Linguists Not Exactly Wow About Facebook’s New Reactions | WIRED

Linguists Not Exactly Wow About Facebook’s New Reactions | WIRED

WHEN MY 4-MONTH-OLD son is angry he turns bright red. When he finds something funny, he makes an alarming gurgling sound. When something surprises him, he says “Ah!”

You know: Like Facebook.

The introduction of Reactions, a set of five new “graphicons” with assigned textual meanings, probably isn’t supposed to be infantilizing. The social network just wants people to do more than “Like” someone else’s post. The new kids: Love, Sad, Angry, Wow, and Haha.

What do those words have in common? Not a lot, actually. To a grammar purist, that’s annoying. “These words are in radically different categories,” says Geoff Pullum, a linguist at the University of Edinburgh and contributor to the blog Language Log. “It looks like syntax is being thrown out the window here and being replaced by grunts like animals would make.”

Syntax, as you might remember, is the organization of words into sentences. By way of counter-example, syntactic conventions are what Internet meme languages like Dogespeak or Lolcats abuse. When you are sad because Monday, you are contravening the syntax of standard English. Much disappoint.

The Reaction words, though, have different syntactic uses. “Love” is either a noun or verb, depending on how you read it; “Sad” and “Angry” are adjectives; and “Wow” is an interjection, expressing astonishment. Pullum considers “Haha” to also be an interjection, expressing amusement, but Susan Herring, a linguist at Indiana University who studies language on social media, sees it as a non-speech sound.
Pullum and Herring agree, though, that the syntax of the new Facebook Reactions makes no sense. When Facebook asks you to respond to a status with that set of six words, it’s actually asking your brain to do something that’s slightly complicated: to fill in an implied sentence, or to “predicate” it. Programmatic linguists call this “inferencing.” The problem is, because these words are not the same category of speech, they require different predicates.

If you click “Love,” your brain must autocomplete the implied phrase “I love this.” Fine; just like “Like.” So far so good. But things get weirder with the adjectives. If you choose “Sad” or “Angry,” it’s not “I sad this” or “I angry this.” It’s “This makes me angry,” or “This makes me sad.” Makes sense! But the mental gymnastics of tweaking this supplied context aren’t easy.

For “Wow” and “Haha,” the problem is different. Both actually stand on their own outside of a sentence, so your brain doesn’t need to infer any predicate at all. Which is nice! But also inconsistent!

If those inconsistencies bother you, you may in fact have a disorder called “grammar purism.” Sufferers of GP have been known to correct mistakes on dinner menus and chew their cheeks in an effort not to correct their friend who always says “I have drank way too much tonight!” GP has no cure, but some sufferers find poetry or Winston Churchill quotes soothing.

“It’s a little bit perturbing that they are not the same parts of speech,” Herring says. But she doesn’t just talk about talking; she does something about it. As a thought experiment, Herring tried to rationalize the Reactions.

First she tried to make them all verbs. It didn’t work. You can say, “I love,” or “I laugh,” but as soon as you get to “I anger,” you’re doomed, because in that construction anger takes an object—“I anger the cat (by never letting it catch the laser pointer).”

Next Herring tried adjectives, where the predicate is “I am.” It was just as bad. “I’m sad” and “I’m angry,” are good, but for Love you’d need to say “I’m pleased” or “I’m delighted,” and that’s not the same emotion, really, at all. Not to mention how stilted “I’m amused” or “I’m surprised” would be for Wow and Haha. Nouns work better, and are reminiscent of that Internet tradition of spelling out the actions that emoji or emoticons are describing. Love could stay the same, but Sad would become Frown, Angry would become Scowl, Haha would become Laugh, Wow would become, perhaps, Gasp.

This gets closer to what Pullum says is the true nature of Facebook Reactions. “The happy face is like a squeal of delight; the sad face is like a sort of ‘humph’ of displeasure; the ‘wow’ face is like a widening of the eyes and opening of the mouth; the ‘haha’ is like giggling,” he says. “The emoji are all really just the equivalent of noises or gestures for directly expressing internal states. What is not being called upon here is the grammar and meaning that differentiate us humans from the other animals.”

None of this would matter to GP sufferers if Facebook hadn’t assigned each reaction a textual meaning. Unlike regular emoji and emoticons, which are purely graphical, Facebook chose to label each Reaction with a word, eliminating the ambiguity that makes emoji so great. This way, you don’t wonder if, say, the face with the open mouth is expressing fear or shock. “Once they decide to provide text, they back themselves into a corner, syntactically,” Herring says.

