Starting to get a little bit more into linear algebra / complex numbers. I'd like to see this happen more gradually as I haven't used any of this since college.

Krippendorff, aquí en la bibliografía: Content analysis. An introduction to its methodology.

What is valence in music according to Spotify?

question?

what is time series?

Estimated economic benefit of data linkage

the potential value from linking Census data to administrative data sets is only beginning to be realised and holds immense potential.(In other work for the Population Health Research Network, Lateral Economics concluded that data linkage generated over $16 for every dollar invested).

Economic benefit of the Census.

Our estimates suggest the benefits of running the Census easily outweigh its costs in the order of$6 of economic value for each $1 it costs. On this reckoning, the cost of the Census would have to rise to six times its current cost –to around $3 billion every five years –before it startedto become cost ineffective

Just considering the Y, and not the X. Calculating the residuals from the average/mean Y.

Etienne's blog! Amazing resource for OSINT; particularly focused on technical attacks.

This is Bloom's taxonomy of cognitive objectives. I selected this page because it explains both the old and new versions of the taxonomy. When writing instructional objectives for adult learning and training, one should identify the level of learning in Blooms that is needed. This is not the most attractive presentation but it is one of the more thorough ones. rating 4/5

对傅里叶变换建模~~

Ainda que aqui os tópicos da certificação não cubram exatamente esse assunto, monitorar a saúde de um sistema e suas aplicações é missão do profissional DevOps. Atente para os tópicos:

701 Software Engineering 701.1 Modern Software Development (weight: 6)

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705.2 Log Management and Analysis (weight: 4)

To test the fit between data and more than one alternative tree, you can just do a bootstrap analysis, and map the results on a neighbour-net splits graph based on the same data.

Note that the phangorn library includes functions to transfer information between trees/tree samples and trees and networks:<br/> Schliep K, Potts AJ, Morrison DA, Grimm GW. 2017. Intertwining phylogenetic trees and networks. Methods in Ecology and Evolution (DOI:10.1111/2041-210X.12760.)[http://onlinelibrary.wiley.com/doi/10.1111/2041-210X.12760/full] – the basic functions and script templates are provided in the associated vignette.

This is why I am here. As we have become more and more specialized, we have become less capable of understanding the consequences, good or ill, of new technologies. Looking back at foundational documents like this with a critical eye is a first step. We can't divorce science and technology from history, ethics and critical analysis without suffering the consequences. Looking back and understanding how we got here will provide clues in how to fix things. I am Geoff Cain - I started out life as a writer and English teacher and eventually went into elearning. I am VERY interested in projects like this because we need to stop being passive consumers of information. I want to help end the Era of the Guilty By-Stander: shared thought can lead to shared action. I will be blogging my experiences with this project at http://geoffcain.com

The EFA vs. CFA question was a stickler for one peer reviewer, and I can understand why. When measurement is based on strong theory, then I believe that CFA is preferable to EFA. But that was rarely the case in these datasets.

I suspect that this factor was so strong because it consisted of only four observed variables, and three of them were written measures of verbal content. All of the verbal cariables correlated r = .72 to .89. Even the "non-verbal" variable (numerical ability) correlates r = .72 to .81 with the other three variables (Rehna & Hanif, 2017, p. 25). Given these strong correlations, a very strong first factor is almost inevitable.

This factor may be weak because the sample consists of Sudanese gifted children, which may have restricted the range of correlations in the dataset.

My colleague, Roberto Colom, stated in his blog (link below) that he would have discarded samples with fewer than 100 individuals. This is a legitimate analysis decision. See his other commentary (in Spanish) at https://robertocolom.wordpress.com/2018/06/01/la-universalidad-del-factor-general-de-inteligencia-g/

Strong statement on how the unit of analysis can influence disaster research beyond theoretical frameworks and the need to look at temporality differently.

This tension exists in HCI as well.

Interpreted data vs empirical data and how each is systematically analyzed.

就是这么一句话：“we study deep networks using Fourier analysis.” 让我立马收藏此文，好好读读看！

Paper Summary

This phrase is typical of Melville's sentence construction. Comparison is the mean and reason is the goal.

These ghosts are representative of past lovers who are haunting her, which is especially disturbing to the speaker because she cannot remember them. Perhaps she cannot remember the past lovers because she was promiscuous rather than trying to find real love. I think Millay chose the word ghost because usually things that haunt you are things that you feel guilty about, and I think Millay feels guilty for her past behavior of being promiscuous.

