Scraping Twitter using Outwit Hub

Students in my graduate unit Philosophies of Communication Technologies and Change (part of our Graduate Certificate in Social Media and Public Engagement) are producing simple lists of tweets.

Some students are using Outwit Hub to generate these lists as this is what I have used since 2012. I have created a guide “Scraping Twitter using Outwit Hub worksheet” for my students but others may also find it useful.

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.


Economy of Culture

Boris Groys’ On the New would’ve productively informed my essay on the how the media event of True Detective could be understood as part of the revaluation of cultural values.  We are reading it as part of our aesthetics reading group. Groys wants to present an understanding of innovation and by ‘innovation’ he does not mean the Silicon Valley destructive innovation sense. Innovative theories or innovative art are not described and justified on the basis of signification to reality or truth but whether they are culturally valuable. He is drawing on Nietzsche’s conception of the revaluation of value. Page 12 of On the New:

The economy of culture is, accordingly, not a description of culture as a representation of certain extra-cultural economic constraints. Rather, it is an attempt to grasp the logic of cultural development itself as an economic logic of the revaluation of values.

I am enjoying Groys’ non-market ‘economic’ interpretation of Nietzschean truth.  He develops an economic  conception of Nietzsche’s non-moral version of value without turning to Marxist conceptions of value that would position cultural value as a consequence of the social relation between capital and labour power.

In my True Detective essay I develop a notion of ‘meta’ so as to grapple with the epistemological displacement that occurs in the midst of a revaluation of values. I call this a ‘liminal epistemology’, which has been commodified as ‘discovery’ in contemporary ‘apps’ that assist users access various kinds of cultural texts (music, written texts, phatic/social media texts, etc). The media event of True Detective (as compared to the televisual text) is interesting as it dramatises the ‘detective work’ of this liminal epistemology itself. From the introduction of my True Detective essay:

If nothing else, True Detective clearly triggers meta-detective work by the audience. The show, its inter-textual references, and non-diegetic exegetical explanations of these references produced new edges of surprise and a new sense of expectation. For example, there is a folding of the crime fiction genre into existentialist horror and a topological transformation wrought upon both. Both genres frame a passage of discovery by the characters and audience. “Discovery” has become a buzzword in user-centred design to describe the design of platforms that assist users discover appropriate content, and this refers to the way users willingly embrace the delegated agency of “smart” interfaces. The liminal epistemology of discovery in meta-stable media assemblages pose answers to questions that haven’t yet been asked. The question isn’t simply asked of the characters of the show, but of the entire event itself as it repeated different elements of genres in different ways; in effect, the audience carries out meta-detective work.

The reason why I am excited about Groys’ work is that he has already isolated a similar problematic with regards to the revaluation of values. His focus so far is not animated by the same concerns as I am, but there is a similar problematic. I make it very clear that what I found the most interesting about the True Detective media event is that it is part of a broader constellation of cultural texts that are all, in different ways, working through this revaluation of values. From the introduction of my essay:

In the final section I develop meta in terms of what Sianne Ngai (2012) calls a minor aesthetic category, and in this case what characterises meta as a minor aesthetic category is the way any text, object or event that dramatises the suspension of cultural values. In Simondon’s terms, meta is an aesthetic category that refers to works that in some way repotentialise values that serve as the “preindividual norms” of value in a state of meta-stability ready to be potentialised in a multiplicity of ways (Combes 2013: 64). As I shall explore in detail, True Detective dramatises a conflict between systems of belief and cultural value through the figures of the two main characters, Rust and Marty. In this way, “meta” signals a threshold of value (or what Nietzsche (1968) calls “transvaluation”) more often associated with nihilism.

I look forward to reading the rest of On the New.

Talking about world views

In the latest Partially Examined Life podcast on Thomas Kuhn’s notion of scientific progress Mark refers to the previous Deleuze and Guattari What is Philosophy? podcast and makes a connection between Kuhn’s notion of ‘paradigm’ with Deleuze and Guattari’s notion of a ‘plane of immanence’. Below are some rough notes on this connection to push it a bit further into some of Deleuze and Guattari’s other works and so as to connect Mark’s reference to ‘planes of immanence’ in the context of Kuhnian paradigms with Deleuze and Guattari’s notion of ‘collective assemblages of enunciation’.

I have roughly transcribed the section from the podcast below (between the time code references):


[Discussing how the term ‘paradigm’ has entered into non-technical discourse to refer to what could be called a ‘world view’. ‘Technical’ in this context means following Kuhn’s definition.]

Wes: Most people use it as synonymous with ‘world view’, which… there’s an argument for that, but really it’s more like ‘exemplar’; it’s an ‘example’.

