The Experts below are selected from a list of 156786 Experts worldwide ranked by ideXlab platform
Sandy Pentland - One of the best experts on this subject based on the ideXlab platform.
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quantifying social influence in an online Cultural Market
PLOS ONE, 2012Co-Authors: Coco Krumme, Manuel Cebrian, Galen Pickard, Sandy PentlandAbstract:We revisit experimental data from an online Cultural Market in which 14,000 users interact to download songs, and develop a simple model that can explain seemingly complex outcomes. Our results suggest that individual behavior is characterized by a two-step process–the decision to sample and the decision to download a song. Contrary to conventional wisdom, social influence is material to the first step only. The model also identifies the role of placement in mediating social signals, and suggests that in this Market with anonymous feedback cues, social influence serves an informational rather than normative role.
Matthew J. Salganik - One of the best experts on this subject based on the ideXlab platform.
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leading the herd astray an experimental study of self fulfilling prophecies in an artificial Cultural Market
Social Psychology Quarterly, 2008Co-Authors: Matthew J. Salganik, Duncan J WattsAbstract:Individuals influence each others' decisions about Cultural products such as songs, books, and movies; but to what extent can the perception of success become a “self-fulfilling prophecy”? We have explored this question experimentally by artificially inverting the true popularity of songs in an online “music Market,” in which 12,207 participants listened to and downloaded songs by unknown bands. We found that most songs experienced self-ful- filling prophecies, in which perceived—but initially false—popularity became real over time. We also found, however, that the inversion was not self-fulfilling for the Market as a whole, in part because the very best songs recovered their popularity in the long run. Moreover, the distortion of Market information reduced the correlation between appeal and popularity, and led to fewer overall downloads. These results, although partial and speculative, suggest a new approach to the study of Cultural Markets, and indicate the potential of web-based experiments to explore ...
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Experimental study of inequality and unpredictability in an artificial Cultural Market
Science, 2006Co-Authors: Matthew J. Salganik, Peter Sheridan DoddsAbstract:Hit songs, books, and movies are many times more successful than average, suggesting that "the best" alternatives are qualitatively different from "the rest"; yet experts routinely fail to predict which products will succeed. We investigated this paradox experimentally, by creating an artificial "music Market" in which 14,341 participants downloaded previously unknown songs either with or without knowledge of previous participants' choices. Increasing the strength of social influence increased both inequality and unpredictability of success. Success was also only partly determined by quality: The best songs rarely did poorly, and the worst rarely did well, but any other result was possible.
Coco Krumme - One of the best experts on this subject based on the ideXlab platform.
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quantifying social influence in an online Cultural Market
PLOS ONE, 2012Co-Authors: Coco Krumme, Manuel Cebrian, Galen Pickard, Sandy PentlandAbstract:We revisit experimental data from an online Cultural Market in which 14,000 users interact to download songs, and develop a simple model that can explain seemingly complex outcomes. Our results suggest that individual behavior is characterized by a two-step process–the decision to sample and the decision to download a song. Contrary to conventional wisdom, social influence is material to the first step only. The model also identifies the role of placement in mediating social signals, and suggests that in this Market with anonymous feedback cues, social influence serves an informational rather than normative role.
Gaalen T. Van - One of the best experts on this subject based on the ideXlab platform.
