ABOUT THE SPEAKER
Andrew Fitzgerald - Editor
Andrew Fitzgerald is shaping new ways for Twitter and journalists to work together.

Why you should listen

Andrew Fitzgerald is a writer, editor and Tweeter. As a member of the News and Journalism Partnerships team at Twitter, Fitzgerald explores creative uses of digital storytelling on the platform and elsewhere on the web. In 2012 he helped launch the first Twitter Fiction Festival, a five-day "event" that took place completely on Twitter in an effort to bring together stories that made creative use of the platform.

In his spare time Fitzgerald blogs and writes his own fiction, including the 2010 novel The Collective. He lives in New York, where he likes to experiment.

More profile about the speaker
Andrew Fitzgerald | Speaker | TED.com
TEDSalon NY2013

Andrew Fitzgerald: Adventures in Twitter fiction

Endru Ficdžerald (Andrew Fitzgerald): Endru Ficdžerald (Andrew Fitzgerald): "Avanture u Tviter fikciji"

Filmed:
1,035,986 views

1930-ih godina radio emitovanje je donijelo jendu sasvim novu formu naracije. Danas, platforme za mikro blogovanje, ka što je Tviter, donose nove promjene. Endru Ficdžerald se osvrće na pogodne i fascinantne priče iz istorije novih formi nastalih u procesu kreativne eksperimentacije u fikciji i naraciji.
- Editor
Andrew Fitzgerald is shaping new ways for Twitter and journalists to work together. Full bio

Double-click the English transcript below to play the video.

