Lucia Bainotti (facilitator), Sarah Burkhardt, Yan Cong, Jingyi Zhu, Jesper Lust, Kate Babin, Salma Esserghini, Iliass Ayaou, Amine Kerboute, Micky-Love Mocombe, Frédéric Lecat, Amina Mohamed, Simran Tamber, Devin Mitter, Sama Khosravi Ooryad, Jasmin Leech, Tommaso Elli, Kristen Zheng
TikTok sounds are relevant as a feature that afford different kinds of behaviours, not only memetic ones.
Among these behaviours, practices of ‘sound surfing’ emerge, i.e. using the sound and trend with the aim to get visibility.
Along this line, sounds usually start as a meme but become quickly used to boost the visibility of some unrelated videos and content.
In the analysis, we identified three types of TikTok sounds, which reflects three ways in which TikTok audio memes can be generated: integrated TikTok sounds (e.g. the Stressed Out case study), semi-native TikTok sounds (e.g. the Mama said case study), and native TikTok sounds. Moreover, these sounds are used in different memetic ways and have different trajectories of development.
The analysis provided insights not only into the genealogy of TikTok memes, but also pointed at the idea of the ‘dilution of a meme’, i.e. when the trend reaches its peak in popularity, it starts getting diluted with non-related content that does not follow any specific template, and therefore the trend itself progressively ceases to exist.
While there is currently an abundance of research in the field of new media into categorizing memes in formalistic and structural terms, there remains a paucity of empirical research into one of the defining features of the meme: it's "viral" spreading and "mutation" over time. The proposed project seeks to address this question through repurposing a single feature on a single platform that has, in recent years, become identified with such dynamics: TikTok.
TikTok is an increasingly popular platform, and part of its success is the innovative short video platform experience it offers, thanks to the personalized short videos offered by the algorithm in a stream of content that invites users to continuously scroll the For You page. Part of TikTok ’s popularity also resides in the creation of video largely based on musical snippets known as ‘sounds’, with users lip-syncing the lyrics and performing to the music, as well as joining so-called challenges. Tiktok affordances, indeed, encourage users to create, remix, imitate, and replicate content, thus prompting memetic practices and giving birth to imitation publics (Zulli & Zulli, 2020).
In this sense, the notion of internet meme (Shifman, 2012) is extended to the level of the platform affordances and includes a specific emphasis on audio content. TikTok ’s memetic logic, together with the possibility of creatively and easily reusing audio clips, sounds, and music it affords, makes it a particularly suitable platform to analyse issues of meme creation and evolution. In this context, this project aims to analyze the genealogy and evolution of a meme by looking at the ‘sound’ indexing feature on TikTok.
Secondly, the project aims to understand how TikTok memes emerge and develop over time, as well as how sounds are creatively or subversively used and appropriated. This is particularly important considering that users can engage with, and reinterpret, the meanings of sound and audio clips (Kumar, 2015).
Thirdly, this project is interested in developing and applying innovative ways of using visual analytics for social media research and particularly testing techniques to study audio-visual content. On TikTok, ‘small stories’ are vehiculated by means of short videos, which conflate audio and visual content and can convey different and even contrasting meanings. One first challenge in analysing TikTok is taking into account the multimodality of the platform, as well as the different levels of signification it offers. Another challenge related to the study of TikTok content lies in its expressive dimension, given that visual elements are functional to vehiculate performative and expressive messages and not only aesthetically pleasing and curated representations.
To address these purposes, the research focuses on two case studies, based on two TikTok sounds:
the song ‘Stressed out’ (by 21 Pilots), released in 2015 and then recently integrated as a TikTok sound in different versions - an ‘official’ sound, that we will refer to as ‘Stressed Out Original’ and a remixed sound, here called ‘Stressed Out Remix’
The song ‘Mama said’ (by Lukas Graham), which again came out before TikTok existed, but started to become popular on the platform after that the artist himself promoted it as a TikTok sound with its own trend.
Data collection: following the sound(s):
Tool: Zeeschuimer Firefox extension (link).
Initial Data Sets:
Secondly, we perform a co-hashtag analysis in order to account for the relationships among hashtags. We apply the modularity class algorithm to detect different clusters, which can point to the presence of subcultures.
More specifically, for each TikTok sound in our analysis, we plot the ‘cover thumbnails’ of each video in an image wall created with PixPlot. PixPlot is an open-source software developed by the Yale Digital Humanities Lab (DHLab), which algorithmically clusters similar images near one another by considering not only colours but also the type of content represented in each picture (e.g. faces, landscapes…). TikTok cover thumbnails consist of the ‘preview’ of each video, which is the first thing that users can see by opening the platform. Usually, the cover represents not only a preview but the first frame of the video. Therefore, cover thumbnails provide insights into how each TikTok appears to viewers and how it starts.
The analysis of cover thumbnails in terms of visual similarity can be useful as a first step to detect the emergence of memetic practises and TikTok templates. However, as will be accounted more in-depth in Section 5.3.3., such an analysis presents some relevant limitations. First, it does not account for the dynamic nature of TikTok content, and, second, it only provides information about a small portion of TikTok videos, namely their cover.
Figure 1. ‘Stressed out - remix’ image stripes, sorted per ‘most-reproduced’.Templatability analysis is useful to understand both the main themes emerging from the data, as well as the different templates that can be found in TikTok content sharing the same sound. Both this information is in turn relevant to highlight the changes, appropriations, and re-appropriations of TikTok memes.