This line also contributes to the overall gloominess of the text because it does not indicate any sort of hope for the future or incline that something will change for the speaker, whether that be her getting her memories back or her companionship and and presumable happiness back. They are saying that they were only happy for a little while and will never be happy again.

The speaker feels as though she should have deeper associations and more vivid memories of these past experiences.

The speaker might not know what loves have come and gone; However, she obviously senses on a base level that she was once happy and that she no longer is. The pain in her heart is "quiet" but it is very much present and continuing to hurt the speaker.

sounds exciting

Qualitative analysis

Very nice review. Please note the reference [94] (Pantazatos et al.) is misplaced because they did not argue that spatial biases cannot entirely explain the putative links between CGE and functional segregation. Instead, they argued there was insufficient evidence in the original Richiardi et al. study linking elevated CGE with resting state functional networks, and that spatial biases may in fact entirely account for their findings. To describe the debate/exchange more accurately, I would suggest replacing the below sentence

“While spatial biases may contribute to these findings, as nodes belonging to the same module tend to be anatomically colocalized [7,8], they cannot explain these effects entirely [94,95].”

with the below paragraph:

“Spatial biases may contribute to these findings, as nodes belonging to the same module tend to be anatomically colocalized [7,8]. Pantazatos et al. argued that these findings are entirely explained by spatial biases [94]. They showed that elevated CGE, as defined in the original Richiardi et al. study, falls monotonically as longer distance edges are removed. Moreover, they showed that 1,000 sets of randomly spaced modules all have significantly high CGE when using the same null distribution defined in the original Richiardi et al. analyses. Therefore, elevated CGE is not specifically related to functional segregation as defined by resting state functional networks, which is in direct contradiction to the main conclusion of the original Richiardi et al. study. Since randomly placed modules do not align (spatially) with any distributed pattern of functional segregation, the finding of elevated CGE may instead be attributed entirely to anatomical colocalization of the nodes within each module. In their rebuttal to [94], Richiardi et al. argue spatial biases cannot explain their findings entirely [95]. However, the authors do not offer an explanation for significantly high CGE observed for randomly spaced sets of modules, other than to note that nodes tend to be closer on average compared to when modules are defined by resting state fMRI. Future work is required to dissociate the effects of spatially proximity on relationships between CGE and spatially distributed functional networks.”

This text analysis that it contains words written in hebrew and deciphering of the first sentence of the text using hebrew translation seems to align with what this author is saying about the text being passed down through the family.

She made recommendations to the priest, man of the house and me and people.

[Source] (https://hyp.is/GB7sZKjvEeidoGeGo8L6jA/www.independent.co.uk/news/science/mysterious-manuscript-decoded-computer-scientists-ai-a8180951.html)

This seems to align with the analysis of Sukhwant Singh

Sukhwant Singh's analysis here seems to fit with a lot of other's partial analysis/observations such as multiple characters representing the same character, certain characters only appearing at the end of words etc. It seems quite compelling. The dates however, are a century too early although that does not necessarily dispel his theory that it is written in Landa Khojki.

This might suggest the same thing as Tiltman's analysis in that a single character may take several forms.

When learning that there were over 100 characters used in the manuscript my first thought was that perhaps variations of a character were used to represent the same character.

This is very interesting. It seems to suggest that each word may be scrambled based on the characters used.

Here is a documentary on the Voynich Manuscript published in 2014.

There seems to be a lot of sharp turns in the mood of the main characters in the story; not long ago Gabriel had been "trembling with delight at her sudden kiss", I wonder if we could see such a pattern of highs followed by significant lows by doing a sentiment analysis on the stories in Dubliners. On the other hand, Gabriel strongly reminds me of Mr. Hammond in Mansfield's The Stranger, as his solicitude, anxiety regarding women, and overprotected-ness of his wife is emphasized several times throughout this story, and in the end a dead man also drives the wedge between the couple.

There's a quick (and almost absurd) change in mood where just in the previous paragraph he was sad when thinking about life; I'm guessing that there will be a fairly steep slope here if we do a sentiment analysis.

Polly's actions here could be analyzed by extracting the past tense verbs. She seemed to fall into a reverie of the future. Perhaps we could weigh her actions with regard to Mr.Doran's to penetrate what they genuinely expect from the affair.

