Research Notes

This post was written with Benjamin Mako Hill. It is a summary of a paper just published in American Behavioral Scientist. You can also read the full paper: The remixing dilemma: The trade-off between generativity and originality. It is part of a series of papers I have written with Mako Hill using data from Scratch. You can find the others on my website.

Remix Diagram

Remixing — the reworking and recombination of existing creative artifacts — represents a widespread, important, and controversial form of social creativity online. Proponents of remix culture often speak of remixing in terms of rich ecosystems where creative works are novel and highly generative, however, examples like this can be difficult to find. Although there is a steady stream of media being shared freely on the web, only a tiny fraction of these projects are remixed even once. On top of this, many remixes are not very different from the works they are built upon. Why is some content more attractive to remixers? Why are some projects remixed in deeper and more transformative ways?

We try to shed light on both of these questions using data from Scratch — a large online remixing community. Although we find support for several popular theories, we also present evidence in support of a persistent trade-off that has broad practical and theoretical implications. In what we call the remixing dilemma, we suggest that characteristics of projects that are associated with higher rates of remixing are also associated with simpler and less transformative types of derivatives.

Our study is focused on two interrelated research questions. First, we ask why some projects shared in remixing communities are more or less generative than others. “Generativity” — a term we borrow from Jonathan Zittrain — describes creative works that are likely to inspire follow-on work. Several scholars have offered suggestions for why some creative works might be more generative than others. We focus on three central theories:

1. Projects that are moderately complicated are more generative. The free and open source software motto “release early and release often” suggests that simple projects will offer more obvious opportunities for contribution than more polished projects. That said, projects that are extremely simple (e.g., completely blank slates) may also uninspiring to would-be contributors.
2. Projects by prominent creators are more generative. The reasoning for this claim comes from the suggestion that remixing can act as a form of cultural conversation and that the work of popular creators can act like a common medium or language. People want to remix famous pop stars because people will be more likely to appreciate the remix if they recognize the remixed track.
3. Projects that are remixes themselves are more generative. The reasoning for this final claim comes from the idea that remixing thrives through the accumulation of contributions from groups of people building on each other’s work. Read the rest of this entry »

Even before YouTube and Twitter, incidents like the videotaping and public release of Rodney King’s case of police brutality gave a glimpse of what is now a common occurrence with social media: increased visibility of major societal issues. Examples of such issues are racism and bullying that come to light via particular incidents that gain a lot of attention due to increased access to communication channels. These issues are not necessarily new but the ability for large numbers of people to track them and to collectively reflect and react to them has become more common and at a much faster response rate.

Countries like Mexico, where deep-seated classism and abuse of power are part of everyday life, are seeing these societal issues surface through social networks. For example, in 2011, one of the first incidents of this type emerged via a YouTube video.The video showed two seemingly intoxicated young upper class women in Polanco, a posh neighborhood of Mexico City, verbally abusing some police officers–insulting them by calling them “salary men”–while the officers did not do much to defend themselves. Had it not been Polanco or those women, the situation might have been very different for the average Mexican accustomed to police abuse and corruption. The video caused indignation on social media because it highlighted the classism and impunity that is rampant in Mexican society. The event got a lot of attention on Twitter and it became a popular trending topic under the hashtag #LadiesDePolanco. The use of the English word “ladies” was a clear commentary on classism. Upper class Mexican speech often tends to replace Spanish words for English ones (for example, expensive private schools often ask their students to refer to their teachers as “Miss” and “Mister”).

In 2012, another incident with the same features surfaced on social media. This time it was a YouTube video of a middle-aged man beating a concierge at an apartment building in yet another upscale neighborhood of Mexico City called “Las Lomas.” The incident was known as the #GentelmanDeLasLomas. The same year, the daughter of then presidential candidate, Peña Nieto, was involved in a similar incident after retweeting a friend’s message using the word “prole” (from proletariat and a commonly used epithet for poor people) to attack her father’s critics. The incident was perhaps the first major incident in Peña’s campaign.

This weekend yet another incident of this kind came out on social media. This time it involved the daughter of a government official in charge of consumer protection at the Attorney General’s office. Apparently, the young woman used her influence to have inspectors visit and close a restaurant after not having received the treatment she expected. The issue exploded in social media with the hashtag #LadyProfeco (Profeco is the name of the government office her father presides). The young woman and her father were publicly criticized on Twitter, receiving more than 12,000 and 15,000 messages, respectively, on a single day on Twitter. There were more than 42,000 tweets with the hashtag #LadyProfeco.

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You hear sirens blaring in your neighborhood and, naturally, you are curious about the cause of commotion. Your first reaction might be to turn on the local TV news or go online and check the local newspaper. Unfortunately, unless the issue is of significant importance, your initial search of these media will be probably be fruitless. But, if you turn to social media, you are likely to find other neighbors reporting relevant information, giving firsthand accounts, or, at the very least, wondering what is going on as well.

Social media allows people to quickly spread information and, in urban environments, its presence is ubiquitous. However, social media is also noisy, chaotic, and hard to understand for those unfamiliar with, for example, the intricacies of hashtags and social media lingo. It should be no surprise that, regardless of the popularity of social media, people are still using TV and newspapers as their main sources for local information, while social media is just beginning to emerge as a useful information source.  We created Whoo.ly to address this issue.