Moreover, in order to examine visual patterns for both case studies more closely, so-called ‘video stacks’ can be used. Inspired by the existing tool Image stacks, a video stack comprises five TikTok videos superimposed over one another, each at 30% opacity. As a result of this, similar motions can be detected as well as other overlapping visual elements. In order to create more clarity, two video stacks exist for each collection of five videos: one where clips are continuously superimposed, and one where they enter one after the other, counting down from five.The following categories are distinguished and used to create the video stacks:
‘Stressed Out’ and ‘Stressed Out Remix’ case study, top five
‘Mama Said’ case study, top five (see also Section 5.2)
Step 1: Audio data retrieval
From all ! TikT ok data originating from the original song’s id, we used the URLs which link to the TikTok page to download the mp4 files with a Python script. Here, in a loop, each page was visited with the Python requests package having the streaming option enabled. The video data was then retrieved in streamed chunks and saved as a mp4 file. Using Python, in a second step, we extracted the mp3 files from all mp4 files (Guven, 2021). Further, we made sure to have an mp3 version of the original song.
Step 2: Install Python library Dejavu
To fingerprint and compare all retrieved TikTok audio files to the original file, we used the audio fingerprinting Python implementation Dejavu (Drevo, 2021). Following the instructions on the GitHub repository which mainly contains installing Python-based libraries and packages required to run the script, we then installed Dejavu, without Docker, by cloning the repository and running it locally with Python3. The installation and configuration of a local MySQL database are needed as well, which is going to store the audio fingerprints and data from the matching procedures.
Step 3: Recognise TikTok audio data in original song with Dejavu
Fingerprinting original song
In order to enable an audio comparison with the original song, Dejavu requires to first fingerprint the song we want to match against, whereas its fingerprints are then stored in the database. Hence, the first step was to ‘fingerprint’ the original song to match all other TikTok sounds against. Fingerprints are saved as hashes, which are uniquely indexed numbers that save structural features of a sound across a particular range in terms of frequency or time. Similar to a fingerprint, they uniquely encompass sound information for a given part of the song. By comparing captured fingerprints across songs, highly similar fingerprints which both carry similar audio information are considered as matches. Given that the same song has similar pitches or silent parts, it can comparably well detect song similarity irrespective of noise, due to its structural similarity which overlaps at some point.
Recognizing TikTok audio in original song
As a second step, the matching procedure was run by ‘recognizing’ each TikTok audio file, which means its fingerprints are created and compared to the original song in the database. From this procedure, we retrieved the resulting similarity features per song in a csv file. The features that we retrieved are:
We took the input confidence value (being a number between 0 and 1) as the significant original-song-similarity measure of a TikTok sound.
For the matching procedure, we did some fine-tuning of the algorithm in the settings.py file to enable that the matching is fine-grained and takes into account much local information across short spans. Because short audio samples are typical for TikToks, this should assure that short audio samples are matched with the long original song. Therefore, we changed
Through our fine-tuning, the resulting similarity measures needed to be reinterpreted. Therefore, we implemented a testing and assessment strategy to detect which kind of audio files are located in which spectrum of similarity measure (input confidence). Taking the original song as an input to be matched against itself, it turned out that the input confidence was 0.4. Grouping voice-dominant, noisy, remixed, completely different or mute sounds, and songs close to the original to test where they lay in the spectrum, we could find that from 0.4 towards 0, audio sounds become more ‘diversified’ in the sense of being remixed, noisy, with distinguishable beats or noise overlaying the sound. Whereas from 0.4 towards 1, audio sounds become more ‘voice-dominant’, with songs close to 1 matching file that contain only speech without any background sounds; and songs closer to 0.4 containing speech overlaid audio files. Therefore, we then decided upon 0.4 to be the ‘threshold’ value to match the original song, gradually going towards ‘diversification’ or ‘voice-dominant’ sounds.
Step 4: Visualisation of results
We then visualised our results in bar plots with Rawgraphs. For this, we uploaded a csv file which contained the similarity measure per TikTok sound, and furthermore all available information about the platform-based measures (e.g. likes, comments, followers, etc.) of the respective TikTok.
On the x-axis, we plotted the amount of TikToks, and on the y-axis, the similarity measure from 0 to 1. Therefore, a bar contains the number of TikToks which share the same similarity measure to the original song. Further, we combined this visualisation with the colouring of the bars to examine how platform-native measures (e.g. likes, comments, followers, etc.) correlate to the audio quality. Here, the total sum of the platform-native measure was used to colour the bar, showing which sound quality measure goes along with which ‘popularity’.
TikTok creators use the song in their videos, in particular the chorus “wish we could turn back time / to the good old days / when our mamma sang us to sleep / but now we’re stressed out” and often either lip-sync along or use text over the video to emphasize those lyrics.
The original song was considered to some as generation-defining when it was originally released in 2015, many millennials identified with the anxiety and malaise communicated through the lyrics and that same sad and nostalgic energy is one of the main themes expressed in the videos being shared by TikTok creators who utilize this meme format.
Figure 2. Stressed Out Original & StressedOut Remix - number of posts per month.
