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“THAT’S WHAT SHE SAID”
 Online Humor, Performance, and Collaboration
                Megan K. Mize
HUMOR & ONLINE
             COMMUNITIES
• Promotes    community building

• Encourages    the exchange of ideas

• Decreases    fear of judgment

• Allows   creation of multiple spaces

• Permits   fluid constructions of identity

• Enables   Creativity and Productivity
DIGITAL SPACES
Different Forms of Humor Signal Perceived Spaces
CONSTRUCTION OF
    GROUP IDENTITY
Shared Humor Suggests Shared Values
BEYOND LOLCATS
Collaborative Humor Emerges During Online Composition
                 Even Within Academia
LITERATURE AND THEORY
•   Ron and Suzanne Scollon: Sociolinguistic “face” as “The negotiated public image,
    mutually granted each other by participants in a communicative event” (45).


•   Paul Willis: Participatory culture as one in which, “people creatively respond to a plethora of
    electronic signals and cultural commodities in ways that surprise their makers, finding meanings and
    identities never meant to be there…”


•   Gregg Camfield: “humor opens positive cognitive possibilities…even creating new neural
    pathways, open spaces for learning.”


•   Katherine Hayles: “Current evidence suggests that we are now in a new phase of the
    dance between epigenetic changes in brain function and the evolution of new reading and writing
    modalities on the Web.”


• Cathy       Davidson: “As long as we focus on the object we know, we will miss the new one
    we need to see. The process of unlearning in order to relearn demands a new concept of
    knowledge not as thing but as a process, not as a noun but as a verb.”
QUESTIONS
How is the digital experience changing humor?
How does online humor aid in the construction of multiple identities for a single
individual?
How might the anonymity of some sites actually increase that sense of belonging?
QUESTIONS
•   Are the stakes then higher for
    academics who must identify
    themselves? Does humor offer a
    safeguard for potential missteps in
    the performance?

•   How might humor in digital spaces
    function as a valuable cultural tool,
    not simply in terms of critique and
    subversion, but in terms of
    productivity?

•   Is online humor a homogenizing
    force?

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Humor

  • 1. “THAT’S WHAT SHE SAID” Online Humor, Performance, and Collaboration Megan K. Mize
  • 2. HUMOR & ONLINE COMMUNITIES • Promotes community building • Encourages the exchange of ideas • Decreases fear of judgment • Allows creation of multiple spaces • Permits fluid constructions of identity • Enables Creativity and Productivity
  • 3. DIGITAL SPACES Different Forms of Humor Signal Perceived Spaces
  • 4. CONSTRUCTION OF GROUP IDENTITY Shared Humor Suggests Shared Values
  • 5. BEYOND LOLCATS Collaborative Humor Emerges During Online Composition Even Within Academia
  • 6. LITERATURE AND THEORY • Ron and Suzanne Scollon: Sociolinguistic “face” as “The negotiated public image, mutually granted each other by participants in a communicative event” (45). • Paul Willis: Participatory culture as one in which, “people creatively respond to a plethora of electronic signals and cultural commodities in ways that surprise their makers, finding meanings and identities never meant to be there…” • Gregg Camfield: “humor opens positive cognitive possibilities…even creating new neural pathways, open spaces for learning.” • Katherine Hayles: “Current evidence suggests that we are now in a new phase of the dance between epigenetic changes in brain function and the evolution of new reading and writing modalities on the Web.” • Cathy Davidson: “As long as we focus on the object we know, we will miss the new one we need to see. The process of unlearning in order to relearn demands a new concept of knowledge not as thing but as a process, not as a noun but as a verb.”
  • 7. QUESTIONS How is the digital experience changing humor? How does online humor aid in the construction of multiple identities for a single individual? How might the anonymity of some sites actually increase that sense of belonging?
  • 8. QUESTIONS • Are the stakes then higher for academics who must identify themselves? Does humor offer a safeguard for potential missteps in the performance? • How might humor in digital spaces function as a valuable cultural tool, not simply in terms of critique and subversion, but in terms of productivity? • Is online humor a homogenizing force?

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