Svoje slobodno vrijeme van Tvitera
So in my free time outside of Twitter I experiment a little bit with telling stories online, experimenting with what we can do with new digital tools. And in my job at Twitter, I actually spent a little bit of time working with authors and storytellers as well, helping to expand out the bounds of what people are experimenting with. And I want to talk through some examples today of things that people have done that I think are really fascinating using flexible identity and anonymity on the web and blurring the lines between fact and fiction.
koristim da malo eksperimentišem pričanjem priča preko interneta. Pokušavam da vidim šta sve možemo postići novim digitalnim alatkama. Na svom poslu, na Tviteru, proveo sam dosta vremena radeći sa autorima i pripovjedačima i pomagao im da počnu još da istražuju. Danas želim da vam predstavim neke fascinantne stvari koje su ljudi postigli. To su postigli koristeći fleksibilnost identiteta i anonimnost na internetu i čineći granicu između jave i fikcije nejasnom.
But I want to start and go back to the 1930s. Long before a little thing called Twitter, radio brought us broadcasts and connected millions of people to single points of broadcast. And from those single points emanated stories. Some of them were familiar stories. Some of them were new stories. And for a while they were familiar formats, but then radio began to evolve its own unique formats specific to that medium. Think about episodes that happened live on radio.
Na samom početku želim da se vratim na 1930-e. Mnogo vremena prije onoga što danas nazivamo Tviterom, radio nam je donio emisije i povezao milione ljudi sa jedinim načinom emitovanja programa. A iz tih jedinstvenih izvora potekle su priče. Neke od njih su bile već poznate. Neke su bile nove. I zadugo su imale poznatu formu, ali onda je radio počeo da razvija svoju jedinstvenu formu, specifičnu za taj medij. Pomislite na epizode koje su se emitovale uživo na radiju.
Combining the live play and the serialization of written fiction, you get this new format. And the reason why I bring up radio is that I think radio is a great example of how a new medium defines new formats which then define new stories.
Kombinovanjem prenosa predstava uživo i serijalizacijom pisane fikcije, nastala je ova nova forma. Radio pominjem zbog toga što mislim da je to odličan primjer kako novi medij određuje nove formate koji onda određuju nove priče.
And of course, today, we have an entirely new medium to play with, which is this online world. This is the map of verified users on Twitter and the connections between them. There are thousands upon thousands of them. Every single one of these points is its own broadcaster. We've gone to this world of many to many, where access to the tools is the only barrier to broadcasting. And I think that we should start to see wildly new formats emerge as people learn how to tell stories in this new medium. I actually believe that we are in a wide open frontier for creative experimentation, if you will, that we've explored and begun to settle this wild land of the Internet and are now just getting ready to start to build structures on it, and those structures are the new formats of storytelling that the Internet will allow us to create.
Naravno, danas imamo jedan sasvim novi medij kojim možemo da eksperimentišemo i to je online svijet. Ovo je mapa verifikovanih korisnika Tvitera i njihovih konekcija. Ima ih na hiljade i hiljade. Svaka ova jedinica, sama po sebi, je svoj sopstveni emiter. Ušli smo u taj svijet zvani "od mnogih mnogima" u kom je pristup alatkama jedina prepreka za emitovanje. Treba da počnemo da uočavamo veliki broj novih formata koji se pojavljuju jer ljudi uče kako da pričaju priče posredstvom ovog novog medija. Ustvari, mislim da smo u bezgraničnom prostoru za eksperimentisanje kreativnošću, da smo istražili i počeli da naseljavamo ova "divlja" područja interneta i da se sada spremamo da počnemo da gradimo strukture na njima, a te strukture su nove forme pripovijedanja čije stvaranje će nam omogućiti internet. Vjerujem da ovo počinje evolucijom postojećih metoda.
I believe this starts with an evolution of existing methods. The short story, for example, people are saying that the short story is experiencing a renaissance of sorts thanks to e-readers, digital marketplaces. One writer, Hugh Howey, experimented with short stories on Amazon by releasing one very short story called "Wool." And he actually says that he didn't intend for "Wool" to become a series, but that the audience loved the first story so much they demanded more, and so he gave them more. He gave them "Wool 2," which was a little bit longer than the first one, "Wool 3," which was even longer, culminating in "Wool 5," which was a 60,000-word novel. I think Howey was able to do all of this because he had the quick feedback system of e-books. He was able to write and publish in relatively short order. There was no mediator between him and the audience. It was just him directly connected with his audience and building on the feedback and enthusiasm that they were giving him. So this whole project was an experiment. It started with the one short story, and I think the experimentation actually became a part of Howey's format. And that's something that this medium enabled, was experimentation being a part of the format itself.
