Apps like WhatsApp, Facebook, Snapchat, Instagram, Twitter, LinkedIn, Viber
Felix Krause described in 2017 that when a user grants an app access to their camera and microphone, the app could do the following:
Access both the front and the back camera.
Record you at any time the app is in the foreground.
Take pictures and videos without telling you.
Upload the pictures and videos without telling you.
Upload the pictures/videos it takes immediately.
Run real-time face recognition to detect facial features or expressions.
Livestream the camera on to the internet.
Detect if the user is on their phone alone, or watching together with a second person.
Upload random frames of the video stream to your web service and run a proper face recognition software which can find existing photos of you on the internet and create a 3D model based on your face.
For instance, here’s a Find my Phone application which a documentary maker installed on a phone, then let someone steal it. After the person stole it, the original owner spied on every moment of the thief’s life through the phone’s camera and microphone.
Edward Snowden revealed an NSA program called Optic Nerves. The operation was a bulk surveillance program under which they captured webcam images every five minutes from Yahoo users’ video chats and then stored them for future use. It is estimated that between 3% and 11% of the images captured contained “undesirable nudity”.
Hackers can also gain access to your device with extraordinary ease via apps, PDF files, multimedia messages and even emojis.
An application called Metasploit on the ethical hacking platform Kali uses an Adobe Reader 9 (which over 60% of users still use) exploit to open a listener (rootkit) on the user’s computer. You alter the PDF with the program, send the user the malicious file, they open it, and hey presto – you have total control over their device remotely.
Once a user opens this PDF file, the hacker can then:
Install whatever software/app they like on the user’s device.
Use a keylogger to grab all of their passwords.
Steal all documents from the device.
Take pictures and stream videos from their camera.
Capture past or live audio from the microphone.
Upload incriminating images/documents to their PC, and notify the police.
And, if it’s not enough that your phone is tracking you – surveillance cameras in shops and streets are tracking you, too
You might even be on this website, InSeCam, which allows ordinary people online to watch surveillance cameras free of charge. It even allows you to search cameras by location, city, time zone, device manufacturer, and specify whether you want to see a kitchen, bar, restaurant or bedroom.
The HyFlex model gives students the choice to attend class in person or via synchronous remote stream and to make that choice on a daily basis. In other words, unlike online and hybrid models which typically have a fixed course structure for the entire semester, the HyFlex model does not require students to make a choice at the beginning of term and then stick with it whether their choice works for them or not; rather students are able to make different choices each day depending on what works best for them on that day (hence the format is “flexible”) (Miller and Baham, 2018, to be published in the Proceedings of the 10th International Conference on Teaching Statistics).
Definition from Horizon Report, HIgher Ed edition, 2014. p. 10 integration of Online Hybrid and Collaborative Learning
Definition from U of Arizona (https://journals.uair.arizona.edu/index.php/itet/article/view/16464/16485)
Beatty (2010) defines HyFlex courses to be those that “enable a flexible participation policy for students whereby students may choose to attend face-to-face synchronous class sessions or complete course learning activities online without physically attending class”
Goette, W. F., Delello, J. A., Schmitt, A. L., Sullivan, J. R., & Rangel, A. (2017). Comparing Delivery Approaches to Teaching Abnormal Psychology: Investigating Student Perceptions and Learning Outcomes. Psychology Learning and Teaching, 16(3), 336–352. https://doi.org/10.1177/1475725717716624
p.2.Online classes are a form of distance learning available completely over the Internet with no F2F interaction between an instructor and students (Helms, 2014).
An online class is a class that is offered 100% through the Internet. Asynchronous courses require no time in a classroom. All assignments, exams, and communication are delivered using a learning management system (LMS). At Oswego, the campus is transitioning from ANGEL to Blackboard, which will be completed by the Fall 2015 semester. Fully online courses may also be synchronous. Synchronous online courses require student participation at a specified time using audio/visual software such as Blackboard Collaborate along with the LMS.
