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Overcoming Internet Disillusionment: on the Principles of Meme Design

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Overcoming Internet Disillusionment: on the Principles of Meme Design “Artificial intelligence is not the answer to organized stupidity” – Johan Sjerpstra. “Please don’t email me unless you’re going to pay me” – Molly Soda. “Late capitalism is like your love life: it looks a lot less bleak through an Instagram filter” – Laurie Penny. “Wonder how many people going on about the necessity of free speech and 01/11 rational debate have blocked and muted trolls?” – Nick Srnicek. “Post-truth is to digital capitalism what pollution is to fossil capitalism – a by- product of operations” – Evgeny Morozov. “I have seen the troll army and it is us” – Erin Gün Sirer. 1. Internet Disillusionment Our disenchantment with the internet is a fact. Geert Lovink Yet again, enlightenment does not bring us liberation but depression. The once fabulous aura that surrounded our beloved apps, blogs, Overcoming and social media has deflated. Swiping, sharing, and liking have begun to feel like soulless Internet routines, empty gestures. We’ve started to unfriend and unfollow, yet we can’t afford to Disillusionment: delete our accounts, as this implies social suicide. If “truth is whatever produces most eyeballs,” as Evgeny Morozov states, a general On the click strike seems like the only option left.1 But since this is not happening, we feel trapped and Principles of console ourselves with memes. ÊÊÊÊÊÊÊÊÊÊThe multi-truth approach of identity politics, according to Slavoj Žižek, has produced n g Meme Design i 2 s a culture of relativism. Chomsky’s process of e D “manufacturing consent” has taken hold e m completely. As Žižek explains in a British TV e 3 M interview, the Big Other has vanished. There is f o no BBC World Service anymore, the moderate s e l radio voice that once provided us with balanced p i c n opinions and reliable information. Every piece of i r P information is self-promotion, crafted by public- e h t relations managers and spin doctors – and by us n O users as well (we are our own marketing interns). : t n What’s collapsing right now is the imagination of k e n i m a better life. It is no longer the “wretched of the v n o o i L earth” who revolt, because they’ve got nothing s t r u l e l left to lose, but rather the stagnating middle i e s i G class and “young professionals,” who face Ê D t — e permanent precarity. n 3 r 8 e ÊÊÊÊÊÊÊÊÊÊAfter hubris come guilt, shame, and t # n l I remorse. Mass conformity didn’t pay off. The a g n r n i question is how the current discontent will u o m j o ultimately play out on the level of internet x c r u l e f architecture. What is techno-repentance? What v - e O comes after the Exorbitant Detriment? Once the love affair with apps is over and the addiction reveals itself, the mood flips to cold turkey. What some see as a relief is experienced by many as frustration, if not hatred. The online Other cannot possibly be classified any longer as a “friend”: “If people in the outside world scare you, people on the internet will downright terrify you” is a general warning applicable to all websites. The 06.13.17 / 07:01:59 EDT 06.13.17 / 07:02:00 EDT 02/11 A meme posted atÊloltheorists.livejournal.com. A meme featuringÊJean BaudrillardÊposted atÊloltheorists.livejournal.com.Ê 06.13.17 / 07:02:00 EDT guilt is produced by the pressure to perform. performer and a celebrity, as long as they believe Users are under constant risk of financial in their dreams and strive to be like Beyoncé and collapse, and once they’re poor, they will be Rihanna, who are inspirations rather than subjected to the post-money economy in which vultures. Such celebrity cases show “how only imaginary entities circulate. After they’re powerless people [demonstrate] their written off, being online is their last refuge. supplication before their masters.”8 Fans are ÊÊÊÊÊÊÊÊÊÊ“We’re terrofucked.” That’s how Jarett fellow travellers on a journey through life; they Kobek sums up the general feeling in his 2016 04/11 are not consumers that purchase a product or novel I Hate the Internet. The guilt and frustration service. According to Kobek, “the poor [are] is both personal and political, on a global scale. doomed to the Internet, a wonderful resource for Throughout the story, set in the gentrified streets watching shitty television, experiencing angst of San Francisco, computers coordinate the about other people’s salaries.”9 Built by exploitation of “the surplus population into “pointless men,” the net invokes nothing but perpetual servants.” What happens once the trash and hate, leaving the