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There is now a CONTENT FREEZE for Mercury while we switch to a new platform. It began on Friday, March 10 at 6pm and will end on Wednesday, March 15 at noon. No new content can be created during this time, but all material in the system as of the beginning of the freeze will be migrated to the new platform, including users and groups. Functionally the new site is identical to the old one. webteam@gatech.edu
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SPEAKER
Krystina Madej
Professor of Practice
School of Literature, Media, and Communication
Georgia Institute of Technology
ABSTRACT
When social media is perceived only as a vehicle for posting personal history narratives, the potential for using its affordances to create literary narratives is lost. We can use social media’s speculative spaces to both create and experience a wide range of interactive and collaborative stories, both non-fiction and fiction. In 2009, The Royal Opera House used Twitter to crowd source Twitterdammerung, a collaborative venture to explore opera as a living art form and make it accessible to everyone. This inspired the Neil Gaiman book Hearts, Keys and Puppetry, a Twitter collaboration published as a BBC Audiobook, also in 2009. In 2014, Grammerly used its blog to crowd-source the book Frozen by Fire from 500 writers in 54 different countries. Crowdsourcing has become common for entertainment platforms such as Netfllix and a new generation of users has higher expectation of helping to shape online stories. High profile narrative experiments notwithstanding, the digital humanities continue to view social media most often as a vehicle for personal histories. This paper presents an ongoing social media and narrative project initiated in 2013 that encourages the broader perspective. It presents social media narratives created in 2019 by small teams of university students who were asked to engage in participatory story creation that used social media in all its affordances. Planning was through social media, content creation was through social media, and the narrative was played out through social media from Instant Messaging to Tweets, from Facebook to LinkedIn, from YouTube to Snap Chat. Students created their own non-fiction narratives (Atlanta Child Murders), explored contemporary fiction (The Handmaid’s Tale), and revisited canonical works (Romeo and Juliet) in ways that reflected their current media culture. One response to Romeo and Juliet shows the value of just such an approach, “I’ve never really connected to the story until now that I’ve seen how it plays out in apps I use every day.”
SPEAKER BIO
Dr. Krystina Madej is Professor of Practice at Georgia Tech, Atlanta, where she has taught since 2011. Her research interests are play and games, interactivity and collaboration in social media, material culture of media, and narrative across media. In particular she looks at children’s traditional and digital games, play and narratives in social media and Disney’s approach to narrative and technology. Her research has resulted in a number of books including Physical Play and Children’s Digital Games (2016), Interactivity, Collaboration, and Authoring in Social Media (2015), and Disney Stories: Getting to Digital (2012). She has been visiting professor and taught courses in Narrative at the Center for Digital Media in Vancouver, Canada, and in Children’s Games, Disney Animation, and Design Thinking at the University of Lower Silesia in Wroclaw, Poland (both for the Erasmus program and the Masters in Big Data, Digital Media, and Trendwatching). Dr. Madej’s first interest was in Fine Arts: she received her BFA from Concordia University in Montreal, Canada. She went on to a career as a design strategist and partnered with a colleague to start the first Industrial Design and Communications business in western Canada that used computer technologies for the design and production of products, graphics, and exhibits. She later returned to academia and completed her doctoral studies in Digital Narrative at the School of Interactive Art and Technology, SFU, Vancouver, Canada.
How to watch: If you can't attend the BlueJeans Event, watch the Recording (available 30 days after event).
