Antecedents of support for social media content moderation and platform regulation: the role of presumed effects on self and others

This study examines support for regulation of and by platforms and provides insights into public perceptions of platform governance. While much of the public discourse surrounding platforms evolves at a policy level between think tanks, journalists, academics and political actors, little attention is paid to how people think about regulation of and by platforms. Through a representative survey study of US internet users (N = 1,022), we explore antecedents of support for social media content moderation by platforms, as well as for regulation of social media platforms by the government. We connect these findings to presumed effects on self (PME1) and others (PME3), concepts that lie at the core of third-person effect (TPE) and influence of presumed influence (IPI) scholarship. We identify third-person perceptions for social media content: Perceived negative effects are stronger for others than for oneself. A first-person perception operates on the platform level: The beneficial effects of social media platforms are perceived to be stronger for the self than for society. At the behavioral level, we identify age, education, opposition to censorship, and perceived negative effects of social media content on others (PME3) as significant predictors of support for content moderation. Concerning support for regulation of platforms by the government, we find significant effects of opposition to censorship, perceived intentional censorship, frequency of social media use, and trust in platforms. We argue that stakeholders involved in platform governance must take more seriously the attitudes of their constituents

The Relationship between Electromyographically Documented Peripheral Neuropatny and Falls

Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/111114/1/j.1532-5415.1992.tb04477.x.pd

SNAPSHOT USA 2019 : a coordinated national camera trap survey of the United States

This article is protected by copyright. All rights reserved.With the accelerating pace of global change, it is imperative that we obtain rapid inventories of the status and distribution of wildlife for ecological inferences and conservation planning. To address this challenge, we launched the SNAPSHOT USA project, a collaborative survey of terrestrial wildlife populations using camera traps across the United States. For our first annual survey, we compiled data across all 50 states during a 14-week period (17 August - 24 November of 2019). We sampled wildlife at 1509 camera trap sites from 110 camera trap arrays covering 12 different ecoregions across four development zones. This effort resulted in 166,036 unique detections of 83 species of mammals and 17 species of birds. All images were processed through the Smithsonian's eMammal camera trap data repository and included an expert review phase to ensure taxonomic accuracy of data, resulting in each picture being reviewed at least twice. The results represent a timely and standardized camera trap survey of the USA. All of the 2019 survey data are made available herein. We are currently repeating surveys in fall 2020, opening up the opportunity to other institutions and cooperators to expand coverage of all the urban-wild gradients and ecophysiographic regions of the country. Future data will be available as the database is updated at eMammal.si.edu/snapshot-usa, as well as future data paper submissions. These data will be useful for local and macroecological research including the examination of community assembly, effects of environmental and anthropogenic landscape variables, effects of fragmentation and extinction debt dynamics, as well as species-specific population dynamics and conservation action plans. There are no copyright restrictions; please cite this paper when using the data for publication.Publisher PDFPeer reviewe

Sgt. Pepper's Lonely Arts Club Band : a gatekeeping analysis of how music journalists approach and understand their audiences

Title from PDF of title page (University of Missouri--Columbia, viewed on April 6, 2012).The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file.Thesis advisor: Dr. Amanda HinnantIncludes bibliographical references.[ACCESS RESTRICTED TO THE UNIVERSITY OF MISSOURI AT REQUEST OF AUTHOR.] In this qualitative analysis, 10 music writers were asked questions about their processes, preferences and institutions, and the answers were constructed and examined with a focus on the communication routines and organizational levels of analysis. The ideas that emerged suggest that music journalists fulfill a final gatekeeping role as curators who supply knowledge and insight about music to the masses without the cultural implications of the popularized role of tastemakers. They think about their audiences in general, and they value their own goals and writing during their writing routines. They work with editors to reflect the goals of their intended magazines, and they do not worry about the needs or wants of a highly specific audience. Their relationships to their organizations and the cultural context in which they operate were used to understand the role music journalists fills as arts gatekeepers, or curators, as is their preferred role title