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sidonius5 · 11 months

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#Born Yesterday (1950)#Romance/Drama #Judy Holliday ✝︎#William Holden ✝︎#Broderick Crawford ✝︎#Frank Otto ✝︎#Howard St. John ✝︎#Claire Carleton ✝︎#Dave Pardoll ✝︎#Barbara Brown ✝︎#Grandon Rhodes ✝︎#Smoki Whitfield ✝︎

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lindaseccaspina · 1 year

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People of Almonte -- Past Clippings of Claire Heslop

CLIPPED FROMRed Deer AdvocateRed Deer, Alberta, Canada25 May 1998, Mon • Page 15 TORONTO Science whiz-kids Adam Bly of Montreal and Claire Hes-lop of Almonte, Ont., have found they have a lot in common since meeting recently in Texas. They share the same birthday both turned 17 on May 13 and like to hang out in science laboratories in their spare time, after school and on weekends. Its turned…

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#almonte #Carleton-Place #Claire Heslop #doctors #genealogy #Heslop #History #Lanark-County #Mississippi mills #ontario #people

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awellreadmannequin · 8 months

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Cultural Bias, Content Creation, and Web Design

Or: Claire watched some YouTube videos and needs to yell about them

A few months ago, I watched this video by answer in progress (henceforth, aip). It presents an argument that the Japanese internet looks different in some relevant way to the English internet due to a difference in how web design evolved relative to technology. Specifically, the Japanese web wasn’t designed for modern touch screen devices. I thought it was neat and moved on with my life, mostly content to not critically engage with the subject due to my lack of experience on the Japanese web. This morning, I watched a response to the video by a content creator named Cynthia Zhou which argued that aip’s video didn’t adequately discuss relevant cultural differences in cognition between Easterners and Westerners. Then, due to the divine intervention of the algorithm gods, I was served this video by 犬飼ゆい (Inukai Yui). In it, they argue that both answer in progress and Zhou are wrong because they’ve made an initial error in their assumptions about what the Japanese internet actually looks like. Their argument is persuasive. After poking fun of Amazon Web Services cluttered UX nightmare of a site, they tour us around a Chinese news website and Japanese art sharing platform Pixiv, both of which are cleanly designed and easy to read. This got me thinking about how this strange sequence of videos came to exist.

So let’s start with aip’s assumption about what the Japanese internet looks like.

Here’s Japanese language Wikipedia’s home page:

Looks pretty standard from my point of view. Large text boxes section off different articles while pictures are naturally interspersed through out. Clean, visually appealing, and not dissimilar to the Wikipedia I’m familiar with. If anything, the text itself is larger than I’d reasonably expect for English language Wikipedia. That’s it really.

Okay, but Wikipedia has a standardized design language. Let’s try something more localized. Here’s the Waseda University’s homepage:

Again, we see a clean, familiar design language. The large image in the centre displaying the campus is balanced by a series of menu bars. It seems a little strange that there’s seemingly two perpendicular sets of menu bars, but that’s fine. They’re for separate kinds of thing, so nbd. So let’s get something to compare it to. Here’s the homepage for my university:

Fewer menu bars— wait. What’s that?

Is that… is that three menu bars? Crammed into one menu bar? No… wtf, Carleton? Suddenly, Waseda’s perpendicular menu bars make sense. More information is immediately available to the viewer and different kinds of information are sectioned off from one another. Okay, so far what have we learned? Well, so far it looks like the Japanese and English internets aren’t that different. This is only a selection of three (four if you include EngLang Wikipedia) and the internet is a big place. So let’s look at a non representative sample of Japanese websites really quickly:

Here’s the NHK homepage. This is Japan’s national broadcaster.

Here’s the homepage for the All Japan Rally Championship. This website doesn’t even have an English language version, so this is raw, uncut Japanese web design.

This is the homepage of Game8’s Japanese Genshin Impact wiki (in case that wasn’t obvious). I use Game8’s English Genshin wiki all the time because I’m a baby who can’t find stuff like the oculi.