The rise in popularity of this meme is visualized in the trend graph above (Fig. 2) and is much more significant with the remixed version of the audio. In the remixed version of the song, the vocals are pitched lower and reverb is added to create a more ambient sound which makes it complement the meme concept of nostalgic lyrics and aesthetic backgrounds better than the original song. As we will see, the original “Stressed Out” audio is more often used as background music to unrelated content whereas the remixed version becomes part of the narrative and memified.
Firstly, most videos aim at virality by using tactics such as tagging #fyp, or other culturally agreed upon hashtags such as #xycba. This is an interesting finding as it indicates a trend towards the self-awareness of the posters, who tend to utilise the affordances of the platform to optimise exposure. To delve deeper into the subcultural use and appropriation of the meme, we run two versions of the chart, one with #fyp and other hashtags included, in order to investigate the prevalence of these hashtags, and a second eliminating them (Fig. 3).
By looking at the bump chart, we can see that many fandoms move in synchronisation with each other, i.e. a large amount of fan-created film franchises (#harrypotter) or gaming videos (#fortnite) being uploaded (Fig. 3). If we compare the bump chart to the co-hashtag network, it emerges that many users utilise these tags, which however do not overlap with each other, creating many separate clusters with a small number of unifying tags (some examples are shown in Fig. 4). Additionally, we identify the prevalence of regional hashtags in Spanish such as #tuhistoria and #aprendecontiktok (your history and learn on TikTok respectively). This indicates the rise of subcultures defined by not only interest but languages and also regions.
Figure 3. Stressed Out Original, Top 25 hashtags over time
Figure 4. Stressed Out Original, co-hashtag analysis, cluster close-ups.
We also noted a distinct difference in the evolution of trends in each version of the sound (original vs remixed). As shown in Fig. 5., tags such as #pain and #sad, evident in the remix, were not at all present in the top 25 of the original sound. Additionally, the co-hashtag analysis indicates that tags such as #sad served as central contact points with which many different subcultural groups mediated (Fig. 6). This indicates that in some cases, there is a polarising use case of each sound. It is worthwhile to consider the possibility that Stressed Out Original and Stressed Out Remix operate differently, due to their origins, with the remix being a more native TikTok sound.
Figure 5. Stressed Out Remix, Top 25 hashtags over time
Figure 6. Stressed Out Remix, co-hashtag analysis, cluster close-ups.The insights into the hashtag analysis highlight that the Stressed Out meme is being used by different subcultural groups, each of them represented by a set of specific and diversified hashtags (e.g. related to video games, movie fandom etc.) or kept together by the sharing of different feelings, such as sadness (in the case of the remixed sound).
It is important to notice, however, that the presence of these subcultural uses of the meme reflects what can be called a (subcultural) hashtag public (see, Arvidsson & Caliandro, 2016; Bruns & Highfield, 2016). Indeed, users that share a specific interest, an affective relationship to a topic, and possibly a similar subcultural background cluster around specific hashtags, which are devices for mediation, affect, and temporal aggregation rather than a sign of a strong and coherent community.
Starting with the analysis of the original sound, we can see that the song ‘Stressed out’ is mostly used as background music for different kinds of content, in particular for thumbnails displaying activities such as painting and writing. A similar use of sound can be found in images representing scenes of streets, driving and flying. Moreover, In line with the results of the hashtag analysis, we find plenty of subcultures and fandoms, and in particular, a huge cluster dedicated to Fortnite and other video games, which consists of gameplay, video edits/supercuts of film content etc. Moreover, other two clusters consist of, respectively, representations of celebrities such as actors and K-pop idols, and cartoon anime.
Figure 7. Stressed Out Original, PixPlot clusters, labelled
The Stressed out remix song appears to be used as background music too (e.g. in the case of the display of football videos and edits). However, this sound shows more trends/microtrends and similar video styles emerging from the thumbnails.
In particular, the ‘nostalgia’ trend, where users show images ‘future generations will not understand’ and the ‘finally I understand this lyrics’-trend. Moreover, we can see a cluster dedicated to thumbnails suggesting the presence of aesthetic videos with beautiful pictures of the sky, the ocean, etc. accompanied by a meaningful quote. Such content goes hand in hand with the “slowed and reverbed” vibe of the song.
Figure 8. Stressed Out Remix, PixPlot clusters, labelled
The visual representations emerging from cover thumbnails present some similarities with the hashtag publics previously identified. Specifically, we can see a relationship between hashtags and visual representations in regard to different types of fandom, which is mostly present in the original sound. Moreover, in the case of the remixed sound, the representations about nostalgia couple with feelings such as sadness found in the hashtag analysis. These results further confirm that the ‘Stressed out’ sound is used differently in its two versions, and differently appropriated by specific categories of users, which find in the meme a way of expressing a variety of content, moods, and feelings.
Considering the relevance of audio-visual content on TikTok, we rely on what we call ‘templatability analysis’ (see Section 4.1.3.) to consider TikTok videos as a whole by visualising their visual content in the form of video stripes. In this way, it is possible to understand what the emerging themes and templates related to the Stressed Out sound are. Templatability, which is a set of norms and conventions in organising visual and audio content (Leaver et al., 2020), is a driving principle through which users’ practices deploy and memes spread.
In this part of the analysis, we focus specifically on the remixed version of the sound, which, as previously seen, is the more ‘memetic’ one. We focus on the visualisation of the video stripes and analyse them qualitatively, in order to grasp the emergence of different themes and the presence of some recognisable templates. From the analysis, it was possible to identify the presence of three main themes, each one accompanied by a peculiar template.
