Workers Should Be in Charge
▻https://www.filmsforaction.org/articles/workers-should-be-in-charge
Earlier this month, Univision announced it was selling Gizmodo Media Group (a digital media company comprising former Gawker sites such as Gizmodo, Kotaku, Splinter, Jezebel, and The Root) as...
Vulnerabilities and threats in mobile applications, 2019
▻https://www.ptsecurity.com/ww-en/analytics/mobile-application-security-threats-and-vulnerabilities-2019
In 2018, mobile apps were downloaded onto user devices over 205 billion times. Data by Marketing Land indicates that 57 percent of total digital media time is spent on smartphones and tablets. More often than not, our daily lives depend on apps for instant messaging, online banking, business functions, and mobile account management. According to Juniper Research, the number of people using mobile banking apps is approaching two billion—around 40 percent of the world’s adult population. (...)
Overview and Key Findings of the 2018 Digital News Report
►http://www.digitalnewsreport.org/survey/2019/overview-key-findings-2019
This year’s report comes against the backdrop of rising populism, political and economic instability, along with intensifying concerns about giant tech companies and their impact on society. News organisations have taken the lead in reporting these trends, but also find themselves challenged by them – further depressing an industry reeling from more than a decade of digital disruption. Platform power – and the ruthless efficiency of their advertising operations – has undermined news business models contributing to a series of high-profile layoffs in traditional (Gannett) and digital media (Mic, BuzzFeed) in the early part of 2019. Political polarisation has encouraged the growth of partisan agendas online, which together with clickbait and various forms of misinformation is helping to further undermine trust in media – raising new questions about how to deliver balanced and fair reporting in the digital age.
#monde_numérique #presse_en_ligne #Média #journalisme #presse #internet
Devs suggest government play a larger role in regulation and research around addiction
▻https://www.gamesindustry.biz/articles/2019-04-30-devs-suggest-government-play-a-larger-role-in-regulation-a
Earthbound Games’ Colin Anderson says lessons learned from broadcasting should help shape future of digital media
Lire sur papier, lire sur écran : en quoi est-ce différent ?
▻https://www.latribune.fr/opinions/tribunes/lire-sur-papier-lire-sur-ecran-en-quoi-est-ce-different-811656.html
IDEE. Selon le support de lecture, le niveau de compréhension et la mémorisation des textes varient, montrent des études récentes. Par Frédéric Bernard, Université de Strasbourg
Les écrans de téléphones mobiles, de tablettes et d’ordinateurs envahissent notre quotidien, et voilà dictionnaires, fiches de cours ou même classiques de la littérature à portée de clic. Faut-il inciter les élèves à profiter à 100% de ces facilités d’accès inédites au savoir, et renvoyer le papier au passé ? Rien n’est moins sûr si l’on se penche sur les derniers résultats de la recherche.
Depuis le début de ce siècle, plusieurs dizaines d’études ont été menées pour évaluer les effets du support de lecture sur les performances de compréhension de textes qui pouvaient être soit documentaires - manuels scolaires, ouvrages universitaires - soit narratifs - fictions, romans...
Les résultats de ces études ont été repris dans deux méta-analyses publiées en 2018 ; celle de Kong, Seo et Zhai, portant sur 17 études, publiée dans le journal Computers & Education, et celle de Delgado et de ses collègues, portant sur 54 études effectuées auprès d’un total d’environ 170 000 lecteurs, et publiée dans Educational Research Review. Il en ressort que la compréhension de textes est significativement meilleure lorsque la lecture s’effectue sur papier que sur écran.
(reprise d’un article de The Conversation : ▻https://theconversation.com/lire-sur-papier-lire-sur-ecran-en-quoi-est-ce-different-112493 )
Les méta-analyses citées :
Comparison of reading performance on screen and on paper: A meta-analysis - ScienceDirect
(article payant)
▻https://www.sciencedirect.com/science/article/pii/S0360131518301052
Highlights
• Reading on paper is better than reading on screen in terms of reading comprehension.
• Reading on paper is not significantly different from reading on screen in terms of reading speed.
• The magnitude of the difference in reading comprehension between media types followed a diminishing trajectory.
