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Monitor de movilidad: así es la circulación de los ciudadanos desde el inicio de la cuarentena

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Monitor de movilidad: así es la circulación de los ciudadanos desde el inicio de la cuarentena - LA NACION

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Impulsamos la creatividad

Programamos funciones de teatro, cine, conciertos, recitales, visitas y recorridas por la Ciudad, pero también un gran porcentaje fueron talleres, seminarios, charlas e instancias de formación para los nuevos creadores.

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Programamos funciones de teatro, cine, conciertos, recitales, visitas y recorridas por la Ciudad, pero también un gran porcentaje fueron talleres, seminarios, charlas e instancias de formación para los nuevos creadores.

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It used to be easy to rank music-for decades, Billboard's ranking was based on radio plays or album sales. Today, music consumption has become so fragmented that there's no single way to measure popularity: we've got Spotify, Apple Music, Pandora, Soundcloud, YouTube, radio, album sales, and touring.

But each of these platforms skews towards a specific audience-imagine a ranking based purely on CD sales! Billboard built a complex equation to deal with this, but a small tweak in sources or weighting would change who the world considers its biggest star. We can't definitively measure popularity, but we pretend that we can with Billboard's ranking, which remains our default mental model of culture.

The Pudding's team debated this existential musical question and had a few thoughts to consider.

Defined by Concert Venue Size

An artist's live shows truly give a sense of their popularity. It's a physical representation of how many people care about an artist to track the tour, purchase a ticket before it sells out, and transport themselves to watch the performance.

With that said, it's completely missing from Billboard's algorithm. When historians look back on 2018, they should report on those who performed to the largest audiences on the largest tours.

All Artists Must

have performed one of these iconic venues in 2018: Madison Square Garden in NYC, The Forum in LA, or TD Garden in Boston

have released new music in 2017 or 2018, and are therefore supporting an album cycle

How The Stars Were Calculated

find all concerts played by artist in 2018

measure venue size

sum to find how many seats they played to in 2018

Seats booked in 2018

Defined by YouTube Views

By Matt Daniels

Billboard's algorithm is heavily weighted towards streams by paid accounts, which basically means the ranking is whatever's played by people with premium accounts on Spotify and Apple Music. Billboard decided that music culture is anyone who can afford to pay $10/month.

On a global level, this is even more egregious-in many countries, $10/month is a luxury afforded to only the wealthy. It's also biased towards places where Spotify exists, which excludes India (#2 country in the world, 17% of the world's population). That's why the #1 artist on YouTube, Ozuna, had more streams in 2018 (10.7 billion) than Drake, the #1 artist on Spotify (8.2 billion).

*Spotify released a ranking of artists by streams. For some artists, their stream counts were released too.

YouTube is a better proxy of popularity. It has global reach, there's no barrier to entry to listen to music, and there's no barrier to entry to upload music (i.e., labels still control what's played on radio).

Defined by Total number of gifs

I'm in my early 30s and I still stan the queen, Ms. Britney Spears.

A couple of years ago I made the cross-country pilgrimage to see her perform in Vegas. A little over an hour into singing every single word and dancing my butt off, I had to sit down because I wasn't getting enough oxygen. My wife promptly quipped, "Even Britney doesn't sing that much!" (I mean, Brit's had her fair share of "Me Against the Music" moments, but I still love her).

And that brings us to my argument: pop stars shouldn't be measured on musical success alone-they're cultural icons. The biggest ones creep into the zeitgeist and become the things we share and meme. To measure this, I'm using the total number of gifs by artist in GIPHY's search results.

All Artists Must

have appeared in Billboard's Top 100 of 2017 or 2018

How The Stars Were Calculated

find all artists who meet the above criteria

remove any duplicate artists and collaborations

search GIPHY for each artist and record the total number of gifs

Artists, ranked by GIF count on Giphy

P!nk was removed from the dataset because a search for her name returned too many gifs that were only related to the color pink. Also, shout out to twenty one pilots for appearing in two Top 10s so far.

Defined by Mentions on Reddit

By Jack Beckwith, Michael Hester, and Sam Vickars of The DataFace

These days, artists' promotional efforts are no longer confined to tours and occasional press runs. They're connecting with fans constantly through social media and building personal brands that extend beyond the music. Younger artists have used this to their advantage, as recent up-and-comers like Lil Pump and Cardi B have grown their clout through likes and shares before signing major label deals.

In this world, artists should be judged on their ability to drive digital conversations. So we've turned to Reddit as our data source, counting the number of comments across the platform that mentioned each artist. Yes, Reddit tends to skew fairly young and male. But it's also one of the largest social networks in the world with an impressive global reach.