 

Going Silo-Private to Prefer the IndieWeb, Leave Silo Publics, and Pioneer Privacy on the Independent Web – Tantek

Going Silo-Private to Prefer the IndieWeb, Leave Silo Publics, and Pioneer Privacy on the Independent Web – Tantek

I changed my silo (social media) profiles to private today to:

  1. Take an incremental step toward outright leaving silos, as others have:
  2. Treat Instagram in particular as primarily a means to the ends of processing/posting photos and videos on my own site.
    • Though I continue to admire (and document) their “reading” user experience: how much more focused, primarily positive (perhaps choice of followings), and just overall pleasant it is to follow posts from people on Instagram.
  3. To be an indieweb canary. Many of the tools and services we have built in the IndieWebCamp.com community are designed for public posts and interactions, including with silos. I changed my silo profiles to private, or to make private posts by default, e.g. Instagram, Twitter, Facebook, Google+, Flickr and documented how to do so here:
  4. To learn firsthand what the challenges are, both user experience and technical, e.g.
    • How do people interact with private POSSE (syndicated) copies of public indieweb original posts?
    • What are the personal challenges of understanding the different publics of mixed private silo vs public indieweb posts?
  5. To start better understanding existing private account and privacy user experiences & expectations, and documenting them to accelerate indieweb “best of the best” privacy & private publishing design.

In that last respect, this is just one of many private vs. public experiments I will be conducting, including with my own website and posts, to gain real world experience of the privacy design challenges and opportunities for individual or small group independent web sites, inspired but not burdened by existing silo designs.

Starting in 2010-2011 we the IndieWeb community pioneered and documented details and best practices of how to POSSE (Publish on your Own Site, Syndicate Elsewhere) by doing so live on our own sites to various silos like Twitter.

By 2015, POSSE had grown far beyond the indieweb community and became an accepted open independent web practice, with many others reconceptulaizing or redeveloping it, e.g. POSSE to Medium by “Creating Medium stories via RSS”.

It’s now 2016, and just as 2010 felt like the right time to develop and show POSSE (and outdo silos at & with it), now feels like the right time for those of us with our own indieweb sites to take steps with those sites to pioneer, develop, document, and show how the independent web can do better at private accounts & posts, improving upon silos both technically, and more importantly, with better user experiences.

The Useless Agony of Going Offline – The New Yorker

The Useless Agony of Going Offline – The New Yorker

Levy writes that when we choose to cast aside “the devices and apps we use regularly, it should hardly be surprising if we miss them, even long for them at times.” But what I felt was more general. I didn’t miss my smartphone, or the goofy watch I own that vibrates when I receive an e-mail and lets me send text messages by speaking into it. I didn’t miss Twitter’s little heart-shaped icons. I missed learning about new things.

it became clear to me that, when I’m using my phone or surfing the Internet, I am almost always learning something. I’m using Google to find out what types of plastic bottles are the worst for human health, or determining the home town of a certain actor, or looking up some N.B.A. player’s college stats. I’m trying to find out how many people work at Tesla, or getting the address for that brunch place, or checking out how in the world Sacramento came to be the capital of California.

What I’m learning may not always be of great social value, but I’m at least gaining some new knowledge—by using devices in ways that, sure, also distract me from maintaining a singular focus on any one thing. I still read deeply, and study things closely, and get lost for hours at a time in sprawling, complicated pieces of literature.

Gnolia – Wikipedia, the free encyclopedia

Gnolia – Wikipedia, the free encyclopedia

Gnolia, named Ma.gnolia until 2009, was a social bookmarking web site with an emphasis on design, social features, and open standards. It is now perhaps most notable for losing members’ bookmarks in a widely reported[2][3][4][5][6] data loss incident in January 2009. It relaunched as a smaller service several months later and was ultimately shut down at the end of 2010.

Users could rate bookmarks and mark bookmarks as private. Unlike its main competitor[7] Delicious, Ma.gnolia stored snapshots of bookmarked web pages. One feature that distinguished it from other similar web sites was the group feature, which allowed several users to share a common collection of bookmarks, managed by a selected number of group managers.

The design of the web site allowed for integration of the service into other applications via both a REST API and an API similar to the Delicious API.

Ma.gnolia Suffers Major Data Loss, Site Taken Offline | WIRED

Source: Ma.gnolia Suffers Major Data Loss, Site Taken Offline | WIRED

There was a meltdown at bookmark sharing website Ma.gnolia Friday morning. The service lost both its primary store of user data, as well as its backup. The site has been taken offline while the team tries to reconstruct its databases, though some users may never see their stored bookmarks again.

The failure appears to be catastrophic. The company can’t say to what extent it will be able to restore any of its users’ data. It also says the data failure was so extensive, repairing the loss will take “days, not hours.”

