Everything is social III

If the previous posts dealt more with individuals and how we deal with the social media environment, here I will focus more on the groups themselves that have appeared so as to make all those people and information manageable and more rational. To be precise, I’m talking about the “Community,” a word that isn’t just a buzz term but also describes something that is indeed new.

Since SM, and the digital economy in general, works by concentrating attention, one would expect to see gigantic monopolistic points of attention. And although that does indeed happen from time to time, people don’t want to be anonymous, invisible users in groups of millions, so naturally we tend to form subgroups, niches, subcultures, fandoms, and communities. The concentration of attention reappears there, too, but it is somewhat less extreme, and you can find some voice when joining such groups. However, as this means that the actual number of people in such groups has to be relativelly small, per capita economic opportunities also have to be smaller, even if the intensity with which people fight over them isn’t. In some cases they are so small, artists just sell to each other and the community is actually a hierarchy of artists (with the top selling drawing and painting tutorials to those below, for example.) That is logical enough, but it is a surprisingly difficult concept to accept to people, who want their cake (subgroups specialization) and eat it too (access to large undiferentiated pools of customers.) And if you want a pool of customers, you need to cross and overlap communities, but that’s difficult for most people since they tend to speacialize and find niches. You need media to overcome that, not social, just media in general (from mainstream media to blogs or news sites) as these tend to aggregate a lot of content and can connect distinct communities.

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Everything is social Part II

THE ROLE OF THE SOCIAL MEDIA USER AS AN INFORMATION PROCESSOR

As a SM (social media) user, your role and purpose are not analogous to that of a “consumer” even if that’s what you seem to be doing most of the time. And as a producer selling your wares on SM, you are only, indirectly, looking out for consumers; you might be looking for willing marketers.

Although I hate to use such ugly neologisms, many SM users are prosumers, that is, a combination of both consumers and producers. That is the greatest liberating force of the digital economy, as well as its main weakness and curse. A user may join a certain network to follow some influential people, but if through his own actions or some other reason he increases his reach and popularity, he is now a producer of content, too. So when people talk about SM attention economy and competition, keep in mind that it’s an economy that sometimes doesn’t have a clear distinction between consumers and producers, where most of the former want to be the latter, and when people do not compete so much for neutral consumers (like different brands compete for your attention at the supermarket) as between each other as producers/influencers, so as to get rid of the competition within a community(civil wars being the worst wars, and all that.) As it is very difficult to gauge the quality of a lot of digital “content” or “products,” it’s not uncommon that this is done not by convincing any hypothetical consumer of the superiority of your product, but by tarring the competition, by destroying them at a moral or ideological level, to make sure people don’t want to be associated with them. Hence the known nastiness of SM, which ironically is sometimes directly proportional to how low the stakes are.

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Everything is social—Part I

[Note: I wrote this three-part post to summarize a larger thesis I have been slowly building up these past months, which may or may not end up being a larger work. For this post, I have removed most citations to academic papers dealing with social media and abridged the text as much as I could. It’s still a large post, so read it at your leisure; there’s no need to binge here.

I have focused on how the structure itself of social media and information technologies affects the arts, like writing, although I first start with visual arts as an example because it’s easier to show, and so you can see it’s a more general pattern. Of course, the dynamics apply to many other areas of culture and public opinion. What I describe here are not laws, more like trends based on digital and social media nudges, and if both artists as well as consumers become aware of them, it’s reasonable to assume they would react or behave differently so as to counteract some of these forces. But how far this could go I do not know.

It goes without saying that this post applies mostly to creative efforts. My overview of social media is mostly negative because I’m focusing here on the effect it has had on the arts and the people who are usually described as digital natives—people that, to be blunt, have been scammed. If your purpose on social media is to follow a couple of gimmick accounts or post pictures of your cat, most of what you’ll find here will not affect you directly. For most online users, social media is a place to lurk, find jokes, and get angry at the news. However, more indirectly, either as a consumer of what other people there create or as a victim of current online discourses, what is explained here will affect you (or annoy you) one way or another.]

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Writing dense descriptions and generative rhetoric.

