Suchergebnisse

"Internet memes--digital snippets that can make a joke, make a point, or make a connection -- are now a lingua franca of online life. They are collectively created, circulated, and transformed by countless users across vast networks. Most of us have seen the cat playing the piano, Kanye interrupting, Kanye interrupting the cat playing the piano. In The World Made Meme, Ryan Milner argues that memes, and the memetic process, are shaping public conversation. It's hard to imagine a major pop cultural or political moment that doesn't generate a constellation of memetic texts. Memetic media, Milner writes, offer participation by reappropriation, balancing the familiar and the foreign as new iterations intertwine with established ideas. New commentary is crafted by the mediated circulation and transformation of old ideas. Through memetic media, small strands weave together big conversations. Milner considers the formal and social dimensions of memetic media, and outlines five basic logics that structure them: multimodality, reappropriation, resonance, collectivism, and spread. He examines how memetic media both empower and exclude during public conversations, exploring the potential for public voice despite everyday antagonisms. Milner argues that memetic media enable the participation of many voices even in the midst of persistent inequality. This new kind of participatory conversation, he contends, complicates the traditional culture industries. When age-old gatekeepers intertwine with new ways of sharing information, the relationship between collective participation and individual expression becomes ambivalent. For better or worse -- and Milner offers examples of both -- memetic media have changed the nature of public conversations"--Publisher's description

This project explores internet memes as public discourse. `Meme' is a term coined by biologist Richard Dawkins to describe the flow, flux, mutation, and evolution of culture, a cultural counter to the gene. But the term has evolved within many online collectives, and is shifting in public discourse. In this emerging sense, `memes' are amateur media artifacts, extensively remixed and recirculated by different participants on social media networks. But there is reason to doubt how broad and inclusive this amateur participation is. If the networks producing memes are truly participatory, they will definitionally facilitate diverse discourses and represent diverse identities. Therefore, we need detailed empirical work on specific participatory sites in order to clarify questions of mediated cultural participation. My goal was a better understanding of discourse and identity in participatory media through an investigation of memes and the collectives producing them. To answer this question of mediated cultural participation, I used a critical discourse analytic method and focused on three criteria indicative of cultural participation: processes, identities, and politics. The results were mixed. First, while the formal processes necessary for making memes were open, they required literacy to engage. Second, while meme collectives were readily and broadly accessible by diverse identities and perspectives, they were gatekept by subcultural insiders who privileged some and marginalized others. Third, while diverse political commentary did occur, it happened in a relatively narrow frame of perspectives. However, these inequalities did not mean polyvocal public participation was absent in meme collectives. Memes were a means to transform established cultural texts into new ones, to negotiate the worth of diverse identities, and to engage in unconventional arguments about public policy and current events. Memes were a mix of old inequalities and new participation.

Introduction -- Folkloric expression -- Identity play -- Constitutive humor -- Collective storytelling -- Public debate -- Conclusion

This book explores the weird and mean and in-between that characterize everyday expression online, from absurdist photoshops to antagonistic Twitter hashtags to deceptive identity play. Whitney Phillips and Ryan M. Milner focus especially on the ambivalence of this expression: the fact that it is too unwieldy, too variable across cases, to be essentialized as old or new, vernacular or institutional, generative or destructive. Online expression is, instead, all of the above. This ambivalence, the authors argue, hinges on available digital tools. That said, there is nothing unexpected or surprising about even the strangest online behavior. Ours is a brave new world, and there is nothing new under the sun - a point necessary to understanding not just that online spaces are rife with oddity, mischief, and antagonism, but why these behaviors matter. The Ambivalent Internet is essential reading for students and scholars of digital media and related fields across the humanities, as well as anyone interested in mediated culture and expression.