- Air-L - lists.aoir.org

Re: [Air-L] Twitter Export App for Mac?
by Reynol Junco 10 Apr '10

10 Apr '10

Theo, Just now when I was searching around for a Mac client I came across a few months ago, I found this site: http://www.searchtastic.com/ which allows you to export Twitter data directly to Excel. This could have saved me so many headaches during our data collection a few months ago. The only downside that I can see is that it doesn't export every column from the Twitter API. But if you only need the Tweets and minimal user data, this works perfectly. Good luck, Rey -- Dr. Reynol Junco Associate Professor Department of Academic Development and Counseling Director, Disability Services Lock Haven University http://blog.reyjunco.com Message: 2 Date: Sat, 10 Apr 2010 00:58:07 -0500 From: "Theodore Plothe" <Z1593072(a)students.niu.edu> To: air-l(a)listserv.aoir.org Subject: [Air-L] Twitter Export App for Mac? Message-ID: <1270879087.b0f57d4Z1593072(a)students.niu.edu> Content-Type: text/plain; charset="UTF-8" Fellow Twitter researchers, My frustration with data collection has reached the point at which I am sending a plea for help. I have been unable to locate a Twitter feed export app for Mac OS. There are loads of great programs like BMS Twitter Export for PCs, but if you're on a Mac, it seems nothing's out there. Seesmic allows me to read and search from multiple feeds and organize them in certain ways, but I cannot export them as an Excel or Word file. Since I need the time stamp from four months ago, (yeah, I'm behind in my data collection) it's clunky and unusable. I'm collecting data from 250+ distinct feeds and I'm doing it as low tech as possible: visiting each feed, scrolling through hundreds of tweets to get the data I need, and then copying and pasting in a Word file. The data is placed into a table for me to devour, code, and tabulate at my leisure. If anyone has any advice, I'd greatly appreciate it. Theo Plothe Graduate Student Northern Illinois University Until next time, Theo

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Twitter Export App for Mac?
by Theodore Plothe 10 Apr '10

10 Apr '10

Fellow Twitter researchers, My frustration with data collection has reached the point at which I am sending a plea for help. I have been unable to locate a Twitter feed export app for Mac OS. There are loads of great programs like BMS Twitter Export for PCs, but if you're on a Mac, it seems nothing's out there. Seesmic allows me to read and search from multiple feeds and organize them in certain ways, but I cannot export them as an Excel or Word file. Since I need the time stamp from four months ago, (yeah, I'm behind in my data collection) it's clunky and unusable. I'm collecting data from 250+ distinct feeds and I'm doing it as low tech as possible: visiting each feed, scrolling through hundreds of tweets to get the data I need, and then copying and pasting in a Word file. The data is placed into a table for me to devour, code, and tabulate at my leisure. If anyone has any advice, I'd greatly appreciate it. Theo Plothe Graduate Student Northern Illinois University Until next time, Theo

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satire on social networks
by Murray Turoff 09 Apr '10

09 Apr '10

http://www.southparkstudios.com/guide/1404/ you can watch the full half hour episode of south park on social networks i think this is wonderful satire on social networks and necessary for anyone studying them!! Distinguished Professor Emeritus Information Systems, NJIT homepage: http://is.njit.edu/turoff

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senior lecturer in news media at University of Sussex
by Kathleen O'Riordan 09 Apr '10

09 Apr '10

Media and Film at The University of Sussex has the following vacancy: School of Media, Film and Music Senior Lecturer in News Media/ Ref: 768 Journalism Studies (Permanent, full time) Salary range: £45,155 - £52,347 Expected start date: 1 September 2010 The School of Media, Film and Music wishes to appoint a Senior Lecturer to provide academic leadership of its MA programmes in Journalism, due to begin in October 2010. The successful candidate will be able to teach in the areas of news, globalisation, journalism and the public sphere. They will have an international research profile, the ability to work in partnership with both academic and non-academic colleagues, and knowledge of new developments in media and journalism. Closing date: 23 April 2010 For full details and how to apply please see www.sussex.ac.uk/jobs Dr Kate O'Riordan Department of Media and Film University of Sussex Falmer Brighton BN1 9RG TEL 01273 876730 FAX 01273 877219 http://www.sussex.ac.uk/mediastudies/profile30746.html