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A few weeks ago, while I was visiting a city in northern Mexico, I witnessed some of the drug-related violence people have been experiencing almost every day: several bodies were hung from a bridge and a number of shootouts were reported throughout in the city. As if that was not terrifying enough, I was not able to learn about those events through the news media. Instead, like many people in these cities, I learned about them on Twitter. Perhaps even more interesting was the fact that a handful of Twitter users, many of whom are anonymous, have emerged as civic media curators, individuals who aggregate and disseminate information from and to large numbers of people on social media, effectively crowdsourcing local news. We set to investigate this emergent phenomenon by looking at a large archive of Tweets associated with the Mexican Drug War and interviewing some of these new “war correspondents,” as one of them referred to herself.

Twitter message [edited] alerting citizens of drug-related violence.

Does collaboration result in higher quality creative works than individuals working alone? Is working in groups better for functional works like code than for creative works like art? Although these questions lie at the heart of conversations about collaborative production on the Internet and peer production, it can be hard to find research settings where you can compare across both individual and group work and across both code and art. We set out to tackle these questions in the context of a very large remixing community.

Example of a remix in the Scratch online community, and the project it is based off. The orange arrows indicate pieces which were present in the original and reused in the remix

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Here is my attempt at capturing some of the information I have read in Spanish on the apparent forced disappearance of Aleph Jiménez, a scientist at CICESE (one of the leading research centers in Mexico) and the spokesperson for the local branch of the #YoSoy132 activist movement. His disappearance is generating a lot of discussion on Mexican social media. For example, his name is currently one of Mexico’s trending topics on Twitter. A couple of things are particularly troublesome about the case:

1. Jiménez was arrested and released for being part of a protest on September 15. Two days later he and his fellow activists held a press conference denouncing police repression.
2. Subsequently, Jiménez reported being followed and fearing for his safety.
3. Apparently, the bodies of two of his colleagues at CICESE were found in the past few weeks, something that he interpreted as a warning. I was only able to find this news article about the apparent homicide of one of his colleagues on September 14.
4. In an interview, Aleph’s father mentioned that he feared the authorities are behind. Read the rest of this entry »

In collaboration with the MIT Center for Future Civic Media, Microsoft Research New England is hosting a discussion about the #YoSoy132 activist movement. Open to the public.

What: #YoSoy132: Mexico’s Networked Social Movement

When: Thursday September 20 at 5:00 PM

Where: Microsoft Conference Center (Barton Room) located at One Memorial Drive, First Floor, Cambridge, MA

Photo: (c) Omar Torres/AFP/Getty

Abstract

The role of social media in movements like the Arab Spring and Occupy Wall Street has been much discussed, and such “hashtagged” social movements continue to appear in multiple latitudes. The panelists will discuss the development of the #YoSoy132 movement, “I am 132″ in English, an ongoing student-led activist group that fights for democracy and against media bias in an apparent attempt to impose the next president of Mexico during the recent 2012 general election. The movement embodies the collision between centralized traditional media and distributed social media, and reveals the limitations of social media in reaching beyond those who are already networked. The panelists include a member of the #YoSoy132 and researchers investigating networked social movements. Read the rest of this entry »

Two sides of social production: crowdsourcing and remixing

Networked technologies have facilitated two forms of social production: remixing and crowdsourcing. Remixing has been typically associated with creative, expressive, and unconstrained work such as the creation of video mashups or funny image macros that we often see on social media websites. Crowdsourcing, on the other hand, has been associated with large-scale mechanical work, like labeling images or transcribing audio, performed as microtasks on services like Amazon Mechanical Turk. So the stereotype is that remixing is playful, creative, expressive, but undirected and often chaotic, while crowdsourcing is useful to achieve actual work but it is monotonous, and requires (small) financial incentives.

Crowdsoucing Creativity: “Mixsourcing”

The space between remixing and crowdsourcing has partially been explored. For example, one could argue that Wikipedia exists in a unique space in between these two ideas as it relies on some, albeit small, degree of human creativity, requires no financial incentives, and leverages large numbers of contributors who are encouraged to tweak one another’s submissions. However, Wikipedia’s texts are mainly functional, purposely devoid of any personal expressiveness, and constrained by the task at hand.

On the more creative end of the spectrum, artists have explored the use of crowdsourcing, such as the Johnny Cash Project and the Sheep Market, and researchers have evaluated the uses of creative crowdsourcing for design. We wondered then, if there is a way to create a generic platform to perform creative and artistic work in a more directed, crowdsourcing-like way, some kind of “bounded creativity,” which we called “mixsourcing.”

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Traditional workplaces spend a fair amount of effort mentoring and training their workforce as a way to increase the quality of their work and their job satisfaction. Does mentoring crowd workers also increase the quality of their work? How can one mentor the crowd workforce? These were the questions we tried to tackle this weekend at the Crowd Camp Workshop at CHI.

First we approached these questions by setting up a task that we thought people could improve through mentoring: slide design. We asked Mechnical Turkers to help us improve the design of a set of three slides (which we purposely created to look really ugly). We provided Turkers with a set of guidelines for well-designed slides that included tips on color, graphics, text, etc. We then gave each Turker a slide to improve.

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The group called Anonymous Hispano, the Spanish-speaking branch of the famous hacker collective, issued a statement a few weeks ago announcing that, despite their efforts, they “could not find any evidence of corruption” to incriminate the Mexican presidential candidate López Obrador.  The group prefaced their message by clarifying that they “do not have any partisan agenda and do not support any one” of the candidates. The message ended with an invitation to send them evidence of corruption. In a follow up tweet, they invited the public to submit evidence of corruption of any of the other candidates, suggesting specific hashtags for each of them.

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