poor empty-handed, realization sinks in that “all the world’s with nothing to sell.10 The poor make money for computers were built by slaves in China” and Facebook. It will never be the other way round. that it is you who is using those same devices? ÊÊÊÊÊÊÊÊÊÊKobek has been compared with What happens when we’re personally addressed Houellebecq because of the harshness of each as the guilty partners, “suffering the moral writer’s characters. In I Hate the Internet, we outrage of a hypocritical writer who has profited wander through the cynical start-up environment from the spoils of slavery”?4 of Silicon Valley, but Kobek shies away from ÊÊÊÊÊÊÊÊÊÊThis is the intriguing part of Kobek’s DIY taking us inside. Unlike the cyberpunk novel, we philosophy, which he presents as a science do not enter cyberspace; we don’t swipe through fiction of the present. What if the current profiles or flow through Instagram pictures. This internet economy of the free is the default future is not about an “illusion of the end” (and that’s scenario for the 99 percent? What will happen the main difference from the 1968 generation: we when the concentration of power and money in have the uncanny feeling that something has the hands of the few becomes irreversible and barely started). In this hyperconservative era, we we abandon all hope for the redistribution of no longer confront ourselves with the historical revenues? For Kobek, this is already the case. duty to face the end of the welfare state, n g i Failed traditional money has been replaced by s neoliberalism, globalization, the European e D micro-fame, “the world’s last valid currency,” Union, or other modern institutions. Instead, e which is even more subject to oscillations than m we’re lured into a perpetual state of retromania, e M old-fashioned money. “Traditional money [has] because, as the late Mark Fisher pointed out, it f o ceased to be about an exchange of humiliation is the present that has gone missing (“Make s e for food and shelter. Traditional money [has] l America Dank Again”). p i 5 c become the equivalent of a fantasy world.” n ÊÊÊÊÊÊÊÊÊÊPseudo-events have no chronology, no i r P ÊÊÊÊÊÊÊÊÊÊKobek calls himself a proponent of the “bad development, no beginning or middle, let alone e h novel,” in contrast to CIA-sponsored literary t an end. We’re beyond the terminal process, n fiction from the Cold War, called the “good novel” O beyond the postmodern patchwork. Everything : t – a category which continues to exist in the form n accelerates. This must be the twenty-first- k e n i of Jonathan Franzen, who writes “about people m century-style catastrophe that so many films v n o o i from the American Middle West without much L have introduced us to. Still, we remain s t r 6 u l e eumelanin in their epidermises.” Bad novels are l encapsulated, captured inside cybernetic loops i e s i G defined here as stories that “[mimic] the that go nowhere, in which meaningless cycles of Ê D t — computer network in its obsession with junk e events, series, and seasons pass by. What n 3 r 8 media, in its irrelevant and jagged presentation e happens when the anxiety of information t # n l I of content,” filled with characters that have a saturation flips into a profound feeling of a g n r n “deep affection for juvenile literature” such as i emptiness? Once we’ve passed this point, the u o m 7 j Heinlein, Tolkien, and Rand. This all makes you o digital neither disappears nor ends. Events x c r u l e wonder in which category Dave Eggers’s novel f simply no longer turn into Roman spectacles. v - The Circle – an update of Orwell’s 1984 – would e O Instead, we experience simulacrum as prime fit. Can Eggers’s internet novel about Minority reality. We cannot process such a sudden Report–style measures enforced by a fictitious overproduction of reality. We no long turn on company that’s a cross between Google and television news thinking that we’re watching a Facebook be classified as the ur–bad novel of film. We’ve moved on. It is not life that has this type? What happens when we can no longer become cinematographic; it is film scenarios and distinguish between utopia and dystopia? their affects that shape the grand designs of our ÊÊÊÊÊÊÊÊÊÊThe promise of fame deluges people with technological societies. Films anticipated our images of grotesque success. Everyone is a condition, and now we’re situated in the midst of 06.13.17 / 07:02:00 EDT yesteryear’s science fiction. Minority Report is why is it so hard to put together a 2017 upgrade? now a techno-bureaucratic reality, driven by the ÊÊÊÊÊÊÊÊÊÊThere is a crisis of “participatory culture.” integration of once-separate data streams.
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