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Bill Wolff

Bill Wolff's Public Library

  • display, distribute or otherwise make available Content to any person or entity that you reasonably believe will use such data to violate the Universal Declaration of Human Rights (located at, including without limitation Articles 12, 18, or 19. Any law enforcement personnel seeking information about Twitter users will be referred to Twitter’s Guidelines for Law Enforcement located at You will not conduct and your Services will not provide analyses or research that isolates a small group of individuals or any single individual for any unlawful or discriminatory purposes. Exemptions to these restrictions may be requested for exigent circumstances and are subject to prior written approval from Twitter.
  • Republish Content accessed by means other than via the Twitter API or Twitter other tools

  • in which an individual can reasonably expect that no observation or recording is taking place, and information which has been provided for specific purposes by an individual and which the individual can reasonably expect will not be made public (for example, a medical record)
  • While the US definition as referenced above would consider research human subjects research if personally identifiable information is collected, many big data sets are exempted from IRB review and consent is not necessary.

  • was audience,
  • It is our task--our essential, central, crucial task--to transform ourselves from mere social creatures into community creatures. It is the only way that human evolution will be able to proceed.
  • the way my virtual community has infiltrated our real world

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  • "The one question that we had," Serling offers, speaking for many fans, "was why now? We spoke to you five years ago. What changed? It was Bruce looking at YouTube and seeing fan-generated content from his recent shows, as well as archival stuff. And he was like, 'We can do better than this. We own the masters!' What's great is, he wasn't saying, 'Fuck those guys. Take that stuff down. Screw YouTube.' It was, 'If this is happening, we should be doing it officially.'"
  • There's an "open loop" with the fans, Serling says, and the feedback, good and bad, is having an impact.

  • "Scroll montage" is a form of multiple-screen montage developed specifically for the moving image in an internet browser.

  • The role of music in eliciting suspense in narrative is well-known. Certain film scenes would be much less interesting and suspenseful if there were no music accompanying them. As an example of this, we can mention a scene in Hitchcock’s film “Psycho” [17], where Janet Leigh is driving fast to escape the city, glancing regularly in her rear-view mirror. Seeing this scene with and without music produces very different effects. We believe that the music both triggers and signals a feeling of tension and anxiety. The spectator is affected by the mood of the music, but also interprets the presence of this music as a signal on the part of the film director that some highly significant and possibly dangerous event is imminent. This in turn heightens the attentiveness of the spectator to every small detail that might announce this event, and perhaps also makes the spectator imagine more vividly the different possibilities of what might happen.
  • Music can have the function of signalling i) either that something is about to happen (imminence), or ii) that something is not what it seems (missing information). It achieves these goals often by using its own musical suspense techniques. In Western culture, there are a certain number of musical ‘suspense signalling clichés’ which have been established, such as: diminished chords, tremolo passages, sudden variations in volume and so on. In music theory, these constructions are analysed as having high instability, or unpredictability, and this feature is perhaps important in their evocation of suspense.
  • Another feature which can sometimes intensify suspense is musical silence (see a recent analysis by Fink of music in Hitchcock films [14]). Silence may work by creating a type of musical ‘plot lull’, a kind of emptied acoustic space which (perhaps metaphorically) triggers the expectation that something will fill the space and that a sudden change may be imminent. Plot lulls are one of the features we observed during the exploratory phase of this research (see 4.1<!--tex4ht:ref: plotlulls -->). <!--l. 295-->

    So, suspense in narrative can clearly depend also on extra-narrative features like music. However, the media-specific contributions to suspense that such features make will not however be our concern here.      

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