Beginners Guide to TikTok for Search - Rachel Pearson - We are Tilt __ Bright...
Knowing what we know3
1. Knowing What We Know
An Ethnographer Looks at SNA
John McCreery
Sunbelt, March 2012
2. The Goal
• To better understand the relationship between
social network analysis (SNA) and historical
and ethnographic research (HER)
3. A Work in Progress
Archival Credits from the Tokyo Copywriters Club Advertising Copy
Annual (1981, 1986, 1991, 1996, 2001, 2006), manually entered
Data into a Filemaker Pro Database
The starting point is a set of six 2-mode multiple edge
affiliation networks that contain a total of 7018 creators
SNA connected by 27, 314 roles to 3,634 award-winning ads, analyzed
using Pajek
Many of the high-centrality creators are authors or frequently
Desk interviewed in a large and active trade press—several hundred
Research pages per month of coverage in monthly magazines, numerous
new books each year, and now Websites and blogs as well.
Interviews with high-centrality creators using results of SNA
Interviews and Desk Research as stimulus material
4. Super Network 81-06
p-Core Distribution
Arithmetic mean: 2.3027
Median: 1.0000
Standard deviation: 3.1723
2.5% Quantile: 1.0000
5.0% Quantile: 1.0000
95.0% Quantile: 7.0000
97.5% Quantile: 10.0000
Vector Values Frequency Freq% CumFreq CumFreq%
----------------------------------------------------------------------------------------------------
( ... 0.000] 28 0.3990 28 0.3990
( 0.000 ... 8.778] 6752 96.2097 6780 96.6087
( 8.778 ... 17.556] 193 2.7501 6973 99.3588
( 17.556 ... 26.333] 33 0.4702 7006 99.8290
( 26.333 ... 35.111] 6 0.0855 7012 99.9145
( 35.111 ... 43.889] 1 0.0142 7013 99.9288
( 43.889 ... 52.667] 1 0.0142 7014 99.9430
( 52.667 ... 61.444] 2 0.0285 7016 99.9715
( 61.444 ... 70.222] 0 0.0000 7016 99.9715
( 70.222 ... 79.000] 2 0.0285 7018 100.0000
----------------------------------------------------------------------------------------------------
Total 7018 100.0000
Produced by combining six 2-mode networks, simplifying the result, projecting the 1-mode creators network in which line values are the numbers of projects on which
pairs of creators have both worked, and then performing p-Core analysis. (See Appendix 1 for details).
5. The Super Stars (0.064%)
Subnetwork of top 45 vertices. Extracted from partition based on p-Core Vector
7. The Ethnographer’s Eye
(The circles indicate where my eye turns)
Iwasaki Shunichi (1947)
Itoi Shigesato (1948)
Nakahata
Takahashi (1947)
Maki Jun (1948)
Akiyama Sho (1936)
Light Publicity
Sasaki
Team
Sasaki Hiroshi (1954)
Tugboat
Oka Yasumichi (1956)
Tada Taku (1963)
Miyazaki Group
Miyazaki Susumu (1944)
Okada Naoya (1955)
Ohnuki Takuya (1958)
Taniyama Masakazu (1961)
8. Founders Generation
Iwasaki Shunichi (1947)
Itoi Shigesato
Nakahata
Takahashi (1947)
Maki Jun (1948)
Akiyama Sho (1936)
Light Publicity
Oka Yasumichi (1956) Taku
(1963) Tada Sasaki
Team
Sasaki Hiroshi (1954)
Tugboat
Miyazaki Group
Miyazaki Susumu (1944)
Okada Naoya (1955)
Ohnuki Takuya (1958)
Taniyama Masakazu (1961)
9. Akiyama Sho
(Autobiographical Statement Found Online)
• Born in Tokyo in 1936, he graduated from the Rikkyo
University Faculty of Economics in 1958, and joined
the Kodansha advertising department the same year.
He joined Light Publicity Ltd. in 1964, and he is
currently president of that firm. His work involves
advertising production, including both graphic and
film direction, and copywriting. He cherishes the
words of Takashi Nakahata, "The bullet has a beautiful
form because it speeds to its target."