Web enhanced learning occurs in a traditional face-to-face (f2f) course when the instructor incorporates web resources into the design and delivery of the course to support student learning. The key difference between Web Enhanced Learning versus other forms of e-learning (online or hybrid courses) is that the internet is used to supplement and support the instruction occurring in the classroom rather than replace it. Web Enhanced Learning may include activities such as: accessing course materials, submitting assignments, participating in discussions, taking quizzes and exams, and/or accessing grades and feedback.”
Goette, W. F., Delello, J. A., Schmitt, A. L., Sullivan, J. R., & Rangel, A. (2017). Comparing Delivery Approaches to Teaching Abnormal Psychology: Investigating Student Perceptions and Learning Outcomes. Psychology Learning and Teaching, 16(3), 336–352. https://doi.org/10.1177/1475725717716624
Helms (2014) described blended education as incorporating both online and F2F character- istics into a single course. This definition captures an important confound to comparing course administration formats because otherwise traditional F2F courses may also incorp- orate aspects of online curriculum. Blended learning may thus encompass F2F classes in which any course content is available online (e.g., recorded lectures or PowerPoints) as well as more traditionally blended courses. Helms recommended the use of ‘‘blended’’ over ‘‘hybrid’’ because these courses combine different but complementary approaches rather than layer opposing methods and formats.
Blended learning can merge the relative strengths of F2F and online education within a flexible course delivery format. As such, this delivery form has a similar potential of online courses to reduce the cost of administration (Bowen et al., 2014) while addressing concerns of quality and achievement gaps that may come from online education. Advantages of blended courses include: convenience and efficiency for the student; promotion of active learning; more effective use of classroom space; and increased class time to spend on higher- level learning activities such as cooperative learning, working with case studies, and discuss- ing big picture concepts and ideas (Ahmed, 2010; Al-Qahtani & Higgins, 2013; Lewis & Harrison, 2012).
Although many definitions of hybrid and blended learning exist, there is a convergence upon three key points: (1) Web-based learning activities are introduced to complement face-to-face work; (2) “seat time” is reduced, though not eliminated altogether; (3) the Web-based and face-to-face components of the course are designed to interact pedagogically to take advantage of the best features of each.
The amount of in class time varies in hybrids from school to school. Some require more than 50% must be in class, others say more than 50% must be online. Others indicate that 20% – 80% must be in class (or online). There is consensus that generally the time is split 50-50, but it depends on the best pedagogy for what the instructor wants to achieve.
“Backchannel” is a mode of communication created by audience members to connect with other observers both inside and outside of the presentation space, with or without the speaker’s awareness (Atkinson, 2009).
ARS (or CRS) are[audience] response systems are instructional technologies that allow instructors to rapidly collect and analyze student responses to questions posed during class” (Bruff, 2009, p. 1)
Distance learning courses are indicated in the schedule of classes on BU Brain with an Instructional Method of Online Asynchronous (OA), Online Synchronous (OS), Online Combined (OC), or Online Hybrid (OH). Online Asynchronous courses are those in which the instruction is recorded/stored and then accessed by the students at another time. Online Synchronous courses are those in which students are at locations remote from the instructor and viewing the instruction as it occurs. Online Combined courses are those in which there is a combination of asynchronous and synchronous instruction that occurs over the length of the course. Online Hybrid courses are those in which there is both in-person and online (asynchronous and/or synchronous) instruction that occurs over the length of the course.
says David Greenfield, a psychologist and assistant clinical professor of psychiatry at the University of Connecticut:When we hear a ding or little ditty alerting us to a new text, email or Facebook post, cells in our brains likely release dopamine — one of the chemical transmitters in the brain’s reward circuitry. That dopamine makes us feel pleasure
“It’s a spectrum disorder,” says Dr. Anna Lembke, a psychiatrist at Stanford University, who studies addiction. “There are mild, moderate and extreme forms.” And for many people, there’s no problem at all.
Signs you might be experiencing problematic use, Lembke says, include these:
Interacting with the device keeps you up late or otherwise interferes with your sleep.
It reduces the time you have to be with friends or family.
It interferes with your ability to finish work or homework.
