Too Much Democracy Can Kill Democracy: Social Media as a WMD

democracy

It may be true that “democracy dies in darkness,” but it can also be wiped out in blinding light. If Donald Trump is reelected, it will have been 20 years after the launch of Facebook and 18 years after the launch of Twitter—less than one generation for the “greatest invention for democracy” to be the proximate cause of the death of democracy.

When I started writing this blog in 2012, the 5th of November was celebrated by internet defenders who seemed to think that Guy Fawkes of the English Powder Plot of 1605 was a rebel and a hero. This fallacy was based on conflating history with the graphic novel and movie V for Vendetta, whose tyranny-fighting protagonist wears a “Guy Fawkes” mask, which became the symbol of hackers calling themselves Anonymous. Then, by extension, the mask became a symbol of advocating John Perry Barlow’s idealistic notion of the morally superior, purely democratic internet against the anachronistic laws of “weary” republics.

Of course, the real Guido Fawkes had more in common with the January 6th insurrectionists than any champions of democracy. The intent of the Powder Plot, led by Robert Catesby, was to restore the authority of the Catholic Church, which would have killed the nascent progress of republicanism in England. In this light, the plot was one of many forebears to American Christian nationalists, eager to have Trump blow up the secular administrative state the same way Fawkes & Friends were supposed to blow up Parliament and the Protestant monarch in one move.

As often happens in history, the catastrophe of the Powder Plot was averted by individuals listening to their own better angels. Uncomfortable with killing any Catholic members of Parliament, the conspirators sent an anonymous letter to Lord Monteagle, who dutifully reported the plan. Thus, Fawkes was found in the cellar waiting for the signal to light the 36 barrels of gunpowder, which would have indeed blasted all of Parliament, King James I, and the king’s family into the River Thames. How this conflagration might have altered the course of American history—and, therefore, democracy in general, is impossible to know, but it is doubtful that the Puritan adventure beginning in 1620 would have transpired in the same way, if it happened at all.[1]

In contrast to gunpowder, social media is an insidious weapon that erodes the foundations of republicanism from the virtual cellar occupied by our lesser angels—steadily degrading not just truth, but the value of truth.[2] This was not every platform founder’s intent, of course. Jack Dorsey appears to have had a late-stage realization of the damage Twitter could cause, but it is not at all surprising that under the control of Elon Musk, the rebranded X does not even pretend to “beg forgiveness” for its manipulations of reality.

The architects of the American Constitution and leaders of the Federalist cause understood that direct democracy was synonymous with chaos. When they used the word democracy, it was almost pejorative, referring to a heedless mob that might swallow the pursuit of “ordered justice.” In short (and with the possible exception of Jefferson), they recognized that too much democracy would be fatal to sustainable democracy, but this is exactly what social media has fostered—a form of direct democracy undermining a collaborative understanding of the American experiment.

Even if Trump loses, the project of restoring the cultural foundations of the American Republic will be far from over. As author and journalist Sebastian Junger said at a conference I recently attended, the project is generational—one that must begin now to benefit our grandchildren. Hosted by the Hannah Arendt Center (HAC) at Bard College, Junger was one of several speakers who offered a critique of the Left from within the Left—exemplifying the kind of discussion I believe is essential, but which social media makes nearly impossible. In fact, Junger specifically blasted “the phones,” focusing primarily on their addictive qualities, but clearly in regard to platforms creating and exacerbating political divisions.

That discussion on the Left will only happen if Trump loses. If he wins, chaos will ensue followed by reactions to that chaos, and it will be hard not to shrug at, or even endorse, extreme reactions. After all, Trump promises violence and fascism, which will spark violent responses that are both natural and justified. But if that nightmare is not our fate, then the project of saving democracy from latent authoritarianism will require the work of Liberals and Conservatives, who must confront the fact that social media has been the indispensable catalyst in reshaping a concept of America that would tolerate, let alone almost elect, a manifestly dangerous individual to be President.

Sustaining any republic requires policy that fosters reasoned compromise behind the theater of politics, but thanks to the free soapboxes in every citizen’s hand, all policy is now political, and all politics are now performative. Social media softened the ground to create the ideal landscape for a populist charlatan to rise to power despite (or even because of) his open hostility for the Constitutional order. But Trump’s supporters are not alone in abandoning that faith.