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Twitter use in Congress
by Lee Humphreys 09 Apr '10

09 Apr '10

I thought some of you might be interested in this report about the use of Twitter by Congress members: http://www.fas.org/sgp/crs/misc/R41066.pdf From the summary: "After providing an overview and background of Twitter, the report analyzes patterns of Member use of Twitter during August and September 2009. This report is inherently a snapshot in time of a dynamic process. As with any new technology, the number of Members using Twitter and the patterns of use may change rapidly in short periods of time. Thus, the conclusions drawn from this data can not be easily generalized nor can these results be used to predict future behavior. The data show that 205 Representatives and Senators are registered with Twitter (as of September 30, 2009) and issued a total of 7,078 “tweets” during the data collection period of August and September 2009. With approximately 38% of House Members and 39% of Senators registered with Twitter, Members sent an average of 116 tweets per day collectively. Members’ use of Twitter can be divided into eight categories: position taking, policy, district or state activities, official congressional action, personal, media, campaign activities, and other. The data suggest that the most frequent type of tweets were district or state tweets (24%), followed by policy tweets (23%), media tweets (14%), and position-taking tweets (14%)." ~Lee ************************************ Lee Humphreys, Ph.D. Assistant Professor Dept. of Communication and Program of Information Science Cornell University 305 Kennedy Hall Ithaca, NY 14853

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Arkansas reporter
by Bobby Ampezzan 09 Apr '10

09 Apr '10

Hello, Internet researchers, I'm a reporter for the Arkansas Democrat-Gazette. I'm working on a long, feature (as opposed to "investigative") story about how things get on the Internet and then stay there, long after the person who posted it intended it to be valuable or relevant. Specifically, there are three examples of something called "That One Show" -- amateur serial video produced by college / high school kids. One is defunct, another is long defunct but now has a Facebook following, and another is current but VERY low-budget and only interesting to the small group of high school friends the show is intended for. My question to Internet researchers is this, what is the fallout of creative projects when the creativity ceases but the material lives forever? Are there any cases that have received attention of people doing creative stuff on the Internet several years ago only to have it brought out in a criminal case or a job screening? Were there any academic studies following the Lonelygirl event, and has anyone looked recently to see if she's profited from it? Are there any theories about how there's functionally no screening process for creativity, the way publishing houses or talent agents used to screen for books / television shows? This will be a cover for our Style section. Bobby Ampezzan Arkansas Democrat-Gazette and Arkansas Life magazine 121 East Capitol Avenue Little Rock, AR 72201 (501) 378-3536 bampezzan(a)arkansasonline.com

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Reminder: CFP "Revise: The Art and Science of Contemporary Remix Culture" 2-3 December
by Katie Freund 08 Apr '10