All Artists Must

have appeared in Billboard's Top 100 in 2018

How The Stars Were Calculated

compile a list of artists who meet the above criteria along with any nicknames

count total mentions of each artist across all Reddit comments in 2018

Top Artists on Reddit, Sized by number of comments

Several artists (like Future and Logic) were removed from the dataset because their names were too similar to common English phrases.

Defined by Social Followers

Pop is short for popular. And let's be honest, pop music has never been just about the music-it's always had some aspect of "how many people are actively paying attention to you?" Luckily for us, we can quantify that by looking, quite literally, at their followers via social platforms. Introducing your new King of Pop: Justin Bieber.

Artists, ranked by followers on social channels

So, who wins? Should we give the crown to the always-on-tour Dave Matthews Band? Is YoungBoy's YouTube reach a true reflection of stardom? Or should we award top spot to 2 Chainz's meme-ability, Kanye's ability to garner controversy, or Justin Bieber's mind-boggling social following?

Arguments can be made for any one of these artists, and in some sense, that's the point: using a data-driven approach to answering a cultural question seems inherently authoritative, but multiple data-driven methods of approaching exist. Which of these is best remains a question for the researchers and the audience to answer together.

Illustration by Dan Evans

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It used to be easy to rank music-for decades, Billboard's ranking was based on radio plays or album sales. Today, music consumption has become so fragmented that there's no single way to measure popularity: we've got Spotify, Apple Music, Pandora, Soundcloud, YouTube, radio, album sales, and touring.

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We looked at 19 years of covers to find how Vogue represents women of different shades.

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Female characters appear in superhero comics less often than males - but when they are included, how are they depicted?

The recent theatrical release of Wonder Woman briefly catapulted the question of female superhero representation into the mainstream. For some, the character is a feminist icon - even Gloria Steinem wrote about her - and many fans (though not all) felt this wasn't just another superhero movie, but rather a pivotal moment in the portrayal of women in popular culture.

Why all the fuss? Well, the truth is that the comics industry has had a complicated relationship with female characters. They are often hyper-sexualized, unnecessarily brutalized, stereotyped, and used as tokens. They're also rare. Only 26.7 percent of all DC and Marvel characters are female, and only 12 percent of mainstream superhero comics have female protagonists.

I decided to look beyond the gender ratio to see if we could learn more about how females are represented. Using characters from DC and Marvel in the ComicVine database, I analyzed naming conventions, types of superpowers, and the composition of teams to see how male and female genders are portrayed.

Strong men; thoughtful women

Three out of five comic book characters have at least one superpower, regardless of gender. When we categorize these powers, we find that there are some clear gender imbalances.

The difference in male and female powers

Change in % pts

What's that?
Click on a bar and I'll explain the power!

Taking names?
Click on a circle and I'll list gender-titled characters!

NOTES: Percentages are determined only from characters with powers. In DC and Marvel, 62.4 percent of all male characters have powers, and 62.8 percent of female characters have powers.

ComicVine lists over 100 possible powers; however, we removed all powers for which the difference between genders is not significant at a 95 percent confidence level when performing a t-test. Definitions are from both Comic Vine and Superpower Wiki.

The data suggest that less-physical powers - such as empathy, intellect, and telepathy - tend to be more represented among female characters. Men however, often have highly physical powers, as well as those that involve gadgets. Female characters dominate in relatively few physical abilities; and those where they do are often tied to gender stereotypes. Pheromone control - the ability to generate and control pheromones that affect emotional and physical states, such as sleep, fear, and pleasure - occurs five times as often in a female character. Sonic scream appears in twice as many female characters as male; and prehensile hair - the ability to control one's own hair - appears in female characters seven times more often.

Token teams and team members

There are over 2,500 teams in DC and Marvel combined. Roughly half of all characters - male and female - are members of at least one team. The number of females on teams is what you would expect given the relatively low number of female characters. That doesn't mean, though, that female characters are evenly distributed. In fact, 30 percent of all teams have no women, and only 12 percent have more female team members than male. The majority of those 12 percent, however, are exclusively female teams. This means that in actuality, only 4.8 percent of all teams have both male and female characters and have more women than men.

Female percentage of every team

Each dot represents one of 2,862 teams in DC and Marvel.

Particularly interesting are the names of the exclusively female teams - Femizons, Lady Liberators, Female Furies, Holiday Girls, Doom Maidens. A third of all exclusively female team names reference their femininity in some way, and if we look at the all-female teams that are five or more members, that number jumps to half. These groups have gendered names in the way that the male teams generally do not. Only seven percent of their male counterparts with five or more members have a masculine naming reference. Given this highly gendered naming pattern, it seems that exclusively female teams are often specifically defined by their femininity.

