Tumblr. Crystal Abidin
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Название: Tumblr

Автор: Crystal Abidin

Издательство: John Wiley & Sons Limited

Жанр: Кинематограф, театр

Серия:

isbn: 9781509541102

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СКАЧАТЬ and reblogs of a particular post are summarily calculated as “notes,” which is the primary metric of how much attention a post has generated on the platform.

      To reblog is to repost someone else’s post to your own blog, whether partially or entirely. Reblogging (and “following”) were tumblr’s original features from its launch in March 2007, preceding retweeting on Twitter1 and sharing on Facebook. Reblogging has always been a central practice on tumblr, with less than 10 percent of content qualifying as original (Xu et al. 2014). Clicking on the reblog button opens someone else’s post in a new window allowing the reposter to add to it or reblog it as is. All post types are rebloggable, so one might reblog an image with a caption, a text post, a GIF set with comments, or a set of nested, cascading threads of previous reblogs, wherein every next reblogger has added a comment or a sentiment (see Figure 1.3).2

      Figure 1.3: Artist’s impression of an example of a cascading multi-reblog post on tumblr. Art provided by River Juno.

      Reblogging is also an affective practice. Digital media anthropologist Alexander Cho (2015a) describes reblogging through Paasonen’s (2011) notion of “resonance” and his own notion of “reverb,” both of which highlight the sensation of intensity and affect involved in noticing and choosing to reblog posts, but also in demarcating the quality that makes some posts so rebloggable. Kanai (2017) adds “relatability” to the types of affect that drive reblogging. Relatability builds publics of like-minded users, who relate to each other’s daily experiences. All three – resonance, reverberation, and relatability – are experienced based on one’s life circumstance, thus bringing together people with similar experiences of, among other things, marginalization or discrimination, contributing to emergence of what we call silos (see Chapter 2).

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