This first sentence already raises some questions. What does it mean for North Richmond Street to be "blind" (sightless?)? And why is the Christian Brothers' School characterized as a prison from which boys are "set free"? We could explore the second question further by creating concordances and collocations with words associated with freedom and captivity.

James Joyce played around with adjectives for the corpse of the late Father. He described his face as 'very truculent, grey and massive, with black cavernous nostrils and circled by a scanty white fur' a few lines before, but here, he turned the whole picture around completely!

The narrator's description of the commercial ships, and his fantasy of sailing away from Dublin, briefly suspend the narrative, creating a temporal and spatial expansiveness that pressures the story's geographic containment. It would be interesting to track and investigate the language of imagination and fantasy throughout Dubliners with a concordance and collocations.

Packed with mixed feelings of curiosity, fear, deferral, confusion, irritation, freedom, and reminiscing, this passage suggests that the narrator's relationship with the late Father Flynn is far more complicated (and perhaps troubling) than meets the eye. The language of this excerpt is ripe for close reading, but we could also explore it computationally by calculating pronoun frequencies (i.e., how often "he" and "him" appear compared to "I" and "me"), and by performing a sentiment analysis in a Jupyter notebook. It would be interesting to compare one's close readings with the results of a computer-generated sentiment analysis.

For a blog post commenting on an earlier draft of this article (many points raised remain relevant) see here.

I'm curious about what we would find by tracking the word "too" across the entire Mansfield short story corpus, mainly with word counts, word collocations, and n-grams. My hypothesis would be that the word "too" appears most frequently (perhaps exclusively) in stories with thematics of excess, both material and immaterial.

The watch is a recurring motif in this story. And time after time the 'thin', 'butter-yellow' aspects of the watch were underscored. And here Katherine demonstrated a peculiar use of the token '----' , maybe she used it in consistence with her other stories such as The Garden Party.

The author devoted a lot of beautiful adjectives to delineate Mr.Hammond's glance: 'quick', 'eager', 'nervous', 'shrewd', and so on. Maybe fetching those words would facilitate our understanding of this character.

There is definitely a lot negative sentiment in this narrative. It would be interesting to do a sentiment analysis with this story and the Garden Party, which seems to have more a positive connotation. I would be interested in seeing which turns out to be the more negative of the two.

There have been some interesting verbs in the narrative thus far, especially this little cluster here. While the use of verbs has been frequent, the verbs them self have been some what gentle and not aggressive or assertive. I would be interested in performing a word frequency analysis to gather all the verbs, followed by a sentiment analysis to see if they are congruent with this theme of gentle submission / obedience which arises in the text.

The recurrence of "meringues" until this point warrants further examination. In addition to tracing this motif and performing contextual analyses, we can use word collocations and concordances to better understand the physical and figurative resonances of this dessert. This reading could then feed into a broader analysis of all of the story's ingestible substances.

There is no denying that Laura thinks a party with the dead is not a successful party. So I supposed that it is a verbal irony. There are also many ironies in The Moonstone. How can we track the irony through a computational method? I think this example of irony gives me an inspiration. There are some passive words which indicate the meaning that is ostensibly expressed in this paragraph, but "the most successful" are positive words. The strong contrast can be a typical symbol for the computer to recognize irony.

A comparison of the smoke that came out of the chimneys brings about a pathetically stark contrast of the socioeconomic lives of people who lived in such proximity. Perhaps an extraction of the adjectives used to describe their chimney smokes could better demonstrate the differences.

The author implements zoomorphism, using the sound of birds to describe how the characters talk: Jose "cooed" liked a dove, Kitty Maitland "trilled" like a warbler, and "'Tuk-tuk-tuk,' clucked cook like an agitated hen." The author also uses a lot of adverbs to modify other verbs, such as "oily", "meaningly", "fondly", etc, I think we could run a parts of speech analysis on the contrast of ways of behaviour between characters from the Sheridan household and the village.

With this key phrase of legal discourse, Cuff's takes on the role of a prosecutor in a courtroom, shouldering the burden of proof in the case at hand. What is the relationship between detective work and legal argumentation? How does the novel's language put various characters on trial, not only before other characters, but also before the novel's jury of readers? A word collocation analysis of words and phrases with legal significance would help us to determine whether or not legal language shapes standards of evidence in The Moonstone.

