Web-archiving and social media: an exploratory analysis: Call for papers digital humanities and web archives - A special issue of international journal of digital humanities.

The archived web provides an important footprint of the past, documenting online social behaviour through social media, and news through media outlets websites and government sites. Consequently, web archiving is increasingly gaining attention of heritage institutions, academics and policy makers. The importance of web archives as data resources for (digital) scholars has been acknowledged for investigating the past. Still, heritage institutions and academics struggle to 'keep up to pace' with the fast evolving changes of the World Wide Web and with the changing habits and practices of internet users. While a number of national institutions have set up a national framework to archive 'regular' web pages, social media archiving (SMA) is still in its infancy with various countries starting up pilot archiving projects. SMA is not without challenges; the sheer volume of social media content, the lack of technical standards for capturing or storing social media data and social media's ephemeral character can be impeding factors. The goal of this article is three-fold. First, we aim to extend the most recent descriptive state-of-the-art of national web archiving, published in the first issue of International Journal of Digital Humanities (March 2019) with information on SMA. Secondly, we outline the current legal, technical and operational (such as the selection and preservation policy) aspects of archiving social media content. This is complemented with results from an online survey to which 15 institutions responded. Finally, we discuss and reflect on important challenges in SMA that should be considered in future archiving projects.

Computer-Mediated Social Support for Physical Activity: A Content Analysis.

PURPOSE: Online fitness communities are a recent phenomenon experiencing growing user bases. They can be considered as online social networks in which recording, monitoring, and sharing of physical activity (PA) are the most prevalent practices. They have added a new dimension to the social experience of PA in which online peers function as virtual PA partners or supporters. However, research into seeking and receiving computer-mediated social support for PA is scarce. Our aim was to study to what extent using online fitness communities and sharing physical activities with online social networks results in receiving various types of online social support. METHOD: Two databases, one containing physical activities logged with Strava and one containing physical activities logged with RunKeeper and shared on Twitter, were investigated for occurrence and type of social support, by means of a deductive content analysis. RESULTS: Results indicate that social support delivered through Twitter is not particularly extensive. On Strava, social support is significantly more prevalent. Especially esteem support, expressed as compliments for the accomplishment of an activity, is provided on both Strava and Twitter. CONCLUSION: The results demonstrate that social media have potential as a platform used for providing social support for PA, but differences among various social network sites can be substantial. Especially esteem support can be expected, in contrast to online health communities, where information support is more common.

Communicating creativity on YouTube: what and for whom?

This article addresses nonprofessional users' expressions of everyday creativity on YouTube, adopting the idea that making entails connecting on different levels. By combining different materials and ideas into a video and sharing it within the social context of the platform, uploaders can connect with its enormous audience. In our first study, we explore patterns in the elements that are used when creating a video. We also question whether these pattern combinations are aimed at different types of viewers. Our results show that videos with self-made content that display various skills are mainly targeted at viewers situated close to the uploader (e.g., family, friends). However, videos that incorporate instances of popular culture, either as a whole (e.g., a pop concert recording) or in part (e.g., remixed with other content), are directed at a much broader audience. In our second study, we question whether these self-made videos convey a message about uploaders' personality traits commonly linked to creative behavior. We found that independent observers are able to accurately predict the uploaders' actual openness to experience, a trait marked as the substrate of creativity. Next, we discuss our results in light of a pessimistic view of today's democratized culture. We show that uploaders appear to have a tacit knowledge of what kind of videos are interesting for what type of viewers. We conclude that, despite the lowered barriers to the production and dissemination of video, YouTube viewers are still able to identify variations in the personality trait most commonly associated to creativity.

Teenage uploaders on YouTube: networked public expectancies, online feedback preference, and received on-platform feedback.

This article focuses on teenage YouTube uploaders' networked public expectancies when posting a video. These expectancies allow uploaders to cope temporarily with the uncertainty of who exactly will view their video. The results indicate that teenage uploaders strongly expect viewers that are situated close to them in both geographic and socio-demographic terms. Furthermore, we discuss the uncertainty-reducing properties of online feedback. We propose that different types of online feedback are preferred to verify the prior networked public expectancies. An effect of the identified online public expectancy (viewers with a similar interest/activity) is found for the importance of feedback both on the platform (e.g., views, comments) and off the platform (e.g., interaction on a social-network site). The identified offline public expectancy (friends/family) affects the importance attributed to off-platform feedback. Surprisingly, no effect of the unidentified online public expectancy (the general public) was found on on-platform feedback. This finding, in conjunction with the low expectancy of this group, raises the question of whether teenagers either cannot conceive this ambiguous mass public, or, if their expectancies are accurate, whether they are aware of the fact that only a small fraction of the videos on YouTube reach notable popularity. Therefore, in a second study, we test the accuracy of the online networked public expectancies by testing their effects on the longitudinal growth of actual feedback (views, comments, and rates). The results provide modest evidence that teenage uploaders have accurate online public expectancies.