Abstract
This meta-analysis looked at 17 studies which focused on the comparison of reading on screen and reading on paper in terms of reading comprehension and reading speed. The robust variance estimation (RVE)- based meta-analysis models were employed, followed by four different RVE meta-regression models to examine the potential effects of some of the covariates (moderators) on the mean differences in comprehension and reading speed between reading on screen and reading on paper. The RVE meta-analysis showed that reading on paper was better than reading on screen in terms of reading comprehension, and there were no significant differences between reading on paper and reading on screen in terms of reading speed. None of the moderators were significant at the 0.05 level. In the meanwhile, albeit not significant, examination of the p-values for the difference tests prior to 2013 and after 2013 respectively (not shown here) indicated that the magnitude of the difference in reading comprehension between paper and screen followed a diminishing trajectory. It was suggested that future meta-analyses include latest studies, and other potential moderators such as fonts, spacing, age and gender.
et
Don’t throw away your printed books: A meta-analysis on the effects of reading media on reading comprehension - ScienceDirect
(article payant)
▻https://www.sciencedirect.com/science/article/pii/S1747938X18300101
Highlights
• Paper-based reading yields better comprehension outcomes than digital-based reading.
• Reading time frame and text genre moderate the medium effect on comprehension.
• The advantage of paper-based comprehension has increased over the years since 2000.
Abstract
With the increasing dominance of digital reading over paper reading, gaining understanding of the effects of the medium on reading comprehension has become critical. However, results from research comparing learning outcomes across printed and digital media are mixed, making conclusions difficult to reach. In the current meta-analysis, we examined research in recent years (2000–2017), comparing the reading of comparable texts on paper and on digital devices. We included studies with between-participants (n = 38) and within-participants designs (n = 16) involving 171,055 participants. Both designs yielded the same advantage of paper over digital reading (Hedge’s g = −0.21; dc = −0.21). Analyses revealed three significant moderators: (1) time frame: the paper-based reading advantage increased in time-constrained reading compared to self-paced reading; (2) text genre: the paper-based reading advantage was consistent across studies using informational texts, or a mix of informational and narrative texts, but not on those using only narrative texts; (3) publication year: the advantage of paper-based reading increased over the years. Theoretical and educational implications are discussed.
Going Global (or Globally Local)? How #netflix Produces Amazing Global Content
▻https://hackernoon.com/going-global-or-globally-local-how-netflix-produces-amazing-global-conte
Lessons from #INTV2019 in JerusalemNetflix HQHow does the digital media company achieve the unprecedented success that Netflix has reached in recent years? Do they think global or do they approach content with an alternative content strategy?According to Cindy Holland, VP of Original Content at Netflix, the more specific, and authentic the local content creators can produce, the higher the likelihood it will resonate with a global market.▻https://medium.com/media/c1a1a3f780ec0abca75e8668052890fc/hrefIn fact, she stated that Netflix doesn’t have to think about ratings (since that’s based on an ad marketing model), the data and insights the company collects prove this unique content strategy. Netflix is established across190 countries and over 80% of the SVOD’s new acquisitions come from (...)
#global-content-strategy #content-marketing #streaming-tv-service #tv-series
#developer Spotlight : Leslie Cohn-Wein of Netlify
▻https://hackernoon.com/developer-spotlight-leslie-cohn-wein-of-netlify-fe51e862fb18?source=rss-
In this installment of the Cosmic JS Developer Spotlight Series, we sat down with Leslie Cohn-Wein, a Front End Developer and Austin native now residing in Dallas, Texas. Leslie most recently worked as a Front End Engineer for Canvas United, a New York City-based digital agency, prior to starting as a Front End Developer at Netlify. Follow Leslie on Twitter or LinkedIn and enjoy the Q/A.Cosmic JS: When did you first begin building software?Leslie: I taught myself basic CSS in the early 2000s in order to customize my MySpace and LiveJournal backgrounds. To my surprise, that experience kicked off an enduring interest in code.After studying digital media in college and interning at the Denver Open Media Foundation theming Drupal sites for nonprofits, I moved to NYC for a role as a (...)
Why Data Privacy Based on Consent Is Impossible
▻https://hbr.org/2018/09/stop-thinking-about-consent-it-isnt-possible-and-it-isnt-right
For a philosopher, Helen Nissenbaum is a surprisingly active participant in shaping how we collect, use, and protect personal data. Nissenbaum, who earned her PhD from Stanford, is a professor of information science at Cornell Tech, New York City, where she focuses on the intersection of politics, ethics, and values in technology and digital media — the hard stuff. Her framework for understanding digital privacy has deeply influenced real-world policy.
HBR senior editor Scott Berinato spoke with Nissenbaum about the concept of consent, a good definition of privacy, and why privacy is a moral issue. The following excerpts from their conversation have been edited for clarity and length.
HBR: You often sound frustrated when you talk about the idea of consent as a privacy mechanism. Why?
Nissenbaum: Oh, it’s just such a [long pause] — look, the operationalization of consent is just so, so crummy. For example, as part of GDPR, we’re now constantly seeing pop-ups that say, “Hey, we use cookies — click here.” This doesn’t help. You have no idea what you’re doing, what you’re consenting to. A meaningful choice would be, say, “I’m OK that you’re using cookies to track me” or “I don’t want to be tracked but still want to enjoy the service” or “It’s fine to use cookies for this particular transaction, but throw unnecessary data out and never share it with others.” But none of these choices are provided. In what sense is this a matter of choosing (versus mere picking)?