It causes you to be rude, even subconsciously. “For instance,” Lembke asks, “are you in the middle of having a conversation with someone and just dropping down and scrolling through your phone?” That’s a bad sign.
It’s squelching your creativity. “I think that’s really what people don’t realize with their smartphone usage,” Lembke says. “It can really deprive you of a kind of seamless flow of creative thought that generates from your own brain.”
Consider a digital detox one day a week
Tiffany Shlain, a San Francisco Bay Area filmmaker, and her family power down all their devices every Friday evening, for a 24-hour period.
“It’s something we look forward to each week,” Shlain says. She and her husband, Ken Goldberg, a professor in the field of robotics at the University of California, Berkeley, are very tech savvy.
A recent study of high school students, published in the journal Emotion, found that too much time spent on digital devices is linked to lower self-esteem and a decrease in well-being.
open in in QT Pro copy an segment then past it into a new QT file and save. It then plays normally in Adobe products.
old Apple desktops. needed to be rebuild and reformatted.
Apple burner issues. issues with Premiere license (bigger organization, bigger bureaucracy – keep the licenses within the library, not with IT or the business department)
old VCRs – one of the VCRs was recording bad audio signal
old VHS tapes: the signal jump makes the digital recording stop, thus requiring a constant attendance of the digitization, instead of letting it be digitized and working on something else
the person who is uploading the digitized VHS movies can “Add Collaborator”
The collaborator can be “co-editor” and / or “co-publisher”
Thus, at the moment, Tom Hegert has been designated to a digitized VHS video as Co-:Publisher and Rhonda Huisman as “Co-Editor.”
Please DO log in into MediaSpace with your STAR ID and confirm that you can locate the video and you can, respectively edit its metadata.
If you can edit the video, this means that the proposed system will work, since the Library can follow the same pattern to “distribute” the videos to the instructors, who these videos are used by; and, respectively these instructors can further control the distribution of the videos in their classes.
sharing the videos from the generic Library account for MediaSpace to the MediaSPace account of the faculty who had requested the digitization either through sending the link to the video or publish in channel (we called our channel “digitized VHS”)
issue: ripping off content from DVD.
Faculty (mostly teaching online / hybrid courses) want to place teaching material from DVD to MediaSpace. Most DVDs are DRM protected.
Handbreak (https://handbrake.fr/) does not allow ripping DRM-ed DVDs. to bypass this Handbreak issue, we use DVD Decrypter before we run the file through Handbreak
From: “Lanska, Jeremiah K” <Jeremiah.Lanska@ridgewater.edu> Date: Tuesday, September 11, 2018 at 10:03 AM
I use a software on a MAC called MacX DVD Video Converter Pro. https://www.macxdvd.com/
I convert videos to MP4 with this and it just works for just about any DVD. Then upload them to MediaSpace.
From: “Docken, Marti L” <Marti.Docken@saintpaul.edu> Date: Tuesday, September 11, 2018 at 8:17 AM
Good morning Plamen. Here at Saint Paul College, we are asked to get permission from owner when we are looking at making any alterations to a video, tape, etc. This is true of adding closed captioning as well. The attached are forms given by Minnesota State which they may have an updated form.
Thank you and have a wonderful day.
Marti Docken Instructional Technology Specialist 651.846.1339 email@example.com
From: Geri Wilson Sent: Friday, September 14, 2018 3:23 PM
What I do with DVDs is give a warning to the faculty that the MediaSpace link with the captions I’ve created should not be widely shared and should be treated as if it were still a DVD that can be shown in the classroom, but not posted on D2L. Because even if we use those forms, I don’t believe it gives us the right to use the video in a broader way. However, a safer approach might be to burn a new DVD with captions, so that it’s still in the same format that can’t be misused as easily.