Men will be men; women will be girls

Character monikers follow a similar pattern to team names. Consider some of the most popular comic characters of all time: Batman, Wonder Woman, Ms. Marvel and Spider-Man. Eight percent of both male and female characters have gendered names. However, not all gendered names are equal; some fit a "diminutive" category. These are titles that are the younger, or infantilized versions of another name. For example, "girl" is the diminutive version of woman.

Comparing the balance of gendered names

Let's look at the percent of female and male characters with equivalent gendered names. For example, we have paired "man" and "woman" as equivalent. Their usage, however, is not balanced: male characters are given "man" far more often than female characters are given "woman".

Interesting imbalances are found between many gendered naming pairs. Diminutive names - those that may infantilize or denote the younger version of a title - are highlighted.

Percent female

Percent male

NOTES: Percentages are determined only from characters with gendered names. i.e. 13 percent of women with gendered names have "girl" in their name.

The names considered "diminutive" are those in red text on the chart. They were chosen by the author, and there are good arguments for both keeping and removing many of these terms. However, the point remains: If we only consider "girl" and "boy" there is still a significant difference: 13 percent for females, 5 percent for males.

In some cases, a character with a gendered name will be listed in the Comic Vine database under their secret identity. For example, there is no Ms. Marvel or Batgirl in the chart above. They are listed in the data as Carol Danvers (and Kamala Khan, etc.) and Barbara Gordon.

If we compare the use of diminutive names for male and female characters, we see that 28.5 percent of female characters and 12.6 percent of male characters fit in the category. Females are more than twice as likely to be given a name that may make her seem weak, less dangerous, less aggressive and not on equal footing with male characters.

Marvel and DC are no longer simply convenience-store singles. Today, they're blockbuster movies, fast-selling merchandise, drama-filled tv shows, and popular video games. The more we see these characters appear in pop culture, the more their representation matters - especially because female characters form such a small fraction of the whole.

Carolyn Cocca, academic and author of the Eisner-nominated book "Superwomen: Gender, Power, and Representation", expresses clearly why this is such an important concern. She writes: "If the constantly repeated story is that women and girls are not leaders, are not working in professional settings, are not agents of their own lives but merely adjuncts to others, and are sometimes not even present at all, it can reinforce or foster societal undervaluing of women and girls... As there are fewer female characters to begin with, each is overburdened with representing women as a group."

To be fair, this problem does not affect comics alone: media in general - including children's literature, cartoons, computer games and even coloring books - have a history of poor female representation and gender imbalance. And often media reflect our world back to us: while only 27% of Marvel and DC characters are female, that number is only 19% for the United States Congress.

The good news is that things may be changing. Both DC and Marvel have slowly begun to increase the number of female characters in their output. Our analysis did not consider time-series data (we didn't have it), and characters change over time - Wonder Woman herself has been a feminist activist, a house-wife, a sexualized pin-up, and a kick-ass hero in her 76 years. However, while some features may be altered, established and traditional characters tend to maintain their names and powers. They continue to carry the representative baggage of their past.

Data and methodology
Using the ComicVine database, which is fan-edited, information was downloaded for all 34,476 characters in Marvel and DC. The choice of the "big two" was made to cover the greatest breadth and history of characters; these companies have both been around since the 1930s and together they are responsible for approximately 70 percent of the retail market (depending on the month). Data were gathered at the end of April, 2017.

This piece is, unfortunately, only focused on male and female gender. In the database there are designations for "female", "male" and "other"; however, the decision was made to remove characters that appeared in the "other" category. I had hoped this data would provide insight into non-binary or gender fluid characters in Marvel and DC. Upon closer inspection, however, it was clear that the category is not often used in a gender-inclusive way. Instead, it is primarily used as a label for non-human characters like robots, auras and spirits. Here's a brief, interesting read about battling this binary model in superhero comics.

Because I gathered every single character from both publishers, there are occasionally duplicates of characters. There's a good argument for removing them: They over-weight some of the big characters, because it's usually only the more common, popular characters that are replaced, reborn, or duplicated. However, there's a good argument for keeping them as well. They can be considered different characters (Batman-X is not the same as Batman, for example), and as such, they have distinct genders. Removing duplicates would mean missing out if the character changes gender. For example: There are many iterations of Robin, and not all of them are male.

Thank you to Tyler Shendruk, who provided invaluable assitance during the data analysis stage, and to Nicole Derksen, who created the illustrations and gifs used in this article.