Even before the revelations of 2016 that data gathered from modest online activity could be weaponized to engineer political outcomes around the world, it was clear that the narcissism inherent to using social platforms provoked acute, often poorly articulated, outrage—including responses to rumor and conspiracy with no foundation in fact. That folly is not unique to any ideology or political party because it is a psychological relationship to the medium itself that we are far from resolving.

Then, with the addition of powerful actors who control the data and algorithms, a significant, albeit hard to measure, number of world-shaping events have been triggered by what amounts to online pranks. Even the most ambitious and most powerful democracy ever invented has been punked to the edge of extinction by the dark arts of internet trolls. All those tech boosters who claimed there was a wall of separation between adolescent cyberspace and adult real life were simply wrong.

Social Media Platforms Are Narcissism Machines

By coincidence, I recently met one of the student fellows at HAC, who is visiting Bard from Ukraine and studying human rights. Noting that there will not be another election in her country unless and until they win the war with Russia, she referred to a frustration with her contemporaries, who as young Americans, do not intend to vote this week. I asked if those students offered reasons for their reluctance, and she told me the two main explanations that came to mind were 1) that the outcome didn’t really matter; or 2) that if the candidate they vote for “let’s them down,” they will feel guilty about having cast the vote.

The first sentiment that voting doesn’t matter is a familiar cynicism of youth. But what the second sentiment implies is a heightened degree of narcissism that I believe is fair to associate with the digital-native generations. The notion that any President could be perfect in the administration of that unfathomable office suggests first, a childlike innocence about human beings and the complexly dangerous world we occupy; and second, an arrogance that one’s own idea of “perfection” is well founded. This is an astoundingly naive way to evaluate the mere mortals we might elect to be President of the United States, though it is consistent with the kind of “purity-test” mentality that shapes the rhetoric of the digital-native generations.

The phenomenon is observable in real-time because social platforms are venues where political allies become irreconcilable antagonists the moment a member of the tribe dares to criticize the tribe’s thinking or conduct. The critic becomes the apostate, earning herself at least a virtual, if not a literal, stoning. Examples abound, but in this moment, I am thinking specifically of progressive activist Brianna Wu, who has the integrity to criticize the extremism, antisemitism, and ahistorical narratives animating many anti-Israel protestors and, consequently, is bombarded by personal attacks and death threats from people who consider themselves liberal or “progressive.”

Those responses, like many of the protests themselves, are narcissistic and performative. The American Liberal repeating the mantra “settler colonialism” is barely distinguishable from the Conservative who claims that Christianity is under attack in the U.S. There is no intellectual, let alone moral, difference between the Right’s generic attacks on DEI and the Left’s attacks on Jews in academia and in their private lives. But again, the common denominator is social media, designed and managed to stoke, promote, and reward righteous outrage, not discourse.

Unfortunately, social media draws everyone into its gutter. While I believe that a figure like Trump could never have obtained political power without the insane environment of these platforms, even rational opposition cannot afford to cede the alligator pit as a battlefield. Although Harris, other candidates, and brave Conservative apostates do not engage in the outlandish, incoherent, and fascistic messaging exhibited by Trump, merely fighting fire with fire on social platforms demands a juvenile and sad derivative of the discourse that wrote the nation into existence. It is a meager dividend from our investment in the “greatest tool for democracy ever invented.”

Waiting to find out whether Trump will be reelected is like waiting to learn whether the nation has Stage IV cancer. Everything is on hold while millions of Americans ask the same question, albeit from different perspectives:  are we at the brink of civil war? In this regard, there are not two sides. Specific policies notwithstanding, Harris means a continuation of the American experiment and the possibility that we can at least try to have difficult conversations on both the Left and Right. Trump means chaos and who the hell knows what comes next? If we manage to dodge the bullet, maybe, just maybe, we can admit that social media was the gun that fired it.


[1] Civil unrest would likely have ensued, but if Rome were indeed reinstated, it’s entirely possible that anti-Catholics like John Winthrop would have been executed rather than allowed to establish New England.

[2] It is not only Trumpians who are immune to counterfactuals in their world view, and although social media does not cause this human frailty, it does exacerbate it.

Image: N. Currier. (1846) Destruction of tea at Boston Harbor. , 1846. [New York: N. Currier] [Photograph] Retrieved from the Library of Congress, https://www.loc.gov/item/91795889/.

The Fake News Problem: It’s not them, it’s us.

via GIPHY

(Okay, it’s a little bit them.)