The farce of consent as currently deployed is probably doing more harm as it gives the misimpression of meaningful control that we are guiltily ceding because we are too ignorant to do otherwise and are impatient for, or need, the proffered service. There is a strong sense that consent is still fundamental to respecting people’s privacy. In some cases, yes, consent is essential. But what we have today is not really consent.
Even if you tried to create totally transparent consent, you couldn’t. Well-meaning companies don’t know everything that happens with the data they collect, particularly those that have succumbed, against their better judgment, to the pressures of online tracking and behavioral targeting. They don’t know where the data is going or how it will be utilized. It’s an ever-changing landscape. On the one hand, requiring consent for every use isn’t reasonable and may prevent as many good outcomes as bad ones. Imagine if new science suggests a connection between a property, or cluster of properties, and a particular cancer treatment. Returning for consent may impose obstacles that are impossible to overcome.
But on the other hand, what exactly does it mean to grant consent no matter what uses may come up in the future? Think about a surgeon explaining a procedure to a patient in great medical detail and then asking, “Are you OK with this?” We kid ourselves if we believe that consent is all that stands in the way of surgery and outcome. Most of us say OK not because we deeply grasp the details and ramifications but because we trust the institutions that educate and train surgeons, the integrity of the medical domain, and — at worst — the self-interest of the hospitals and surgeons wishing for positive acclaim and to avoid being sued.
It’s not that we don’t know what consent means; it’s that getting to a point where we understand the true sense of what consent means is impossible.
Annexe : devinez chez quel éditeur le livre Obfuscation d’Helen Nissenbaum va paraître cet automne ?
Twitter was supposed to spread democracy, not Trump’s ravings | John Naughton | Opinion | The Guardian
▻https://www.theguardian.com/commentisfree/2018/aug/19/twitter-supposed-to-spread-democracy-not-trumps-ravings
Here’s the $64,000 question for our time: how did digital technologies go from being instruments for spreading democracy to tools for undermining it? Or, to put it a different way, how did social media go from empowering free speech to becoming a cornerstone of authoritarian power?
And then, one day, the internet arrived and the game changed. Suddenly, anyone could be a publisher. Every individual would be able freely to choose what to believe, with whom they would associate and where they would choose to direct their attention. The power of broadcast media would be attenuated. The public sphere could become a free “marketplace of ideas” in which good ideas would drive out the bad. Twitter seemed like the technological instantiation of this ideal: it promoted individual expression and helped to build social networks. Anyone could say anything (well, almost: there were always those vapid “community guidelines”). The first amendment ruled OK.
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Trump’s capture of the presidency, says Turner, has comprehensively refuted the democratising promise of digital media. The key feature of authoritarian capture is the projection of the charismatic personality of the ruler. In an analogue era, that meant that the bodies or minds of his audience had to be brought together in one place so that he could work his hypnotic magic. Think Nuremberg rallies or regular speeches like the ones Goebbels used to transmit, via the inexpensive radio receivers he dispensed and also by loudspeakers in public places.
Although Trump has used mini-Nuremberg-style rallies to great effect, he displays most ingenuity in using Twitter to project his charisma. Turner highlights two aspects of this. The first is the way he uses the medium to project his personality: the daft, tempestuous tweets that so infuriate liberals are taken by followers as a sign of his authenticity as a person. He’s “just being himself” – so unlike conventional politicians – and so claims the right to their attention and political support. The second significant aspect is that his tweets come as part of a follower’s twitterstream, interspersed with tweets from friends and a range of other sources. In that way, Trump uses the medium “to insert himself into the company of a user’s chosen conversation partners”, much as Franklin Roosevelt used his “fireside” radio chats during his presidency.
Turner’s analysis of Trump’s ascendancy is as depressing as it is acute. He concludes that “authoritarian charisma is not medium-dependent. Nor are authentic individuality, the intimate social sphere, or flexible collaborative networks necessarily enemies of totalitarianism.” And it’s not clear what, if anything, can be done to improve things. Of course, Twitter could ban Trump, but with 53.8 million followers it’s unlikely to do that. Mainstream media could start ignoring Trump’s tweets, which effectively allow him to control their news agendas, but they won’t, because he’s good for clicks and circulation. And besides, the guy is, after all, the elected president of the United States. Which, in a way, neatly summarises the problem we’ve got.