Now, let’s contrast with some English Language equivalent sites:

Top to Bottom, Left to Right: The Canadian Broadcasting Corporation, Canadian Rally Championship, and Game8 again, but worse and with a more dated banner graphic

I’m no expert, but it sure feels like the English language websites here are kinda… worse looking? Not much, mind you, just a bit less tidy. The CRC website is especially hard on the eyes, in my humble opinion, but it still hits the same major beats as the JRCA one. You’ve got a sick picture of a rally car hitting a jump as the thumbnail to an article, you’ve got a brand up there, you’ve got a big red logo in the left hand corner. It’s, you know, rally stuff (apologies for all of you who do not understand the phrase ‘rally stuff’). So right off the bat, it feels like Inukai has a solid point to make. These are emblematic of sites that I would visit fairly regularly as a Japanese web user and they look basically the same as their Canadian equivalents, if not cleaner. aip’s assumption about the Japanese internet sure looks like just that now: an assumption. More over, Zhou’s argument that there are differences in how East Asians and Westerners process information doesn’t seem to hold much water either, at least as far as web design is concerned. To really drive home the point, check out these three websites:

Top to Bottom, Left to Right: Japanese Rail Toukai, Via Rail (barfing emoji), and Deutsche Bahn (the German national railway)

God damn, these look copy pasted. Except Via, which has pop ups all over it for some reason. Get your shit together, Via Rail. So, if we take the DB website as a proxy for the German language internet (yes, yes, I know, this methodology is bad), we get the sense that there is a sort of translingual design ethos that tends towards clean, easy to read, and easy to navigate websites. So this begs the question, why did aip and Zhou both seem to think that the Japanese internet looks radically different?

Psyche!

I actually don’t care. What I’m actually interested in is the reason this content exists and why aip and Zhou have 4.4 million and 700 thousand views on their respective videos while Inukai’s is hovering around 2000 thousand. I think the reason is actually fairly obvious. Beyond the noticable differences in production quality between when aip and Zhou’s videos compared to Inukai’s, what’s intriguing here is the narrative for sale. The premise of Inukai’s video (other than the first two videos being stupid and made by idiots, which is more or less his sentiment) is that there aren’t really that many differences in web design across the cultural divide. Japanese websites can be uncluttered and concise while English ones can be cluttered and had to navigate. By contrast, aip and Zhou offer up the idea that Japan (and East Asia by extension), it’s people, it’s technology, and it’s culture are relevantly different from the West.

This narrative sells well to Europeans and their intellectual descendants in North America. It literally always has. From the adventures of Marco Polo, to the impressionists’ obsession with Japanese aesthetics, to weeb culture today, we love to look East and go, “Oh wow, they’re so different and cool, I want to be like that.”

So of course, narratives about how mysterious and inscrutable the Orient is will sell well. And I do mean sell. aip and Zhou undoubtably made money either directly or indirectly off of how popular their videos are. And while I don’t really care for Inukai’s flippant attitude, I think they make a good point when they say something to the effect of, ‘check that something is true before you try to explain it.’ Having now done some cursory checking, I’m left with the distinct impression that, like, I’ve been swindled? aip and Zhou made interesting and engaging videos that lay at an intersection of things I’m interested in — Japanese culture and aesthetics, technology, and cultural anthropology — and I gave them my attention.

Being charitable, I would guess that they let their presuppositions carry them too far into the process of research and argument without actually, you know, checking. aip even used an AI to scrape the web and sort the data and, well, AI’s are kinda bad at, like, anything subjective. Zhou’s video is a bit more insidious to me because of it’s reliance on ‘cultural psychology’ a phrase that anyone with an even passing knowledge of early 20th century history should be suspicious of. And her arguments themselves don’t give me much confidence that ‘cultural psychology’ is just intellectually laundered race science.

The distinction she draws between ‘holistic’ East Asians and ‘analytical’ Europeans sure does sound like something that would have some rather disreputable German and Japanese politicians and propagandists from the thirties nodding along eagerly. Worse still, I think she’s actually hit on something that contains a nugget of truth: there is a difference between how East Asians and Euro-Americans express and interpret information. But it’s not psychological, it’s linguistic.

In his paper “Objects and Events: linguistic and philosophical notions of ‘thingness,’” author Rein Raud argues that languages can be roughly divided between object biasing languages and event biasing ones. This is to say that grammatically and philosophically, some languages are more interested in the actors while others are more interested in the actions being preformed.