Svoje slobodno vrijeme van Tvitera
00:12
So in my free time outside of Twitter
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00:15
I experiment a little bit
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koristim da malo eksperimentišem
pričanjem priča preko interneta.
00:16
with telling stories online, experimenting
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Pokušavam da vidim šta sve
možemo postići novim digitalnim alatkama.
00:19
with what we can do with new digital tools.
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00:21
And in my job at Twitter,
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Na svom poslu, na Tviteru,
proveo sam dosta vremena radeći
00:23
I actually spent a little bit of time
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00:24
working with authors and storytellers as well,
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sa autorima i pripovjedačima i
pomagao im da počnu još da istražuju.
00:27
helping to expand out the bounds
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00:29
of what people are experimenting with.
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Danas želim da vam predstavim neke fascinantne
stvari koje su ljudi postigli.
00:31
And I want to talk through some examples today
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00:34
of things that people have done
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00:35
that I think are really fascinating
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00:37
using flexible identity and anonymity on the web
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To su postigli koristeći
fleksibilnost identiteta i anonimnost na internetu
00:41
and blurring the lines between fact and fiction.
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i čineći granicu između jave i fikcije
nejasnom.
Na samom početku želim
da se vratim na 1930-e.
00:45
But I want to start and go back to the 1930s.
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00:47
Long before a little thing called Twitter,
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Mnogo vremena prije onoga što
danas nazivamo Tviterom,
radio nam je donio emisije i povezao
milione ljudi sa jedinim
00:49
radio brought us broadcasts
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00:52
and connected millions of people
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00:55
to single points of broadcast.
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načinom emitovanja programa.
00:57
And from those single points emanated stories.
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A iz tih jedinstvenih izvora
potekle su priče.
01:01
Some of them were familiar stories.
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Neke od njih su bile
već poznate.
Neke su bile nove.
01:03
Some of them were new stories.
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01:05
And for a while they were familiar formats,
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I zadugo su imale poznatu formu,
01:08
but then radio began to evolve its own
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ali onda je radio počeo da
razvija svoju jedinstvenu formu,
01:10
unique formats specific to that medium.
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specifičnu za taj medij.
01:13
Think about episodes that happened live on radio.
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Pomislite na epizode koje su
se emitovale uživo na radiju.
01:17
Combining the live play
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Kombinovanjem prenosa
predstava uživo
01:19
and the serialization of written fiction,
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i serijalizacijom pisane fikcije,
nastala je ova nova forma.
01:21
you get this new format.
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01:24
And the reason why I bring up radio is that I think
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Radio pominjem zbog toga što mislim
da je to odličan primjer
01:26
radio is a great example of how a new medium
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kako novi medij određuje
nove formate
01:30
defines new formats which then define new stories.
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koji onda određuju nove priče.
Naravno, danas imamo jedan
sasvim novi medij
01:33
And of course, today, we have an entirely new
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01:36
medium to play with,
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kojim možemo da eksperimentišemo
i to je online svijet.
01:38
which is this online world.
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01:39
This is the map of verified users on Twitter
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Ovo je mapa verifikovanih korisnika
Tvitera i njihovih konekcija.
01:43
and the connections between them.
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Ima ih na hiljade i hiljade.
01:45
There are thousands upon thousands of them.
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01:47
Every single one of these points
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Svaka ova jedinica, sama po sebi,
je svoj sopstveni emiter.
01:49
is its own broadcaster.
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Ušli smo u taj svijet zvani
"od mnogih mnogima"
01:51
We've gone to this world of many to many,
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01:55
where access to the tools is the only barrier to broadcasting.
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u kom je pristup alatkama
jedina prepreka za emitovanje.
Treba da počnemo da uočavamo veliki
broj novih formata koji se pojavljuju
01:59
And I think that we should start to see
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02:02
wildly new formats emerge
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02:04
as people learn how to tell stories in this new medium.
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jer ljudi uče kako da pričaju priče
posredstvom ovog novog medija.
Ustvari, mislim da smo u bezgraničnom prostoru
za eksperimentisanje kreativnošću,
02:07
I actually believe that we are in a wide open frontier
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02:11
for creative experimentation, if you will,
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da smo istražili i počeli da naseljavamo
ova "divlja" područja interneta
02:13
that we've explored and begun to settle
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02:16
this wild land of the Internet
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i da se sada spremamo da počnemo da
gradimo strukture na njima,
02:18
and are now just getting ready
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02:21
to start to build structures on it,
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a te strukture su nove forme pripovijedanja
čije stvaranje će nam omogućiti internet.
02:23
and those structures are the new formats
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02:25
of storytelling that the Internet will allow us to create.
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Vjerujem da ovo počinje
evolucijom postojećih metoda.
02:29