The final frontier that #amazon will disrupt
▻https://hackernoon.com/the-final-frontier-that-amazon-will-disrupt-4a6f09a50c51?source=rss----3
Amazon is a company that offers everything from retail to web services to digital media. It succeeds because of its leadership principles and strategy — which Jeff Bezos drew on a napkin:For books (Amazon’s first industry), this strategy translates to:Lower cost structure due to no physical stores.Lower prices due to cost savings.Better customer experience due to lower prices and faster delivery.More customer traffic due to better customer experience.More sellers (publishers, writers) due to more customers.Better selection of books due to more publishers and writers.17 years ago, Jeff started a #space company called Blue Origin. The vision:A trillion humans in the solar system.Watching a recent interview with Jeff, it’s clear that space is the final industry that he wants to disrupt. Today, most (...)
Refugees Plus is a digital media platform founded by a network of young refugee journalists who have first hand experience of what it means to be displaced. Refugees Plus aims to share the extraordinary success stories and challenges faced by refugees and displaced people.
From Syria to South Sudan, the world has seen a record number of displaced people, with over 65 million people forced to flee their homes by conflict, persecution and natural disasters.
This comes at a time of rising populism and xenophobia and rich countries closing their doors to those seeking safety. And the few who make it to destinations like Europe and America are portrayed as a security threat or economic burden by the media.
International media attention on refuges stories and humanitarian crisis is increasingly becoming limited to geopolitical and strategic interest only instead of drawing attention to the plight of the women and children behind the headlines.
As refugee journalists with industry standard experience, we come in to fill the gap and give voice to refugees and displaced people using the power of social media. We want to give a platform to the talented refugees contributing to their host countries including the entrepreneurs, the doctors, engineers, athletes and politicians. We also want to tell the stories of those trapped in camps, those making the treacherous sea and Sahara crossings as they flee persecution.
We basically want to #TellOurOwnStories #WithRefugees
#Refugeeplus #réfugiés #médias #journalisme #réfugiés_journalistes #journalistes_réfugiés #presse #raconter_sa_propre_histoire
cc @isskein @reka
#ZINE
ZINE is a platform for expression in the midst of uncertainty, an attempt to control one’s own narrative when circumstances and bureaucracy are wearing away at that right where the refugees of #Leros’ hotspot are concerned. Instead of an identity based in police paperwork, asylum applications, or case numbers, ZINE is composed of poetry, art, and personal narratives. It is that age-old rebel yell for humanity, this time coming from the hotspots of Greece. It is produced by Echo100Plus at The Hub – a community center on the island of Leros – where refugees who reside in RIC facilities (Reception and Identification Centers) are safe and welcome to attend classes and activities.
Hard Copy // Soft Memory
▻http://constantvzw.org/site/Hard-Copy-Soft-Memory.html
Rapidly and increasingly evolving digital media are undermining the traditional models of cultural transfer and the traditional definition of authorship. Applied to genetics, these DISCOVERIES in information theory represent a radical deconstruction of our view on BODIES and sexual identity. Such MUTATIONS are associated with a number of important risks, as they are backed up with a great deal of industrial power and by the reductive logic of the free market. Nevertheless, it is a RISK (...)
#Moral outrage in the #digital age | Nature Human Behaviour
▻https://www.nature.com/articles/s41562-017-0213-3
Before the #internet existed, gossip served a purpose of spreading news about who could be trusted within local social networks4. By this logic, information should be shared as a function of its ability to reinforce trust and cooperation within the community. But online platforms have profoundly changed the incentives of information sharing. Because they compete for our attention to generate advertising revenue, their algorithms promote content that is most likely to be shared, regardless of whether it benefits those who share it — or is even true.
Research on virality shows that people are more likely to share content that elicits moral emotions such as outrage5. Because outrageous content generates more revenue through viral sharing, natural selection-like forces may favour ‘supernormal’ stimuli that trigger much stronger outrage responses than do transgressions we typically encounter in everyday life. Supporting this hypothesis, there is evidence that immoral acts encountered online incite stronger moral outrage than immoral acts encountered in person or via traditional forms of media (Fig. 2b).
[...]
Digital media might alter the subjective experience of outrage in several ways. By increasing the frequency and extremity of triggering stimuli, one possible long-term consequence of digital media is ‘outrage fatigue’: constant exposure to outrageous news could diminish the overall intensity of outrage experiences, or cause people to experience outrage more selectively to reduce emotional and attentional demands. On the other hand, studies have shown that venting anger begets more anger6. If digital media makes it easier to express outrage, this could intensify subsequent experiences of outrage. Future research is necessary to resolve these possibilities.
