ABSTRACT
This chapter focuses not only on the screen itself but on the networks, on the making of screen culture and on the screen as a technology of subjectivation. It shows how aspects of post-digital culture are related to the screen by examining the example of Hatsune Miku. Hatsune Miku appears on different screens. Most famously, she is projected, via 3D hologram techniques, life sized on an almost translucent surface during concerts. In the case of Hatsune Miku, new versions are constantly being created within a common frame of reference. As a result, the multitude of stories in the formation of Hatsune Miku consequently needs to be addressed in terms of collective authorship. The community members associated with Hatsune Miku invent themselves in front of the screen but also beyond it: they define themselves through their practice, i.e., by producing and consuming and thus embodying the narrative.