08 Apr '10

Hello everyone, Just a reminder that abstracts for "Revise: The Art and Science of Contemporary Remix Culture", which will be held from 2-3 December, 2010 at the University of Wollongong, Australia, are due next Thursday, 15 April. The original CFP is below for your reference. Thanks! Call for Papers Revise: The Art and Science of Contemporary Remix Culture Dec 2-3, 2010 University of Wollongong <http://uow.edu.au/> , Wollongong, Australia In a media saturated environment, questions about authoriality and the ownership of cultural content have come to be increasingly urgent. A number of recent, high profile legal cases have highlighted the difficulties involved in adjudicating between different models of ownership and of cultural production. Furthermore, online environments render local, fannish, and 'amateur' forms of cultural production (frequently drawing on 'Big Content') increasingly visible - sometimes to the apparent detriment of these forms of vernacular creativity. Across audio, televisual, cinematic, textual, and other forms, proprietary models of cultural production face challenges in managing, controlling, and monetising content tailored for a mass audience. It is paradoxical that a measure of success for such content is the extent to which it is - often almost immediately - adapted and re-used by vernacular cultures. Conversely, interventions by fans and other niche cultural producers are often understood on the one hand to be forms of innovative appropriation and interventions in the flow of cultural goods, and on the other to be products of unpaid labour, raising the value of material that is already ubiquitous in an attention economy sense. This event aims to bring together researchers whose work investigates aspects of remixing, alongside practitioners working in remix cultures, for an interdisciplinary and collaborative conference. We are also soliciting curated art and video works in addition to presentations by remix practitioners and academic papers. Call for papers Abstracts of 200-250 words should be sent to revise2010(a)gmail.com <mailto:%20revise2010@gmail.com> by 15 April, 2010. Please include your full name (and/or artist/fan name), email address, and institutional affiliation (if applicable) along with the abstract. In addition to formal academic papers, we also welcome roundtable or panel discussion suggestions, and/or presentations by remix practitioners on their art or style. Curated artwork exhibits and live performance submissions are also welcomed. The following is a list of possible themes, but it by no means exhaustive. * Interrogating the boundaries of remix: when did remix 'start'? What of homage, pastiche, and the cover version? How are the boundaries between reference and appropriation established, and to what ends? * 'Reading' remixes: the semiotics of citation. * Literary allusion and remix in poetry: erasure and found poetry. * The artistic tradition of readymades. * Remix, originality, and creative process. * The ethics of appropriation. * Music remix: plunderphonics, DJ culture, hip-hop, electronic dance music sampling cultures and aesthetics. * Intertextuality and ekphrasis: elements of one medium surfacing in another. * Remix offline and on: from dancefloors to netlabels and YouTube; remix and the networked archive. * Remixing in time: repetition and variation of source material; remix and the reconstitution of the past. * Histories of remix. * Fanfiction, slash and textual innovation. * Video: fan vidding, trailer mashups, anime music videos, machinima. * Remix and 'the canon': from JXL's A Little Less Conversation to Pride and Prejudice and Zombies. * Open source as remix. * Visual art - digital media remix art, appropriation, combining existing content * Practices of appropriation and engagement with copyright, fair use and other intellectual property doctrines. * The aesthetics and interactions of remix communities of practice. * Remix economics and anti-economics. * The role of industry in remix. For more information, please email revise2010(a)gmail.com <mailto:%20revise2010@gmail.com> or see http://revise2010.blogspot.com <http://revise2010.blogspot.com/> . Katharina Freund PhD Candidate University of Wollongong Email: kmf077(a)uow.edu.au Telephone: +61 (2) 4221 4048 Blog: http://fanthropology.blogspot.com <http://fanthropology.blogspot.com/> Twitter: katiedigc <http://www.twitter.com/katiedigc>

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Information: Call for Papers: HICSS Minitrack on Global Virtual Teams
by Derrick L. Cogburn 08 Apr '10

08 Apr '10

Dear Colleagues, Some of you may be interested in our recently posted Call for Papers for the Hawaii International Conference on System Sciences (HICSS) Mini-Track on Global Virtual Teams. This minitrack is part of the Collaboration Systems and Technology Track at the 2011 HICSS. The conference will be held at the Grand Hyatt Kauai from 4-7 January 2011. The deadline for submission of full papers is 15 June 2010, and all manuscripts will be subjected to a double-blind peer review process. Acceptance notices will go out on 15 August 2010. We are also interested in identifying a few new reviewers, so if you would like to perhaps review for the minitrack, please let me know. Relevant links: Call for Papers: HICSS Minitrack on Global Virtual Teams: http://cotelco.net/hicss-2011-gvt HICSS Collaboration Systems and Technologies Track: http://www.hicss.hawaii.edu/hicss_44/apahome44.htm Main HICSS Conference Website: http://www.hicss.hawaii.edu/hicss_44/apahome44.htm Cheers, Derrick ========= Derrick L. Cogburn, Ph.D. Associate Professor of Information School of Information Studies 346 Hinds Hall Syracuse University Syracuse, NY 13244-4100 Phone: +1.315.443.5441 Fax: +1.315.443.6886 http://cogburn.blogspot.com Director, Center for Research on Collaboratories and Technology Enhanced Learning Communities (Cotelco) 339 Hinds Hall Syracuse University Syracuse, NY 13244-4100 Phone: +1.315.443.7977 Fax: +1.315.443.6886 http://cotelco.syr.edu

