An open-ended Sunday, my first real one in a long time. Room to explore and wander, and not have to be back at a certain time to go anywhere, or do anything. I spent most of the day downtown on my bike and posted my movements to Snapchat, which, like many apps, I use in fits and starts, and have started using again.^[And now, in February of 2022, I am no longer using it.] More friends I know are on Snapchat now. Don’t underestimate the power of faceswapping, I guess. And some friends, like C or N, are Snapchat savants. By seeing their daily stories something clicked for me this time around, in a way that it hadn’t before: Snapchat is the closest thing we have to a live-action comic book. You have text overlaid on top of still and moving image, front-camera explainers, rear-camera close-ups, panning establishing shots and, by joining these cuts into a continuous “story”, physical real-estate becomes temporal real-estate – the five-second snap is the equivalent of a full-page spread.
This audio-visual-textual collage also makes Snapchat a kind of uber-medium – its own language, that borrows from and encompasses other languages. The verbs of Snapchat are untensed; its sentences convey meaning using word sequence and context. Like the language of a lost Amazonian tribe: You see me. I eat lunch. It is tree. The letterforms – i.e. the interface – are a series of directional swipes, a gestural Arabic. And the phonology is abrupt with hard consonants, like Japanese.