Mark: I would just like some more systematic language — some philosophy — to tell me how to talk more intelligently about ‘world views’ in this nebulous way that we actually want to talk about it. There perhaps a modern [inaudible] evolution of this idea in the Deleuze [and Guattari] book that we read, When he’s talking about ‘planes of immanence’ there’s a certain commonality — granted he’s talking about ‘planes of immanence’ as what defines a ‘philosophy’ and what defines a ‘philosophy’ is defined by the concepts and once you have the ‘concepts’ established maybe you could see that as providing a paradigm for science, which remember [Mark shifts to his wise-cracking smart-ass voice] he sees as just providing ‘functions’ its just mapping one value onto another as if you’ve got the mapping rule already stored in your paradigm there and your plane of immanence…  and so science on that model is just what Kuhn is describing normal science as — is just filling in the details, is finding out what each question maps to in your set-up. [But] the plane of immanence that we had so much trouble with… maybe its just my desire to make some sense out of the Deleuze retrospectively, [Wes: Well..] but maybe paradigm is a good start for that…

Wes: That sounds like more a conceptual scheme which I think is different to a paradigm. [Mark: Hmmm] A conceptual scheme includes — yeah — a set of concepts for talking about the world and certain assumptions, but a paradigm I think as an example gets at some of the more less conceptual stuff, some of the tacit knowledge, some of the ways… maybe it’s more like — what’s Wittgenstein’s phrase?

Mark: Mode of life?

Wes: Yeah, and part of it’s about what’s relevant to people, so its not just about what concepts they’re deploying, but what’s about what’s interesting and relevant.


I have taught Kuhn’s work to first year undergraduates in a large introductory ‘research methods’ unit that is taught to every incoming student to our faculty of arts and design. The purpose of the unit is to introduce students to ‘research methods’ in the humanities. I draw on Kuhn’s work so as to illustrate how the practice and meaning of the word ‘research’ in a contemporary Australian university context is largely determined by scientific discourse. I indicate the connection between our university’s policies on research to the federal government’s policies to the guidelines provided by OECD’s Frascati Manual in the way that ‘research’ is defined.

The contemporary Frascati Manual is an interesting document as it attempts to bridge the gap between the ‘basic’ and ‘applied’ research of the sciences (p. 30) with a non-scientific research of the humanities. At stake is the distinction between the practice of what could be described as ‘routine work’ and the practice of ‘research’. ‘Research’ in this context is any practice that is worthy of non-routine investment funding. Why is this important for the OECD? Because research in the humanities can have productivity outcomes. “For the social sciences and humanities,” the manual suggests, “an appreciable element of novelty or a resolution of scientific/technological uncertainty is again useful criterion for defining the boundary between R&D and related (routine) scientific activities” (p. 48).

When introducing this to to my first year students I use it to talk about what this ‘resolution of scientific/technological uncertainty’. I frame this discussion in terms of matching certain kinds of research practice with certain kinds of epistemological uncertainty. The students already do research to address a certain kind of uncertainty. What films are showing at the cinema this weekend? What gift should I give to someone dear to me? This work of everyday research relates to the kinds of tacit knowledge that I think Wes was referring to. I introduce the notion of ‘research’ in this manner so as to help students realise that the epistemological process of working to resolve uncertainty is not some special thing that academics do, but is something we are all familiar with as part of everyday life.

The next manoeuvre is to posit undergraduate research as part of a process of becoming familiar with another set of professional practices for identifying the ‘uncertainties’ that belong to a given scholarly or research-centred field. I teach Kuhn’s notion of paradigm in terms of being one way to describe (make ‘sense’ of) an epistemological process for the resolution of uncertainty. The ‘paradigm’ is the set of agreed upon practices and assumptions for reproducing the conditions by which such uncertainties are identified as such (‘certain uncertainties’ to riff off Rumsfeld). From my lecture notes, I note that ‘paradigms’ are compositions of relations that:

Create avenues of inquiry.
Formulate questions.
Select methods with which to examine questions.
Define areas of relevance.

I define ‘expert researcher’ for my students as someone who knows exactly what they do not know and who belongs to a ‘scholarly field’ that has specific methods for defining what is not known in terms of what is known. (One reason for this is to try to shunt students out of the debilitating circuitous logic of gaming education for grades and resurrect a sense of wonder about the world.)

The ‘reproduction’ part in defining paradigms is therefore important as Kuhn also identified the so-called political aspect of scientific paradigms: they are not simply sustained by the quality of the knowledge produced by research, but the professional conditions by which that knowledge and producers of that knowledge are judged worthy as belonging. This has been a roundabout way of getting to the substance of this post, which is Mark’s reference to Deleuze and Guattari’s notion of a ‘plane of immanence’. Rather than a ‘plane of immanence’, I think perhaps a better connection is to Deleuze and Guattari’s notion of a ‘collective assemblage of enunciation’. 