I believe this starts with an evolution
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02:32
of existing methods.
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Na primjer, za kratku priču se kaže
da prolazi kroz neku vrstu renesanse
02:33
The short story, for example,
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02:35
people are saying that the short story
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02:37
is experiencing a renaissance of sorts
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zahvaljujući čitanju u elektronskoj formi,
i digitalnom tržištu knjiga.
02:39
thanks to e-readers, digital marketplaces.
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02:43
One writer, Hugh Howey, experimented
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Jedan pisac, Hju Hauvi, je eksperimentisao
sa kratkim pričama na Amazonu
02:46
with short stories on Amazon
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objavljujući jednu vrlo kratku priču
pod nazivom "Vuna".
02:48
by releasing one very short story called "Wool."
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02:52
And he actually says that he didn't intend
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On kaže da nije namjeravao da je
objavi u tomovima,
02:55
for "Wool" to become a series,
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02:56
but that the audience loved the first story so much
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ali se čitaocima prva priča toliko dopala
da su tražili još i on im je to i dao.
02:59
they demanded more, and so he gave them more.
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03:01
He gave them "Wool 2," which was a little bit longer than the first one,
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Napisao je "Vuna 2", koja je bila
nešto duža od prve,
03:05
"Wool 3," which was even longer,
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"Vuna 3" koja je bila
još duža,
i završio je sa "Vuna 5", koja je
bila roman od 60,000 riječi.
03:07
culminating in "Wool 5,"
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03:08
which was a 60,000-word novel.
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Mislim da je Hauvi sve ovo uspio
zahvaljujući brzom sistemu
03:11
I think Howey was able to do all of this because
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03:15
he had the quick feedback system of e-books.
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dobijanja povratnih informacija
koji nude elektronske knjige.
03:18
He was able to write and publish
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Mogao je da piše i objavljuje
u relativno kratkim razmacima.
03:20
in relatively short order.
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03:22
There was no mediator between him and the audience.
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Nije bilo posrednika
između njega i publike.
03:25
It was just him directly connected with his audience
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Direktno, on je bio povezan sa čitaocima
i skupljao povratne informacije
03:27
and building on the feedback and enthusiasm
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i entuzijazam koji je
od njih dobijao.
03:30
that they were giving him.
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Cijeli ovaj projekat je bio
jedan eksperiment.
03:31
So this whole project was an experiment.
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03:33
It started with the one short story,
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Počeo je jednom kratkom pričom
i mislim da je eksperimentisanje
03:35
and I think the experimentation actually became
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ustvari postalo dio
Hauvijevog stila.
03:38
a part of Howey's format.
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To je ono što je ovaj medij omogućio,
da eksperimentisanje bude dio forme.
03:40
And that's something that this medium enabled,
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03:43
was experimentation being a part of the format itself.
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Ovo je kratka priča autorke
Dženifer Igan,
03:47
This is a short story by the author Jennifer Egan
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03:50
called "Black Box."
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pod nazivom "Crna Kutija".
03:52
It was originally written
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Originalno je napisana posebno za Tviter.
03:53
specifically with Twitter in mind.
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03:55
Egan convinced The New Yorker
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Igan je ubijedila "Njujorker" da oni otvore
nalog za fikciju sa kog bi se
03:57
to start a New Yorker fiction account
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04:00
from which they could tweet
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postavaljali tvitovi svega što
ona piše.
04:02
all of these lines that she created.
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04:03
Now Twitter, of course, has a 140-character limit.
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Međutim, jedan tvit je ograničen
na 140 karaktera.
Igan je to karikirala pišući rukom
u malim kvadratima,
04:07
Egan mocked that up just writing manually
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04:10
in this storyboard sketchbook,
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koristeći taj ograničeni prostor za
pisanje pojedinačnih tvitova.
04:13
used the physical space constraints
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04:16
of those storyboard squares
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04:17
to write each individual tweet,
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Na kraju je imala preko 600 tvitova koji su
serijski objavljivani u "Njujorkeru".
04:19
and those tweets ended up becoming
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04:22
over 600 of them that were serialized by The New Yorker.
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04:26
Every night, at 8 p.m., you could tune in
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Svake večeri u 20h ste mogli uživo da slušate
neku kratku priču sa Njujorkerovog
04:29
to a short story from The New Yorker's fiction account.
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naloga za fikciju.
04:33
I think that's pretty exciting:
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Mislim da je prilično uzbudljivo uživo slušati
književnu fikciju.
04:34
tune-in literary fiction.
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Primjer Iganine priče, kao i sve na Tviteru,
se mogao doživjeti na više načina.
04:37
The experience of Egan's story, of course,
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04:40
like anything on Twitter, there were multiple ways to experience it.
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04:43
You could scroll back through it,
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Mogli ste premotavati kroz stranicu,
ali ako ste to gledali uživo
04:45
but interestingly, if you were watching it live,
