A rapid increase in social networking services in recent years has enabled people to share and seek information effectively. Meanwhile, the openness and timeliness of social networking sites also allow for the rapid creating and dissemination of misinformation. As witnessed in recent incidents of fake news, misinformation escalates quickly and can impact social media users with undesirable consequences and wreak havoc instantaneously. Despite many people have been aware of that fake news and rumors are misleading the public and even compromising elections, the problem is not going away.

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In this tutorial, we will discuss how misinformation gains traction in the race for attention, introduce emerging challenges of identifying misinformation, present a comparative survey of current data mining research in tackling the challenges, and suggest available resources and point to directions for future work. This tutorial will target researchers and practitioners who are interested in the area of misinformation mining and have basic knowledge of network analysis, data mining, and machine learning. It will be delivered at a college junior/senior level, and should be easily accessible to interested parties from both industry and academia. References. 1 Liang Wu, Fred Morstatter, Xia Hu, and Huan Liu. Mining Misinformation in Social Media.

1. Savage Wuxia!Savage Wuxia! 2222 Character Creation! Character Creation! Because of their skill larger-than life nature, PCs start at Seasoned rank with 20 XP.
2. Jin Yong novels. Jin Yong’s wuxia novels are listed below in chronological order. After all the novels had been published, it was discovered that that.

Big Data in Complex and Social Networks, pages 123-152, 2016. Early Detection of Misinformation.

2 Justin Sampson, Fred Morstatter, Liang Wu, and Huan Liu, Leveraging the Implicit Structure within Social Media for Emergent Rumor Detection, CIKM 2016. 3 Liang Wu, Jundong Li, Xia Hu, Huan Liu, Gleaning Wisdom from the Past: Early Detection of Emerging Rumors in Social Media, SDM 2017. 4 Liang Wu, Huan Liu, Tracing Fake-News Footprints: Characterizing Social Media Messages by How They Propagate.

JING CYNTHIA WU FAN DORA XIA Measuring the Macroeconomic Impact of Monetary. And a normal probability density function.

Spread of Misinformation in Social Media. 5 Xiaoyan Qiu, Diego FM Oliveira, Alireza Sahami Shirazi, Alessandro Flammini, and Filippo Menczer.

Limited individual attention and online virality of low-quality information. Nature Human Behavior 1 (2017): 0132.

6 Giovanni Luca Ciampaglia, Alessandro Flammini, and Filippo Menczer. The production of information in the attention economy. Scientific reports 5 (2015).

7 Chengcheng Shao, Giovanni Luca Ciampaglia, Onur Varol, Alessandro Flammini, and Filippo Menczer. The spread of fake news by social bots. ArXiv preprint 2017. Camouflaged Misinformation Spreader Detection. 8 Liang Wu, Xia Hu, Fred Morstatter, Huan Liu, Adaptive Spammer Detection with Sparse Group Modeling. ICWSM 2017.

9 Liang Wu, Xia Hu, Fred Morstatter, Huan Liu. Detecting Camouflaged Content Polluters. Section Duration Introduction. Definition of misinformation 10 minutes Misinformation detection. Challenges of misinformation detection. Early detection of misinformation 30 minutes Spread of misinformation in social media. Reasons behind spread of misinformation.

Modeling the spread of misinformation 30 minutes Misinformation spreader detection. Challenges of misinformation spreader detection.

Detection of misinformation spreaders 30 minutes Available resources and collection of data 20 minutes Q&A 10 minutes. has been a PhD student of Computer Science and Engineering at Arizona State University since August, 2014.

He obtained his master's degree from Chinese Academy of Sciences in 2014 and bachelor's from Beijing Univ. Of Posts and Telecom., China in 2011. The focus of his research is in the areas of misinformation and content polluter detection, and statistical relational learning. He has published over 20 innovative works in major international conferences in data mining, such as ICDM, SDM, WSDM and ICWSM. Liang has participated in various competitions and data challenges and won the Honorable Mention Award of KDD Cup 2012 on predicting click-through rate of search sponsored ads, ranking 3rd on leaderboard. He is also an author of 5 patent applications and 2 book chapters, and he is a tutorial speaker at SBP'16. He has been a Research Intern at Microsoft Research Asia and a Data Science Intern at Etsy.

More information can be found. is an assistant research scientist at the Indiana University Network Science Institute (IUNI). He holds a Ph.D.