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final call for papers: special issue on war, conflict and commemoration in the age of digital reproduction
by Adi Kuntsman 08 Apr '10

08 Apr '10

Digital Icons: Studies in Russian, Eurasian and Central European New Media http://www.digitalicons.org/ **Final call for papers for the Special Issue War, Conflict and Commemoration in the Age of Digital Reproduction ( Autumn 2010)** Wars, conflicts and commemoration occupy the minds of today's users of new media across the globe, especially those in Russia, Eurasia and Central Europe: from digital accounts of 'wars on terror' to virtual museums of political terror under communism; from cyberwars against websites and databases to computer war games; from on-line anti-war organising to virtual memorials to WWII soldiers; from photo-and video- reporting on warfare in Kosovo, Chechnya, Gaza or Georgia to flash-mobs of political protest or racist incitement; from digitalised personal memories and family histories to YouTube clips featuring victorious presidential speeches. The aim of this special issue is to explore the ways wars and conflicts are mediated, commemorated, reported and discussed on the Internet as well as in other forms of new media, including mobile phones, digital broadcasting and computer games. What is the role of new media in understanding, representing, negotiating and remembering (or forgetting) war and terror? What is the status of testimony, evidence and reportage in the age of digital reproduction? What practices of memory do new information and communication technologies entail? What structures of feeling operate in on-line reports and debates around military operations and human suffering? How can digital mediations of conflict bring people and communities together, while tearing others apart? And lastly, how can the embodied, physical violence intensify in digital interactions, and how can it be resisted? This special issue of Digital Icons aims to create a forum for scholars working in the fields of war, conflict, commemoration, digital media, and new media, while simultaneously addressing linguistic, cultural, historical and political aspects of new media use in Russia, Eurasia and Central Europe. We invite original articles that focus on one or more countries of the region, or on their diasporas. We also welcome theoretical essays, reflection by media practitioners on their own practices, contributions from artists and authors, and reviews of relevant projects, books and events. Deadline for submissions: 1 May 2010 Anticipated date of publication: October 2010 Please contact Adi Kuntsman warconflictcommemoration(a)googlemail.com or DI editors editor(a)digitalicons.org to discuss your submission. When submitting your work, please include the following information: a biographical statement (100-120 words in English) and an abstract/description of the submission (or the first paragraph of the essay if appropriate) (about 150 words in English).

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WikiSym 2010 Doctoral Symposium
by Felipe Ortega 08 Apr '10

08 Apr '10

PhD students -- You can still submit your applications to the WikiSym 2010 Doctoral Symposium, till the end of this week (no later than Sunday 11). http://www.wikisym.org/ws2010/Doctoral+Symposium+2010 Events like this are unparalleled opportunities. The 2010 Symposium is especially notable because accepted students will get to work closely with and get feedback on their work from Kevin Crowston, Cliff Lampe, Nicolas Jullien and Andrea Forte, who are all renowned researchers in this area. Additional scholars will be announced as they join the committee. I cannot stress enough how valuable are doctoral consortium experiences are to define your dissertation work. If you are a PhD student, consider applying. If you are a faculty member, please forward to your best and brightest! :) Directions for applying can be found at: http://www.wikisym.org/ws2010/Doctoral+Symposium+2010 Please use the EasyChair submission system to upload your description: http://www.wikisym.org/ws2010/Submission-inst Best, Felipe Ortega. WikiSym 2010 Program Chair. -- José Felipe Ortega Soto | Project Manager Tel: (+34)-914 888 105 | Fax: (+34)-916 647 494 | GSyC/Libresoft - U. Rey Juan Carlos jfelipe _at_libresoft_dot_es | Edif. Departamental II - Office 106 http://libresoft.es/ | c/Tulipán s/n 28933 Móstoles (Madrid)

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