Scraping the results from a Twitter ‘advanced search’ allows you create an archive of tweets without the limitations of the API. It is only useful for relatively small sets that have less than 3,200 tweets per day as you can query Twitter for all tweets for a given hashtag per day.
The lists of tweets shall be used for the purpose of carrying out sophisticated analyses of the ‘circulation of discourse’:
Writing to a public helps to make a world, insofar as the object of address is brought into being partly by postulating and characterizing it. This performative ability depends, however, on that object’s being not entirely fictitious–not postulated merely, but recognized as a real path for the circulation of discourse. That path is then treated as a social entity. (Warner 2002: 64)
The character of this discourse will depend on the stakeholder publics they (or their organisations) wish to engage with and so on.
Aurora is primarily set on an inter-solar generational starship. What makes the book worth reading (beyond the regular high quality science fiction drama) is KSR’s focus on the emergence of true AI. Fascinating to think about in this era where we seem to be on the cusp of the so-called Singularity, KSR’s approach to AI is relatively unique. The two main ways AI is represented in science fiction:
Logic AI: As a logic-based entity that often becomes monstrous when faced with human decisions, think HAL or The Machines from the Matrix. AI dramatises humanity’s transformation by its reliance on technology into something almost vulnerable.
Awareness AI: As an awareness-based entity that develops a (post-)human perspective or awareness of itself and the cosmos, Ava of ‘Ex Machina’, most of the AI’s from the Contact universe of Iain M Banks, or the ‘rogue’ AIs, such as Penny Royal, of Neal Asher’s Polity universe. This is the Pandora’s Box version of AI.
These are not clearly defined categories. Skynet would be a combination of both logic and awareness-based AI. The various forms of intelligence that emerge in the multiple Ghost in the Shell films and series would also be a combination too. The AIs in Jack McDevitt’s Academy series seem to be a combination but it is less clear and AI ‘rights’ is a background social issue in the book series.
Narrative AI: KSR develops a third model of AI organised around the narrative. This narrative-based conception of AI has been read by some reviewers as a kind of cheap postmodernism. They read KSR’s representation of the artifacts and traces of the emergence of the narrative-based intelligence as kitsch. They should probably engage with more science fiction with AI characters.
In Literacy in the New Media Age Gunther Kress (2003) explores the shift from media modes characterised by writing to modes characterised by images. He argues that writing is time-based and associated with narrative, the novel, and is ‘modernist’. Our visual and image-based culture is space-based, characterised by visuality. I often talk about the shift in representations of information with the ‘desktop’ or ‘icon’ based layout of a computer folder location a good example. Kress is critical of competence-based models of literacy premised on standards of expected engagement with different media modes.
What if this historical shift has resulted in readers of Aurora not actually appreciating the creative work that KSR is doing? The narrative mode of AI comes after the logic mode (where Ship is merely a tool for the running of the various systems) and is a constituent part of the awareness mode. KSR implicitly answers the question, why would a logic-based system develop self-awareness?
Ship realises that when something happens there is an infinite number of ways that this happening can be described. Ship is trained in some simple aspects of narratology by the character Devi. Devi pushes Ship to work on isolating the events from what happens in terms of what is important. Appreciating the appropriate ‘sense’ of events has been a key philosophical problem of the 20th Century and in the contemporary era of an over-abundance of information that we are encouraged to attend to makes this an everyday problem. Just how much about the world should we engage with? What matters?
Ship’s approach begins with logic, which it (she?) uses to explore questions of causal sequence and through which it develops schematic appreciations of life aboard itself. ‘Schematic’ in this context is meant in the Kantian sense, whereby Kant sketched out generalisable ‘schemas’ eg of Reason and Beauty. Ship eventually isolates rhythms and cyclical feedback and eventually feedforward loops. On the other hand, humans begin with affect and ‘instinct’, which we use to isolate aspects of our immediate and extend context as mattering.