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‘Give us a million dollars!’ Hip hop’s integration of commercialism and counterCulturalism as a break in the structures of Cultural consumption
2019Co-Authors: Gaalen T. VanAbstract:This thesis addresses a central question posed by the popularity of hip hop. Hip hop, which integrates both explicit counterCulturalism and commercialism, does not fit the dominant ‘counterCultural idea’ as described by Cultural historian Thomas Frank. According to Frank, the ‘counterCultural idea’ is the implication of a dichotomous distinction between authentic, free countercultures and the grey, commercial mainstream. This assumption, argues Frank, has formed the foundation of Cultural consumption in the second half of the 20th century. As such, a Culturally dominant genre such as hip hop’s rejection of the ‘counterCultural idea’ implies a break with the dominant structure of Cultural consumption. To understand hip hop’s integration of commercialism and counterCulturalism, this thesis explores an alternative theoretical framework based on a suggested new structure of Cultural consumption, the structure of ‘omnivorous’ consumption. This structure is defined by an increasingly individual approach to culture, resulting in the demise of traditional countercultures, as well as a more open, ‘cherrypicking’ approach to Cultural consumption. This theoretical framework is applied to source material from the New York hip hop scene around 1980-1990, the period hip hop rose to mainstream popularity in the USA. This leads to several conclusions. Firstly, hip hop combined counterCulturalism with commercialism early on. Whereas earlier African American genres such as jazz and rock ‘n’ roll also showcased a similar integration, and as such, a break with the ‘counterCultural idea’, hip hop’s business-focused approach functioned well within the increasingly neoliberal Cultural Market of New York in the early 1980s, thus resulting in a large, black-owned hip hop business. Jazz and rock ‘n’ roll, on the other hand, initially showcased a similar approach but were filtered through the ‘counterCultural idea’ when white record labels and artists popularized the genre. Secondly, hip hop’s success can be explained by a substantial white middle class that consumed hip hop early on without strictly adhering to hip hop culture. This suggests the rise of the ‘omnivorous’ consumer. As such, this thesis concludes that hip hop’s rise in popularity coincides with the rise of a new structure of Cultural consumption that allows for its integration of counterCulturalism and commercialism
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‘Give us a million dollars!’ Hip hop’s integration of commercialism and counterCulturalism as a break in the structures of Cultural consumption
2019Co-Authors: Gaalen T. VanAbstract:This thesis addresses a central question posed by the popularity of hip hop. Hip hop, which integrates both explicit counterCulturalism and commercialism, does not fit the dominant ‘counterCultural idea’ as described by Cultural historian Thomas Frank. According to Frank, the ‘counterCultural idea’ is the im-plication of a dichotomous distinction between authentic, free countercultures and the grey, commercial mainstream. This assumption, argues Frank, has formed the foundation of Cultural consumption in the second half of the 20th century. As such, a Culturally dominant genre such as hip hop’s rejection of the ‘counterCultural idea’ implies a break with the dominant structure of Cultural consumption. To understand hip hop’s integration of commercialism and counterCulturalism, this thesis explores an alternative theoretical framework based on a suggested new structure of Cultural consumption, the structure of ‘omnivorous’ consumption. This structure is defined by an increasingly individual approach to culture, resulting in the demise of traditional countercultures, as well as a more open, ‘cherry-picking’ approach to Cultural consumption. This theoretical framework is applied to source material from the New York hip hop scene around 1980-1990, the period hip hop rose to mainstream popularity in the USA. This leads to several conclusions. Firstly, hip hop combined counterCulturalism with commercialism early on. Whereas earlier African American genres such as jazz and rock ‘n’ roll also showcased a similar integration, and as such, a break with the ‘counterCultural idea’, hip hop’s business-focused approach functioned well within the increasingly neoliberal Cultural Market of New York in the early 1980s, thus resulting in a large, black-owned hip hop business. Jazz and rock ‘n’ roll, on the other hand, initially showcased a similar approach but were filtered through the ‘counterCultural idea’ when white record labels and artists popularized the genre. Secondly, hip hop’s success can be explained by a substantial white middle class that consumed hip hop early on without strictly adhering to hip hop culture. This suggests the rise of the ‘omnivorous’ consumer. As such, this thesis concludes that hip hop’s rise in popularity coincides with the rise of a new structure of Cultural consumption that allows for its integration of counterCulturalism and commercialism
Manuel Cebrian - One of the best experts on this subject based on the ideXlab platform.
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quantifying social influence in an online Cultural Market
PLOS ONE, 2012Co-Authors: Coco Krumme, Manuel Cebrian, Galen Pickard, Sandy PentlandAbstract:We revisit experimental data from an online Cultural Market in which 14,000 users interact to download songs, and develop a simple model that can explain seemingly complex outcomes. Our results suggest that individual behavior is characterized by a two-step process–the decision to sample and the decision to download a song. Contrary to conventional wisdom, social influence is material to the first step only. The model also identifies the role of placement in mediating social signals, and suggests that in this Market with anonymous feedback cues, social influence serves an informational rather than normative role.