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rastao je osjećaj neizvjesnosti
jer niste mogli kontrolisati
04:48
there was this suspense that built
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04:50
because the actual tweets,
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kada ćete pročitati sljedeći tvit.
04:53
you had no control over when you would read them.
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04:55
They were coming at a pretty regular clip,
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Postavljani su u prilično redovnim razmacima
ali kako se priča razvija
04:57
but as the story was building,
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05:00
normally, as a reader, you control how fast you move through a text,
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obično čitalac kontroliše brzinu kojom
se kreće kroz tekst.
05:03
but in this case, The New Yorker did,
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Ovog puta je "Njujorker" objavljivao
dio po dio
05:05
and they were sending you bit by bit by bit,
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i postojala je ta neizvjesnost u
čekanju sljedećeg retka.
05:08
and you had this suspense of waiting for the next line.
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Još jedan sjajan primjer fikcije
i kratke priče na Tviteru
05:12
Another great example of fiction
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05:15
and the short story on Twitter,
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daje Eliot Holt koji je
napisao priču "Dokaz".
05:17
Elliott Holt is an author who wrote a story called "Evidence."
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05:20
It began with this tweet: "On November 28
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Započeo je ovim tvitom:
"28. novembra u 22:13h, jedna žena,
05:23
at 10:13 p.m.,
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05:25
a woman identified as Miranda Brown,
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identifikovana kao 44-godišnja
Miranda Braun iz Bruklina,
05:27
44, of Brooklyn, fell to her death
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poginula je prilikom pada sa krova
jednog hotela na Menhetnu."
05:30
from the roof of a Manhattan hotel."
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05:32
It begins in Elliott's voice,
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Eliot započinje priču, ali kasnije
njegov glas ustupa mjesto glasovima
05:34
but then Elliott's voice recedes,
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05:36
and we hear the voices of Elsa, Margot and Simon,
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Elze, Margo i Sajmona,
likovima koje je Eliot
05:39
characters that Elliott created on Twitter
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stvorio posebno kako bi
ispričao ovu priču na Tviteru.
05:42
specifically to tell this story,
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05:44
a story from multiple perspectives
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Priču ispričanu iz više perspektiva
koja vodi do ovog trenutka u 22:13h,
05:47
leading up to this moment at 10:13 p.m.
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05:50
when this woman falls to her death.
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kada ova gospođa gine.
Ova tri lika su ispričala
autentičnu priču iz različitih perspektiva.
05:52
These three characters brought an authentic vision
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05:55
from multiple perspectives.
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Jedan kritičar je nazvao Eliotovu priču:
"Tviter fikcija napisana na pravi način."
05:57
One reviewer called Elliott's story
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05:59
"Twitter fiction done right," because she did.
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I autorka je tako i jeste napisala.
06:02
She captured that voice
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Zabilježila je taj glas i uključila
više likova, a sve se odvijalo
06:04
and she had multiple characters and it happened in real time.
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u stvarnom vremenu.
Zanimljivo, Tviter joj nije služio
samo kao mehanizam za distribuciju.
06:07
Interestingly, though, it wasn't just
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06:10
Twitter as a distribution mechanism.
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Koristila ga je i kao
mehanizam za stvaranje.
06:12
It was also Twitter as a production mechanism.
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06:14
Elliott told me later
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Eliot mi je kasnije rekla
da je sve to napisala svojim palčevima.
06:15
she wrote the whole thing with her thumbs.
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06:19
She laid on the couch and just went back and forth
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Legla je na kauč i prelazila prstima
preko različitih karaktera,
06:23
between different characters
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tvitujući svaki red,
jedan po jedan.
06:25
tweeting out each line, line by line.
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06:28
I think that this kind of spontaneous creation
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Mislim da je ova vrsta spontanog stvaranja
onoga što različiti likovi govore
06:30
of what was coming out of the characters' voices
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06:33
really lent an authenticity to the characters themselves,
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dalo autentičnost samim likovima,
kao i ovoj formi koju je stvorila
06:36
but also to this format that she had created
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spajanjem različitih perspektiva
u jednu priču na Tviteru.
06:39
of multiple perspectives in a single story on Twitter.
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Kada već počnete da se "igrate"
fleksibilnošću online identiteta,
06:43
As you begin to play with flexible identity online,
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06:46
it gets even more interesting
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to postane interesantnije kada
započnete interakciju sa stvarnim svijetom.
06:47
as you start to interact with the real world.
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Stvari kao "Nevidljivi Obama"
ili čuvena "Fascikla puna žena",
06:49
Things like Invisible Obama
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06:51
or the famous "binders full of women"
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06:53
that came up during the 2012 election cycle,
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koja se pojavila tokom izbora u 2012,
ili "Univerzum fanova fikcije
Zapadnog Krila Tvitera"
06:56
or even the fan fiction universe of "West Wing" Twitter
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u kom su nalozi za svakog od likova
u "Zapadnom krilu",
07:00
in which you have all of these accounts
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07:02
for every single one of the characters in "The West Wing,"