Aw we have discussed before in class, there is a motif of addictive substances, like opium, alcohol and laudanum. It would be interesting to do a word collocation/concordance to in what context these substance arise. I would also be interesting in creating a network of the characters based on these substance to see which characters share the same bad habits!

Once again, we encounter the language of detective work, which often involves the uncovering and probing of underlying motives. What distinguishes Betteredge's "detective fever" from Ezra Jennings's understanding of detection? We could operationalize this comparative question into a word collocation study of target words that are associated with detective work (e.g., "detective," "suspect," "motive," etc.).

Throughout his narrative Blake repeatedly links the mention of Rachel to the mention of the Moonstone / Diamond. I would be interested in running a word colocation / frequency analysis to see how often this happens in Blake's narrative and throughout the rest of the text. It may also be worth while to do a sentiment analysis and see what the tone is for each mention based on which narrative it came occurred in.

Although the novel has already suggested that Betteredge is an unreliable narrator, Franklin Blake's explicit refutation of specific points in the First Period account corroborates the faultiness of Betteredge's perspective. Whom should we trust? Maybe a comparative sentiment analysis of Betteredge and Blake's accounts would allow us to test Blake's claim that Betteredge has "overdrawn" his narrative and interpreted passing references too "seriously."

Mathew Bruff carefully anticipates the reader's objections, and tries to persuade him ("my dear sir") to reconsider his assessment of Godfrey Ablewhite. To better understand how and why The Moonstone's various narrators directly address readers, we could run a word collocation analysis and/or a sentiment analysis on each moment that features a narrator addressing a reader. Then, we would be informed enough to speculate about the extent to which such addresses prove effective.

Now that we have a woman narrator, I would be interested to performing a sentiment analysis and compare Miss Clack with Mr. Betteredge and the words they use to describe the female characters in the story in addition to the overall differences in word use and phrasing. It would also make for an interesting study about the author and his ability to create distinct voices for each character.

As we evaluate the many forms of "evidence" that the novel presents, we should ask ourselves how important or meaningful eyewitness accounts are in relation to testimonies, object clues, hearsay, and characters' inferences. An evidence network would allow us to visualize how information interacts and spreads, and modify our epistemological questions and detective work accordingly.

Letters have been used throughout the text to add detail and action to the narrative. It would be interesting to create some kind of network connecting the senders and receivers of the letters and see which characters are the receivers and relayers of the information they provide. I would imagine Mr. Betteridge would be a major hub, but I think it would be interesting to see how they all connect and relate.

The twists and turns in the investigation had exhausted Mr.Betteredge, but hadn't worn out his faith in Miss Rachel. Despite his awfully miserable feeling at Miss Rachel's being suspected, his belief in Miss Rachel never wavered. It's interesting how Betteredge's acquaintance with the suspect varied his viewpoint. Was his belief blinded by his familiarity with Miss Rachel? Was it a "human infirmity" that Mr.Betteredge tended to protect Miss Rachel? It appears necessary to analyze Betteredge's attitudes towards Miss Rachel to evaluate his statement of Miss Rachel's innocence here.

Betteredge's demonstrative narrative here appeals to me. All along the way, the old man had been high up above, examining Rosanna's affections towards Mr.Franklin from behind the veils. However, the quiet stolidity of Rosanna described by his daughter "silenced" his "superiority sense". Not only that Rosanna had been stung in the tenderest chamber of her heart, but also her lack of justification of her feelings, had aroused the melancholy sense. I would be intrigued to analyze the turn of Betteredge's feelings towards Rosanna, as revealed here for an instance. Additionally, the old man's stereotypes towards Rosanna might be linked to class prejudice, since she was a mere servant in the house.

Penelope has been a compelling and independent character throughout the narrative, from the ways in which she gives insight to the narrative itself , to this moment here. It would be interesting to extract her character descriptions and speech and compare it to the other female characters in the story to see how they are different / similar. I would also be interested in comparing her to the male characters. Would this be something the sentiment analysis could be used for?

There is so much misunderstanding! It is far more likely the monster was reaching for his father creator. In a way, he was just born. Victor is all he knows.

The monster seems happy to see his creator. It's what Victor wanted. The creature is grateful for life. Yet, Victor isn't by any means pleased by this.

There it is, Victor wants to be a creator of new life. He wants to be a god. He does not seem to realize however everything that role would entail.