In light of today’s outage, many are questioning the reliability of web apps and web-based storage in general. Twitter in particular is full of users venting their suspicions.

Cloud computing becomes fog when it goes down,” says Todd Spragins in a Twitter post.

Another common thread: People are talking about bailing on Ma.gnolia in favor of competitor Delicious.

Ma.gnolia posted a short note on its website shortly after 9 a.m. Pacific time, saying it was down temporarily due to a database failure. Later Friday morning, company founder Larry Halff issued an apology on the homepage along with the following note:

Ma.gnolia experienced every web service’s worst nightmare: data corruption and loss. For Ma.gnolia, this means that the service is offline and members’ bookmarks are unavailable, both through the website itself and the API. As I evaluate recovery options, I can’t provide a certain timeline or prognosis as to to when or to what degree
Ma.gnolia or your bookmarks will return; only that this process will take days, not hours.

Wired.com also contacted Halff shortly after the outage was first reported, but he declined to give a comment beyond what he posted on the homepage. You can get status updates from Ma.gnolia’s Twitter account.

Ma.gnolia is a free, public service for saving links to websites. Most users rely on it as a bookmarking storage service, or a place to save links that they may want to revisit later. Links can be saved privately or shared publicly, so that they can be browsed by other users looking for new destinations. Many people prefer to use bookmark sharing services like Ma.gnolia rather than saving bookmarks locally — the main advantage being that while your browser’s bookmarks are stored on your machine, you can access bookmarks you share on the web from any computer with an internet connection.

Ma.gnolia’s main competitor is Delicious.com, which is owned by Yahoo. Ma.gnolia is preferred by many of the web’s tech elite for two reasons: The site has a robust and easy-to-use API for accessing stored data, and it takes a snapshot when you create a bookmark, so even if the linked site disappears, Ma.gnolia enables you to access a cached version.

Last year, Ma.gnolia mirrored its API with that of Delicious, so any web tools written for Delicious could also be used for Ma.gnolia. The API also makes it easy to create a regular local backup, though we suspect most people haven’t bothered to do that.

The Curse of Storage

The Curse of Storage

Our ever-growing collections of information and objects can lead to thoroughly modern crises that echo the past. Commentary by Momus.

I’ve been thinking about the parallel between object storage and information storage — apartments and computers — ever since visiting an interesting exhibition at London’s Barbican last month.

Future City looks at experiment and utopia in architecture over the last 50 years. I was particularly impressed by a quote from Japanese metabolist architect Kiyonori Kikutake. “A Japanese room is determined by information,” Kikutake was quoted as saying, “whereas a Western room relies on objects.”

I thought immediately of Kyoichi Tsuzuki’s photographs of Tokyo apartments. These tiny places (I lived in one myself for a year) tend to consist of an empty living space — typically a tatami-covered floor — surrounded by densely packed information-storage systems.

The information “saved” to these spaces might be clothes, records, knickknacks, magazines, toys — the obsessively collected, meticulously arranged, somewhat pointless “hard copy” of countless shopping trips. The tatami-and-futon floor space, meanwhile, is where processing happens.

There, the room’s occupant does his living, eating, loving, sleeping, thinking. This is the room’s RAM, its processor, where the present moment is all. Here the timeline of human attention scans through a book, a manga, a magazine or website, one page at a time.

Never one to pass up an opportunity to think of my lifestyle as Japanese rather than Western, I decided there and then to create a “Japanese” apartment in Berlin, a place devoted to information and the storage of information. My new apartment, after all, was on the small side. I’d have to resort to Japanese tricks and a Japanese sensibility to make it work. I had in mind not just Tsuzuki’s photographs of stashed Tokyo pads, but also a lovely book I have (it’s in a box somewhere) of photographs of Japanese writers’ rooms.
Continue reading “The Curse of Storage”

Blogging like it’s 1999

Blogging like it’s 1999

I get ideas that are paragraph length. #

I don’t want to try to save them in Facebook. #

They don’t fit in Twitter.#

But each of these systems has a certain gravity, they pull ideas into them. #

Can my ideas have an existence outside of Twitter and Facebook?#

My blog had more features, worked better for me, in 1999. #

In the last ten years I’ve had to pull features out of my blogging system, instead of making it better, it lost functionality.#

So in a way, my “better blogging system” would just be what I already had working 15 years ago.#

I keep remembering that, between Google Reader and its limits (items must have titles), and Twitter with its limits (only 140 chars, no titles, one link, no styling), same with Facebook (no links or styling) that my online writing has diminished dramatically, conforming to the contradictory limits of each of these systems. #

I keep working on this, still am. Every day. 🙂 #