Trend surfing. As already mentioned, the sound is often used in order to increase users’ visibility and create trending content. This practice, however, is not only aimed at acquiring a micro-celebrity status, but also at shedding light on contemporary issues. This is the case of a series of Tiktoks dedicated to sharing awareness about the political and economic situation in Latin American countries, such as Colombia, Chile, Mexico, and Peru. These videos are accompanied by hashtags such as ‘#soscolombia’, and captions such as ‘Latinoamérica resiste’. In these cases, the sound is reappropriated for activism purposes, to share information, and increase solidarity. This content shares a similar template (Fig. 9): it starts with the presence of the tiktoker, taking distance from other content creators and stressing the difficulties that Latin American countries are facing. What follows is a series of clips that symbolise these political issues. One peculiarity of this template, which also makes it recognizable, is the recurring representation of flags. The video then finishes by showing again the tiktokers, asking for support and solidarity.
Figure 9. Image stripes - trend surfing
Nostalgia. In line with the original meaning of the song and the results previously highlighted, the sound is used to convey a feeling of nostalgia. Firstly, the sound is used to share memories about the past, especially related to objects, cultural products, and feelings that the new generation won’t understand. The feeling of nostalgia is characterised by a template that starts with the creators stating ‘things that today’s kids don’t understand’, or ‘photos that the next generations won’t get’. It follows a series of clips displaying such objects, cultural production (e.g. Toy Story is a recurring theme), images, and photographs (Fig. 10a). Moreover, the results show that the sound can also be used to refer to the ‘goof old days’ with dark humor. More specifically, some found some examples of the sound and the lyrics being used in a political context, either racist, sexist, homo/transphobic (Fig. 10b). From the data at our disposal, it is difficult to clearly point out the relevance of this kind of representation. Further research could investigate even more the relationship between nostalgia and radicalisation (see, e.g., Gandini, 2020)
Figure 10a. Image stripes - Nostalgia
Figure 10b. Nostalgia and radicalisation, some examples.
Use of beat. Lastly, the sound was used to show in a way that cuts and transitions of the videos are synchronized with sound beat. This way of using the trend is aimed at showing before and after representations (e.g. hairstyling, makeovers, etc.) and comparison (e.g. how the appearance of different actors change over time).
Figure 11. Image stripes - use of beats
_Figure 12. A bar chart showing the amount of TikToks per original-song-similarity measures between 0 and 1, ranging from diversified to close matching to voice-dominant sound quality. The colour intensity of each bar indicates the total sum of followers across TikToks per bar._
As a first finding, we can see in Fig. 12 that most of the ‘Stressed Out’ TikToks group around being a close match to the original song, given that the closest match possible has a similarity measure of 0.4 (see Section 4.2.5). Besides that, we can see that overall, more TikToks are voice-dominant instead of diversified (remixed or noisy). Moreover, we can see that the most followed bars group around a good sound quality which comes close to the original. Whilst it is obvious to expect that the more TikToks per bar, the higher the total sum of followers, we can nevertheless see that the bar with most followers is not the ones with most TikToks; instead, it is one where the sound quality is close to the original song.
_Figure 13. A bar chart showing the amount of TikToks per original-song-similarity measures between 0 and 1, ranging from diversified to close matching to voice-dominant sound quality. The colour intensity of each bar indicates the total sum of likes across TikToks per bar._
In comparison to the ‘most followed’ bars (Fig. 12), the ‘most liked’ bars group as well around closely matching the original song (Fig. 13); however, the amount of likes is more evenly distributed across centred bars irrespective of length (amount of TikToks). This shows that, a) the most followed ‘Stressed Out’ TikToks are not necessarily most liked, and that, b) the overall popularity in terms of ‘likes’ is more strongly tied towards matching the original song than the popularity in terms of ‘followers’, since bars with less TikToks have a comparable high amount of likes when being grouped around the centre. There is one exception for a bar located at a similarity measure of 0.56, showing that at least one TikTok which includes voice parts while still being relatively close to the original, got many likes. Given that the same bar has more followers as well comparable to its local neighbourhood, this could hint to one much-followed TikTok user having shared a much liked TikTok in which the user talks.
Comparing the findings of the most followed with the most liked TikToks grouped by sound quality, we can see that in both cases the most popular TikToks tend to match the original sound quality. This indicates that the songs shared around ‘Stressed Out’ are rather mainstream, as they do little remix or re-appropriate the original song, with one exception occurring for much liked more voice-dominant but still good quality TikTok (s).
Moreover, the comparison shows that whilst both popularity measures are grouped around the original sound quality, much liked TikToks tend to be of more diversified sound quality in comparison to the much followed ones. One hypothesis from this finding is that TikTok users that have shared ‘Stressed Out’ while having many followers make use of professional technical equipment and high quality sound; and that there are few users at the centre of attention. In comparison, likes are still mainly grouped around the original song quality, but with more fine-grained deviations across sound quality.
To answer this question, we needed to make a small test with a video determined above and to work on the filtering of the links of all the HTML pages.
Figure 14. Tentatively re-scraping the data to obtain fresh metadata and videos, and a sound starting basis for exploration.
The result of this request was an HTML page with a set of tags, some of which are links to videos, as opposed to the link from the main video. Out of that, we understood that the TikTok video page was a dynamic page, and usually, the video link is communicated by an API.