A ‘plane of immanence’ is the ‘quasi-causal’ grounds by which thought is possible. (That is an esoteric post-Kantian pun.)  ‘Quasi-cause’ comes from Deleuze’s work The Logic of Sense. It is an attempt to address the problem of how ‘sense’ (the logic of meaning) arises from what is basically the cosmological nonsense of the universe. I won’t pursue this too much, but the way humans make sense of the world normally implies some kind of realism. This ‘realism’ is in itself not natural, and can be described as a collective system of reference.

In What is Philosophy? Deleuze and Guattari characterise ‘science’ as the creation of what they call ‘functives’; a ‘functive’ is the basic element of a function and it describes some aspect of the way the universe works. What makes thought possible is the complex individuation of a thought through the body of a sentient being. Cognitive science is doing its best to resolve this problem. Individuation in this context follows a causally normative path of individuation. This leads to that. The process of cognition.

What makes thought sensible is a philosophical problem. The seemingly counter-intuitive movement of thought in the context of the expression of thought, whereby the future affects the present. That is lead by this. In Difference & Repetition Deleuze draws on Nietzsche’s notion of the ‘dark precursor’ to describe this movement. On the surface, non-linear causality seems like a radical idea. In practice, we do this work everyday. Instead of creating momentous existential crises most of the time we delegate these causally circular movements of thought to metaphysical placeholders. We collectively describe these as ‘assumptions’.

Indeed, Deleuze separates the cosmos into bodies and the passions of bodies (causes) and expressions and the sense of expressions (effects) and associates two orders of causality. (Or ‘two floors’ in the existential architecture of reality in The Fold.) One which belongs to the world and is shared by every single thing (body) in the world. One which only can be inferred by implication in any expression of sense. Deleuze’s concept of the event is an conceptual attempt to group together the dynamic quasi-causal expression of ‘sense’, which is why the ‘event’ is central to The Logic of Sense. 

Language and culture imply a shared sense of quasi-causality for those thinking beings who belong to that culture and use that language. Cultural expression can therefore be understood as an elaborate method for the dissemination of assumptions. Interesting to think about in this context is ‘poetics’ as a research practice  — that is, poetics as a method for identifying or discovering new assumptions. For those who work in the creative industries perhaps it is worth thinking about what assumptions are you helping to disseminate.

The detour through ‘quasi-cause’ was necessary to explain the notion of a collective assemblage of enunciation and why it is difficult to explain how a new paradigm emerges from an old paradigm. The notes to PEL podcast on Kuhn describe this as an ‘evolutionary version of Kantianism’. But the problem with this is that the new paradigm does not emerge from the old paradigm; the point of the notion of the paradigm is that it describes practices that ward off the development of new paradigms. Hence the non-scientific problem with the concept of the paradigm: the difficulty of describing how a new paradigm emerges from the new paradigm before that ‘new’ paradigm exists in actuality.

In A Thousand Plateaus Deleuze and Guattari develop the concept of ‘agencement’, which is translated by Massumi as ‘assemblage’. There are two sides to every assemblage: a machinic assemblage of bodies and a collective assemblage of enunciation. There are two orders of causality to every assemblage. The linear movement of causal relations belonging to bodies and the ‘quasi-causal’ relations of thought. Each fold of ‘thought’ in this context is the process of transversal distribution of sense in the world. Sense is distributed from the future; it is the superposition of one moment upon the next. One way to think about this is that every paradigm (as a concrescence of singular points) already exists quasi-causally.

A ‘world view’ therefore has two ontological levels: the world and the view. Language is important because each singular expression implies a monadological view that can be inferred. More important is that even though sentience can be defined by the existential capacity to make assumptions. As Nietzsche was at pains to point out, it is a seemingly unique human trait to delegate this capacity for making assumptions (or what he called ‘truths’) to our culture. Nietzsche was worried about the manifestation of ignorance as the acceptance of such assumptions as well as admiring the near-suicidal pursuit to overcome such assumption-producing cultural mechanisms. 

Which leads to the question, in what ways are humans not sentient? Is your world view making you non-sentient? If non-sentient life is defined as the delegation of the capacity for making assumptions to genetics, then what are the assumptions we have delegated to our biology or through our biology (by way of evolutionary ‘fitness’) to our environment? 

I have purchased but not yet read Isabelle Stengers Thinking with Whitehead. I suspect it shall address, at least peripherally, some of these issues.

Writing a Research Essay

Students in my third-year undergraduate unit Communication Technologies and Change have to prepare a ‘research essay’. As there are many students who are studying in the unit who have not written a research essay (some from the media arts program or the marketing program, for example) I have offered to meet with any student who would like to have a meeting to discus and plan their essay. This means I meet with a large number of students one-on-one. There are 240 students in the unit this semester and there were about 160 last year; I see about a third of these.