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Analyzing the Gender Representation of 34,476 Comic Book Characters

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Female characters appear in superhero comics less often than males - but when they are included, how are they depicted? The recent theatrical release of Wonder Woman briefly catapulted the question of female superhero representation into the mainstream.

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-Integrantes
-Pregunta/problema
-Objetivos
-¿Qué base de datos han utilizado?
-¿De qué manera se han recolectado los datos?
-¿Qué fuentes han utilizado?

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-Integrantes
-Pregunta/problema
-Objetivos
-¿Qué base de datos han utilizado?
-¿De qué manera se han recolectado los datos?
-¿Qué fuentes han utilizado?

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-Integrantes
-Pregunta/problema
-Objetivos
-¿Qué base de datos han utilizado?
-¿De qué manera se han recolectado los datos?
-¿Qué fuentes han utilizado?

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-Integrantes
-Pregunta/problema
-Objetivos
-¿Qué base de datos han utilizado?
-¿De qué manera se han recolectado los datos?
-¿Qué fuentes han utilizado?

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-Integrantes
-Pregunta/problema
-Objetivos
-¿Qué base de datos han utilizado?
-¿De qué manera se han recolectado los datos?
-¿Qué fuentes han utilizado?

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-Integrantes
-Pregunta/problema
-Objetivos
-¿Qué base de datos han utilizado?
-¿De qué manera se han recolectado los datos?
-¿Qué fuentes han utilizado?

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Hecho por Luca Modyeievsky, Ezequiel Potap e Ignacio Sampietro en base al artículo: https://pudding.cool/2019/04/vogue/ 

1-Integrantes
Malaika Handa, Amber Thomas y Jan Diehm, para la revista informativa The Pudding.

2-Pregunta/problema
La pregunta-problema de la investigación es averiguar que tanto se prioriza/priorizaba en las revistas de moda la utilización de mujeres de pieles más claras y blancas frente a mujeres de color más oscuro.

3-Objetivos
El objetivo era cuantificar, analizar y demostrar como las revistas de moda (en este caso especifico Vogue) ejercían un racismo colorista, al tender a contratar mujeres de colores claros y "europeos" antes que mujeres de todos los colores sin distinción racial.

4-¿Qué base de datos han utilizado?
La información recolectada por un algoritmo proveniente de las tapas de las revistas publicadas por la empresa de moda "Vogue" en los últimos casi 19 años. Se utilizaron avanzados sistemas de reconocimiento facial para detectar los tonos de piel de las modelos partícipes de las tapas de la revista.

5-¿De qué manera se han recolectado los datos?
Se descargaron las portadas de las revistas Vogue desde el 2000 hasta diciembre de 2018 de las cuales se han obtenido principalmente las caras de las actrices que aparecían (mediante un algoritmo) y se las ubicó en una escala según su color de piel (el algoritmo tomaba los pixeles de lo que el mismo reconocía como piel filtrando datos muy efectivamente).

6-¿Qué fuentes han utilizado?
Tapas de las revistas de Vogue del 2000 a 2018.
(Diversify Photo, s. f.; Kuczynski, 1999; Lee & Maheshwari, 2018; Sanusi, 2016; Teeman, 2013; Zhang, 2012)

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Hecho por Candela Sueiro, Malena Quindimil y Sofia Canosa.

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Hecho por Candela Sueiro, Malena Quindimil y Sofia Canosa.

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Felipe Pedro Simon, Dante Rugna y Matías Liberman

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Felipe Pedro Simon, Dante Rugna y Matías Liberman

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-Integrantes
Amber Thomas, Jan Diehm y Malaika Handa

-Pregunta/problema
En la revista, la pregunta problema es, que tanto se toma en cuenta a las mujeres de tez oscura.

-Objetivos
El objetivo de la revista era mostrar como las mujeres de tez oscuras eran menos relevantes (en el mundo de la moda) que las mujeres blancas, cometiendo así, un acto racista.

-¿Qué base de datos han utilizado?
fueron recolectados datos de revistas "Vogue" desde hace 19/20 años, utilizando un programa de reconocimiento facial para mostrar como fue variando a lo largo de los años.

-¿De qué manera se han recolectado los datos?
tras un algoritmo, fueron recolectadas rostros de modelos de revistas del año 2000 hasta el 2018. Una vez ya analizadas, se las ubico en que tan clara/oscura era su piel. La gran mayoría era clara.

-¿Qué fuentes han utilizado?
fueron utilizadas las siguientes fuentes:
rostros de mujeres modelo de la revista de Vogue del año 2000 a 2018.
(Diversify Photo, s. f.; Kuczynski, 1999; Lee & Maheshwari, 2018; Sanusi, 2016; Teeman, 2013; Zhang, 2012)

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-Integrantes

Olivia Chab, Antonella Ninio y Camila Rozenberg

-Pregunta/ Problema

¿De qué manera se puede implementar la cultura a lo largo y ancho de la Ciudad en 2018?

