The construction of Swedish poet Pär Thörn’s anaphoric Twitter poem "I am" is very simple: It gathers all tweets starting with "I am" and in real time displays ten of them at the time, with the tweets moving downwards every third second, a new one introduced at the top while the oldest one disappears at the bottom. It was created in collaboration between Thörn and a number of Interaction Design students at Malmö University in 2011, and has been running consistently on the Internet since then. As an emergent collaborative storytelling performance, the poem collects a number of disparate statements, statements from people who do not know each other, and creates a setting within which these statements perform beyond themselves. But what do they do? Do they give voice to an obsessively narcissistic age? Or do they express our increasingly desperate efforts to communicate, starting with what we know best – ourselves? The answer is not obvious – not the least due to the flow character of the poem. What I see glancing at the poem while writing this piece is not what you see when reading it. You get other statements, other voices. And you draw your conclusions. It would be possible to view the poem as a simple representation of what is happening “out there”. But one should not under estimate the role played by poet Pär Thörn and his collaborators in creating the setting for this experience. The very concentrated structure with only ten lines visible at the time, and the rather understated graphic design of the page, are important in this context. And so is the pace. The number of tweets sent each second has increased dramatically since 2011, but the strict form of "I am" keeps that intensification at bay. No matter the number of tweets being tweeted, "I am" methodically marches on at the same pace, one new tweet at the time, every third second. It would be difficult to deal with more.