GdS: I take the term digital folklore as Olia Lialina & Dragan Espenschied define it in their Digital Folklore reader: the objects and practices emerging from the users' engagement with digital media platforms and computing applications. Olia and Dragan focus on the digital folklore of the early days of the internet and see the massification of Web 2.0 as the end of vernacular creativity; conversely, I think that as long as there are platforms and devices, users continue creating digital folklore—if anything, by now it might have become post-digital folklore. Local knowledge becomes the key to understanding (post)digital folklore: rather than asking "what is Chinese internet culture?", one tries to understand what neologisms such as egao (恶搞, "making fun of something in nasty ways") mean to the users who share this content; who calls whom a diaosi (屌丝, "luser") in which sociolinguistic context; how ACG communities (Anime, Comic & Games) mediate and translate Japanese otaku products on discussion boards and video streaming websites for a local zhainan (宅男, "nerd") audience, and so on. It is the typical anthropological move of trying to understand a context through the local practices and categories of commentary, only applied to digital media practices rather than, say, gift exchange in Papua New Guinea.