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.

Continue reading “Everything is social III”

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.

Continue reading “Everything is social Part II”

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.]

Continue reading “Everything is social—Part I”

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.)

Continue reading “Writing dense descriptions and generative rhetoric.”

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?

Continue reading “Nounfall Adverbborn, or The only type of naming convention in fantasy and nerdom”

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.

Continue reading “Goodbye, and Hello.”

Reading the Hugos (2020): A Catalog of Storms

This is the final nominee (Disregard that, I actually forgot not just to review another one, but actually to read it! There’s still one more story left) for this year’s short story Hugo Awards, A Catalog of Storms, by Fran Wilde. If you were expecting a roaring end to this review series, you are going to be disappointed.

Fran Wilde wrote years ago one of the few Hugo stories I actually liked, mostly due to its raw, angry energy and somewhat autobiographical content, but A Catalog of Storms has none of those things as far as I can see. To me, it feels like a by-the-book Hugo finalists: wandering, dreamy, with florid language, oozing with magic realism, and with barely any plot or real tension.

Continue reading “Reading the Hugos (2020): A Catalog of Storms”

Reading the Hugos (2020) Blood is Another Word for Hunger

This is the fifth of the Hugo finalists and, probably, the most important one. If you could distill the Hugo short fiction category into a platonic form, it would look very similar to this piece, Blood is Another Word for Hunger by Rivers Solomon. And now I have to review it.

Continue reading “Reading the Hugos (2020) Blood is Another Word for Hunger”

Reading the Hugos (2020) Ten Excerpts from an Annotated… oh God that’s a long title.

Some particular trends in genre literature have become obvious during the past few years. One of them is the use of Brobdingnagian titles, a compulsion to write paragraph-long titles, some of whom even give away the plot. I suspect this may have started as a quirky, ironic thing to do, but I don’t think it’s funny unless you are lampooning or referencing some stuffy style like academic papers or writing comedy. And, to be fair, that’s to some extent what this story is doing—referencing, not the comedy.

The complete title of this very short piece by Nibedita Sen is Ten Excerpts from an Annotated Bibliography on the Cannibal Women of Ratnabar Island, which is way less interesting than my alternative title: The lesbian cannibal she-devils of Ratnabar Island. It’s mating season… and they want your blood!

Continue reading “Reading the Hugos (2020) Ten Excerpts from an Annotated… oh God that’s a long title.”

Reading the Hugos (2020) And Now His Lordship is Laughing

For this short story, you can play a little game. Thanks to the benevolence and foresight of the people at Strange Horizons, this story is preceded by a long list of Content Warnings. You can ignore those, of course, but who could resist the temptation of clicking on that button to see what awful sins it hides. It’s like a flashing red button saying DON’T TOUCH ME.

VOMIT

The game is this: Try to deduce the plot of this story just from those trigger warnings. So what sort of Gomorrah-style type of story do we have here for it to include all that stuff? A surprisingly meh one. Yes, a child dies, and that sets in motion this story of racial revenge, but I don’t even remember half of the things from the list.

Continue reading “Reading the Hugos (2020) And Now His Lordship is Laughing”