-Objetivos

Realización de actividades al aire  libre, actividades y cursos de formación para todos, diferentes talleres en barrios emergentes, promover  todos los intereses artísticos y culturales generando las herramientas para los creadores de la cultura, impulsar la creatividad, programar funciones de teatro, cine, conciertos, recitales, visitas y recorridas por la Ciudad.

-¿Qué base de datos han utilizado?

data.buenosaires.gob.ar

-¿De qué manera se han recolectado los datos?

Se recolecto la cantidad de actividades que se realizaron por zona durante 2018.

-¿Que fuentes han utilizado?

Utilizando datos abiertos de la Ciudad que están disponibles en data.buenosaires.gob.ar

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Melissa Baran, Sol Cosarinsky y Franco Lerner

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Melissa Baran, Sol Cosarinsky y Franco Lerner

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Integrantes: Malaika Handa, Amber Thomas y Jan Diehm.

Pregunta Problema: ¿La revista Vogue representa a las mujeres de todas las matices?

Objetivos:
- Analizar los distintos tonos de piel de las mujeres en las portadas de la revista.
- Comparar la variedad y la repetición de tonos de piel.

¿Qué base de datos han utilizado?
Como base de datos se ha utilizado la plataforma de "The Vogue Archive".

-¿De qué manera se han recolectado los datos?
Las bases que se han utilizado para obtener los datos necesarios consiste una herramienta para filtrar el fondo de las imágenes y reconocer los tonos de piel.

-¿Qué fuentes han utilizado?
Portadas de la revista Vogue del 2000 al 2018

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Delfina Fiel Martinez, Zoe Destefanis, Matilda Bartoli y Micaela Kapustiansky

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Delfina Fiel Martinez, Zoe Destefanis, Matilda Bartoli y Micaela Kapustiansky

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- Integrantes: Sebastian Contreiras

Pregunta/problema: ¿Cómo se vio desarrolló el sistema de Ecobicis en la Ciudad de Buenos Aires desde su creación hasta el año 2020 con la llegada del Covid-19?

-Objetivos:
. Indagar el número de recorridos que se realizaron desde el establecimiento de la Ecobici hasta el 2020
. Investigar el promedio de la duración de los viajes.
. Inquirir información acerca de los usuarios.
. Obtener datos sobre las ubicaciones geográficas de los viajes y su uso según la densidad de población.

-¿Qué base de datos han utilizado?

Se utilizaron los datos públicos del sistema ECOBICI publicados en el portal de Datos Abiertos Buenos Aires Data.

-¿De qué manera se han recolectado los datos?

Los datos han sido recolectados monitoreando la ubicación (análisis geográfico) y el tiempo al momento de utilizar el servicio. También se tomaron en cuenta características del usuario que se solicitaban a cada individuo cuando se creaban una cuenta en la aplicación.

-¿Qué fuentes han utilizado?

App de Ecobicis, Base de Datos públicos de Buenos Aires.

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Hecho por: Shirel Esterson y Lucila Gelis

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Hecho por: Shirel Esterson y Lucila Gelis

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Exploración de trabajos- Shirel Esterson y Lucila Gelis

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Exploracion de trabajos
Andres Crivaro Y Renata La Rocca

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De: Camila Gonzalez Acosta, Candela Sánchez Imach, Magalí Bronstein y Pampa Mayo

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De: Camila Gonzalez Acosta, Candela Sánchez Imach, Magalí Bronstein y Pampa Mayo

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Eco bicis

-Integrantes

Sebastian Contreiras.

-Pregunta/problema

¿Cómo fue la evolución del uso de las Ecobici en Buenos Aires desde 2011 hasta antes del comienzo de la pandemia?

-Objetivos

Investigar qué lugares geográficos fueron los más transcurridos por los ciclistas.

Indagar cuánto tiempo utilizaba una persona promedio por día las bicicletas.

Averiguar aproximadamente cuando fue el punto máximo de uso de las bicicletas.

-¿Qué base de datos han utilizado?

Se empleó la base de datos de la aplicación que se encuentra en la página del Gobierno Buenos Aires Data

-¿De qué manera se han recolectado los datos?

Se recolectaron los datos a través de un registro de solicitudes de bicicletas de la aplicación. Además, se tomaron en cuenta otros datos tales como la ubicación, género registrado por el usuario, etc.

-¿Qué fuentes han utilizado?

Buenos Aires Data

https://rpubs.com/SebasGC/679829