Just my 2 cents. Geri
From: “Hunter, Gary B” <Gary.Hunter@minnstate.edu> Date: Friday, September 14, 2018 at 2:55 PM To: Plamen Miltenoff_old <firstname.lastname@example.org> Subject: RE: Process of ripping DVD video to mount it on MediaSpace
I’ll assume the contents of the DVDs are movies/films unless I hear otherwise from you. There’s a lot we need to consider from a copyright perspective. Let me know a day and time that we can touch base via a phone call. Next week my schedule is flexible, so let me know what day and time work for you. Until we speak, here’s some of the information related to making copies of copyrighted works for nonprofit teaching purposes.
There are two sections of the Copyright Act that authorize “copying” of copyrighted works for nonprofit educational purposes. It doesn’t matter if the copyrighted works are being copied from DVDs, CDs, flash drives, a computer’s hard drive, etc., the same sections of the Copyright Act apply.
Section 110(2), also known as the TEACH Act, allows nonprofit educational institutions to make a digital copy of a nondramatic copyrighted work and save it to a server for online and hybrid teaching. I have a TEACH Act checklist on the IP Tools & Forms webpage at http://www.minnstate.edu/system/asa/academicaffairs/policy/copyright/forms.html. The checklist identifies the few things that may not be copied under this section of the Copyright Act. If an instructor meets the various requirements on the checklist, than you can make a digital copy of the entire nondramatic copyrighted work and save it to MediaSpace. For nondramatic works, all MinnState instructors should be able to complete the TEACH Act checklist successfully, so I wouldn’t request a completed checklist from them.
Under the TEACH Act, nonprofit educational institutions are only permitted to make a digital copy of reasonable and limited portions of dramatic copyrighted works. Movies and films are usually dramatic works. Most people in higher education interpret “reasonable and limited portions” to mean something less than the whole and not the entire movie/film. There are several guidance documents on the TEACH Act on the IP Tools & Forms webpage that go into greater detail as to what is reasonable and limited portions. Unfortunately, this section only authorizes the copying of part of the movie/film and not the entire thing.
Section 107 Fair Use of the Copyright Act is the second section that permits copying of copyrighted works for nonprofit educational purposes. Fair Use is used more than any other section to make copies of copyrighted works for nonprofit educational purposes. An instructor needs to complete a fair Use Checklist showing the proposed copying is authorized by fair use. An instructor who completes a Fair Use Checklist that ends up being 50/50 or more in support of fair use for their proposed copying of a copyrighted work, should be able to make the digital copy. Fair Use has some nuances in it for unique situations. Let’s set up a phone call to further discuss them. There is also a flow chart that may helpful at http://www.minnstate.edu/system/asa/academicaffairs/policy/copyright/docs/Flow%20Chart-Using%20video%20in%20Online%20-%20D2L%20Courses.pdf.
We also have to consider whether or not the movies/films were purchased with “personal use” rights or “public performance” rights. Or if an educational license or some similar type of license gives us permission to make copies or publicly perform the movie/film. More layers of the onion that need peeled back to address the copyright concerns.
All digitized material is backedup on DVDs, whether faculty wants a DVD or not.
Some video content is confidential (e.g. interviews with patients) and faculty does not want any extra copies, but the DVD submitted to them. How do we archive / do we archive the content then?
where to store the burned DVDs? their shelf life is 12 years.
DVD’s must be labeled with soft tip perm marker, not labels. labels glue ages quickly.
all our desktops are outdated (5+ years and older). We used two Apple/Macs. OS El Captain, Version 10.11.6, 2.5 Gxz Intel Core i5. 8GB memory, 1333 MHz DDR3, Graphic Card AMD Radeon HD 6750 MD 512 MB
Question about the process of archiving the CDs and DVDs after burning. What is the best way to archive the digitized material? Store the CD and DVDs? Keep them in the “cloud?”
Question about the management of working files: 1. Premiere digitizes the original hi-quality file in .mov format and it is in GB. The export is in .mp4 format and it is in MB. Is it worth to store the GB-size .mov format and for how long, considering that the working station has a limited HDD of 200GB
we decided to export two types of files using Adobe Premiere: a) a low end .MP4 file about several hundred megabites, which respectively is uploaded in SCSU Media Space (AKA Kaltura) and b) one high-end (better quality) one the realm of several GBs, which was the archived copy
We placed a request for two 2TB HDD with the library dean and 10TB file space with the SCSU IT department. Idea being to have the files for MediaSpace readily available on the hardrives, if we have to make them available to faculty and the high-end files being stored on the SCSU file server.
