Making Digital Marks on Medieval Manuscripts
Edited By Tamsyn Mahoney-Steel
Chapter 4. Annotating the Everted Network
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ANNOTATING THE EVERTED NETWORK
The singer Imogen Heap arrived at the 2010 Grammys sporting the latest in what some dub “ecouture.” Otherwise known as wearable technology, Heap’s dress incorporated a collar fitted with an LED scrolling display to broadcast her fans’ Tweets during the music awards. “A wireless router embedded inside the chanteuse’s dress was responsible for the live Tweetup, but Heap also carried an iPod touch inside a clear Fendi purse to display photographs fans sent her during the event.”1 The self-proclaimed “digital diva,” who, as well as composing and performing, produces and engineers her music, eschewed the traditional revealing dresses that many female stars don in favor of fashion that revealed the thoughts of her fans. By wearing the “Twitdress,” Heap allowed her body and the experience of the Grammys to be synchronously annotated by her followers. It was an example of how, in Gibson and Jones’ words, the digital network is everting and intertwining with the physical world; it was also an example of making visible a constellation of human beings who coalesce and interact around a subject or idea, in this case Heap’s intensely creative digital music projects.
The digital annotation of the self via social media has also been used as a powerful protest tool. When the Standing Rock Sioux and the activists that stood with them protested against the proposed route of Dakota Access ← 73 | 74 → Pipeline (DAPL) under Lake Oahe on...
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