Victor thinks very logically about everything and tries to take a common-sense approach to anything he seems to come across. Most people are irked by graveyards and dead bodies, but to Victor- it isn't anything more than that. What I find interesting though is his disbelief in the supernatural. He wants to reanimate the dead and create new life, how then, does he not believe in ANYTHING supernatural?

And this is where it all seems to go downhill for him. Does he look back at the day with remorse? Does he look back at it with a reminiscent air? It's hard to tell, but I think it might be both.

Creation is the very basis of religion. If you find a way to mimic creation, you become closer to a god.

The professor seems to mimic Victor's intense obsession with the idea of altering nature and playing god. He may not want to actually do it, unlike Victor, but he may still be interested in how it would work.

Destiny and Nature fight within Victor's mind over what's "right". Destiny is encouraging Victor to continue on to his pursuits of reanimating the dead as she wants to destroy Victor. Nature wants Victor to leave her alone, let her preside over things the way they are supposed to be. Though Nature is correct and following this path will ultimately lead Victor to safety- Destiny is far more alluring and attractive, fooling Victor into the terrible trap she has laid.

He claims to be in awe of those who "know" Nature and all of her secrets and implies that he wants to be like them. Yet, here he seems to want to twist and defile nature rather than know her for what she really is. He wants to change the most universal truth about nature (death), as if trying to fix it rather than trusting Nature to do her job.

His parents loved their "creation" with everything that they had. They saw this "innocent and helpless creature" and gave him everything he could need and more. Victor had nothing but remorse for his own "innocent and helpless creature". In a way, the creation is Victor's own child. Victors' expression of love, affection, and passion differ greatly from that of his parents.

In contrast, Victor practically threw his creation out to face the harsh winds of the outside world (literally and metaphorically). His creation needed understanding and shelter, but instead, he tried to deny his very existence and throw him out.

In this novel, Dr. Frankenstein tries to play God. Though he fails himself in his own expectations of what that role might be, he doesn't seem to disappoint Walton who sees something otherworldly in him.

This is a man who has seen the beauty of nature, yet twisted it and made it into his own perverse creation. He cares so deeply for nature, because he knows how easily it can all go wrong. However, I feel he may fear nature more than actually care for it.

Their reaction to seeing the "monster" contrasts to the masses reactions when they come across him. Could it be that they were so desperate for any hint of civilization? Or maybe they seemed to value different qualities than those that society seems to value.

Could this be foreshadowing of the goal of Frankenstein's "monster" later in the novel? When the monster is created, Frankenstein immediately rejects him. Despite educating himself on how to communicate with others, the monster is ignored and alienated everywhere. Walton's experience seems to be a mirror of what is yet to come in the novel. I believe this also raises a large question in the novel: if we can sympathize and feel pity for Walton- why can't we do the same for the "monster"?

Though wealth can sometimes serve as a great motivator to those who don't already have it, it doesn't seem to do much for those who already have it. They are already living comfortable. They are far past the line of survival. So what then do they have to achieve? The meaning of their lives. That is the ultimate goal anyone could reach. In Maslow's Hierarchy of Needs, he specifies the order in which humans can feel accepted accomplished. Those who have wealth have already attained the bottom levels of physiological and safety, often times they have love and belonging. That means the next things they need to attain in order to feel accomplished would be esteem and self-actualization. I believe that's whats happening here.

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At the start of your session,these will format your sqlite3 output so it is clearer, and add columns headers.

Introduction to Pandas

Pandas is used to manipulation and analysis of tabular data

pandas reference and tutorials include：full docs, 10minutes to pandas, blog tutorials

学习一下如果利用 liveness analysis 进行内存优化

References Roland Barthes, a French literary theorist, philosopher, linguist, critic, and semiotician. He often interrogated the structure of great writers with distinctive style, such as Voltaire.

As Ciarán Ó Con Cheanainn writes in Leabhar Mór na nAmhrán, the oldest written version of this song dates to 1814, and is found in MS Egerton 117 in the British Library. Oral lore in Conneamara has it that Máire Ní Mhongáin’s three sons joined the British Army, and that Peadar deserted soon after joining, and emigrated to America. It seems probable that their involvement was in the French Revolutionary Wars or the Napoleonic Wars, the major conflicts fought by the British Army in the final decade of the eighteenth century and the first decade of the nineteenth respectively.

