An illustration depicting stylized people speaking into overlapping speech bubbles of different shapes, creating a sense of cacophany.
Stanford University Press
Ego Media, Edited by Max Saunders and Lisa Gee
The following documents the original digital publication Ego Media: Life Writing and Online Affordances edited by Max Saunders and Lisa Gee (Stanford University Press, 2023). DOI: 10.21627/2023em ISBN: 9781503633544
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Overview
Enabled by the internet and mobile technologies, digital media have generated profound changes in how and where we communicate, interact, and present ourselves. Ego Media explores the impact of these rapidly evolving media on forms and practices of self-presentation, giving a multidimensional account of how the ego presents itself through and across the digital media landscape, and how this has both changed and remediated earlier modes.
Collaboratively written and produced, the project combines a humanistic, life-writing theory approach with an interdisciplinary methodology drawing especially upon digital humanities, cultural theory, sociolinguistics, neurology, and the medical humanities. Genres analyzed range from chatbots to war blogs to mommy vlogs and beyond, offering a breadth of insights into both the aesthetics and the politics of new media. Rather than pursuing each thread of analysis through a single linear narrative, the project is built as a composite picture that mimics the polyphonic nature of social media and is designed to highlight the tensions, contradictions, and coherences that characterize how people use, think, and feel about digital media.
Promoting reader agency and keeping the history of autobiographical writing in focus, Ego Media offers a self-referential view of how social media shape researching and writing about the self.
This project was designed and developed by King's Digital Lab. This publication was made possible as a result of funding from the European Research Council (ERC) for the project "Ego-Media: the impact of new media on forms and practices of self-presentation" [FP7/2007-2013; grant agreement No. 340331].
The project was published by Stanford University Press July 2023 at https://egomedia.org. It is the twelfth publication of Stanford University Press’s initiative for the publication of interactive scholarly works funded by the Andrew W. Mellon Foundation. A web archive of this project can be accessed via the Archive link on the project’s cover page at https://egomedia.org/ or downloaded from the Stanford Digital Repository collection at https://purl.stanford.edu/kc966hg9270.
Technical Requirements
At the time of publication, reading this project requires an internet connection and is best experienced via any active JavaScript-enabled browser. Current browsers at time of publication include Safari 15.6, Chrome 112, Firefox 112, Microsoft Edge 111, Opera 97, and other contemporary browsers. The project includes an interactive visualization, video, and audio and is best experienced on a nonmobile or desktop-sized screen with audio output, though it can be also be viewed on a mobile device.
Technical Specifications
The project was built using the Wagtail CMS. When completed, the project was exported and served through static HTML/CSS/JS. The published version of the project is hosted in a LAMP server environment running Cloudlinux 7.8.
User Experience
![Ego Media: Life Writing and Online Affordances (1) Ego Media: Life Writing and Online Affordances (1)](https://i0.wp.com/www.egomedia.org/1.png)
After clicking “Enter” on the landing page (see fig. 1), visitors arrive inside the project (see fig. 2).
![Ego Media: Life Writing and Online Affordances (2) Ego Media: Life Writing and Online Affordances (2)](https://i0.wp.com/www.egomedia.org/2.png)
The “Welcome” text explains how the publication is structured in three blocks. The three color-coded top-level tabs take you to the home page for each block from anywhere in the publication.
The nine sections form the most substantial part of the project. Each one (corresponding to a chapter in an analog book) is a piece of original research on an aspect of new media. Five are devoted to self-presentation in social media and gaming. One explores algorithms which talk to us; one develops the theoretical concept of “imaginative agency” to explore our interactions on the Web; one discusses the pasts and futures of online lives; and one reflects on the nature of digital publication, including the creation of this one.
The eight theme essays discuss the concepts linking the sections. The contributors section supplements bios and relevant bibliographies with brief AV interviews.
The visualization on the landing page shows the multiple ways these blocks connect. Hovering over each color-coded segment of the circumference reveals the significant connections with other parts of the publication (see fig. 3).
![Ego Media: Life Writing and Online Affordances (3) Ego Media: Life Writing and Online Affordances (3)](https://i0.wp.com/www.egomedia.org/3.png)
The Ego Media logo on the left of the menu (see fig. 2) directs back to the publication’s cover page.
“Home” directs to the welcome page.
“Browse” takes you to a page offering two modes of exploring and finding material.
“About” takes you to an introduction to the book, its approaches, and the broader team behind it, as well as to acknowledgements and credits.
“User Guide” includes videos (see fig. 4) explaining the modes of navigation described above.
![Ego Media: Life Writing and Online Affordances (4) Ego Media: Life Writing and Online Affordances (4)](https://i0.wp.com/www.egomedia.org/4.png)
There is a text search box at the top right of all pages.
Browse
At the top is a faceted search (see fig. 5), which filters the publication by several categories: not just by theme, section, and contributor, but also by concept, disciplines/methods, platforms/media, and topic.
![Ego Media: Life Writing and Online Affordances (5) Ego Media: Life Writing and Online Affordances (5)](https://i0.wp.com/www.egomedia.org/5.png)
The faceted search helps you explore the publication in a precise way. You can, for instance, use the dropdown menus (see fig. 6) to look for content written by Clare Brant (contributor) about affect (concept) and YouTube (Platforms/media).
![Ego Media: Life Writing and Online Affordances (6) Ego Media: Life Writing and Online Affordances (6)](https://i0.wp.com/www.egomedia.org/6.png)
Below the dropdown menus is an array of tiles, one for each page of the publication, arranged by themes, sections, and contributors (and alphabetically within each block), with a color-coded blank tile to mark where each block starts (as with the “Themes” tile on the left of fig. 5 and the “Sections” tile on the left of figure 7).