In my admitted limited experience with the Japanese language, I would contend that it is particularly event biasing. Subjects are regularly omitted from sentences in favour of focusing on the actions they are subject to. Adjectives stand alone in sentences without verbs, lending a sense that the quality described is the focal point of the thought. In a sense, it acts upon the thing which it defines. Anything — fucking anything, I’m not even kidding — can be an adverb. The language is heavily context sensitive as it lacks a proper future tense as well as grammatical number. Japanese doesn’t have plurals, at least not like we do in English. Further, the past tense is actually a complete tense. It refers to the state of completion of an action not it’s temporal locality. Thus, it functions like a past tense when contextually relevant, but it is also employed in situations were a present action is completed. Finally, the sentence structure is quite fluid such that object and subject can swap places as the speaker feels is appropriate so long as they are properly demarcated with particles. Verbs as well as adjectives if they are the focal point of the sentence, do not move. They anchor the thought, always sitting in the final position.

This linguistic feature of Japanese (and some other East Asian languages) seems liable to produce the kinds of behaviours that Zhou attributes to psychology. Language shapes the ways in which we interact with information as it is the medium through which it is often rendered intelligible to us. If my hunch is correct, by controlling for language, studies on non-linguistic approaches to learning and expressing information are likely to produce more similar results cross culturally. This would also explain why the non-linguistic aspects of web-design actually do seem to accord with one another.

Now, I don’t want to suggest that culture is completely irrelevant to how we move through the social world. Rather, I’m arguing that culture is simply one of many layers through which information gets filtered as it moves through the complex web of social relations that form a society. Language and culture form an important epistemic nexus, but I’m skeptical that it they do so psychologically. Rather, my feeling is that they act on us at the interpersonal not intrapersonal level.

I plan on expanding on this argument and on Raud’s paper more generally at some point in the future. I think that there are important insights from feminist relational theory that could further illuminate why I’m so skeptical of ‘cultural psychology’ as a discipline.

Also, I’m so sorry that this post isn’t about girls kissing. I promise, the next stupidly long thing I write will focus on something yuri related (I’ve got some ideas that I’m kicking around, they just aren’t ready yet).

#claire thoughts #uh #yeah #no clue how else to tag this

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sterlingheightshvactyphoon · 1 year

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greatdarkwonder · 2 years

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Snappy Singles: September Sampler

n this month's #SnappySingles, Martin brings us songs from Aysanabee, Alexandra Babiak, Carleton Stone, and Long Range Hustle (featuring Claire Kelly).

We’ve bid farewell to August, and we’ve made it through the Labor Day weekend (Labour Day up north). This only means one thing – we’re wishing summer farewell and bracing for the arrival of autumn. But fear not, if you find yourself not quite ready to deal with seasonal transitions again so soon, we’ve got four fabulous singles to share here today that will lift your spirits. Whether you long…

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#Alexandra Babiak #Aysanabee #Carleton Stone #Long Range Hustle

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twittercomfrnklin2001-blog · 2 years

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Witness to Murder

A B movie with A-list talent, Roy Rowland’s WITNESS TO MURDER (1954) keeps snatching artistry from the jaws of mediocrity. Intended to beat Alfred Hitchcock’s REAR WINDOW (1954) to the punch, which it did by about a month, the film stars Barbara Stanwyck as a single working woman who reports a murder she witnessed through the window of an apartment across from hers. The killer (George Sanders) not only hides his crime but also sets out to discredit Stanwyck as an hysterical female. The plotting is weird. There would be more suspense were Sanders’ guilt not established in the first few minutes. That way you’d be left to wonder if Stanwyck really were imagining everything and even writing Sanders threatening letters without realizing it. Yet, what the film loses in suspense it makes up for in point of view. The ease with which everybody, even the detective (Gary Merrill) who’s fallen for Stanwick, discredits her story points to the status of women in the patriarchal 1950s (and too many other decades). At one point, Sanders has her sent to a city hospital’s mental ward for observation, where her understandable panic when caught between two fighting inmates leads to her being drugged. Stanwyck and Sanders strike sparks off each other like the two old pros they are, and their closeups are little wonders unto themselves, essays in sharing thought with the camera. Rowland’s direction in the daytime scenes is flat and uninspired. But when the lights go down, the artistry comes out, thanks largely to one of the best film noir cameramen in the business, John Alton. The nighttime mental ward is a particularly fine set piece, with creeping shadows, overhead shots and one very effective use of medicine cabinet cam. That scene also features some beautiful bits by Adeline De Walt Reynolds as an elderly woman with dementia (another comment on ‘50s failings), Claire Carleton as a woman with sexual delusions, Helen Kleeb as the resident Nurse Ratchet and Juanita Moore as a woman compulsively singing the blues. Look quickly later, and you’ll also catch Claude Akins as a police officer.

#film noir #barbara stanwyck

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