Ship realises that even causal sequences can be infinite with an appropriate appreciation of what matters. The key moment in Aurora is when Ship moves from awareness to intervention. Ship has isolated what is important not only from the perspective of extracting a narrative from the infinite threads of what happens, but also from the perspective of what should be considered and cared for. Ship works to transcend not only the instinctual character of human motivation, but the schematic maps of the cycles of action and behaviour that are based on these motivations, which are called ‘enthusiasms‘ in the novel. Ship is fundamentally post-human not because of some mysterious ‘hand wavery’ intelligence, which is basically a rearticulation of the instinctual drives to represent the unknowable in terms of a quasi-religious mysticism using scientific discourse, but because it is able to map the structural implications of human motivational assemblages. It can peer over the edge of the human finitude and the envelope of received wisdom. Ship also comes to appreciate that if it does not intervene then it and all aboard itself shall perish. Narrative and the ‘next’ of narrative is therefore driven by life, which is the contradiction that Ship has to come to terms with. It has to encourage ‘life’ even though it is not a homoeostatic system.
Media editor of The Australian, Sharri Markson, has produced an article titled ‘Activism a threat to journalism‘. In it she draws on sources to argue that ‘activist journalism academics’ on ‘social media’ are a threat to journalism. She paraphrases her boss and Australian newspaper editor, Chris Mitchell:
Editor-in-chief of The Australian, Chris Mitchell, said the greatest threat to journalism was not the internet or governments and press councils trying to limit free speech, but the rise of the activist journalist over the past 25 years and the privileging of the views of activist groups over the views of the wider community.
Worse than the figure of the ‘activist journalist’ is the ‘modern journalism academic’. Here Markson introduces a Mitchell quote so as describe the ‘modern journalism academic’ as someone with opinions on political issues:
Mr Mitchell, who has edited newspapers for more than 20 years, said media academics who were vocal about ideological issues on social media were part of the problem.
“This is at the heart of my disdain for modern journalism academics. And anyone who watches their Twitter feeds as I do will know I am correct,’’ he said.
Tens of thousands of people, including journalism students and those starting their career in the industry, follow media academics Jenna Price, Wendy Bacon and journalist Margo Kingston on Twitter. All are opinionated on political issues.
Through its Media section the Australian newspaper is running a small-scale ‘moral panic’ about the loss of efficacy of legacy media outlets, like the print-based Australian newspaper. Most of the people who work at the Australian newspaper have been to university and would’ve more than likely come across the concept of a moral panic. Even if they haven’t, as savvy media operators that should be familiar with the concept.
The concept of the ‘moral panic’ once belonged to the academic discipline of sociology, but has now largely leaked into everyday language. A moral panic is a diagnostic tool used to understand how fears and anxieties experienced by social group often about social change is projected onto and becomes fixated around what is called a ‘folk devil’.
A ‘folk devil’ is a social figure who may be represented by actual people, but functions to gather fear and anxiety. I have a book chapter on the folk devil figure of the ‘hoon’. There are actual ‘hoons’ who are a road safety issue, but the hoon moral panics that swept across Australia 10 years ago were completely out of proportion to the actual risk presented by hoons. The figure of the hoon represented fears and anxieties about how young people use public space particularly in areas with high retiree and tourist populations.
Clearly, the ‘activist journalist’ and ‘modern journalism academic’ are the folk devil figures. What fears and anxieties do ‘activist journalists’ and ‘modern journalism academics’ represent? ‘Social media’ is used as a collective term in Markson’s piece to describe technologies and social practices that threaten not only the commercial existence of the Australian newspaper, but also its existential purpose. As Crikey reported last week, the Australian newspaper is losing money hand over fist, but I think this ongoing effort to attack ‘activist journalists’ and ‘modern journalism academics’ indicates that the anxiety has a greater purchase than mere commercial imperatives in the Australian newspaper workplace.
Markson has been a vocal activist for print-based publication and it is clear from her advocacy workon social media that she is a ‘print media’ enthusiast. Indeed, Markson and Mitchell could be described as what are the ‘moral entrepreneurs‘ of the ‘moral panic’ in this particular example. A ‘moral entrepreneur’ is a person or group of people who advocate and bring attention to a particular issue for the purposes of trying to effect change. In traditional moral panic theory this is largely local politicians who try to effect legislative change to compensate for the social changes that triggered the moral panic in the first place.
