I Am User Generated

Walter Ong separates these into two separate points, however as they relate to social media in the same way I’ll group them together. In an oral tradition the audience is known and the audience is human. It is humans in dialogue with other humans in a live physical space. This is very different from the unknown audience of a book or the abstract world that many films present. Social media abides by the same principles of human-to-human interaction, albeit through technological mediation. This is a main reason that Second Life will only be seen as a blip on the Web 2.0 radar in years to come. Humans are being asked to relate to each in an interface that is a mere simulation of a lifeworld, with the abstraction of avatars. Second Life will remain for an elite crowd of computer users who feel most comfortable interacting in an abstraction of reality. This does not hold true for the majority of broadband users.

That being said the gaming industry has been saved by the advent of Massive Multi-Player Online Role Playing Games (MMORPG). MMORPGs took the convention of gaming, which was not of a real lifeworld and was situationality abstract and infused a human element by allowing users to play and communicate with each other worldwide over a broadband connection. Users started to create new forms of storytelling in a social media language over these broadband connections. Machinima, one such emergent form of storytelling, was born out of a filmic electronic age but operates in the language of social media storytelling. Over the broadband connection users control video game characters to act out small short films. These films are recorded to a hard drive from which the footage is edited, scored and ultimately produced in a similar tradition to digital filmmaking. The most popular of these films is the series Red vs. Blue where the soldiers of Halo, controlled and voiced by a group of gamers, simply pontificate on life, a departure from the narrative of the original video game which included the abstract narrative of saving the world from alien invasion.

Another example of apply to new concreteness to un-situational and abstract form of storytelling is Alternate Reality Games or ARGs. One such example is the promotional ARG for the film The Bourne Supremacy where contestants are given clues online to the physical location in their home city to more clue in order to solve part of the mystery that takes place in the film. Another example of cross-platforming, but also a clear indication of infusing a situational element to an otherwise abstract story of a super agent trained to kill by an unknown government body.

In an oral culture the tradition of verbal jousting remains still to this day where an orator verbally challenges his audience sometimes in an intellectual debate or simply in vilifying ones mother. This language of combat is again evidenced in most forums and chat rooms, so much so, that moderators are often put in place to monitor the litany of barbed insults. Even in a relatively tame forum such as a computer repair forum, users often call out other users lack of knowledge on the particular topic. Often the original question is lost to the combat of users. Visit a Sci-Fi forum where the users are experienced chat room users and the forked tongues are everywhere. This is seen less in print and electronic storytelling because the audience is unknown and there is no immediate response. Insulting someone’s mother in a novel loses it’s impact when the novel takes years to write, years to be release and months to read. This should not be seen as childish immature behavior but rather a return to antiquity. So get out there and craft a yo momma diss to the next forum user who rubs you the wrong way in support of the return to orality.

This interaction of orator and audience that is essential to oral storytelling is again resurfacing in the participatory nature of social media. The ability to chat online through forums and message boards was one of the founding functionalities of the Internet long before Web 2.0 was coined, but this was reserved for serious computer users and early adopters. It has not been until recently that the net of social participatory engagement has widened. This is best seen on customer review sites. Brand are used to telling their story or their product messaging through print ads, radio spots, television commercials and website homepages, but as more communities grow online the trust is put into the audience or consumer not the orator or brand. In this case the story has to change and adapt to audience participation. However, this new form of audience participation in brand storytelling has not been without its learning curve. Chevrolet introduced a viral campaign effort that asked consumers to insert their own slogan for the next Chevy Tahoe campaign. Copy that read, “our planet’s oil is almost gone, you don’t need GPS to see where this road leads,” and “like this snowy wilderness? Better get your fill of it now, then say hello to global warming,” was not Chevy’s ideal brand story but it did give them an insight into how consumers saw their brand.

Brands now have to been empathetic and participatory with their consumers, gone are the days of being objectively distant and telling consumers what they want. The whole nature of social based media is an interactive participatory conversation, a sharp departure for traditional media storytellers.

The redundant and copious nature of social media stories is obvious even to the most casual social media audience. In an oral tradition stories would have to be repeated in order to reinforce what was just said. There was not the opportunity to flip back a few pages or rewind to regain the thread of a story. Orators would reiterate and reinforce to help their audience to follow the story. Again even with all the powers of the Internet and computers to archive we still have a huge amount of redundancy in our storytelling. YouTube, the most popular of social media video sharing sites, has a copious amount of stories. One of the main keys to YouTube’s success is that next to the current video story that the audience is watching, the audience has a selection of related videos. These related videos add to the redundancy of the story, which adds to ability to remember, which adds to the ability to keep the story alive. In the YouTube world stories are kept alive by posting video responses. This adds again a redundant step but also adds to the interlocution of storytelling that was lost in mono-directional media such as the novel or radio or all high-definition hot media as McLuhan would so label them.