Adam Savage Nerds Out Over Vinyl Record-Making with Jack White
▻http://makezine.com/2017/08/10/adam-savage-nerds-out-over-vinyl-record-making-with-jack-white
In this wonderful and inspiring Tested video, our favorite Virgil of science and technology, Adam Savage, takes us on a journey into the world of Jack White’s Third Man Records in Detroit, Michigan. In the almost 30-minute episode, Adam records a song, talks with Jack White (former White Stripe’s frontman, now record company frontman) about the existential pleasures of analog recording, and then gets a thorough tour of the Third Man Records pressing plant. How thorough? So much so that Adam even nerds out over the boiler room!
▻https://www.youtube.com/watch?v=PF4A4wdnXkU
For anyone interested in analog recording and record pressing technology, this video is a treasure trove. Jack and Adam have a fascinating discussion about the strengths and limitations of the analog recording process and how all of the format’s eccentricities add to the charm (and “soul”) of the resulting sound. They also talk about urgency in art and whether a lot of that is missing in today’s digital media where everything can be easily copied and corrected. Back when studio time was expensive, equipment was fickle, and albums were recorded in a matter of days and weeks, instead of months and years, that urgency resulted in a kind of artistic product we rarely experience nowadays.
While at Third Man, Adam records a song, the Milk Carton Kids’ Brain Candy, and then watches the engineering of the track and the cutting of the stamper (the master from which the vinyl will be molded). From there, Adam gets a full tour of the pressing plant as they walk through every step of the vinyl record manufacturing process. One of the many impressive things about the plant is that they recycle everything; nothing goes to waste. Even the center of rejected records, with their paper labels, are punched out and sold as coasters in the Third Man Records store while the rest of the vinyl is chopped up and reused.
Cultural Anthropologist Mimi Ito on Connected Learning, Children, and Digital Media - YouTube
▻https://www.youtube.com/watch?v=xuV7zcXigAI
Ajoutée le 4 août 2011
Mimi Ito is a cultural anthropologist and expert in the field of digital media and learning, focusing on children and youth’s changing relationships to media and communications. She recently completed the Digital Youth Project, a landmark study supported by the MacArthur Foundation of the ways youth use new media. In September 2010, she was appointed as the John D. and Catherine T. MacArthur Foundation Chair in Digital Media and Learning at UC Irvine.
Ito emphasizes the need to put aside prejudices against new media in order to harness their potential as learning tools: “I think there’s a more general perception in the culture around new media [...] that it is inherently a space that is hostile to learning. And that’s a perception that I think we really need to work against.” (4:46) “We know that the learning outside of school matters tremendously for the learning in school. [...] The question is: how can we be more active about linking those two together?” she adds. (5:33)
Mimi Ito is a Professor in Residence at the Department of Anthropology and the Department of Informatics at the University of California, Irvine, and serves as Research Director of the Digital Media and Learning Research Hub in the system-wide University of California Humanities Research Institute. To find out more about the Connected Learning focus of the Digital Media and Learning Research Hub, please visit ▻http://connectedlearning.tv/what-is-c....
A Macron tale: The story of a perfect Champs-Elywood recipe
▻http://orientxxi.info/dossiers/mada-masr/a-macron-tale-the-story-of-a-perfect-champs-elywood-recipe,1913
This article was originally published on Mada Masr, a digital media outlet based in Egypt, and has been republished here with permission. As part of the Egyptian government’s on-going campaign of press censorship, Mada Masr has been blocked inside Egypt. In line with our commitment to press freedom and independent journalism, Orient XXI will be republishing content from Mada Masr, to help circumvent the Egyptian state’s actions and assist Mada Masr in reaching people inside Egypt. Read more about the Egyptian state’s suppression of the media and attacks against Mada Masr here.
Let me start with a vain introduction.
I am French.
Worse, I belong to the Parisian middle-class.
After needing 10 years to realize human life is theoretically possible outside of Paris and 10 more to realize it actually exists, I left Paris, and have lived outside France for most of the past 10 years.
Throughout this period, I actively worked on unparisianing myself. This probably seems absurd, but, for me, being Parisian is associated with gray. Gray is more Parisian than Paris itself.
Gray is a color. Paris is visually quite gray, from its sidewalks to its buildings, from its roofs to its eternally clouded sky. Gray can be beautiful. Paris is beautiful.
A Guide to Iran’s Electronic Underground « Bandcamp Daily
▻https://daily.bandcamp.com/2017/04/06/iran-electronic-music
“By the time I was a teenager living in Tehran, underground music was all rock, metal, and hip-hop,” says Siavash Amini from his home in the Iranian capital. “In the past [all] musicians wanted to be mainstream, but were forced to stay small and underground.” Speaking to Amini —freshly returned from his first European tour—the changes in both the climate and the mindset in present-day Iran become clear. “Right now,” Amini says, “being underground is not as much a limitation as it is a decision to disconnect from the mainstream.”