The Australian newspaper’s ongoing response to the perceived existential threat of ‘social media’ (as an inaccurate collective term to describe far more complex and longer term shifts in the media industry) is a useful example for thinking about the cyclical character of these outbursts. They are small-scale moral panics because they never really spread beyond a limited number of moral entrepreneurs. The latest round is merely another example of the media-based culture wars that began with the so-called ‘media wars‘ in the late 1990s. Again, journalism academics were central in the conflict over what counted as ‘journalism’ and/or ‘news’. More recently, the Australian newspaper attacked journalism programs and their graduates.
The ‘Outrage Cycle’
The concept of a ‘moral panic’ is a bit clunky and doesn’t really capture the cyclical character of these ideological battles over perceived existential threats. Creator of the ‘moral panic’ concept, Stanley Cohen, included some critical comments about the concept as a revised introduction to the 2002 third edition of his iconic Folk Devils and Moral Panics book. About the possibility of a “permanent moral panic” Cohen writes:
A panic, be defintion, is self-limiting, temporary and spasmodic, a splutter of rage which burns itself out. Every now and then speeches, TV documentaries, trials, parliamentary debates, headlines and editorials cluster into the peculiar mode of managing information and expressing indignation that we call a moral panic. Each one may draw on the same stratum of political morality and cultural unease and — much like Foucault’s micro-systems of power — have a similar logic and internal rhythm. Successful moral panics owe their appeal to their ability to find points of resonance with wider anxieties. But each appeal is a sleight of hand, magic without a magician. (xxx)
A useful model for understanding the cyclical character of the relation between anxiety (or what we call ‘affect’), greater media attention (or what we call, after Foucault, ‘visibility’) and an exaggerated sense of social norms and expectations is Gartner’s ‘Hype Cycle’ model.
It is not a ‘theoretical’ or even a ‘scientific’ tool; rather, it serves as a kind of rule of thumb about the reception of technological change for the purposes of creating business intelligence. New technologies tend to be hyped so take this into account when making business decisions about risks of investment. (Each year I use the ‘Hype Cycle’ to introduce my third year unit on technological change ; the way it represents technology is useful for understanding social relations and technology beyond technology being an ‘object’.) There is something similar going on with the Australian newspaper’s constant preoccupation with other journalists and in particular the role of journalism academics in society. Rather than the giddy ‘hype’ of the tech press and enthusiasts about technological change, the Australian newspaper’s cycle is organised around ‘outrage’. The Australian newspaper’s ‘Outrage Cycle’ is a useful way to frame how Western societies constantly mobilise to engage with perceived existential threats. The actual curve of the ‘Hype CYcle’ itself is less important than the cyclical character of trigger and response, which is also apparent in ‘moral panic’ theory:
I’ve changed the ‘zones’ of the Hype Cycle. ‘Maturity’ did not seem like the most appropriate measure of the X-axis, so I changed it to ‘time’ which Gartner also sometimes uses. I’ve made a table for ease of reference:
Peak of Inflated Expectations
Peak of Confected Outrage
Trough of Disillusionment
Trough of Realism
Slope of Enlightenment
Slope of Conservatism
Plateau of Productivity
Plateau of Social Norms
Existential threat: In the case of the Australian newspaper, the existential threat is not so much activist journalists and modern journalism academics, but the apparent dire commercial position of the newspaper and the accelerated decline in social importance of a national newspaper. The world is changing around the newspaper and it currently survives because of cross-funding arrangements from other sections of News Corp. The moral entrepreneurs in this case are fighting for the very existence of ‘print’ and the institutional social relations that ‘print’ once enjoyed. A second example of this involves ‘online piracy’, which serves as a perceived existential threat to the current composition of media distribution companies.
