The engine of my thought is always directed toward Twitter. As I walk the city, I am attuned to that little empty box insistently asking “What’s happening?” My experience of the material world is shadowed by a kind of holographic plane, a translucent layer over everything studded with tweet buttons. Conversations, happenings in public spaces, street art or a celebrity sighting — these are all fodder for a reality that I have come to perceive in tweet-size fragments.
I conjured a persona for Twitter, at first modulating myself for the tech- and pop-culture-savvy early users, then later techno-skeptics and lefty cultural critics, and now for the many like me who are just exhausted by the whole thing and make aimless or bitter jokes.
We aren’t so much writing to people or acting ourselves out but invoking what we imagine our ideal audience to be. A Twitter joke isn’t just an attempt to get laughs or acquire likes; it’s an attempt to extract from the faceless dark of the limitless web an exact body of people who find what we find funny, funny.
To internalize the structure of a social network is a way of both connecting with other humans and becoming subservient to our imagined visions of what they want. (…) To use Twitter is to become both its consumer, but also its bureaucrat. (…) It isn’t just my tweets that have changed, but the way in which I relate to reality.
That is so me. Great text: Auto Format | Real Life magazine.
Der nächste geht auch u.a. über Twitter. Anläßlich der Frankfurter Buchmesse macht man sich so seine Gedanken über die Medienspezifik bestimmter Ausdrucksformen.
Genuin digitale Literatur nutzt nicht einfach nur Technologie, sondern reflektiert ihre Produktionsbedingungen mit und lotet die Grenzen des Digitalen aus.
Was zieht, wird reproduziert. Das wirkt möglicherweise trotzdem effektvoll, ist aber konzeptuell langweilig und also unkreativ.
Wobei sich gerade dieser letzte Satz aus »Was ist das für 1 live?« – Verlegerin & Orbanism-Initiatorin Christiane Frohmann im Interview | Spex Magazin liest, als würde hier jemand das genuin neuzeitliche Originalitätsparadigma immer noch auf die wasweißichwievielte Postmoderne anwenden.
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