‘How I accidentally became a poet through Twitter’

Brian Bilston has been dubbed the „unofficial poet laureate of Twitter”, but he stumbled into writing poetry on social media. Here he explains the power of online verse.

It started with a tweet. I never thought it would come to this.

I’m not even sure it was a poem. More of a play on words, each one carefully selected to fit into the 140-character constraint of a tweet.


LA Flood Project

“Use the # & Tweet yr escape”: LA Flood as Mobile Dystopic Fiction by Kathi Inman Berens &Davin Heckman
Each of LA Flood’s 64 “lexia” (or “bits of story”) is pinned to exact geospatial locations around L.A.-metro. As a Katrina-grade flood ravages the city, each lexis tells the story of a character in that location or of the location itself. Each simulates the three stages of flooding: water rising, water at its height, water receding. The story is perpetually available via desktop and mobile. Most of the time, the large, distributed story lies dormant. It springs to life during a six-day Twitterfiction installation that anyone can participate in. LA Flood creative director Mark C. Marino and writing partner Rob Wittig call this “improvised” Internet fiction “NetProv.” Two Netprov installations, one May 2011 for the L.A. Festival of Books and another October 2011 for a U.S.C. “Visions and Voices” event, generated over 70,000 tweets. Click to read the 543-page archive of the Netprov.
Based on the model of a War of the Worlds-style hoax, the story solicits participation from people tweeting both as their real selves and as invented characters. Often who’s “real” and who’s “fictional” is hard to discern. Mark Marino:
The LA Flood Project actually led to some real life confusion. When fictional character Manny Velasco (@ascovelasco) mentioned the rain falling in the morning, one of his followers expressed dismay as she was driving up from San Diego where there was not a cloud in the sky. When Robert Rex Waller, Jr. (@iseehawksinla) claimed the parking lots were flooded, the USC Parking Twitter account denied this claim.
Rather than a top-down storytelling experience such as Twilight: Los Angeles, in which Anna Deavere Smith organizes the many voices she says she copied “verbatim” into a story structure she designed, LA Flood is openly participatory. LAinundación made a story on the understanding that its readers will also be its writers, a practice akin to the historically dynamic relationships between readers and writers in the science fiction community. In LA Flood, such interactivity is augmented by its publication via social and mobile media forms. In fact, the collective refuses traditional notions of authorship by choosing to identify as an inundación (“flood” in Spanish), which is an accretion of volume that overwhelms a space. FEMA defines “flood” as “a general and temporary condition of partial or complete inundation of two or more acres of normally dry land area or of two or more properties,” reinforcing the formal conception of the work and its authoring as an event that is defined by its capacity to overwhelm boundaries and create common conditions. In another point of contact with Butler’s Parable and its exploration of shared pain and pleasure, LAinundación’s invitation to authorship allows readers to explore, momentarily, the boundaries between the “properties” associated with race, class, and ethnic identifications.


Geolocația, social media și intelligence

Apropo de E. Snowden și dezbaterea privind accesul la informații, analiza și mai tendințele actuale în cercetare recomand o prezentare susținută la Location Intelligence and Oracle Spatial and Graph User Conference 2013, 

de către prof. Arie Croitoru – Harvesting Intelligence from Social Media Through GeoSocial Analysis 

The remarkable success of online social media sites marks a shift in the way people connect and share information. Much of this information now contains some form of geographical content due to the proliferation of location-aware devices, thus fostering the emergence of geosocial media – and geosocial analysis. Through the analysis of geosocial media we are able, for the first time, to observe human activities in scales and resolutions that were so far unavailable. Furthermore, the wide spectrum of social media data and service types provides a multitude of perspectives on real-world activities and happenings, thus opening new frontiers in geosocial knowledge discovery. However, gleaning knowledge from geosocial media is a challenging task, as they tend to be unstructured and thematically diverse. In this presentation we review through selected test cases some of the emerging opportunities and challenges associated with the analysis of geosocial media.

Arie Croitoru-GMU-Location Intelligence 2013 v02



O întrebare

Citesc pe Adevarul un articol de la Deutsche Welle cum că:
”Tot ce se poate. Ponta a afirmat că-şi pune la dispoziţie şi mobilul pentru ca presă să poată verifica „listingul” convorbirilor din celular, în speţă ora la care Raed Arafat l-ar fi informat.” Tragedia din Muntenegru şi demnitatea celor fără de putere
Întrebarea mea este simplă: De ce Victor Ponta a fost informat de Arafat și nu de către Celula de criză de la MAE sau de Titus Corlățean ? 
Pe pagina MAE, din comunicat se vede clar că Celula de criză se ocupă doar de ograda proprie, nu sunt informate alte agenții ale statului, ministrul de externe nu îl informează pe premier și, brusc, un telefon în noapte sună la premier, era doctorul Arafat.
Activarea celulei de criză din cadrul MAE, în urma accidentului din Muntenegru

Comunicat de presă



Ca urmare a tragicului accident survenit în Muntenegru, ministrul afacerilor externe a convocat Celula de criză a MAE.
La faţa locului va fi trimisă o echipă consulară mobilă din Centrala MAE, pentru a sprijini Ambasada României în Muntenegru, în demersurile de acordare a asistenţei consulare adecvate.
Ambasadorul României la Podgorita se află la spitalul în care au fost internaţi pasagerii răniţi în accident, pentru evaluarea situaţiei. Autorităţile locale s-au implicat la cel mai înalt nivel pentru acordarea sprijinului necesar.
Celula de criză MAE este slab dezvoltată și nu respectă niște regului. Un exemplu de reguli:
The 10 new rules of crisis communications
  1. Communications are now a 2-way street, whether you want them to be or not.
  2. Real-time is not just a suggestion but an expectation of your audience. An expectation that will not turn in your favor if unmet.
  3. Informative is the only way. If you’re not informative somebody else will be – on their own channels that you have zero control over.
  4. Listen, listen, listen! Listen to what others are saying, what they’re not saying and where they are and are not saying it.
  5. When you combine real-time and 2-way you get responsive. Your audience will be responsive and so must you.
  6. Sincerity, honesty and apologies go a long way. But remember: actions speak so much louder than words
  7. Humans dealing with humans. Your brand may be a brand, but it is run by humans communicating with other humans. Act like it.
  8. Adaptability and flexibility are highly recommended. Adapt your crisis communications for different platforms and audiences that you need to communicate your messages with and on.
  9. Twitter-friendly communications are your friend. For every update, response and statement you release, have a Twitter version (and check out this cool tool)
  10. Communicate with your staff throughout the entire crisis. Internal communications are key to today’s successful crisis management.
Cei de la MAE cred că dacă un accident se întâmplă la 12 noaptea asta înseamnă că nu trebuie să mai comunice în real-time. De fapt nu cred că la MAE există planuri de comunicare pentru diferite scenarii sau situații  de urgență.