Metaphors of Internet. Группа авторов

Figure 1.8: Mark Deuze’s 2012 book cover, depicting digital media as water to a fish. Source: Courtesy of Mark Deuze

Figure 4.1: Screencaptures of author. Source: Nadia Hakim-Fernández

Figure 4.2: Broken cables. Source: Nadia Hakim-Fernández

Figure 4.3: The fragility of the internet in the mobile workplace. Source: Nadia Hakim-Fernández

Figure 4.4: Source: Nadia Hakim-Fernández

Figure 4.5: Source: Nadia Hakim-Fernández

Figure 4.6: Source: Nadia Hakim-Fernández

Figure 4.7: Brussels, 26 December 2016. Source: Nadia Hakim-Fernández

Figure 4.8: Photo of my setting and sessions with Yenny. Source: Nadia Hakim-Fernández

Figure 5.1: Sam.

Figure 5.2: Bellevue, USA.

Figure 5.3: Cheddar, USA.

Figure 5.4: Jessica, USA.

Figure 5.5: Tenna, USA.

Figure 5.6: Medford, New York.

Figure 5.7: Bobbatron, Hawaii.

Figure 5.8: Parkland, Florida.

Figure 5.9: Dylan, Kuala Lumpur.

Figure 5.10: Nana, Nettleton.

Figure 5.11: White Sands, New Mexico.

Figure 5.12: The Mouse, Portland, Oregon.

       Figure 10.1: Mick Jagger and fans on screen. From London Stadium 2 concert, May 25, 2018. Source: Courtesy of Ben Cragg.

       Figure 10.2: “Keith Richards, onstage.” Still photo from Periscope of Lucca, Italy concert, September 23, 2017. Source: Courtesy of Debbie “Tiger” Millsap.

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       Figure 10.3: “Mick Jagger onstage.” Still photo from Periscope of Lucca, Italy concert, September 23, 2017. Source: Courtesy of Debbie “Tiger” Millsap.

       Figure 10.4: “Crowd facing stage.” Still photo from Periscope of Zurich, Switzerland show, September 20, 2017. Source: Periscope and photo from it by Debbie “Tiger” Millsap.

       Figure 10.5: “Pre-show crowd, facing stage.” Still photo from Periscope of London Twickingham show, June 19, 2018. Source: Courtesy Debbie “Tiger” Millsap

       Figure 14.1: Incoherent/Coherent Self. Source: Son Vivienne

       Figure 14.2: Stories Beyond Gender Zine. Source: Son Vivienne

       Figure 14.3: Multiple profiles across platforms. Source: Son Vivienne

       Figure 16.1: Meta-text-production. Source: Maria Schreiber and Patricia Prieto-Blanco

       Figure 16.2: “patri and maria—editorial room.” Source: Maria Schreiber

       Figure 16.3: Physical and mediated spaces entangled. Source: Patricia Prieto-Blanco

       Figure 16.4: Video-mediated Intimacy. Source: Maria Schreiber

       Figure 16.5: Screenshot of Skype conversation. Source: Maria Schreiber and Patricia Prieto-Blanco

       Figure 16.6: Sketch of Visualization: Metaphors of how we relate to each other through tool, place, way of being together. Source: Maria Schreiber and Patricia Prieto-Blanco

       Figure 17.1: Self-portrait in Mauthausen, 1995. Source: Cristina Nuñez

       Figure 17.2: -5º C self-portrait, 2004. Source: Cristina Nuñez

       Figure 17.3: Higher Self Portrait. Source: Cristina Nuñez

       Figure 20.1: Workers are hired to remember someone they love in burrough’s Human Intelligent Task (HIT) on Mturk.com. Source: xtine burrough

       Figure 20.2: burrough hires workers to share their memories.Source: xtine burrough

       Figure 20.3: Modified LED candles, purchased on Amazon, to bring the workers’ memories to public spaces. Source: xtine burrough

       Figure 20.4: To conduct a vigil, burrough brought candles to an Amazon Fulfillment Center (AFC) in Coppell, Texas. Source: xtine burrough

       Figure 20.5: Candles sitting atop the Amazon Fulfillment Center (DFW6) sign, Coppell, Texas. Source: xtine burrough

       Figure 20.6: Waiting for the Drug Test, 2015, Amazon Fulfillment Center (DFW6), Coppell, Texas. Source: xtine burrough

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       Figure 20.7: Taking the Drug Test, 2015, Amazon Fulfillment Center (DFW6), Coppell, Texas. Source: xtine burrough

       Figure 20.8: Cardboard cubicles for an installation of the vigil first exhibited at the International Digital Media and Art (iDMAa) conference in October, 2016. Source: xtine burrough

       Figure 20.9: A mid-shot of the installation, International Digital Media and Arts Association (iDMAa) Annual Conference Exhibit, Winona, MN, October 2016. Source: xtine burrough

       Figure 21.1: Collaging the digital remains of life online. Source: Sarah Schorr

       Figure 21.2: Sarah Schorr applies a tattoo to a visitor’s skin during the exhibition opening at Galleri Image in Denmark. Source: Mikkel Kaldal, Courtesy of Galleri Image 2019.

       Figure 21.3: Sarah Schorr invites participants to send photographs of their tattoos as they fade. These collected images are adapted and incorporated into the installation. Source: Sarah Schorr

       Figure 21.4: An example of the screenshot of Unerasable Images, which is taken on 2017-02-22 at 9.38.26 p.m. Source: Winnie Soon

       Figure 21.5: Nine selected images from Unerasable Images. Source: Winnie Soon.

       Figure 21.6: Unerasable Images, 2018 HD Video. Source: Winnie Soon

       Figure 22.1: Text and Image from my personal blog. Source: Doctor Daisy (Pignetti, 2007).

       Figure 22.2: January 2010 photo of my brother in front of the empty lot at 5766 Cameron Blvd. With the physical referent of my house completely gone, so was the stability of a life lived in one place. Source: Daisy Pignetti

       Figure 22.3: Screenshot taken March 3, 2010 (Pignetti, 2010). Source: Daisy Pignetti

       Figure 22.4: The Author in Santorini, Greece. “Be a New Orleanian. wherever you are.” Source: Daisy Pignetti

       Figure 25.1: “I’m also being studied by Carmel” Hebrew blog badge. Source: Carmel Vaisman

       Figure 25.2: “Doctor Blog” design theme as designed by one of the teenage bloggers. Source: Carmel Vaisman

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       Figure 25.3: “Miss Israblog” header on the official management blog. Source: Screenshot by Carmal Vaisman.

      TABLE

       Table 8.1: “Do-s and don’t-s of instagrammability” Source: Katrin Tiidenberg

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Acknowledgments