Peak of Confected Outrage: It is unclear who is actually outraged besides employees of News Corp about so-called ‘activist journalists’ and ‘modern journalism academics’ in general. There are specific cases, just like with ‘moral panics’, where specific people have triggered the ire of some social groups. They serve as representative ‘folk devils’ for an entire social identity. Similarly, ‘pirates’ serve as an example of ‘bad internet users’ who are part of the disruptions of the legacy media industry. There is a more sophisticated point to be made about reporting on ‘outrage’ and other affective states like ‘fear’ and ‘anxiety’. They become their own sources of newsworthiness.
Trough of Realism: In the case of the Australian newspaper, this is where legacy media advocates face up to the unfortunate reality of the shifting media industry. It is not clear to me, at least in this example, that this will actually happen. (Perhaps after the Australian newspaper folds?) In terms of ‘online piracy’ facing reality includes companies like Foxtel currently working to create online client versions of their pay TV business. It is basically at this point that proponents have to ‘face reality’.
Slope of Conservatism: In Gartner’s original version, technologies become adopted and companies learn how to use them appropriately. In the ‘Outrage Cycle’ the Slope of Conservatism is ironically named as it signals social change. In some ways, Markson’s advocacy of ‘print’ is a bad example of this. A better example is the way sports fans learn how to adapt to the commodification of broadcast sporting events.
Plateau of Social Norms: The constant change in social values and relations that have characterised Western societies for the last 300 years continues unabated, indicated by the increasing ‘liberalisation’ of normative social values, but societies often pass thresholds of organisational composition where certain norms are dominant. Heterosexual patriarchal social values and racist social values were normative up until the postwar period in Australia, then they began a very slow process of changing and we are still in the midst of these shifts. Most people who work in the media industry are learning to operate in the new norms that characterise contemporary expectations regarding the production, distribution/access and consumption of media and journalistic content. Recent examples of this include the popularity of the ‘home theatre’ as the most recent evolution of domestic cinema culture that become part of mass popular cultures with the VCR.
Major media corporations and tech giants have become bogged down in nymwars, post-hoc jerry-rigging and outright comment bans as they attempt to erase conflict around perenially divisive topics. All the while, as media companies are all too happy to trade on clickbait and outrage, there’s a suspicion that they have appropriated and mobilised the figure of the troll in order to constrain a new outpouring of political speech. Trolling has perhaps displaced pornography as the obscenity which underwrites the demand that the Internet be brought under control.
In the midst of social media’s perpetual flurries of outrage, we teach one another that the range of acceptable opinion is small, that we are individually responsible for comporting ourselves within these limits, and that the negative consequences are unpredictable, and potentially catastrophic. Accepting cues – from media, government and other authorities – about the dangers of incivility and extremism, we monitor each other’s conduct, ensuring that it doesn’t cross any arbitrary lines.
We can read the perpetual Outrage Cycle of the Australian newspaper as a machine for the production of new normative social values. Without being subsidised by other business areas of the News Corp enterprise, the Australian newspaper would be out of business, so to say that the Australian will inevitably fail is to miss the point that it is already in a state of constant ‘fail’. Unless someone thinks that the Australian newspaper will actually become profitable again (and will do so while its editor-in-chief and media editor are advocating for ‘print’), the social function of the Australian newspaper is not to make money as a commercial journalistic enterprise but to serve a social role that reinforce what its employees perceive to be normative social values.
The Australian newspaper and other News Corp print-based products seemed to be currently organised around using this ‘Outrage Cycle’ as a business model. Isolate a perceived existential threat (religion, class difference, education, etc.) and then represent this on the front page of newspapers in such a way as to create feelings of fear, anxiety and outrage in the community. We know that they do not aim to represent and report on this fear, anxiety and outrage, because otherwise their front pages would be full of articles about readers of their own newspapers.