In Informatics from the University of Lugano, Switzerland and a M.Sc. (Laurea) from Sapienza University of Rome, Italy. Before joining IUNI he was an analyst for the Wikimedia Foundation, and a research associate at the Swiss Federal Institute of Technology in Zurich. He won the 2012 Kantar 'Information is Beautiful' for Best Interactive Visualization and has been the recipient of a postdoctoral 'Mobility' fellowship from the Swiss National Science Foundation. His research is supported by the Democracy Fund. His interests are in the emerging disciplines of network science and computational social science, with a particular focus on information diffusion on the Internet and social media, and the spread of misinformation. He serves on the editorial board of the Journal of Computational Social Science and on the program committee of several conferences.

His research has been covered in major news outlets, including the Wall Street Journal, the Economist, Wired, MIT Technology Review, NPR, and CBS News, to cite a few. More can be found. is a professor of Computer Science and Engineering at Arizona State University.

He obtained his Ph.D. In Computer Science at University of Southern California and B.Eng. In Computer Science and Electrical Engineering at Shanghai JiaoTong University. Before he joined ASU, he worked at Telecom Australia Research Labs and was on the faculty at National University of Singapore. At Arizona State University, he was recognized for excellence in teaching and research in Computer Science and Engineering and received the 2014 President's Award for Innovation.

His research interests are in data mining, machine learning, social computing, and artificial intelligence, investigating interdisciplinary problems that arise in many real-world, data-intensive applications with high-dimensional data of disparate forms such as social media. His well-cited publications include books, book chapters, encyclopedia entries as well as conference and journal papers. He is a co-author of Social Media Mining: An Introduction by Cambridge University Press. He serves on journal editorial boards and numerous conference program committees, and is a founding organizer of the International Conference Series on Social Computing, Behavioral-Cultural Modeling, and Prediction. He is an IEEE Fellow. More can be found.

Contents. History Earlier precedents Even though the term 'wuxia' as the name of a genre is a recent coinage, stories about xia date back more than 2,000 years. Wuxia stories have their roots in some early tales from 300–200 BCE. The philosopher spoke disparagingly of youxias in his book in the chapter On Five 'Maggot' Classes about five social classes in the.

Some well-known stories include 's assassination of, and most notably, 's attempt on the life of the King of Qin (who became later). In Volume 86 of the ( Shi Ji), mentioned five notable assassins –, and Jing Ke – in the who undertook tasks of conducting political assassinations of aristocrats and nobles.: 17–19 These assassins were known as cike (刺客; literally 'stabbing guests'). They usually rendered their loyalties and services to feudal lords and nobles in return for rewards such as riches and women.

In Volume 124 of the Shi Ji, Sima Qian detailed several embryonic features of xia culture from his period. These popular phenomena were also documented in other historical records such as the and the. Xiake stories made a turning point in the and returned in the form of chuanqi (傳奇; literally 'legendary tales'). Stories from that era, such as (聶隱娘), (荊十三娘), (紅線) and (虬髯客), served as prototypes for modern wuxia stories.

They featured fantasies and isolated protagonists – usually loners – who performed daring heroic deeds. During the, similar stories circulated in the, short works that were once thought to have served as prompt-books for (traditional Chinese storytelling).: 19–20: 47–48 The genre of the martial or military romance also developed during the Tang dynasty. In the, and wrote and respectively, which are among the of Chinese literature.

The former is a romanticised historical retelling of the events in the late and the period, while the latter criticises the deplorable socio-economic status of the late Northern Song dynasty. Water Margin is often seen as the first full-length wuxia novel: the portrayal of the, and their code of honour and willingness to become outlaws rather than serve a corrupt government, played an influential role in the development of culture in later centuries. Romance of the Three Kingdoms is also seen as a possible early antecedent, and contains classic close-combat descriptions that were later borrowed by wuxia writers in their works: 20: 17, 263 In the, further developments were the (公案; literally 'public case') and related detective novels, where xia and other heroes, in collaboration with a judge or magistrate, solved crimes and battled injustice. The stories from Sanxia Wuyi (三俠五義; later extended and renamed to ) and (小五義), incorporated much of social justice themes of later wuxia stories.

Xiayi stories of chivalrous romance, which frequently featured female heroes and supernatural fighting abilities, also surfaced during the Qing dynasty. Novels such as (施公案奇聞) and (兒女英雄傳) have been cited as the clearest nascent wuxia novels.: 20–21: 19 The term 'wuxia' as a genre label itself first appeared at the end of the Qing dynasty, a of the Japanese ', a genre of oft-militaristic and -influenced adventure fiction. The term was brought to China by writers and students who hoped that China would modernise its military and place emphasis on martial virtues, and it quickly became entrenched as the term used to refer to xiayi and other predecessors of wuxia proper.