The existence of any kind of underground or electronic music scene in Iran is a relatively recent development, arguably part of a quiet and generally slow shift in the country’s post-revolution identity. Those changes came to a head with the election of reformist and relative centrist Hassan Rouhani as President in 2013, which opened up a doorway for Iranian relations with foreign countries, all but shut off after decades of international sanctions.
The Islamic Republic that emerged from the 1979 revolution quickly quashed the country’s burgeoning pop and rock music scene, in favor of state-approved folk and classical styles. Iranian pop and rock musicians stayed all but silent throughout the 1980s, but years later, after the arrival of globalized digital media and swappable MP3s, government repression isn’t enough to stop a new generation of musicians creating digital noise, heavy techno, and textured ambience.
The Ultimate Guide To Iran’s Underground Electronic Musicians - Electronic Beats
▻http://www.electronicbeats.net/the-feed/the-ultimate-guide-to-irans-underground-electronic-musicians
Are you ready to discover quality electronic music from the margins? Look no further than Iran’s burgeoning underground music scene. The country may not be on everyone’s radar for boundary-pushing experimental music, noise and techno, but in the last few years, a handful of musicians in Tehran have carried the torch for unique electronic composition. Artists like Nesa Azakikhah, Sote and 9T Antiope are among the producers making a distinct impact on genres in the realm of industrial, ambient and minimal.
Thanks to Bandcamp, you can now browse a playlist of nine Iranian electronic music pioneers. The article includes a detailed breakdown of each producer’s work and composition process as well as previews of some of their best tracks. Listen to some of our favorites below and check out the entire list here.
Call for Collaborators: “A Field Guide to Fake News” | Liliana Bounegru
▻http://lilianabounegru.org/2017/03/01/call-for-collaborators-a-field-guide-to-fake-news/#more-401
We’re pleased to announce a new project to create “A Field Guide to Fake News”, led by myself, Jonathan Gray and Tommaso Venturini. It will be launched at the International Journalism Festival in Perugia in April 2017.
In the wake of concerns about the role of “#fake_news” in relation to the US elections, the project aims to catalyse collaborations between leading digital media researchers, data journalists and civil society groups in order to map the issue and phenomenon of fake news in US and European politics.
The guide will look at how digital methods, data, tools, techniques and research approaches can be utilised in the service of increasing public understanding of the politics, production, circulation and responses to fake news online. In particular it will look at how digital traces from the web and online platforms can be repurposed in the service of public interest research, investigations, data stories and data journalism projects.
If you’re a data journalist or researcher interested in collaborating on data stories or investigations around the fake news phenomenon in your country, then please do drop us a line.
Taking binge watching to the next level : speed watching
Don’t have the time to watch 50 minutes episodes? Watch them accelerated!
▻https://www.nytimes.com/2016/12/12/technology/favorite-shows-high-speed.html
Netflix, Hulu and HBO, however, don’t offer higher speeds on their players, but there are workarounds available. It’s possible to speed up online video through a Google Chrome extension, and an open-source media player called VLC will play many formats of digital media. Some set-top boxes like TiVo allow high-speed playback of recorded programs.
A thorough article about this phenomenon (with some tl;dr danger, but it’s worth reading it all) that delves deeper into the matter :
▻https://www.washingtonpost.com/news/wonk/wp/2016/06/22/i-have-found-a-new-way-to-watch-tv-and-it-changes-everything
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x1.2
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▻http://tempsreel.nouvelobs.com/rue89/rue89-nos-vies-connectees/20161219.RUE6033/pour-gagner-du-temps-ils-matent-des-films-ou-des-series-en-acce
Il est aussi possible de télécharger une extension de Google Chrome, Video Speed Controller, qui peut être utilisée sur Netflix, Vimeo et Amazon Prime, ou de télécharger Overcast, qui réduit les silences pour gagner du temps. L’appli de podcasts d’Apple ou Audible, une appli de livres audio, le propose aussi directement.
▻http://www.liberation.fr/futurs/2016/12/26/speed-watching-des-series-a-grande-vitesse_1537518
Après l’indigestion d’épisodes d’une même série regardés à la queue leu-leu, la tendance est maintenant à la consommation en accéléré. Quelques applications permettent désormais de visionner en augmentant de 20% à 50% le défilement des images.
▻http://www.20minutes.fr/television/1989799-20170105-speed-watching-trop-series-tele-matez-accelere
NSA Contractor Arrested in Possible New Theft of Secrets
The contractor, Harold T. Martin, 51 y.o. worked for Booz Allen Hamilton, the same company as Edward Snowden.