Figure 15. Congratulations😁, we were able to extract and download all the videos of our meme song "Mama Said".
After performing an exploratory data analysis, we found out that some necessary data for further exploration was missing, namely :
So in order to have as many dimensions to analyse as possible, we decided to re-scrape the TikTok data from scratch. We decided to use a python package called “TikTokApi” and stored the data as a JSON-formatted file.
Opting to scrape the data using a programming language instead of a pre-made tool allowed us to have much greater control in the scraping process.
Figure 16. screenshot showing us of the Tik Tok API library
The solution was therefore to switch to a dynamic scraping method, and the "Selenium" library came to our mind. Indeed, Selenium Python bindings provide a simple API for writing functional/inbound tests using Selenium WebDriver. With the Selenium Python API (https://www.selenium.dev/selenium/docs/api/py/api.html), we could access all Selenium WebDriver features in an intuitive way.While the method worked well, the first trials of scraping revealed a new issue: due to the link extraction and time required for video downloading, the links used expired meanwhile. We had therefore to scrape the links and download the videos at the same time, running the risk that the protection systems would ban our IP addresses, as an anti-BOT cyber-parade. We introduced an interval of one to two seconds between each request to slow the pace and perform an ethical scraping of the data, preventing a denial of service or an IP address ban.
More specifically, the analysis started with the following techniques:
Figure 17. Iterative workflow, visual representation.We started with a short brainstorming session (typically at the start of the day) in order to come up collectively with the most pertinent ideas and approaches to answer the top questions of the day. We then deconstructed the ideas in order to elaborate on a set of required steps to implement and evaluate the idea within a limited amount of time. Once the main steps were elaborated and tasks divided, we assigned them to members of the team so that they match best with their skill-set and preferences.
At the end of the day, we had an evaluation session where findings, limitations and roadblocks were highlighted and decided what ideas to further expand upon on the following day.
Another important methodological choice we made was to blend a sociological outlook, based on observation, data collection and intuition, and computational and technical processes. This is especially illustrated by the elaboration of the audio memes categories after an NLP analysis of the hashtags (further detailed in section 5.2.3. Hashtags and clustering analysis of the report) or the work completed around the semantic labelling (see e.g. section 5.2.4. Semantic labelling through computer vision: brainstorming and conception).
As a quick reminder, textual analysis is a methodology that involves understanding the language and symbols in texts to obtain information about how people make sense of and communicate their lives and experiences on the platform. Visual or written messages provide clues as to how communication can be understood. Often, messages are understood as being influenced by and reflecting larger social structures. In our case, messages reflect and or may challenge the historical, cultural, political, and ethical contexts in which they exist. We had therefore to understand the larger social structures that influence the messages present in the text under study. Before getting into our textual analysis, an identification of the most popular categories was necessary to help us categorise our videos.
In 2020, according to https://mediakix.com/blog/most-popular-tiktok-hashtags-categories-topics/, these categories were as follows :
_Figure 18. Most popular categories on Tik Tok. (source: https://mediakix.com/blog/most-popular-tiktok-hashtags-categories-topics/)_
But we had to check these general categories on our particular research playground, the Mama said dataset, which would allow us to gain sociological insight at the same time.
The Tiktok API provided us with one of the most important components in the dataset: the hashtag. This variable mainly helped us in getting an overview of the most influential keywords related to the mama said challenge. We decided to carry out an analysis on hashtags in order to get to know the conversations taking place on the platform and the major present trends.
Hashtags are words or multi-word phrases that categorise content and track topics on different media platforms. Hashtags are preceded by the # symbol, such as #mamsaidchallenge in our case. People can search for posts with a specific hashtag. So, using hashtags helps the TikTok community find posts and topics that interest them. Users use hashtags so that their posts can be found out: adding a hashtag or two will help them to become visible to an audience.
Figure 19. word count of the Mama said posts by hashtag
As we could see from the word count illustrated in Figure 19, a large percentage of the hashtags in the dataset refers to #Foryoupage. On TikTok, the For You feed reflects unique preferences to each user. The system recommends content by ranking videos based on a combination of factors starting from interests that users express as new members of the community and adjusting for things that people indicate they are not interested in too, to finally form their personalised For You feed.
According to the outcome, we could say that the mamasaidchallenge took a considerable part in the feed of Tik Tok users which made it even more popular. The experiences mentioned in this trend actually range from childhood memories to explanations of life aspects. Which eventually led more users to try this challenge that made it go viral expeditiously. This was an interesting intermediate result for us, that helped us to figure out categories and trends on Tiktok.
While keeping in sync with our teammates working on the Stressed out meme, we wanted to take a step further in a slightly different direction: would the templates extracted tell us something about characters, objects and backgrounds that are staged by the TikTokers? How many sequences are there? What part is intentional, what part is not?
From there, we hoped we would be able to compare different videos and identify commonalities and differences in a computational way, considering the huge volume of material (4000+ videos): videos would speak their own language.
In the brainstorming session, we performed a first investigation of 10 sampled videos from a sociological perspective, and concluded that we could subsume the videos in three categories of growing complexity, namely:
videos with a simple semantic: slow pace of the video (translating into a number of chained sequences limited to 2 or 3), each sequence being characterised by an homogeneous vocabulary over the duration of the sequence, as depicted by the colours (one lemme = one colour).