In Japan, however, the term 'bukyō' faded into obscurity.: 2–3: 11, 262 Many wuxia works produced during the Ming and Qing dynasties were lost due to the governments' crackdown on and banning of such works. Wuxia works were deemed responsible for brewing anti-government sentiments, which led to rebellions in those eras.

The departure from mainstream literature also meant that patronage of this genre was limited to the masses and not to the literati, which led to the stifling of the development of the wuxia genre. Nonetheless, the wuxia genre remained enormously popular with the common people.: 49–50 20th century The modern wuxia genre rose to prominence in the early 20th century after the of 1919. A new literature evolved, calling for a break with Confucian values, and the xia emerged as a symbol of personal freedom, defiance to Confucian tradition, and rejection of the Chinese family system. The early 20th century and the period from the 1960s–80s were often regarded as the golden ages of the wuxia genre.

Xiang Kairan (pen name ) became the first notable wuxia writer, with his debut novel being (江湖奇俠傳). It was serialised from 1921–28 and was adapted into the first wuxia film, (1928). (趙煥亭), who wrote (奇俠精忠傳, serialised 1923–27), was another well-known wuxia writer based in. Starting from the 1930s, wuxia works proliferated and its centre shifted to and in northern China. The most prolific writers there were collectively referred to as the Five Great Masters of the Northern School (北派五大家): (還珠樓主), who wrote (蜀山劍俠傳);, who wrote (十二錢鏢);, who wrote (鹤鉄五部作); (郑証因), who wrote (鹰爪王); (朱貞木), who wrote (七殺碑). Wuxia fiction was banned at various times during the and these restrictions stifled the growth of the genre. In spite of this, wuxia writing prevailed in other Chinese-speaking regions, such as Taiwan and Hong Kong.

Writers such as and Louis Cha spearheaded the founding of a 'new school' of the wuxia genre that differed largely from its predecessors. They wrote serials for newspapers and magazines. They also incorporated several fictional themes such as mystery and romance from other cultures.

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In Taiwan, (諸葛青雲), (萧逸) and became the region's best known wuxia writers. After them, writers such as and rose to prominence in a later period. Is a contemporary female wuxia novelist who made her debut with the novel (天觀雙俠). There have also been works created after the 1980s which attempt to create a post-wuxia genre., one of the more notable writers from this period, published a counter-genre short story titled, in which the protagonist goes on a quest to avenge his murdered father. Themes, plots and settings. A 17th-century woodblock print of a scene from a play on the Kunlun Nu story. Modern wuxia stories are largely set in ancient or pre-modern China.

The historical setting can range from being quite specific and important to the story, to being vaguely-defined, anachronistic, or mainly for use as a backdrop. Elements of fantasy, such as the use of magic powers and appearance of supernatural beings, are common in some wuxia stories but are not a prerequisite of the wuxia genre. However, the martial arts element is a definite part of a wuxia tale, as the characters must know some form of martial arts. Themes of romance are also strongly featured in some wuxia tales.

A typical wuxia story features a young male protagonist who experiences a tragedy – such as the loss of his loved ones – and goes on to undertake several trials and tribulations to learn several forms of martial arts from various fighters. At the end of the story, he emerges as a powerful fighter whom few can equal. He uses his abilities to follow the code of xia and mends the ills of the. For instance, the opening chapters of some of Jin Yong's works follow a certain pattern: a tragic event occurs, usually one that costs the lives of the newly introduced characters, and then it sets events into motion that will culminate in the primary action of the story. Other stories use different structures. For instance, the protagonist is denied admission into a martial arts sect. He experiences hardships and trains secretly and waits until there is an opportunity for him to show off his skills and surprise those who initially looked down on him.

Some stories feature a mature hero with powerful martial arts abilities confronting an equally powerful antagonist as his nemesis. The plot will gradually meander to a final dramatic showdown between the protagonist and his nemesis.

These types of stories were prevalent during the era of anti- revolutionaries. Certain stories have unique plots, such as those by and. Gu Long's works have an element of mystery and are written like detective stories.

The protagonist, usually a formidable martial artist and intelligent problem-solver, embarks on a quest to solve a mystery such as a murder case. Huang Yi's stories are blended with science fiction. Despite these genre-blending elements, wuxia is primarily a historical genre of fiction. Notwithstanding this, wuxia writers openly admit that they are unable to capture the entire history of a course of events and instead choose to structure their stories along the pattern of the protagonist's progression from childhood to adulthood instead. The progression may be symbolic rather than literal, as observed in Jin Yong's, where progresses from childish concerns and dalliances into much more adult ones as his unwavering loyalty repeatedly thrusts him into the rocks of betrayal at the hands of his inhumane master.