2. correspondence among Greg J, Tom H and Plamen
email correspondence Greg, Tom, Plamen regarding Kaltura account:
From: Greg <email@example.com> Date: Friday, November 17, 2017 at 11:32 AM To: Plamen Miltenoff <firstname.lastname@example.org> Subject: RE: Question Kaltura
Channels are not required using this workflow. Just the collaboration change.
From: Miltenoff, Plamen Sent: Friday, November 17, 2017 11:31 AM To: Jorgensen, Greg S. <email@example.com>; Hergert, Thomas R. <firstname.lastname@example.org> Subject: Question Kaltura
About the channel:
Do I create one channel (videos)?
It seems to be a better idea to create separate channels for each of faculty, who’s videotapes are digitized.
******* any user you wish to collaborate with, will need to first sign in to mediaspace in order to provision their account.**** After they have signed in, you will be able to add them as collaborator.
Once they’ve been added, they will have access to the video in their MedisSpace account.
From the My Media area:
Then choose either media I can publish, or media I can edit:
If you want to simply change ownership to the requestor (for video available only to a single person), just choose change media owner on the collaboration tab.
The process above will allow for any number of collaborators, in a fashion similar to ‘on reserve’.
This message confirms your request for a new Supplemental Account with the requested username of SCSULibraryVideo. Please allow 2-3 business days for processing. You will be notified by email when your request is approved or denied. You may also check the status of your request by returning to the Supplemental Accounts Maintenance site.
Thank you for your request and please contact us with questions or concerns.
I think we’re hoping for an account from which we can share Library resources such as the digitized versions of VHS tapes that Plamen and I are creating. As I understand it, a closed channel is probably not the best answer. We need a common repository that can have open access to SCSU Kaltura users.
Can you help me create a MediaSpace account for the library use.
How can it be tight up to the STAR ID login specifications?
Is it possible, let’s say Tom and I to use our STAR ID to login into such account?
Any info is welcome…
3. correspondence on the LITA listserv regarding “best practices for in house digital conversion”
From: <email@example.com> on behalf of Sharona Ginsberg <firstname.lastname@example.org> Reply-To: “email@example.com” <firstname.lastname@example.org> Date: Tuesday, November 21, 2017 at 10:07 AM To: “email@example.com” <firstname.lastname@example.org> Subject: Re: [lita-l] best practices for in house digital conversion
I’m at an academic rather than public library, but you can see what we offer for digital conversion here: https://www.oswego.edu/library/digital-conversion. We’ve been generally happy with our equipment, and I especially think the Elgato Video Capture device (VHS to digital) is a good tool.
From: <email@example.com> on behalf of Molly Schwartz <firstname.lastname@example.org> Reply-To: “email@example.com” <firstname.lastname@example.org> Date: Tuesday, November 21, 2017 at 10:03 AM To: “email@example.com” <firstname.lastname@example.org> Subject: Re: [lita-l] best practices for in house digital conversion
Cai, Y., Chiew, R., Nay, Z. T., Indhumathi, C., & Huang, L. (2017). Design and development of VR learning environments for children with ASD. Interactive Learning Environments, 25(8), 1098-1109. doi:10.1080/10494820.2017.1282877
Collins, J., Hoermann, S., & Regenbrecht, H. (2016). Comparing a finger dexterity assessment in virtual, video-mediated, and unmediated reality. International Journal Of Child Health And Human Development, 9(3), 333-341.
Epure, P., Gheorghe, C., Nissen, T., Toader, L. O., Macovei, A. N., Nielsen, S. M., & … Brooks, E. P. (2016). Effect of the Oculus Rift head mounted display on postural stability. International Journal Of Child Health And Human Development, 9(3), 343-350.
Sánchez, J., & Espinoza, M. (2016). Usability and redesign of a university entrance test based on audio for learners who are blind. International Journal Of Child Health And Human Development, 9(3), 379-387.