10. The Copywriter Boom
(“Hitmen” as celebrities)
Iwasaki Shunichi (1947)
Itoi Shigesato
Nakahata
Takahashi (1947)
Maki Jun (1948)
Akiyama Sho (1936) (1936)
Light Publicity
Sasaki
Team
Sasaki Hiroshi (1954)
Tugboat
Oka Yasumichi (1956)
Taku (1963) Tada
Miyazaki Group
Miyazaki Susumu (1944)
Okada Naoya (1955)
Ohnuki Takuya (1958)
Taniyama Masakazu (1961)
11. The Miyazaki Group
(Once they were the brightest stars)
Iwasaki Shunichi (1947)
Itoi Shigesato
Nakahata
Takahashi (1947)
Maki Jun (1948)
Akiyama Sho (1936)
Light Publicity
Oka Yasumichi (1956)
Tada Taku (1963) Sasaki
Team
Sasaki Hiroshi (1954)
Tugboat
Miyazaki Group
Miyazaki Susumu (1944)
Okada Naoya (1955)
Ohnuki Takuya (1958)
Taniyama Masakazu (1961)
12. The Sasaki Team
(Dominant in the Late 1990s)
Iwasaki Shunichi (1947)
Itoi Shigesato
Nakahata
Takahashi (1947)
Maki Jun (1948)
Akiyama Sho (1936)
Light Publicity
Oka Yasumichi (1956)
Tada Taku (1963) Sasaki
Team
Sasaki Hiroshi (1954)
Tugboat
Miyazaki Group
Miyazaki Susumu (1944)
Okada Naoya (1955)
Ohnuki Takuya (1958)
Taniyama Masakazu (1961)
13. Tugboat
(The Rebel Angels)
Iwasaki Shunichi (1947)
Itoi Shigesato
Nakahata
Takahashi (1947)
Maki Jun (1948)
Akiyama Sho (1936)
Light Publicity
Oka Yasumichi (1956)
Tada Taku (1963) Sasaki
Team
Sasaki Hiroshi (1954)
Tugboat
Miyazaki Group
Miyazaki Susumu (1944)
Okada Naoya (1955)
Ohnuki Takuya (1958)
Taniyama Masakazu (1961)
15. Time Matters
(It Really Does)
• Age Matters
Most super stars have had long successful careers. Except for the occasional supernova—Tada
Taku, who burst on the scene with an unprecedented triple Grand Prix is an example, Itoi
Shigesato was another — it takes time to become a super star.
• Sampling Matters
To appear in our network, our stars’ glory days had to have been within the years our sample
spans (1981-2006). Many historically famous names do not appear because their glory days were
in the 1960s and 70s.
20. そうだ京都、いこう
That’s It, Kyoto. Let’s go.
• One of the most successful and longest-running
campaigns in Japan’s advertising history.
• Sasaki and Anzai worked together on this
campaign. Sasaki was younger and a copywriter,
Anzai older and a CM planner.
• Anzai tells me a story about this collaboration...
21. In Conclusion
• SNA makes it possible to focus quickly and precisely on key players in a
network too large to grasp with the naked eye alone.
• SNA can surprise us, identifying key players who were off our radar,
Iwasaki Shunichi (1947), for example.
• Historical and ethnographic research (HER) adds depth to our
understanding of important relationships and reminds us that time matters
when examining archival data.
• HER can also surprise us, by identifying relationships that may not seem so
important in purely SNA terms but may be very important, indeed, in how
the actors we study perceive their networks.*
24. Appendix 1
How the Subnetwork was Selected
• Combine six primary networks into one super network
• Simplify super network
• Net>Transform>Remove>Multiple Lines>Single Line
• Project 1-mode creator network
• Net>Transform>2-Mode to 1-Mode>Rows
• p-Core analysis
• Net>Vector>PCore>Max>All
• Extract top p-cores
• Vector>Make Partition>By Intervals>Selected Thresholds>#10
• Operations>Extract from Network>Partition>4-10