Back during the 2000s, when blogs were new, pioneers of the form argued over when blogs would be art. Pioneers of the form decided that a blog would have to be fiction, would have to be well-written, and would have to be perpetrated onto an unknowing audience. To fully engage with a fictional blog as a blog, they argued, the readers could not know it was fictive. Readers must think they are engaging with the world as is.
Those pioneers imagined what mainstream success for blog fiction would look like. Vast audiences would get caught up in the narrative and interact with the “author.” The work would be created, or improvised, as it went along. Blog fiction, they said, could be blockbuster.
Blog fiction now exists, though it’s a small off-shoot of the blogging world. Its readers often know it’s fictive. (Though hoaxes like Gay Girl in Damascus provide a counter-example.)
The blogging world, too, looks much different than it did back during the Bush administration. Many then-famous blogs have now petered out, ended, or gone offline. We rarely say the word “blog” anymore. Even my inability to find the arguments to which I just alluded by googling is a kind of testament to the erosion of “blogging.”
Instead of blogs, now we have vast, corporate-owned networks: Facebook, Twitter, Tumblr. Fiction is there, and it can be authorial — when it looks something like @MayorEmanuel — or generative and networked — when it looks something like fan fiction or #seapunk culture. Both of these types of fiction thrive in different ways in the ecosystem, and both help us understand the network and find our place within it. We’re even used to them by now.
And today we learned that the Twitter account @horse_ebooks is probably the most successful piece of networked fiction of all time.
The New Yorker’s Susan Orlean, in a small, one-off post, revealed that @horse_ebooks — which hundreds of thousands of users believed to be algorithmically-generated — was, in fact, a performance art project. A current Buzzfeed employees, Jacob Bakkila, and his friend Thomas Bender* have been behind both the horse and the YouTube account Pronunciation Book since 2011. (Pronunciation Book shouldn’t be confused with the other YouTube account Pronunciation Manual, famous for its “fake pronunciation”-style videos.)
What was the horse? Supposedly, the account was a spambot, powered by an algorithm. Its goal was to sell ebooks, and every so often, one of its tweets would link to some ebook to buy.
The magic of the horse was in the tweets without links. Working from a huge body of text, the account supposedly linked words into not-quite-coherent, sentence-like clumps called Markov chains and extruded them onto Twitter. @Horse_ebooks charmed sometimes because its text-clumps were delightful, sometimes because its text-clumps were ominous, and sometimes because it seemed to just get the zeitgeist.
(using fingers to indicate triangular shape) SMELL SMELL SMELL GOOD NEW NEW NEW slice drink MATCH SPARKLER (thrown in air) STARS STARS STARS— Horse ebooks (@Horse_ebooks) June 1, 2012
@Horse_ebooks tweets would accumulate hundreds of retweets and favorites in seconds. Twitter users would respond, sometimes, if the horse seemed to be posing a question; they’d adopt certain horse text-clumps as their own catchphrases or watchwords. In her reveal, Orlean talks of t-shirts and tattoos the horse spawned; a Chicago poet, Erin Watson, even kickstarted a book of poetry based on* @horse_ebooks tweets.