Na primjer, za kratku priču se kaže da prolazi kroz neku vrstu renesanse zahvaljujući čitanju u elektronskoj formi, i digitalnom tržištu knjiga. Jedan pisac, Hju Hauvi, je eksperimentisao sa kratkim pričama na Amazonu objavljujući jednu vrlo kratku priču pod nazivom "Vuna". On kaže da nije namjeravao da je objavi u tomovima, ali se čitaocima prva priča toliko dopala da su tražili još i on im je to i dao. Napisao je "Vuna 2", koja je bila nešto duža od prve, "Vuna 3" koja je bila još duža, i završio je sa "Vuna 5", koja je bila roman od 60,000 riječi. Mislim da je Hauvi sve ovo uspio zahvaljujući brzom sistemu dobijanja povratnih informacija koji nude elektronske knjige. Mogao je da piše i objavljuje u relativno kratkim razmacima. Nije bilo posrednika između njega i publike. Direktno, on je bio povezan sa čitaocima i skupljao povratne informacije i entuzijazam koji je od njih dobijao. Cijeli ovaj projekat je bio jedan eksperiment. Počeo je jednom kratkom pričom i mislim da je eksperimentisanje ustvari postalo dio Hauvijevog stila. To je ono što je ovaj medij omogućio, da eksperimentisanje bude dio forme. Ovo je kratka priča autorke Dženifer Igan,
This is a short story by the author Jennifer Egan called "Black Box." It was originally written specifically with Twitter in mind. Egan convinced The New Yorker to start a New Yorker fiction account from which they could tweet all of these lines that she created. Now Twitter, of course, has a 140-character limit. Egan mocked that up just writing manually in this storyboard sketchbook, used the physical space constraints of those storyboard squares to write each individual tweet, and those tweets ended up becoming over 600 of them that were serialized by The New Yorker. Every night, at 8 p.m., you could tune in to a short story from The New Yorker's fiction account. I think that's pretty exciting: tune-in literary fiction. The experience of Egan's story, of course, like anything on Twitter, there were multiple ways to experience it. You could scroll back through it, but interestingly, if you were watching it live, there was this suspense that built because the actual tweets, you had no control over when you would read them. They were coming at a pretty regular clip, but as the story was building, normally, as a reader, you control how fast you move through a text, but in this case, The New Yorker did, and they were sending you bit by bit by bit, and you had this suspense of waiting for the next line.
pod nazivom "Crna Kutija". Originalno je napisana posebno za Tviter. Igan je ubijedila "Njujorker" da oni otvore nalog za fikciju sa kog bi se postavaljali tvitovi svega što ona piše. Međutim, jedan tvit je ograničen na 140 karaktera. Igan je to karikirala pišući rukom u malim kvadratima, koristeći taj ograničeni prostor za pisanje pojedinačnih tvitova. Na kraju je imala preko 600 tvitova koji su serijski objavljivani u "Njujorkeru". Svake večeri u 20h ste mogli uživo da slušate neku kratku priču sa Njujorkerovog naloga za fikciju. Mislim da je prilično uzbudljivo uživo slušati književnu fikciju. Primjer Iganine priče, kao i sve na Tviteru, se mogao doživjeti na više načina. Mogli ste premotavati kroz stranicu, ali ako ste to gledali uživo rastao je osjećaj neizvjesnosti jer niste mogli kontrolisati kada ćete pročitati sljedeći tvit. Postavljani su u prilično redovnim razmacima ali kako se priča razvija obično čitalac kontroliše brzinu kojom se kreće kroz tekst. Ovog puta je "Njujorker" objavljivao dio po dio i postojala je ta neizvjesnost u čekanju sljedećeg retka. Još jedan sjajan primjer fikcije i kratke priče na Tviteru
Another great example of fiction and the short story on Twitter, Elliott Holt is an author who wrote a story called "Evidence." It began with this tweet: "On November 28 at 10:13 p.m., a woman identified as Miranda Brown, 44, of Brooklyn, fell to her death from the roof of a Manhattan hotel." It begins in Elliott's voice, but then Elliott's voice recedes, and we hear the voices of Elsa, Margot and Simon, characters that Elliott created on Twitter specifically to tell this story, a story from multiple perspectives leading up to this moment at 10:13 p.m. when this woman falls to her death. These three characters brought an authentic vision from multiple perspectives. One reviewer called Elliott's story "Twitter fiction done right," because she did. She captured that voice and she had multiple characters and it happened in real time. Interestingly, though, it wasn't just Twitter as a distribution mechanism. It was also Twitter as a production mechanism. Elliott told me later she wrote the whole thing with her thumbs. She laid on the couch and just went back and forth between different characters tweeting out each line, line by line. I think that this kind of spontaneous creation of what was coming out of the characters' voices really lent an authenticity to the characters themselves, but also to this format that she had created of multiple perspectives in a single story on Twitter.