▻http://www.nytimes.com/2016/10/06/us/nsa-leak-booz-allen-hamilton.html
The F.B.I. secretly arrested a former National Security Agency contractor in August and, according to law enforcement officials, is investigating whether he stole and disclosed highly classified computer code developed by the agency to hack into the networks of foreign governments.
[...]
According to court documents, the F.B.I. discovered thousands of pages of documents and dozens of computers or other electronic devices at his home and in his car, a large amount of it classified. The digital media contained “many terabytes of information,” according to the documents. They also discovered classified documents that had been posted online, including computer code, officials said. Some of the documents were produced in 2014.
But more than a month later, the authorities cannot say with certainty whether Mr. Martin leaked the information, passed them on to a third party or whether he simply downloaded them.
#NSA
One day later :
NSA Suspect Is a Hoarder. But a Leaker? Investigators Aren’t Sure.
▻http://www.nytimes.com/2016/10/07/us/politics/nsa-suspect-is-a-hoarder-but-a-leaker-investigators-arent-sure.html
“Let’s just say he’s only a psycho hoarder and he keeps this stuff with his old copies of National Geographic and his collection of lunchboxes,” said an administration official, who also asked not to be named. “That’s still extremely troubling to anyone in national security, because people like that don’t keep track of where things are or with whom they are talking.”
Trove of Stolen Data Is Said to Include Top-Secret U.S. Hacking Tools
▻http://www.nytimes.com/2016/10/20/us/harold-martin-nsa.html
The material the FBI found in his possession added up to “many terabytes” of information, according to court papers, which would make it by far the largest unauthorised leak of classified material from the classified sector. That volume dwarfs the hundreds of thousands of NSA documents taken by Edward J. Snowden in 2013
« The Syria Campaign », organisation qui se propose de changer la « narrative » (en faveur de l’opposition) et cherche à mettre fin à « l’inaction globale » (donc en faveur d’un engagement militaire occidental) recrute un directeur de campagne et précise que pour ce poste « On n’a pas besoin de savoir quoi que ce soit sur la Syrie » :
The Syria campaign est un projet de la Fondation Asfari, fondation britannique, comme l’indique le site :
▻https://thesyriacampaign.org/about
How are you funded?
The Syria Campaign is fiercely independent and accepts no money from governments, corporations or anyone directly involved in the Syrian conflict. This allows us full autonomy to advocate for whatever is needed to save lives.
Seed funding for The Syria Campaign was provided by The Asfari Foundation with supporting funds from other Syrian donors across the world who are frustrated by global inaction on Syria.
Le directeur de la Asfari Foundation, Sawsan Asfari pilote d’ailleurs ce projet :
We have a Governing Board who are legally responsible for the organisation and oversee strategy and finance for The Syria Campaign. The board members are Daniel Gorman, Ben Stewart, Sawsan Asfari, Tim Dixon and Lina de Sergie.
Son frère, Asfan Asfari, co-directeur de la Asfari Foundation, citoyen britannique né en Syrie, est un millionnaire, PDG de Petrofac (industrie du pétrole) :
▻https://en.wikipedia.org/wiki/Ayman_Asfari
A noter que la Asfari Foundation est par exemple à l’origine du site pro-opposition bien connu « Syria Deeply » :
▻http://www.asfarifoundation.org.uk/sectors/civil-society-programme
Syria Deeply is an independent digital media project led by journalists and technologists, many of whom are Syrian, exploring a new model of storytelling around a global crisis. Their goal is to better inform the global public about Syria and to create an informed dialogue toward better individual and collective decision-making. In 2014 the Asfari Foundation supported Syria Deeply in extending its pool of Syrian contributors, helping around 20 highly talented Syrian journalists find exposure and employment. This year the Foundation supported a round-table for female Syrian civil society and humanitarian actors.
This isn’t China: The “Amazon of India” will be Amazon
▻http://qz.com/653417/this-isnt-china-the-amazon-of-india-will-be-amazon-and-the-uber-of-india-will-be
“The Chinese market is a walled garden of sorts, open mostly only to Chinese businesses. […] It’s the same in Russia. Yandex is the Google of Russia and vKontakte is the Facebook of Russia. While, in India, the regulatory barriers are almost non-existent, our internet is still mostly in English and our politicians aren’t able to control digital media companies like the Chinese and Russians do in their countries. The result of our openness? The Facebook of India is Facebook, the Google of India is Google, and the Twitter of India is Twitter.”