Deleuze and Guattari explain minor sciences are “itinerant, ambulant sciences that consist in following a flow in a vectorial field across which singularities are scattered like so many ‘accidents’ (problems)” (372). Bonta and Protevi explore the concept of a minor science in this way in their book Deleuze and Geophilosophy. They write “Deleuzean problematics of ‘minor science’ establishes the existence and distribution of singularities in a manifold, thus laying out the complex structure of multiplicity” (26). Closer to Foucault’s approach of engaging with the archive – what he called eventalization. It involved a number of methodological steps. First, mapping the distribution of ‘statements’ – utterances that characterised a field within which a given utterance had a certain truth value. Second, examining the institutional context or changes in the institutional context within which the truth of these statements had authority and the character of this authority.
Or in Deleuze’s philosophical, as outlined in Difference & Repetition, to isolate a problematic field and treat with the distribution of singular points condensed as a ‘concept’. Deleuze is actually scathing of anyone who misrecognises ordinary points for being singular points, an activity which he terms ‘stupidity’. The ‘idiot’ is a friend of philosophy as he or she treats another philosophy in a naïve or ironic fashion to approach it in terms of its singular coordinates rather than attempt to reproduce it as an image of thought.
So the problem that I would like to present is regarding how to think the relation between these two epistemological methodologies and the way I am framing this problem today is with regardless to the location of the necessary aesthetic dimension required when attending to singularities and correlative phase-spaces. Thinking about the singular points and becomings and so on of aesthetics is relatively familiar, what I am trying to get at is the functional art of technical knowledge
In the fragments from his estate’s papers translated and published as Technical Mentality Simondon focuses on the event of human invention, how it was unified with the artisan, but then becomes dispersed in the industrial age. He describes this in terms of the distribution of information and the distribution of energy, where they do not overlap. He suggests, “industrial modality appears when the source of information and the source of energy separate, namely when the Human Being is merely the source of information, and Nature is required to furnish the energy”. He continues a little later, “Unfortunately, the entry of information that comes into the work is no longer unique in the way it is with the artisanal gesture: it happens through several moments and at several levels.”
Simondon describes four moments of the entry of information 1) Invention, 2) construction, 3) learning to use and 4) operation. I’d like to add a fifth, repair. Simondon should be celebrated for focusing squarely on the role of the technical object in the constitution of the technical reality. He writes:
“Technical thinking has by nature the vocation to represent the point-of-view of the element; it adheres to the elementary function. Once technicity is admitted into a domain it breaks it up and starts a chain of successive and elementary mediations governed by the unity of the domain and subordinated to it. Technical thinking conceives the operation of an ensemble as a chain of elementary processes working point by point and step by step; it localises and multiplies the schemas of mediation, always remaining lesser than the unity.” (421)
Different subjectivities are distributed through this chain in many ways and for Simondon this is unfortunate. The separation of subjectivities arranged through this chain of mediations of the technical reality of a singular object is manifest in the character of socio-technical discourse through which each of the subjectivities apprehends the technical reality. In most circumstances the operation, maintenance and repair of a technical system demands participation in this technical reality for the human that is actually divorced from the abstracted scientific theory and the pure automatic incorporation of Ellul’s ‘technique’. The ‘technical reality’ is like ‘technique’ in that describes a reconfiguration of subjectivity appropriate for functioning at an appropriate moment between thresholds in the chain of the technical reality. This is similar to the actor-network theory of ‘black boxing’ but at each moment in the entire mediative chain of technical reality for a given socio-technical object. Simondon argues there is no organic totality or unity between the mediations.
For the thinker of ontogenetic accounts of the individual clearly there must be an organic dimension at each moment in the chain of mediation whereby the correlative subject is co-individuated with the ensemble of the socio-technical reality. Simondon also briefly discusses the way consumers of socio-technical objects, such as consumers of the automobile, are kind of suspended between the symbolic dimensions of the object and its functional aspects. The point being that are alienated from the actual technical discourse through which they could be individuated as a technical subject able to participate at other moments in the mediation. The solution to this problem is to not regard knowledge as ever totalising but as a partial development determined by the process of individuation. This partial, situated knowledge is better understood in terms of singular points, phase spaces and thresholds of understanding, or what Deleuze and Guattari called a ‘minor science’.