Fic­tion Pod­cast: Where Great Writ­ers Read Sto­ries by Great Writ­ers

Rare 1960s Audio: Stan­ley Kubrick’s Inter­view with The New York­er

The Life and Times of Nelson Mandela Retold with Facebook, Twitter and Instagram

Back in March, we told you about the launch of The Nel­son Man­dela Dig­i­tal Archive, which makes avail­able thou­sands of papers belong­ing to the man who gal­va­nized the anti-apartheid move­ment in South Africa, before even­tu­al­ly becom­ing the leader of the nation. Part­ly fund­ed by Google, the archive lets you revis­it impor­tant moments in Man­de­la’s life — his Ear­ly Life, his Prison Years, and his Pres­i­den­tial Years.

That Dig­i­tal Archive offers one way to tell Man­de­la’s sto­ry. Now here’s anoth­er. The cre­ators of the web site Man­dela Sto­ry launched a short video yes­ter­day that looks at Man­de­la’s life through the lens of social media. And it’s meant to raise a seri­ous ques­tion: “Would Man­dela have spent 27 years in cap­tiv­i­ty if he (and oth­ers) had access to the same tech­nol­o­gy, social media plat­forms and tools as we do today?”

It’s short and cer­tain­ly cre­ative. And if it speaks to you, you should check out Rembrandt’s Face­book Time­line, a clip cre­at­ed by The Rijksmu­se­um that imag­ines the social life of the great Dutch painter.

Fol­low us on Face­bookTwit­ter and now Google Plus and share intel­li­gent media with your friends! They’ll thank you for it.

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Before Mad Men: Familiar and Forgotten Ads from 1950s to 1980s Now Online

Before com­ing up with the slo­gan “Utz Are Bet­ter Than Nuts!” for the real-world Utz pota­to chip com­pa­ny on Mad Men, Don Drap­er and his crew had to study the com­pe­ti­tion, like this ad for Beech Nut or this one with Andy Grif­fith for Gen­er­al Foods.

Today we’re sat­u­rat­ed with ads, more than the ad men that inspired Draper’s char­ac­ter could have ever imag­ined. They’re everywhere—on the dark inte­ri­ors of tun­nels as we speed along in light rail trains, in the games we let our kids play on smart phones—and they reveal a lot to us about our­selves.

Duke University’s John W. Hart­man Cen­ter for Sales, Adver­tis­ing & Mar­ket­ing His­to­ry put togeth­er Adviews, a col­lec­tion that brings togeth­er thou­sands of his­toric com­mer­cials from the 1950s to 1980s. Col­lect­ed or cre­at­ed by the D’Arcy Masius Ben­ton & Bowles adver­tis­ing agency, the dig­i­tal col­lec­tion is avail­able online and on iTune­sU as a free archive. It’s also found at the Inter­net Archive, where ads can be down­loaded as MP4 videos.

Watch Ster­ling Cooper’s (fic­tion­al) ad for Utz pota­to chips and then com­pare it to this goofy com­mer­cial for Dad­dy Crisp chips above.

Vis­it the amaz­ing world of con­ve­nience foods that made house­wives cheer and mir­a­cle fibers that made clean-up a snap.

We may have grown more savvy and sus­pi­cious of prod­ucts that promise bet­ter health and effi­cien­cy, but if any­thing we’re more fas­ci­nat­ed by adver­tis­ing than ever. Since launch­ing the archive in 2009, the com­mer­cials have logged 2.5 mil­lion down­loads.

And for y’all who miss Andy Grif­fith, there’s a wealth of great stuff.

Books Made with Disappearing Ink Strategically Fade Away

How about this for a new pub­lish­ing mod­el? The Buenos Aires pub­lish­er Eter­na Caden­cia has start­ed to pub­lish books made with dis­ap­pear­ing ink. Once you crack open the cov­er, you have two months to fin­ish the book, or else you’ll be star­ing at a blank page. If books have an expi­ra­tion date, read­ers won’t let them sit idly on their shelves. They’ll read books more often, and give more authors a try. That’s the log­ic of this new twist on pub­lish­ing..

Books aren’t dead yet. They’re just inten­tion­al­ly fad­ing away.…

via Gal­ley Cat

Relat­ed Con­tent:

A Secret Book­store in New York City

Spike Jonze Presents a Stop Motion Film for Book Lovers

Books Savored in Stop Motion Film

Going West: A Stop Motion Nov­el

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