Barriers-to-womens-involvement-in-hackspaces-and-makerspaces.pdf
▻http://access-space.org/wp-content/uploads/2015/10/Barriers-to-womens-involvement-in-hackspaces-and-makerspaces.pdf
science grrl
▻http://sciencegrrl.co.uk/sheffield-chapter-launch
Abstract
This report uses interviews and - in the absence of a substantial body of empirical studies - existing informal research and media in order to elucidate the reasons underlying an observed gender-imbalance in the users of organisations known as hackspaces' and makerspaces’. We frame this phenomenon in the wider context of a similar imbalance in the number of girls and women pursuing study and careers in STEM and computing subjects, and the
benefits of achieving a more egalitarian community, for the
individual, the organisation, and society in general. We identify several distinct `barriers’ to engagement, and provide suggestions for possible solutions. In the absence of empirical research, we suggest that organisations wishing to make change to improve the gender-balance of their user base should do so with
caution and continuous feedback from their existing and target audiences in order to ensure enficacious change without disruption, and call for more research into this issue to verify or challenge the conclusions which we draw here."
Pas encore lu
Is the “4th Wave” of Feminism Digital? | bluestockings magazine
▻http://bluestockingsmag.com/2013/08/19/is-the-4th-wave-of-feminism-digital
Today, digital media have reconfigured the face and interface of feminism. The activity and community of our blog, the diverse composition and vast readership of the feminist blog-o-sphere, and their interwoven and interdependent public influence attest to the vitality of feminism today. Overall, the participation in feminist activism and criticism has grown manifold due to the invention and popularization of digital media technologies. The decidedly digital feminism we engage in today operates quite differently than those of our former feminist predecessors. Every person who has some form of access to digital media technologies, whether limited or permanent, has the potential to engage in the various feminist communities that exist and persist today. A greater amount of people are presented with feminist issues in some form, from Facebook activity to smartphone ads, and their capacity to engage with them through digital platforms has significantly increased. Previous feminist activism and criticism was necessarily limited by the pre-digital forms of communication methods of attaining and sharing information but also by the lacking access to likely affiliates and allies that are imperative for the consciousness-raising of feminism’s individual struggles. Feminism has left the Academy and spilled into the world wide web. Today, one can Google the majority of concerns pertinent to feminism, thereafter learn of different communities already at work in comparable fields, possibly join their efforts via digital or live labor, and thus operate for and by a larger public. Feminism has changed; the practices of its feminists as well.
Gender Changers links
▻http://genderchangers.org/links.html
The New Velocity – The faulty consistency of cartography - Internet cartoon Enthusiast!
▻http://netcartoon.net/2015/12/31/the-new-velocity-the-faulty-consistency-of-cartography
http://netcartoon.net/wp-content/uploads/2015/12/the-new-velocity-03-640x400.jpg 
http://www.creativeapplications.net/wp-content/uploads/2015/12/the-new-velocity-04-800x500.jpg 
Designed by Luiz Zanotello at the University of the Arts, Bremen, The New Velocity is a machine made to plot the phantom Sandy Island making use of digital as a new analogy for its existence. The project investigates a charting error that persisted in cartographic maps even right after the advent of digital media. It speculates how information and physical phenomena are entangled, and how in contemporaneity, the two have the very same weight below digital media.
Egypte : Le journaliste Mahmoud Abou Zeid (Shawkan) détenu depuis près de 2 ans sans charges ni procès - CPJ
Il devrait être entendu par la justice aujourd’hui. A suivre sur Twitter : @sharifkouddous
Affiliation: Freelance
Prison term: Pre-trial detention
Charges: No charges
Held at: Tora Prison
Mahmoud Abou Zeid, a freelance photographer who is known professionally as Shawkan, was one of several journalists detained in Cairo while covering clashes between Egyptian security forces and supporters of ousted President Mohamed Morsi on August 14, 2013, according to news reports. Abou Zeid, who has contributed to local and international websites, has been accused of illegal assembly, murder, attempted murder, and possessing weapons—the same allegations levied against hundreds of protesters detained during the clashes last summer. No charges have been filed against Abou Zeid, but his appeal for release has been denied. His pretrial detention has been extended several times.
The photographer has contributed to the U.K.-based citizen journalism site and photo agency Demotix and digital media company Corbis. After he was detained, Demotix sent a letter to Egyptian authorities confirming that Abou Zeid was covering the clashes for the agency, the photographer’s brother, Mohamed Abou Zeid, told CPJ.
Key fact : In 2012, no journalists were in prison in Egypt, compared with five in late 2013.
Key works : A source close to Abou Zeid snuck out his written account from Tora Prison for an article published on March 3.
Abou Zeid’s profile page at Demotix features several of his photos.
Sur @OrientXXI Massacre de Rabaa : le rapport que les autorités égyptiennes ne veulent pas qu’on lise ▻http://www.orientxxi.info/lu-vu-entendu/massacre-de-rabaa-le-rapport-que,0654
Égypte, guerre ouverte contre le journalisme ▻http://www.orientxxi.info/magazine/egypte-guerre-ouverte-contre-le,0605