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uključujući i pticu koja kucka na prozor
Džoša Lajmana u jednoj, jedinoj epizodi.
07:05
including the bird that taps at Josh Lyman's window
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07:09
in one single episode. (Laughter)
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(Smijeh)
Sve to su kratka podsjećanja na temu.
07:13
All of these are rapid iterations on a theme.
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07:16
They are creative people experimenting
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To su kreativni ljudi koji
ispituju granice mogućnosti u ovom mediju.
07:19
with the bounds of what is possible in this medium.
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07:22
You look at something like "West Wing" Twitter,
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U "Zapadnom krilu Tvitera" možete naći
ove izmišljene likove koji
07:23
in which you have these fictional characters
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ulaze u interakciju sa stvarnim svijetom.
07:26
that engage with the real world.
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07:28
They comment on politics,
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Oni komentarišu politiku,
07:30
they cry out against the evils of Congress.
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bune se protiv svih zala Kongresa.
07:34
Keep in mind, they're all Democrats.
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Imajte na umu da su svi oni Demokrate.
07:36
And they engage with the real world.
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I oni komuniciraju sa stvarnim svijetom.
07:39
They respond to it.
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Oni reaguju na njega.
07:41
So once you take flexible identity,
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Tako da, kada jednom odaberete
fleksibilni identitet,
anonimnost i saradnju sa stvarnim svijetom,
07:43
anonymity, engagement with the real world,
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07:46
and you move beyond simple homage or parody
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udaljite se od odavanja počasti
ili parodiranja i uključite
07:49
and you put these tools to work in telling a story,
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ta sredstva u naraciju,
to je kada postaje stvarno zanimljivo.
07:53
that's when things get really interesting.
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Tokom izbora za gradonačelnika Čikaga
napravljen je nalog za parodiju.
07:55
So during the Chicago mayoral election
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07:57
there was a parody account.
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07:59
It was Mayor Emanuel.
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Zvao se "Gradonačelnik Emanuel".
08:00
It gave you everything you wanted from Rahm Emanuel,
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Bilo je svega o Ram Emanuelu, a posebno psovki.
08:04
particularly in the expletive department.
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Ovaj nalog, pun govora nepoštovanja,
08:07
This foul-mouthed account
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08:09
followed the daily activities of the race,
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je pratio svakodnevne aktivnosti izborne trke,
uključujući i komentare u toku izbora.
08:13
providing commentary as it went.
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08:15
It followed all of the natural tropes
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Pratio je sve trendove jednog solidnog
Tviter naloga za parodiju,
08:17
of a good, solid Twitter parody account,
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ali je onda postalo čudno.
08:20
but then started to get weird.
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Kako se razvijalo, od tumačenja je postala
08:23
And as it progressed, it moved from this commentary
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08:27
to a multi-week, real-time science fiction epic
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višenedjeljna naučno-fantastična epopeja
u stvarnom vremenu,
08:32
in which your protagonist, Rahm Emanuel,
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u kojoj protagonista, Ram Emanuel,
na dan izbora ulazi u
multi-dimenzionalno putovanje,
08:35
engages in multi-dimensional travel on election day,
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08:39
which is -- it didn't actually happen.
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koje se nije stvarno dogodilo.
08:42
I double checked the newspapers.
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Dvaput sam provjerio novine.
I, interesantno,
potom je sve to stalo.
08:45
And then, very interestingly, it came to an end.
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08:49
This is something that doesn't usually happen
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To se obično ne dešava sa
nalozima za parodiju na Tviteru.
08:51
with a Twitter parody account.
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Završilo se i tako priči dalo
pravi narativni završetak.
08:52
It ended, a true narrative conclusion.
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08:56
And so the author, Dan Sinker, who was a journalist,
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Autor, Den Sinker,
potpuno anoniman novinar sve to vrijeme,
08:59
who was completely anonymous this whole time,
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je shvatio da je tu priču vrlo lako pretvoriti
09:02
I think Dan -- it made a lot of sense for him
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09:05
to turn this into a book,
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u knjigu jer je na kraju
bila u narativnoj formi
09:07
because it was a narrative format in the end,
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09:10
and I think that turning it into a book
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i mislim da to pretvaranje u knjigu
predstavlja ovu ideju stvaranja
09:13
is representative of this idea that he had created something new
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nečega novog što mora biti
prevedeno u ranije forme.
09:16
that needed to be translated into previous formats.
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Jedan od mojih omiljenih primjera
onoga što se sada dešava na Tviteru
09:20
One of my favorite examples
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09:22
of something that's happening on Twitter right now,
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je veoma apsurdni "Krajmer šou".
09:24
actually, is the very absurdist Crimer Show.
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To je priča o super-kriminalcu i
nesrećnom detektivu
09:29
Crimer Show tells the story
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09:31
of a supercriminal and a hapless detective
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koji se suočavaju koristeći
vrlo čudan žargon
09:34
that face off in this exceptionally strange lingo,
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koristeći sve trendove