daje Eliot Holt koji je napisao priču "Dokaz". Započeo je ovim tvitom: "28. novembra u 22:13h, jedna žena, identifikovana kao 44-godišnja Miranda Braun iz Bruklina, poginula je prilikom pada sa krova jednog hotela na Menhetnu." Eliot započinje priču, ali kasnije njegov glas ustupa mjesto glasovima Elze, Margo i Sajmona, likovima koje je Eliot stvorio posebno kako bi ispričao ovu priču na Tviteru. Priču ispričanu iz više perspektiva koja vodi do ovog trenutka u 22:13h, kada ova gospođa gine. Ova tri lika su ispričala autentičnu priču iz različitih perspektiva. Jedan kritičar je nazvao Eliotovu priču: "Tviter fikcija napisana na pravi način." I autorka je tako i jeste napisala. Zabilježila je taj glas i uključila više likova, a sve se odvijalo u stvarnom vremenu. Zanimljivo, Tviter joj nije služio samo kao mehanizam za distribuciju. Koristila ga je i kao mehanizam za stvaranje. Eliot mi je kasnije rekla da je sve to napisala svojim palčevima. Legla je na kauč i prelazila prstima preko različitih karaktera, tvitujući svaki red, jedan po jedan. Mislim da je ova vrsta spontanog stvaranja onoga što različiti likovi govore dalo autentičnost samim likovima, kao i ovoj formi koju je stvorila spajanjem različitih perspektiva u jednu priču na Tviteru. Kada već počnete da se "igrate" fleksibilnošću online identiteta,
As you begin to play with flexible identity online, it gets even more interesting as you start to interact with the real world. Things like Invisible Obama or the famous "binders full of women" that came up during the 2012 election cycle, or even the fan fiction universe of "West Wing" Twitter in which you have all of these accounts for every single one of the characters in "The West Wing," including the bird that taps at Josh Lyman's window in one single episode. (Laughter)
to postane interesantnije kada započnete interakciju sa stvarnim svijetom. Stvari kao "Nevidljivi Obama" ili čuvena "Fascikla puna žena", koja se pojavila tokom izbora u 2012, ili "Univerzum fanova fikcije Zapadnog Krila Tvitera" u kom su nalozi za svakog od likova u "Zapadnom krilu", uključujući i pticu koja kucka na prozor Džoša Lajmana u jednoj, jedinoj epizodi. (Smijeh)
All of these are rapid iterations on a theme. They are creative people experimenting with the bounds of what is possible in this medium. You look at something like "West Wing" Twitter, in which you have these fictional characters that engage with the real world. They comment on politics, they cry out against the evils of Congress. Keep in mind, they're all Democrats. And they engage with the real world. They respond to it. So once you take flexible identity, anonymity, engagement with the real world, and you move beyond simple homage or parody and you put these tools to work in telling a story, that's when things get really interesting.
Sve to su kratka podsjećanja na temu. To su kreativni ljudi koji ispituju granice mogućnosti u ovom mediju. U "Zapadnom krilu Tvitera" možete naći ove izmišljene likove koji ulaze u interakciju sa stvarnim svijetom. Oni komentarišu politiku, bune se protiv svih zala Kongresa. Imajte na umu da su svi oni Demokrate. I oni komuniciraju sa stvarnim svijetom. Oni reaguju na njega. Tako da, kada jednom odaberete fleksibilni identitet, anonimnost i saradnju sa stvarnim svijetom, udaljite se od odavanja počasti ili parodiranja i uključite ta sredstva u naraciju, to je kada postaje stvarno zanimljivo. Tokom izbora za gradonačelnika Čikaga napravljen je nalog za parodiju.
So during the Chicago mayoral election there was a parody account. It was Mayor Emanuel. It gave you everything you wanted from Rahm Emanuel, particularly in the expletive department. This foul-mouthed account followed the daily activities of the race, providing commentary as it went. It followed all of the natural tropes of a good, solid Twitter parody account, but then started to get weird. And as it progressed, it moved from this commentary to a multi-week, real-time science fiction epic in which your protagonist, Rahm Emanuel, engages in multi-dimensional travel on election day, which is -- it didn't actually happen. I double checked the newspapers.
Zvao se "Gradonačelnik Emanuel". Bilo je svega o Ram Emanuelu, a posebno psovki. Ovaj nalog, pun govora nepoštovanja, je pratio svakodnevne aktivnosti izborne trke, uključujući i komentare u toku izbora. Pratio je sve trendove jednog solidnog Tviter naloga za parodiju, ali je onda postalo čudno. Kako se razvijalo, od tumačenja je postala višenedjeljna naučno-fantastična epopeja u stvarnom vremenu, u kojoj protagonista, Ram Emanuel, na dan izbora ulazi u multi-dimenzionalno putovanje, koje se nije stvarno dogodilo. Dvaput sam provjerio novine.