Eden, S. (2008). The effect of 3D virtual reality on sequential time perception among deaf and hard-of-hearing children. European Journal Of Special Needs Education, 23(4), 349-363. doi:10.1080/08856250802387315
Eden, S., & Bezer, M. (2011). Three-dimensions vs. two-dimensions intervention programs: the effect on the mediation level and behavioural aspects of children with intellectual disability. European Journal Of Special Needs Education, 26(3), 337-353. doi:10.1080/08856257.2011.593827
Lorenzo, G., Lledó, A., Roig, R., Lorenzo, A., & Pomares, J. (2016). New Educational Challenges and Innovations: Students with Disability in Immersive Learning Environments. In Virtual Learning. InTech. https://doi.org/10.5772/65219
fair use >> . transformation: 1. add / subtract from original 2. use for different purpose; >> parody songs – using enough of music and words to recognize the song, but not enough to it to be copyright infrigement. memes.
students’ use of copyrighted works. students may: use the entire copyrighted work but not publish openly
copyright act #110 (1) applies to F2F teaching.
copyright act #110 (2) applies to Hybrid/Online teaching. exception one digital copy can made and uploaded on D2L. reasonable and limited portions of dramatic musical or audiovisual works
if people identifiable ask them to sign a media release form
plagiarism v copyright infringement.
Creative Commons (CC). search engine for content available through cc licenses. https://creativecommons.org/ CC BY – attribution needed; CC BY-SA may remix, tweak CC BY-ND can redistribute, but not alter CC BY-NC for non profit. CC BY-NC-SA
book chapters: one is a rule of thumb
PDF versions of the eassays textbook acceptable, if the students purchased it
music performance licenses: usually cover – educational activities on campus; ed activities at off-campus locations that are outreach
I would like to ask you again to consider testing Yo and sharing your ideas how we can apply it at LRS
It is worth checking the penetration of Yo among SCSU students and use it.
Thank you and lkng forward to hearing your opinion
benefits for the library and potentially for the campus:
reduce financial cost: batteries for the walkie talkies and the wear off of the walkie talkie can be replaced by a virtual app (again, apps for each of the three potential candidates are free)
environmentally friendly. Apps are virtual. Walkie talkies are physical
improve productivity. walkie talkie allow only talk. Apps allow: audio, video (images) and text
raise the level of critical thinking (increase productivity by proxy): the use of several media: text, visuals, audio will allow users to think in a wider diapason when troubleshooting and/or doing their tasks
the library can be the sandbox to smooth out details of the application and lessons learned can help replace walkie talkies across campus with 21st century tools and increase productivity campus wide.
took only a few days to create the clip on a desktop computer using a generative adversarial network (GAN), a type of machine-learning algorithm.
Faith in written information is under attack in some quarters by the spread of what is loosely known as “fake news”. But images and sound recordings retain for many an inherent trustworthiness. GANs are part of a technological wave that threatens this credibility.
Amnesty International is already grappling with some of these issues. Its Citizen Evidence Lab verifies videos and images of alleged human-rights abuses. It uses Google Earth to examine background landscapes and to test whether a video or image was captured when and where it claims. It uses Wolfram Alpha, a search engine, to cross-reference historical weather conditions against those claimed in the video. Amnesty’s work mostly catches old videos that are being labelled as a new atrocity, but it will have to watch out for generated video, too. Cryptography could also help to verify that content has come from a trusted organisation. Media could be signed with a unique key that only the signing organisation—or the originating device—possesses.
Whether you’re flipping your courses, creating videos to help your students understand specific concepts or recording lectures for exam review, these tips can help you optimize your production setup on a tight budget.
1) Speak Into the Microphone
2) Reconsider Whether You Want to be a Talking Head
Record your video and upload it to YouTube. YouTube will apply its machine transcription to the audio as a starting point. Then you can download the captions into your caption editor and improve on the captions from there. Afterward, you can delete the video from YouTube and add it to your institution’s platform.