jednog televizijskog šoua.
09:38
with all of the tropes of a television show.
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09:40
Crimer Show's creator has said that
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Autor šoua je rekao da je to
parodija na popularni šou
09:42
it is a parody of a popular type of show in the U.K.,
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u Ujedinjenom Kraljevstvu,
ali, čovječe, jeste čudan šou.
09:47
but, man, is it weird.
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Sve te situacije u kojima Krajmer,
super-kriminalac,
09:50
And there are all these times where Crimer,
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09:52
the supercriminal, does all of these TV things.
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radi sve one televizijske stvari.
09:54
He's always taking off his sunglasses
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Uvijek skida naočari za sunce
09:56
or turning to the camera,
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ili se okreće ka kameri,
ali sve to se dešava samo u tekstu.
09:59
but these things just happen in text.
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10:02
I think borrowing all of these tropes from television
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Mislim da je pozajmljivanje svih ovih
televizijskih elemenata
10:05
and additionally presenting each Crimer Show
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i predstavljanje svakog Krajmer šoua
kao posebne epizode,
10:08
as an episode, spelled E-P-P-A-S-O-D, "eppasod,"
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(epizoda napisana kao "epasoda")
predstavljajući ih tako
on stvara nešto novo.
10:14
presenting them as episodes
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10:16
really, it creates something new.
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10:19
There is a new "eppasod" of Crimer Show
228
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Nova "epasoda" šoua se postavlja
na Tviteru skoro svakog dana
10:22
on Twitter pretty much every day,
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10:24
and they're archived that way.
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i tako se i arhiviraju.
10:26
And I think this is an interesting experiment in format.
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Mislim da je ovo interesantan način
eksperimentisanja formom.
10:29
Something totally new has been created here
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Nešto potpuno novo je stvoreno
parodiranjem televizijskog sadržaja.
10:31
out of parodying something on television.
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Mislim da i u publicističkom pripovijedanju
u stvarnom vremenu
10:35
I think in nonfiction real-time storytelling,
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10:37
there are a lot of really excellent examples as well.
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postoje neki sjajni primjeri.
"Drugi svjetski rat u stvarnom vremenu"
10:40
RealTimeWWII is an account
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je nalog koji bilježi šta se dešavalo
10:42
that documents what was happening on this day 60 years ago
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određenog dana prije 60 godina,
sa izuzetnom detaljnošću,
10:46
in exceptional detail, as if
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baš kao da čitate novine od tog dana.
10:49
you were reading the news reports from that day.
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Autor Tedžu Kol je dosta eksperimentisao
10:51
And the author Teju Cole has done
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10:53
a lot of experimentation with putting a literary twist
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sa davanjem književne note
događajima u vijestima.
10:56
on events of the news.
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10:58
In this particular case, he's talking about drone strikes.
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U ovom slučaju,
on govori o napadima borbenih aviona.
Mislim da se u oba ova primjera
11:02
I think that in both of these examples,
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naziru načini na koji ljudi pričaju priče
publicističkog sadržaja
11:05
you're beginning to see ways in which
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11:07
people are telling stories with nonfiction content
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11:10
that can be built into new types
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koje mogu biti preoblikovane
u novi tip fikcione naracije.
11:12
of fictional storytelling.
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Dakle, naracija u stvarnom vremenu
11:15
So with real-time storytelling,
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11:18
blurring the lines between fact and fiction,
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nejasne granice između stvarnosti i fikcije,
11:20
the real world and the digital world,
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stvarnog i digitalnog svijeta,
11:22
flexible identity, anonymity,
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fleksibilni identitet i anonimnost
su sve alatke koje su nam dostupne
i mislim da samo treba da složimo kockice.
11:26
these are all tools that we have accessible to us,
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11:29
and I think that they're just the building blocks.
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11:31
They are the bits that we use
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To su samo djelovi koje koristimo
pri stvaranju struktura i okvira
11:34
to create the structures, the frames,
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koji potom postaju naše naseobine
u ovom širokom prostoru
11:37
that then become our settlements on this
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11:40
wide open frontier for creative experimentation.
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za eksperimentisanje kreativnošću.
11:43
Thank you.
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Hvala vam.
11:44
(Applause)
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(Aplauz)
Translated by Marija Sindjic
Reviewed by Anastazija Langer

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ABOUT THE SPEAKER
Andrew Fitzgerald - Editor
Andrew Fitzgerald is shaping new ways for Twitter and journalists to work together.

Why you should listen

Andrew Fitzgerald is a writer, editor and Tweeter. As a member of the News and Journalism Partnerships team at Twitter, Fitzgerald explores creative uses of digital storytelling on the platform and elsewhere on the web. In 2012 he helped launch the first Twitter Fiction Festival, a five-day "event" that took place completely on Twitter in an effort to bring together stories that made creative use of the platform.

In his spare time Fitzgerald blogs and writes his own fiction, including the 2010 novel The Collective. He lives in New York, where he likes to experiment.

More profile about the speaker
Andrew Fitzgerald | Speaker | TED.com
THE ORIGINAL VIDEO ON TED.COM