Figure 20 - Scene depiction: simple case
medium complexity videos: the pace is quicker, but the semantic remains rather homogeneous throughout the video
Figure 21 - Scene depiction: medium complexity case
complex videos: the pace is quick, and the scene depiction yields varying objects that do not match over time, and/or object extraction is not performing well enough.
Figure 22 - Scene detection: complex case
We then assessed that the extraction, whilst showing limitations, could yield additional valuable information, of a different nature, in comparison to the topic extraction from TikTok postings, or from TikTok metadata including for example the soundtrack transcribed into text. Indeed, those latter pieces of information are intentional, whereas the semantic labels extracted account for a somewhat unintentional part of the video created by the TikToker: bodies, dressing up, elements of landscape, etc, that are also important cultural markers and, as such, could contribute to the question research around the expressive dimension or subcultural reappropriations of the memes.
As a next step, the process was designed as follows:
On day 4, we used 3 videos and tried out Top 3 to Top 10 most frequent occurrences in a spreadsheet (see Figures 20, 21 and 22) and concluded from our visual inspection that the Top 8 was probably the best compromise in terms of ratio semantic information summarised over processing time and information load.
With more time, this finding would deserve a deeper investigation, analysing scientific publications, and defining some metrics that would enable the measuring of information loss through a benchmark.But for the time being, our frugal process was ready to be automated in Python.
The first path was to rely on a speech to text technique, followed by a text analysis:
The second path was to make a signal matching, to get the same results as from the first method.
Both methods were found time (and processing) consuming, we had therefore to interrupt them in the framework of the data sprint.
Figure 23. ‘Process brainstormed to categorise Tik Tok videos as memes or “trend-surfing” postings, based on soundtrack analysis - the process was however not fully implemented
And the benefit was definitely rewarding as our reflection moved on: a sound qualitative dataset was being built up and enriched with our new findings.From day 3, as we obtained the first insights, we realised there would be a great interest to integrate data resulting from our different research tracks in the same “mega-frame”:
Figure 24. A photo of our board taken on the fly: at that moment of the brainstorming session, we start to bring together the pieces of the puzzle game… see also a simple drawing (at the bottom right corner) of the WSJF approach
At that moment, we thought that the different sources would bring different benefits, drawbacks and their cross-over might lead to new opportunities to make sense out of the posts:
As a next step, we split the data according to our categories to obtain single spreadsheets containing all possible dimensions that may give us additional insights, and be used in parallel by the team members.
Figure 25. Mama said integrated dataset with categories: how the dreamed mega-frame becomes reality, step after stepFrom day 4, our dataset matured on, and on day 5, final data amounted to 4379 lines and 30 columns, and would allow us to work out visualisations and interpretations without refactoring of the data: the effort spent initially on data re-scraping and curation was indeed rewarding during the final sprint.
Figure 25. Snapshot of the Mama said final integrated dataset
After this first phase, the ‘mama said’ meme peaked in popularity in September 2021, amassing over 1.1 million posts to date, but it previously saw boosts in engagement from February to March 2020 (Fig. 26).Interestingly, in the beginning of the trend, the song was mostly used to explicitly speak about a mother/child situation but quickly it was used to illustrate any kind of situation that was involving judgement from society regarding a certain type of behaviour. From this point, the main usage of the meme was to show how people deviating from the societal norms (sexual deviance, not having kids, etc) could anyway feel validated through other people's experience and support. With more time passing, the song begins to serve new purposes, not necessarily connected to the initial trend. From a first qualitative overview of the trend and the content associated to it, we can see that in boosts of TikToks, many TikTokers used the meme to depict, and ostensibly justify, a variety of imagined violent episodes (e.g. one of the most popular videos depicts the user assaulting another person to protect his sister, as the lyrics “mama said it was okay” play in the background).
Figure 27. Mama said - Co-hashtag analysis and most-occurring hashtags.When we look at the network, the most distinguishable clusters are the “lgbtq” cluster and the purple “kpop” cluster. In the case of the ‘lgbtq’ cluster, we can notice nodes like #comingout, #pride, #nonbinary, #lesbian, #gay, #trans, & #bi, as well as hashtags like #loveyourself. This could indicate that the ‘mama said’ trend encourages more somber and supportive content than others on TikTok. When we put this in context with the meme itself, the TikTok environment can be read as largely being re-affirming and unifying.
The Kpop cluster consists of nodes that reference K-pop groups, artists, fandoms, and related media, with hashtags including #bts, #btsarmy, #blackpink, and #straykids. Similar to other celebrity hashtags found in this trend, many of these TikToks position the K-pop artists as ‘mama,’ implying that the K-pop artists have influenced their creators to willingly accept or appreciate something in their own lives. The presence of these clusters points out the presence of two relevant hashtag publics with a similar subcultural background.
Moreover, hashtags related to advertising campaigns, stealth marketing, and product placement are widespread in the ‘mama said’ trend. As an example, the brand Armani is visible in our top hashtags, though others include #shiencares and #katespadenyonthemove.
Finally, “greenscreen” is the most frequently occurring hashtag once other attention-seeking labels are eliminated, which reflects the ways in which Mama said TikToks are edited, as well as a common characteristic of TikTok content more generally.