![Ego Media: Life Writing and Online Affordances (7) Ego Media: Life Writing and Online Affordances (7)](https://i0.wp.com/www.egomedia.org/7.png)
The tiles for the section pages are preceded by the home page for that section. Thus, in figure 7, “Imaginative Agency” is that section’s homepage, while “Balloons as Imaginative Agents” is the (alphabetically) first page in that section. Clicking on a tile takes you to that page. This enables readers wanting to gauge the range and diversity of the publication to scroll through all its contents or dip into what piques their curiosity.
Themes
The homepage for “Themes” (fig. 8) has a tile for each essay.
![Ego Media: Life Writing and Online Affordances (8) Ego Media: Life Writing and Online Affordances (8)](https://i0.wp.com/www.egomedia.org/8.png)
Each takes you to a single page following a similar structure, starting with an introduction and summary, and concluding with links suggesting which parts to read next, endnotes, and a bibliography (see fig. 9).
![Ego Media: Life Writing and Online Affordances (9) Ego Media: Life Writing and Online Affordances (9)](https://i0.wp.com/www.egomedia.org/9.png)
The links are for users who might prefer a signposted linear reading process. However, the publication is not designed to be read in a unilinear way. It is an array of interrelated pieces. We encourage users to approach the content in a variety of ways. Reading the full sequence of theme essays can provide an introduction to the publication. But each theme essay is free-standing, can be read on its own, or after one or more of the sections. The structure is designed to be friendly towards users with varying levels of expertise on the topics.
Contributors
The contributors homepage (fig. 10) leads to a single page per person.
![Ego Media: Life Writing and Online Affordances (10) Ego Media: Life Writing and Online Affordances (10)](https://i0.wp.com/www.egomedia.org/10.png)
Each contributor page (see fig. 11) includes a bio and one or more brief interviews (mostly video, some audio) with that contributor, and then tiles showing and linking to the section(s)/pages they authored or co-authored.
![Ego Media: Life Writing and Online Affordances (11) Ego Media: Life Writing and Online Affordances (11)](https://i0.wp.com/www.egomedia.org/11.png)
Sections
The sections homepage (see fig. 12) looks similar, with a tile for each section. This and the themes homepage combine to form the equivalent of an analog table of contents.
![Ego Media: Life Writing and Online Affordances (12) Ego Media: Life Writing and Online Affordances (12)](https://i0.wp.com/www.egomedia.org/12.png)
The difference here is that clicking on each tile leads to the homepage for the relevant section. Each section functions as a microsite.
In the homepage for the section “Self Observation Online,” for example (see fig. 13), the links in the left sidebar enable navigation within the page and to other pages in the same section.
![Ego Media: Life Writing and Online Affordances (13) Ego Media: Life Writing and Online Affordances (13)](https://i0.wp.com/www.egomedia.org/13.png)
The tags under contributors’ names are of two kinds. The color-coded kind are clickable links to the relevant theme essays, sections, and contributors. The others are tags used in the faceted search.
The breadcrumbs under the top-level tabs make it easy to navigate back to where you were before clicking on a link.
The text throughout most of the publication is profusely illustrated with multimedia material. Rather than providing a set of “old media” essays on new media, we wanted the user to experience the publication as itself a digital artifact.
Four parts deserve particular attention in this regard, since they demonstrate how Ego Media does not attempt merely to mimic the media it discusses, but to reflect upon it in ways that encourage the user to become more aware of new media forms and practices.
Where the theme essay on “Methodologies” reflects upon the publication discursively, that on “Interdisciplinarity” includes video and audio interviews with several of the contributors (from different disciplines), constituting a dialogic or performative account of its subject.
Clare Brant’s section “Imaginative Agency” explores the creativity with which it is possible to respond to media tendencies towards technological determinism. This section is presented not as a hierarchical structure but in the style of an Instagram grid (see fig. 14), with the introduction teasingly positioned at what might be thought the end.
![Ego Media: Life Writing and Online Affordances (14) Ego Media: Life Writing and Online Affordances (14)](https://i0.wp.com/www.egomedia.org/14.png)
Using familiar social media forms to present her analyses works to foreground the user’s own agency to decide what to choose next. Thus, as with the publication as a whole, the structure requires and draws attention to user agency in navigating it.
Where most of the sections consist of one level of child pages gathered under their homepage, Rebecca Roach’s section “Talking Interfaces” is more intricate, utilizing four levels. Her subject is programming and the use of natural language processing to humanize it while also highlighting how the process of NLP acts to dehumanize and denaturalize language. The section’s intricacy, while heightening the user’s sense of agency, also does the opposite, drawing attention to the reading process as following a set of symbolic instructions that involves jumping from one sequence of such instructions to another.
Finally, Lisa Gee’s section continues the quest for reflexiveness, offering a series of “Reflections” that carefully consider not only digital and social media, but also the process of producing this publication about them.
Technical Structure and Installation
The SDR archive collection includes a single em_public_html.tar file, which, when uncompressed reveals the full structure and contents of the web publication. In the root directory, the index.html file may be launched in a compatible web browser and the project viewed locally from there. There are minimal external embeds, but where they are present in the original publication, they will be missing in the offline downloaded file package.
Credits
Editors
Max Saunders
Lisa Gee
Essay Contributors
Max Saunders
Lisa Gee
Alexandra Georgakopoulou
Alisa Miller
Clare Brant
Lisa Gee
Max Saunders
Mikka Lene Pers
Rachael Kent
Rebecca Roach
Rob Gallagher
Stijn Peeters
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