In meetings I walk the students through three steps:

  1. Isolating a suitable ‘research problem’ based on your interests and/or work already carried out. This will give a sense of direction and a way to approach how you are going to develop an argument.
  2. Developing this into a draft essay outline/structure with possible examples that you want to explore. This will give us a sense of your overall argument and thus the gaps in your argument.
  3. Lastly, we will then look at what sort of literature review you need to carry out. This will enable you to provide evidence for your claims in the argument and demonstrate your understanding of the course content; And at the same time giving you a direction in terms of carrying out research to ‘fill in’ the gaps.

The ‘research problem’ is constructed from two (sets of) questions. One question faces ‘outwards’ and is asked of the world. The other question faces ‘inwards’ and asks a question of the scholarly field(s). To get the students thinking along the right way I normally prompt them to discus some examples. My unit is very ‘theoretical’ so students are sometimes overwhelmed or feeling anxious, but I encourage them to recognise the practical dimensions of what we discuss in lectures and tutorials. Crucial here are examples or case studies as they enable students to, firstly, demonstrate knowledge and understanding of the topic, and, secondly, enables students to show extent and relevance of research (both of these are part of the marking criteria).

On Deadlines

It is not surprising that the etymology of the term “deadline” is allegedly derived from the use of a line drawn around prisons during the American Civil War. They did not have walls and prisoners would be killed if they crossed it.

And he, the said Wirz, still wickedly pursuing his evil purpose, did establish and cause to be designated within the prison enclosure containing said prisoners a “dead line,” being a line around the inner face of the stockade or wall enclosing said prison and about twenty feet distant from and within said stockade; and so established said dead line, which was in many places an imaginary line, in many other places marked by insecure and shifting strips of [boards nailed] upon the tops of small and insecure stakes or posts, he, the said Wirz, instructed the prison guard stationed around the top of said stockade to fire upon and kill any of the prisoners aforesaid who might touch, fall upon, pass over or under [or] across the said “dead line” …. [“Trial of Henry Wirz,” Report of the Secretary of War, Oct. 31, 1865]

One of the transparent mechanisms of control in the media industry workplace is the deadline. They are put in place to ensure the delivery of work and this second meaning apparently emerged in 1920s American journalism. Deadlines become a mechanism of control because they can be manipulated by editors and management. Most often is the practice of bringing a deadline forward so as to increase the productivity of staff. That way different teams can be played off against each other. Editorial files copy at accelerated deadlines and this puts pressure on design to prepare layed out and designed pages for pre-press.

There are multiple deadlines within academia. It is normally up to individuals to manage these deadlines. An added complication is that academics often organise work, and publications in particular, on the strength of social ties. The matrix of multiple deadlines by which individuals are suspended therefore gathers an affective dimension beyond the ‘regular’ anxieties of deadline pressures.

One of the tricky parts of setting journalism assessments is trying to incorporate learning outcomes that prepare students for working in the news-based media industry with multiple continuous deadlines. The classic example is the newspaper newsroom, but even my experience of working in monthly magazines involved multiple daily deadlines because our editorial teams worked across multiple publications at once.

The deadline organises a composition of power relations that bridiges those that belong to what Deleuze called the ‘society of control’ and what is regarded as the ‘disciplinary society’ (from Foucault). Workers are ‘imprisoned’ in front of whatever screen as part of whatever socio-technical assemblage will enable them to meet the deadline. There are more nuanced versions of this, specifically the relation between editorial teams (or similar) and production management. Editorial teams can feel a sense of camaraderie in the face of pressures from management. Even if you intensely dislike your co-workers, you still ‘get the job done’.

Amongst one’s academic colleagues this changes slightly, because it is not ‘management’ dictating when work is due, but your friends. A similar arrangement could be found in freelancing, but I am not sure. There is an economy of goodwill and effort determined by the distribution and access to opportunity. Some colleagues have access to opportunities, or they are good at creating them, others perhaps less so, or work on opportunities of different kinds. The point is that not only is friendship at stake in meeting deadlines, but so is the way access to opportunity is distributed.

Meeting a deadline requires one to be ‘at’ your ‘desk’ or your ‘office’ (or more generally an interface within an assemblage of productivity), and hence to be counted as being productive. As in Foucault’s disciplinary societies, this fixes you in space. For those that know writers or perhaps follow them on social media, think about how often texts about writing discipline circulate and the various practices and rituals performed by writers to get the job done. The deadline also involves the modulation of affective relations beyond anxiety or dread, like the prison without walls, a deadline also suspends those trying to meet it within specific relations of reciprocity. These relations are not premised on traditional antagonisms between workers and management; they are premised on relations of friendship.

I am thinking about deadlines because I am trying to meet about half a dozen at the moment and I am also waiting on others to meet deadlines.