Máire Ní Mhongáin seems to have resonated among Irish emigrant communities in the United States. My evidence for this is that Micheál Ó Gallchobhair of Erris, County Mayo, collected songs from Erris emigrants living in Chicago in the 1930s, over a century after the occasion of ‘Amhrán Mháire Ní Mhongáin’s’ composition. It features in his collection, which you access via the following link: http://www.jstor.org.ucc.idm.oclc.org/stable/20642542?seq=2#page_scan_tab_contents

The virulent cursing of departed sons by the mother, named Máre, produces the effect of striking g contrasts with John Millington Synge’s bereaves mother, Old Maurya, in Riders to the Sea.

My Irish Studies blog features an in-depth account of typical features of the caoineadh genre to which Amhrán Mháire Ní Mhongáin belongs. You can access it via the following link: johnwoodssirishstudies.wordpress.com/2018/01/03/carraig-aonair-an-eighteenth-century-west-cork-poem/

‘Bean an tSeanduine’ features all of the conventions of the malmariée genre we have previously encountered in ‘An Seanduine Cam’. Also, it is a good example of the speaker blaming her parents for her plight, which is another regular feature of this song type.

As well as being one of the finest examples of the genre, it is perhaps the most well-known and commonly sung, owing in large part to the simplicity and catchiness of its monosyllable end-rhymes.

As well as Ó Tuama, Meidhbhín Ní Úrdail has written about the common features of the chanson de la malmariée. Her article ‘The Representation of the Feminine: Some evidence from Irish language sources’ in Eighteenth-Century Ireland/Iris an Dá Chultúr is a rich source of information on the topic. In ‘Bean an tSeanduine’, we have a fine example of what Ní Úrdail calls the description of ‘the plight of a beautiful young woman, trapped in an unhappy marriage to an impotent elderly spouse who is ignorant of her mental and physical frustration’. However, when we consider the particular humour of this song, we can identify how it serves to empower the female speaker.

‘Bean an tSeanduine’ differs from ‘An Seanduine Cam’ in that there is no third-person narrator. Like ‘An Seanduine Cam’, the humour of the song relies on a ridiculing of the old man, although here the young woman herself is his detractor. Each of his brags meet a witty riposte. When he claims wealth, she calls him a miser, and when he wonders what would become of his if he died during the night, she jokes that death is an immanent danger. When mockery of this kind is voiced by the female speaker, it serves to empower her, and inspire in the listener a sense of sympathy and respect.

The song’s first two verses are spoken by a third-person narrator. In its humorous exaggeration, the first verse caricatures recognized conventions of arranged marriage. This narrative consciously situates itself in a genre whose familiarity to the listener is a necessary part of the humour. It addresses the economic incentives which were the major precipitating factors of marriage arrangements in rural Ireland during the eighteenth century. It also invokes the misery which such marriages often visited upon young women.

In his essay ‘Love in Irish Folksong’, Seán Ó Tuama identifies among typical features of the malmariée genre that ‘a young woman speaks (in the first person) of her anguish,’ that ‘the description of the husband can be unbelievably grotesque and ribald: he is humped, crippled; he coughs, grunts, whines at night; most of all, he is cold as lead, important, and completely fails to satisfy her desires’, and that ‘she discloses that she is going to leave him for a young man’ (149). ‘An Seanduine Cam’ provides clear examples of all of these traits.

Moreover, because these tendencies find expression in a debate form, and are redoubled in response to the unfeeling man, the resistant character of the put-upon young woman is strongly emphasized.

selent

Report includes data analysis packages for qualitative research

Could this be why Kubrick casted Nicholson for The Shining? See Rob Ager's analysis of sexual abuse themes in The Shining.

I came across this article while doing research for last week’s blog. I know this is not a straight forward SNA article, but I found it very interesting since it is a combination of SNA and content analysis. Considering this week’s readings on different data collection method, I found their approach of collecting data from Twitter very unique. In this context, content analysis refers to analyzing tweets and their content. Recently, content analysis is being used in various fields. Even social researchers are taking this opportunity of exploring already existing data. Do you think you can use the combination of both SNA and content analysis in your own research field?

This is different than traditional social science which focuses on independent and dependent variables. For SNA, all data is related to all other data; no variables are mutually exclusive. This is why SNA is fundamentally descriptive.

"variable" typically means gene or locus in the context of biological data.

It is this contortion that will make it hard to ask SNA driven research questions. You must think about describing patterns rather than making predictions.