Aside from “What’s best in life?” there are two sentences from the Conan stories that are more or less widely known, even outside REH fans. The most likely winner would be

“Barbarism is the natural state of mankind,” the borderer said, still staring somberly at the Cimmerian. “Civilization is unnatural. It is a whim of circumstance.”

But I’d say the second is this from the introduction in The Phoenix on the Sword:

“Hither came Conan, The Cimmerian, black-haired, sullen-eyes, sword in hand, a thief, a reaver, a slayer, with gigantic melancholies and gigantic mirth, to tread the jeweled thrones of the Earth under his sandaled feet.”

That is just a sentence, but it’s hard to imagine a more apt and densely-packed description of Conan. It is also widely different from the usual way of writing descriptions (or writing, in general.)

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More limits of description (II)

Following from the previous post, I was going to jump straight into the next part (the writing of dense, cumulative descriptions), but then I realized that post might have left some points unanswered or not appropriately explained. So, in this post, an intermission of sorts, I will try to show, almost quantifying it if possible, the limits of the “painting with words” approach to descriptive writing.

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The limits of description

There are four broad categories of text you can write (exposition, narration, description, and dialogue,) and descriptions are what can give more problems to a fiction or genre writer. To sum up, description isn’t even a good kind of text. We tolerate it because it is required, but the least there is, the better, for reasons I hope will become clear in a moment.

Textual versions of visual phenomena are not good conveyors of information, at least not the kind of information most novice writers believe they should convey (raw visual data.)

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Magic-user versatility within a strict Vancian interpretation (now that’s a lame title if I have ever seen one.)

This post grew from watching a video by Aaron the Pedantic (Twitter: @cha_neg) I saw recently, where he mentions things he (as a new guy with that edition) likes about AD&D, second edition. One of them is the Vancian system of magic, with its well-known memorize & lose style of spellcasting. He believes that the restrictions imposed by such a system are a good thing, as they encourage more thoughtful gameplay rather than just “cast whatever you want.” But, paraphrasing from memory, he says that the system is “At the start of the day you pick up which spells you will memorize…”

Although that is, indeed, how most people play and how Vancian magic is usually explained and understood, the goal of this post is to explain that there’s (or could be) more to it than that, and that I believe (whether it was intended or not when the rules were written) that Vancian magic is very versatile if one follows the memorization process as explained in the Dying Earth books, which implies dropping the assumption of “at the start of the day.” Maybe this might help dispell the idea that Vancian magic is broken or doesn’t work in games, which might be of the reasons later D&D editions ignored it. The point is that people who claim such things are not exactly wrong, for Vancian magic can be unnecessarily restrictive, but I believe this comes from a mistranslation from the books to the games or a too gamey implementation of its logic. Also, I don’t believe my reinterpretation requires new, strange rules because what I’m going to say is implied, yet rarely noticed, in the rules themselves. It might be common-sensical for some people.

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The Narrator and the Reader can know things none of the characters know.

The Narrator is the medium through which storytelling occurs, and the writer is the man behind the curtain that pretends to be the former. The characters in a story should know as much about the two as an ant is required to understand thermodynamics to live and die.

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Nounfall Adverbborn, or The only type of naming convention in fantasy and nerdom

Although slightly silly and inconsequential, the issue in this post points to a more important (philosophical even!) question about the human mind and its relation to speech and language: why do people speak (and write) the way they do? Are we rational agents who, as if homunculi living inside our own skulls, have an idea, and then have to rationally choose the best way to express it? Or are we more like Skinnerian rats who use the words and expressions we use because these have been socioally reinforced and happen to be more effective to achieve a goal we might not even be completely aware of? My experience doing posts about writing and language, as well as observing how people write in what are heavily Skinnerian domains (social media,) makes me think truth points towards the latter. After all, who has never noticed a new expression that everybody seems to be using all of a sudden?

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Goodbye, and Hello.

To keep this relatively short while trying not to degenerate into worthless drama: I’m out. Of where? Now that’s a good question. Of whatever BS has been going on for the past 4-6 years, which has been a complete waste of time for me. Maybe for you it has been a time of great productivity and self-discovery, in which case, congratulations, but for me and, I’m sure, many others, this has been quite useless.

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