Because the questionnaire data comprised both Likert scales and open questions, they were analyzed quantitatively and qualitatively. Textual data (open responses) were qualitatively analyzed by coding: each segment (e.g. a group of words) was assigned to a semantic reference category, as systematically and rigorously as possible. For example, “Using an iPad in class really motivates me to learn” was assigned to the category “positive impact on motivation.” The qualitative analysis was performed using an adapted version of the approaches developed by L’Écuyer (1990) and Huberman and Miles (1991, 1994). Thus, we adopted a content analysis approach using QDAMiner software, which is widely used in qualitative research (see Fielding, 2012; Karsenti, Komis, Depover, & Collin, 2011). For the quantitative analysis, we used SPSS 22.0 software to conduct descriptive and inferential statistics. We also conducted inferential statistics to further explore the iPad’s role in teaching and learning, along with its motivational effect. The results will be presented in a subsequent report (Fievez, & Karsenti, 2013)
The 20th century notion of conducting a qualitative research by an oral interview and then processing manually your results had triggered in the second half of the 20th century [sometimes] condescending attitudes by researchers from the exact sciences.
The reason was the advent of computing power in the second half of the 20th century, which allowed exact sciences to claim “scientific” and “data-based” results.
One of the statistical package, SPSS, is today widely known and considered a magnificent tools to bring solid statistically-based argumentation, which further perpetuates the superiority of quantitative over qualitative method.
At the same time, qualitative researchers continue to lag behind, mostly due to the inertia of their approach to qualitative analysis. Qualitative analysis continues to be processed in the olden ways. While there is nothing wrong with the “olden” ways, harnessing computational power can streamline the “olden ways” process and even present options, which the “human eye” sometimes misses.
Below are some suggestions, you may consider, when you embark on the path of qualitative research.
Palys and Atchison (2012) present a compelling case to bring your qualitative research to the level of the quantitative research by using modern tools for qualitative analysis.
1. The authors correctly promote NVivo as the “jaguar’ of the qualitative research method tools. Be aware, however, about the existence of other “Geo Metro” tools, which, for your research, might achieve the same result (see bottom of this blog entry).
text mining: https://en.wikipedia.org/wiki/Text_mining Text mining, also referred to as text data mining, roughly equivalent to text analytics, is the process of deriving high-quality information from text. High-quality information is typically derived through the devising of patterns and trends through means such as statistical pattern learning. Text mining usually involves the process of structuring the input text (usually parsing, along with the addition of some derived linguistic features and the removal of others, and subsequent insertion into a database), deriving patterns within the structured data, and finally evaluation and interpretation of the output. https://ischool.syr.edu/infospace/2013/04/23/what-is-text-mining/
Qualitative data is descriptive data that cannot be measured in numbers and often includes qualities of appearance like color, texture, and textual description. Quantitative data is numerical, structured data that can be measured. However, there is often slippage between qualitative and quantitative categories. For example, a photograph might traditionally be considered “qualitative data” but when you break it down to the level of pixels, which can be measured.
word of caution, text mining doesn’t generate new facts and is not an end, in and of itself. The process is most useful when the data it generates can be further analyzed by a domain expert, who can bring additional knowledge for a more complete picture. Still, text mining creates new relationships and hypotheses for experts to explore further.
more on quantitative research:
Asamoah, D. A., Sharda, R., Hassan Zadeh, A., & Kalgotra, P. (2017). Preparing a Data Scientist: A Pedagogic Experience in Designing a Big Data Analytics Course. Decision Sciences Journal of Innovative Education, 15(2), 161–190. https://doi.org/10.1111/dsji.12125
literature on quantitative research:
St. Cloud State University MC Main Collection – 2nd floor
AZ195 .B66 2015
p. 161 Data scholarship in the Humanities
p. 166 When Are Data?
Philip Chen, C. L., & Zhang, C.-Y. (2014). Data-intensive applications, challenges, techniques and technologies: A survey on Big Data. Information Sciences, 275(Supplement C), 314–347. https://doi.org/10.1016/j.ins.2014.01.015