Figure 28. PixPlot: an example of image wall vs cluster visualisation.In the above picture, we can see the result of the thumbnail PixPlot process. The result came with some indication about the clusters. 10 clusters were identified by the algorithm but if some of them were pretty obvious (multiple people, women’s face, outdoor scene…) most of them were difficult to interpret. Here is a couple examples of the clusters that were possible to analyse (Fig. 29):
Figure 29. Mama said PixPlot clusters, some examples
Delving deeper into the analysis, we tried to label each of the clusters, in order to highlight the similarities and themes emerging from the image wall (Fig. 30).
Figure 30. Mama said - PixPlot clusters, labelled.
Figure 31. Mama said - PixPlot clusters, close-ups.As we hinted before, visual similarity analysis of TikTok content can be helpful to grasp the visual trends present in video cover thumbnails. The results emerging from this case study are particularly useful to highlight the limits of this research technique, as well as the pros and cons of PixPlot. The ‘mama said’ audio meme consists of two main parts: a selfie introducing a problem or an issue, which is then followed by an array of role models who encourage and inspire creators to express their individuality, even if this means challenging existing stereotypes (for an example, see Fig. 32).
Figure 32. The two parts composing the mama said audio meme, an example. Source: @TaylorswiftGiven its specificity, PixPlot only displays a static account of video content, and, more importantly, does not account for the entire video, which changes consistently from the first frame to the subsequent ones. In this way, image similarity analysis with PixPlot is problematic, because the interpretation emerging from the grouping of images in a metapicture overlooks some important elements of the object of study. On the other hand, PixPlot can be used to move from the aggregated image wall to a more qualitative and fine-grained analysis of the visual content. First, PixPlot allows to sort images according to different metrics (e.g., hashtags, etc…) and evaluate how the clusterisation changes. Secondly, for each thumbnail PixPlot provides a direct link to the TikTok website, a feature that allows for the manual exploration of each clip.
The files follow a regular pattern name-wise: video_scene_frame_image.jpg.
Figure 33. Building up the semantic labels library.Then we grouped the videos with all the existing labels in a single column. A simple algorithm based on frequency count of labels in decreasing order would determine the top 8 labels for each video.
Figure 34. Illustration of an excerpt of the library containing videos ids coupled with their semantic labels, and the most frequent semantic labels (top 8).Then we extracted this dataset and made it ready for the creation of the networks, to form edges linking the nodes: we had our semantic labels that could be integrated into our dataset, associated with each video.
Figure 35. Common words among most positive and negative posted bodies based on sentiment of users for the Mamasaid dataset. The Word Cloud above represents the common words among most positive and negative post bodies based on sentiment of users. We could notice that the ForYouPage is particularly present on both negative and positive videos description. We would get to explain the reason shortly after our next analysis. B) Topic Modelling : 12 videos categories In this case study, our main objective was Topic Modelling or Topic Extraction, we wanted to know more about the categories that are most influencing on Tiktok and hopefully get a classification according to two variables “desc” and “video_id”.
Essentially, we tested two main NLP techniques which are:
Figure 36. Topic extraction using LDA technique for the Mamasaid dataset, showing 6 clusters, mapping on guessed categories.
Figure 37. Hashtags co-occurrences for the Mamasaid dataset, showing 6 clusters, mapping on guessed categories.According to the results of both techniques combined, we could not get a clear classification of the videos based on their categories, although some categories started to emerge. This made us conclude that Tik Tok data - or at least our particular dataset - or techniques applied (short documents, great variance in contexts, topics, a lot of information borne by videos and not text, since this is the essence of TikTok to communicate via videos) is not fully adapted for textual analysis since most of the content shared is random and the description or hashtags does not really carry a common sense behind. C) Sociology is back for more We decided eventually to call out our own sociological expertise and background to elaborate a classification of the topics and see if day 5 would bring more light when crossing all data. We felt the lack of a true expert of TikTok to deepen our reflections. In total, we obtained 12 videos categories. To name them, we use the “Most popular TikTok categories” presented above and also concepts drawn from theoretical readings (Shifman, 2011, 2012; Zulli & Zulli, 2020). The 12 topics are: “Social Trend”, “Feeling”, “Fashion”, “Daily Life/Hacks”, “Activism”, “Animals”, “Social Challenges”, Outdoors”, “Person”, “Food”, “Arts” and “Sports”. The topic “Social Trend” is, for example, composed of viral hashtags like “#trending, #foryoupage, #foryou, #fyp”. “Activism” contains words like “lgbtq, transgender, lesbian, pride”. The “Art” topic is made up of “photography, photographer, artist, actor”. The lack of expertise mentioned above was partly balanced by the fact that we came up with similar results as those found in section 5.3.2. Detecting hashtag publics.
To explore as many relationships in as many dimensions as possible, we opted to create different hypergraphs (a graph whose hyperedges connect two or more vertices).
We used graphistry (https://www.graphistry.com/ ), which is a cloud-based interactive graph and hypergraph visualization platform offering a python API client.
We constructed the hypergraph structure in python and sent it to graphistry via the aforementioned API. After creating multiple visual representations and exploring them, we observed some interesting patterns that are discussed below.A. Networks of hashtags linked by videos posted on Tik Tok - Modularity, degree and dynamics
Figure 38. Networks of hashtags linked by videos posted on Tik Tok over time. On the right part appears the peak of virality in October 2021. B) Videos by their categories .
Figure 38. Hypergraphs linking videos and emerging clusters such as “Social Trend”.
