Since the popularization of social media new forms of life storytelling combining the textual and the visual have emerged challenging traditional notions of Autobiography. These ‘new autobiographies’ are micro-stories of the self, characterized by being both dialogical and performative in nature, and instead of constituting discreet units they can be studied in terms of feeds and within the context of other (everyday) ‘materialities’, including embodied experience. These autobiographical acts are social, historic, and culturally charged, and therefore they tell us as much about the person doing the ‘telling’ as they do about the culture and society where they occur. This inquiry seeks insights as to why a group of mature adults, without previous diary writing habits, have come to actively engage in autobiographical acts on social media. The question is empirically investigated through an experimental ethnographically grounded Arts-based artefact. This device takes the form of a polyphonic narrative, informed by Mikhail Bakhtin’s Dialogism and Erwin Goffman’s Dramaturgical Model but also by notions of bricolage, the everyday and embodied experience. This thesis argues that for the participants in the research, social media has organically become an integral part of their everyday life and one more of the grounds on which they produce, perform, negotiate, reproduce, and claim identity. Albeit aiming for coherence their acts resist any attempt at a fixed autobiography and become contingent on the context in which they are authored and manifested, including that of embodied experience. Their autobiographical acts are situated in a universe of continuums between online and embodied experience, the present and the past, fact and fiction, front-stage and backstage, and an ‘ideal’ and a ‘disrupted’ biography; sometimes these acts comply with cultural templates and social expectations and others resist compartmentalization while contributing to map the world we live in. The study’s original contributions to knowledge are first and foremost that it has given voice to the participants in the research and second that, by incorporating the tenets of Ethnography and Narrative Inquiry into an Arts-based form, the research has achieved deeper insights into the question while highlighting issues that are relevant to the wider community. The inquiry is also a call to embrace the complexity of lived experience and to move on to more creative ways of doing research by putting the people we study at the centre of the inquiry as fully fleshed human beings instead of discreet bytes of ‘data.’