And then, very interestingly, it came to an end. This is something that doesn't usually happen with a Twitter parody account. It ended, a true narrative conclusion. And so the author, Dan Sinker, who was a journalist, who was completely anonymous this whole time, I think Dan -- it made a lot of sense for him to turn this into a book, because it was a narrative format in the end, and I think that turning it into a book is representative of this idea that he had created something new that needed to be translated into previous formats.
I, interesantno, potom je sve to stalo. To se obično ne dešava sa nalozima za parodiju na Tviteru. Završilo se i tako priči dalo pravi narativni završetak. Autor, Den Sinker, potpuno anoniman novinar sve to vrijeme, je shvatio da je tu priču vrlo lako pretvoriti u knjigu jer je na kraju bila u narativnoj formi i mislim da to pretvaranje u knjigu predstavlja ovu ideju stvaranja nečega novog što mora biti prevedeno u ranije forme. Jedan od mojih omiljenih primjera onoga što se sada dešava na Tviteru
One of my favorite examples of something that's happening on Twitter right now, actually, is the very absurdist Crimer Show. Crimer Show tells the story of a supercriminal and a hapless detective that face off in this exceptionally strange lingo, with all of the tropes of a television show. Crimer Show's creator has said that it is a parody of a popular type of show in the U.K., but, man, is it weird. And there are all these times where Crimer, the supercriminal, does all of these TV things. He's always taking off his sunglasses or turning to the camera, but these things just happen in text. I think borrowing all of these tropes from television and additionally presenting each Crimer Show as an episode, spelled E-P-P-A-S-O-D, "eppasod," presenting them as episodes really, it creates something new. There is a new "eppasod" of Crimer Show on Twitter pretty much every day, and they're archived that way. And I think this is an interesting experiment in format. Something totally new has been created here out of parodying something on television.
je veoma apsurdni "Krajmer šou". To je priča o super-kriminalcu i nesrećnom detektivu koji se suočavaju koristeći vrlo čudan žargon koristeći sve trendove jednog televizijskog šoua. Autor šoua je rekao da je to parodija na popularni šou u Ujedinjenom Kraljevstvu, ali, čovječe, jeste čudan šou. Sve te situacije u kojima Krajmer, super-kriminalac, radi sve one televizijske stvari. Uvijek skida naočari za sunce ili se okreće ka kameri, ali sve to se dešava samo u tekstu. Mislim da je pozajmljivanje svih ovih televizijskih elemenata i predstavljanje svakog Krajmer šoua kao posebne epizode, (epizoda napisana kao "epasoda") predstavljajući ih tako on stvara nešto novo. Nova "epasoda" šoua se postavlja na Tviteru skoro svakog dana i tako se i arhiviraju. Mislim da je ovo interesantan način eksperimentisanja formom. Nešto potpuno novo je stvoreno parodiranjem televizijskog sadržaja. Mislim da i u publicističkom pripovijedanju u stvarnom vremenu
I think in nonfiction real-time storytelling, there are a lot of really excellent examples as well. RealTimeWWII is an account that documents what was happening on this day 60 years ago in exceptional detail, as if you were reading the news reports from that day. And the author Teju Cole has done a lot of experimentation with putting a literary twist on events of the news. In this particular case, he's talking about drone strikes. I think that in both of these examples, you're beginning to see ways in which people are telling stories with nonfiction content that can be built into new types of fictional storytelling.
postoje neki sjajni primjeri. "Drugi svjetski rat u stvarnom vremenu" je nalog koji bilježi šta se dešavalo određenog dana prije 60 godina, sa izuzetnom detaljnošću, baš kao da čitate novine od tog dana. Autor Tedžu Kol je dosta eksperimentisao sa davanjem književne note događajima u vijestima. U ovom slučaju, on govori o napadima borbenih aviona. Mislim da se u oba ova primjera naziru načini na koji ljudi pričaju priče publicističkog sadržaja koje mogu biti preoblikovane u novi tip fikcione naracije. Dakle, naracija u stvarnom vremenu
So with real-time storytelling, blurring the lines between fact and fiction, the real world and the digital world, flexible identity, anonymity, these are all tools that we have accessible to us, and I think that they're just the building blocks. They are the bits that we use to create the structures, the frames, that then become our settlements on this wide open frontier for creative experimentation.
nejasne granice između stvarnosti i fikcije, stvarnog i digitalnog svijeta, fleksibilni identitet i anonimnost su sve alatke koje su nam dostupne i mislim da samo treba da složimo kockice. To su samo djelovi koje koristimo pri stvaranju struktura i okvira koji potom postaju naše naseobine u ovom širokom prostoru za eksperimentisanje kreativnošću.
Thank you.
Hvala vam.
(Applause)
(Aplauz)