As mentioned before, we could clearly see that the “social trend” category is by far the most prominent, and as such, we can in part say that the audio meme is mainly used as a trend surfing tool.
We could also identify other important categories such as “fashion”, “social challenges”, “activism” and “feeling” related content.
This actually confirmed our categories inferred from literature and partly from NLP.
Figure 39. Hypergraphs depicting relations between TikTokers and hashtags used.
This graph represents how users are represented in relation to their hashtag use.
We could derive interesting results:
This graph confirms that the meme use is primarily for trend surfing and allows us to see that most users of this meme (especially the more established ones) rely heavily on hashtags.
Here we sliced our hypergraph using time as a dimension in order to explore the evolution of the use of the audio meme over time. We could clearly identify two peaks concerning the meme’s virality (around March 2020 and September/October 2021). A first fast investigation - checking the peak time frame for possibly related social events that might be driving the peak - found no such event.
We can thus draw a primary conclusion that the virality of the meme is self-driven: a use by Tiktokers with high reach on the platform generates more use of the meme, but further investigation of these peaks would be necessary to establish a more definitive conclusion.
This idea of self-driven virality echoes also in the semantic set of labels derived from networks of co-occurrences and hypergraphs, from which 7 clusters emerge:
Figure 41. Labels co-occurrences depicting 7 clusters of semantic labelling extracted from videos
Figure 42. Hypergraphs depicting clusters of semantic labelling extracted from videos.
On a more philosophical touch, the theme of surpassing oneself, somehow authorised by a mythical Mama who “said it was all right”, emerges from these categories; human bodies, accessories for staging oneself, or staging one’s pets, becoming this hero who goes beyond one’s own limitations and sees that performance reflected (be it in sport practices, cooking, arts, inside or in the outskirts) in the responses and gazes of others, calling, in turn, others to pass the marks, is indeed an interesting and attractive stepping stone. The calling Mama of the “Mama said” meme may have something to do with “a screen to project our fantasies, a support to back our self, a reassuring container of affect and emotions, but frightening by the regression and engulfment that would be possible” (Anzieu-Premmereur, 2011). In brief, all characteristics are required to become viral…
For further exploration of the graphs depicted and their various dimensions, we provide some links to all hypergraphs we created during the event.
In this project, we aimed at understanding the genealogy and change of TikTok audio memes by analysing two case studies.
First, our purpose was to understand how TikTok memes are generated on TikTok, and thus study their genealogy. In the analysis, we identified three types of TikTok sounds, which reflects three ways in which TikTok audio memes can be generated: integrated TikTok sounds (e.g. the Stressed Out case study), semi-native TikTok sounds (e.g. the Mama said case study), and native TikTok sounds. The three different sounds are used in different memetic ways and have different trajectories of development, as emerged particularly from the comparison between the original and remix version of the Stressed Out sound, with the remix one being the most memetic.Furthermore, the analysis provided insights not only into the genealogy of TikTok memes, but also pointed at the idea of the ‘dilution of a meme’, i.e. when the trend reaches its peak in popularity, it starts getting diluted with non-related content that does not follow any specific template, and therefore the trend itself progressively ceases to exist. By means of hashtag analysis and video stacks, we were able to see, in particular, that once the sound hits peak popularity, its top videos no longer represent the trend and the sound becomes characterised by ‘trend surfing’ practices. With trend surfing, we mean the use of the sound, its trend, and popularity the aim of gaining visibility and creating trending content. Ultimately, the project provided useful insights into the functioning of TikTok sounds more broadly, being sound an affordance that enables different kinds of behaviours on the platform, and not only memetic ones.
In the analysis, we were also able to point out some of the ways in which the sounds object of study were used and appropriated by different users. The different usages of the meme clearly emerge from the templatability analysis, which shows how the trend is appropriate to vehiculate feelings of nostalgia (in line with the original meaning of the song), but also re-appropriated for activist purposes or as background music. These various appropriations are to be found in the hashtag analysis as well, where different hashtag publics emerge around both the case studies taken into consideration. However, given the specificities of the platform, more research is needed in order to understand to what extent these publics can be considered as cohesive communities, and what is the subcultural background they share.The third research question that guided our project is about the ways in which it is possible to analyse TikTok audio-visual content. In this project, we experimented with a series of different strategies to account for the different layers of TikTok content (e.g, metadata, static visual content, dynamic visual content, audio content, among others) and, subsequently, combine them. In the text, we already acknowledge the limitations related to some techniques we tested, specifically the shortcomings of visual similarity analysis, and the complexities associated with the use of textual analysis algorithms applied to TikTok data. Other techniques, such as sound analysis, templatability analysis and video stacks, were particularly useful to extend visual media analysis to TikTok content. Therefore, it remains important to further expand TikTok research beyond the analysis of static images, in order to cover the totality of the video and its multimodality.
In terms of directions for future research, it would be interesting and a great contribution to the social network theory to analyze the relations between the users of the song (following/followers network). We could use Duncan Watts analysis of structured networks to understand what type of connection between people makes a video go viral or not. A limitation in this is however that very little is known about the TikTokers in the data. Moreover, investigating the influence of high-reach users specifically on the adoption and the evolution of TikTok memes is also an interesting perspective. Lastly, we deem it interesting to integrate visual analysis techniques with the extraction of ‘sticker text’, either with OCR or by using metadata, if available, in order to further account for TikToks ’ content embedded in the video paratext.
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