Code of xia The eight common attributes of the xia are listed as benevolence, justice, individualism, loyalty, courage, truthfulness, disregard for wealth, and desire for glory. Apart from individualism, these characteristics are similar to Confucian values such as (仁; 'benevolence', 'kindness'), zhong (忠; 'loyalty'), yong (勇; 'courage', 'bravery') and (義; 'righteousness'). The code of xia also emphasises the importance of repaying benefactors after having received deeds of en (恩; 'grace', 'favour') from others, as well as seeking chou (仇; 'vengeance', 'revenge') to bring villains to justice. However, the importance of vengeance is controversial, as a number of wuxia works stress Buddhist ideals, which include forgiveness, compassion and a prohibition on killing.

In the, martial artists are expected to be loyal to their master ( ). This gives rise to the formation of several complex trees of master-apprentice relations as well as the various sects such as and. If there are any disputes between fighters, they will choose the honourable way of settling their issues through fighting in duels. Skills and abilities. This section needs additional citations for. Unsourced material may be challenged and removed.

(May 2016) The martial arts in wuxia stories are based on techniques and other real life. In wuxia tales, however, the mastery of such skills are highly exaggerated to superhuman levels of achievement and prowess.

The following is a list of skills and abilities a typical fighter in a wuxia story possesses:. (武功): Fighting techniques in a codified sequence called zhaoshi (招式), which are based on real life Chinese martial arts. Weapons and objects: Combatants use a wide range of weapons in combat. The most commonly used ones are the (broadsword or saber), (sword), (staff), and (spear).

Everyday objects such as, benches, fans, ink brushes, smoking pipes, sewing needles, or various musical instruments, are also used as weapons as well.: A form of real Chinese martial arts. In wuxia fiction, however, its use is exaggerated to the point that characters can circumvent gravity to fly, cover tremendous distances in a single stride, run across surfaces of water, mount trees, and jump over or scale high walls. Neili (内力; lit 'internal force' or 'internal strength')/ (內功; literally 'internal skill' or 'internal function'): The ability to build up and cultivate inner energy known as and utilise it for attack and defensive purposes. Characters use this energy to attain skills such as superhuman strength, speed, stamina, durability and healing as well as the ability to project energy beams and elemental forces from their bodies. (點穴; literally 'touching '): Characters use various techniques to kill, paralyse, immobilise or even manipulate opponents by attacking their points with their bare hands or weapons. Such techniques can also be used for healing purposes, such as halting excessive bleeding.

Real life martial artists do use such techniques to paralyse or stun their opponents, however, their effectiveness is highly exaggerated in wuxia stories. In wuxia stories, characters attain the above skills and abilities by devoting themselves to years of diligent study and exercise, but can also have such power conferred upon them by a master who transfers his energy to them. Interbase xe server. The instructions to mastering these skills through training are found in secret manuals known as miji (秘笈). In some stories, specific skills can be learned by spending several years in seclusion with a master or training with a group of fighters.

See also: and The earliest wuxia films date back to the 1920s. Films produced by and the featured sophisticated action choreography using wire and trampoline assisted acrobatics combined with sped-up camera techniques. The storylines in the early films were loosely adapted from existing literature.

, and are among the better known wuxia movie stars in the 1960s–70s, when films made by King Hu and the Shaw Brothers Studio were most prominent. More recent wuxia movie actors and actresses include, and. Is a choreographer who achieved fame by crafting action-sequences in wuxia films. Wuxia was introduced to Hollywood studios in 2000 by 's. Following in Lee's footsteps, made, targeted for the international market in 2003, in 2004 and in 2006.

Western audiences were also introduced to wuxia through Asian television stations in larger cities, which featured miniseries such as and Paradise, often with English subtitles. Western attempts at the genre have been limited, such as the 2008 film, which starred, and.

However, a major exception is 's media franchise. Created as an earnest, if humorous, emulation by producers who were knowledgeable admirers of the genre, the series has been particularly hailed in China as an excellent contribution to the form. More recently, 1990s–2000s Hong Kong stars and have worked with to bring wuxia to a US television audience with, which premiered in 2015 and has since been renewed for second and third seasons. Video games Some notable wuxia video games of the genre include, and, all of which blend wuxia with elements of and fantasy. The Legend of Sword and Fairy, in particular, expanded into a franchise of eight video games, two of which were adapted into the television series (2005) and (2009). There are also, such as and, and games, such as and Games adapted from the works of wuxia writers include, an RPG based on characters in 's novels;, an MMORPG inspired by Jin Yong's; and, a featuring several martial arts sects which commonly appear in wuxia fiction.

See also. References.