It’s kinda like on November 9th, everyone suddenly discovered that social media fosters a fake news problem. Well, better late than never I suppose, but just because the topic of fake news is trending now, that doesn’t make it news. It’s been a problem for a long time, and if there’s a solution to be found, it probably does not begin by asking what Facebook, Twitter, or Google can do about it so much as what we can do about it.

Information, meaning facts, should not be political, or at least not partisan. But that ship has not only sailed, it’s gone straight over the edge of the flat Earth. And while there’s no question that I’ve seen both liberals and conservatives (for want of better terms) share unsubstantiated garbage posing as news, it’s hard to get past the fact that finding a reference point for truth in the digital age takes a lot more work than it did in the analog world of “scarcity.”

But who ceded so much power to these platforms? We did. Conservatives and liberals did. Republicans and Democrats did. Everyone who defines all professional journalism by the pejorative “mainstream media” has given power to social media as the new temples of truth. So, now, various factions are jumping on Zuckerberg, blaming fake news for the outcome of the election and insisting the company must do a better job of weeding out bogus news sites and hoaxes.

As an aside, I see no problem if AdSense or Facebook want to cut off the revenue spigots for fake news creators. Caitlin Dewey, writing for the Washington Post, profiled a fake news maker who earns about $10,000/month in ad revenue from spinning catchy dreck that your friends and mine share on social sites. But while the OSPs are reacting to the election and the backlash against fake news, they and their cadre of pundits and advocates ought to be a little chastened about their chronic abuse of the word innovation as a catch-all to describe what an unbounded internet actually produces. Just like pirate sites have managed to innovate revenue from creators’ pockets into their own pockets, these fake news creators innovate attention away from legitimate journalism toward utter gibberish simply because there’s money in it. But that doesn’t make it the OSP’s fault that so many users believe and spread all that fake news?

So, here’s a thought: Facebook is not, and never has been, a news source. At best, it’s a high-speed synthesis of the community bulletin board with the bathroom wall. And it’s one that is manipulated, adjusted, and monitored in order to maximize data harvesting and advertising value. I say this as someone who enjoys sharing a zinger, a comment, or a conversation on the platform. But news? It really depends.

Sadly, even paying attention to the publishing source is not always helpful. The tragedy of expanding, democratizing, and glitzing up news is that even the brand-name sources compete with the lowest common denominator. Many professional news organizations are apt to publish a story with thin research and a grabby headline just to remain visible in the multi-species stampede of stories careening through social media, kicking up huge clouds of dust.

Fake news is not nearly as big a problem as the real news that’s being filtered through marketing templates that drive reasonable and decent people apart, creating a vacuum in the middle.  Not only are we destroying the middle-class economically, but we seem to be doing an excellent job of ruining the center politically.

I have long believed that one of the reasons the United States is so fragile—but also the reason it can be great—is that we really don’t have a common culture. We have a million competitive or compatible narratives happening at any given moment. Then, the customization of social media seems to have exacerbated the lesser angels of diversity, fostering new forms of segregation, obliterating common ground for the sake of a complex and phantasmagoric venn diagram of American society. I suspect it’s how we look to a computer–especially one that wants to market to us individually–but not quite a fair representation of how we might wish to look to ourselves.

This is no time to be devaluing creators.

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America
From Leaves of Grass by Walt Whitman

Centre of equal daughters, equal sons, 
All, all alike endear’d, grown, ungrown, young or old,
Strong, ample, fair, enduring, capable, rich, 
Perennial with the Earth, with Freedom, Law and Love,
A grand, sane, towering, seated Mother,
Chair’d in the adamant of Time.

It took nearly 100 years after the Revolution for the American creative voice to come into its own. In 1844, Emerson wrote an essay calling for a poet to emerge and give voice to the “nation yet unsung.”  It was Walt Whitman who responded with his self-published Leaves of Grass in 1855. Still, America being the nation it is, it makes sense that the creative voice would really develop with the industrial transformations that occurred at the turn of the 20th century.

With the invention of machines, from piano scrolls, to motion pictures, to radio and television, American output of culture steadily became more than entertainment; it became our identity.  Isn’t it interesting that in the same year a guy like Trump wins the presidency that it was Bob Dylan who won a Nobel Prize?  This bipolar tableau is a familiar theme for us Americans:  great on intention, a little iffy on execution. Hope and disappointment followed by more hope.  And in the darkest times, the artists are often the stewards of hope—our better angels patiently trying to lead us away from our capacity for brutal intolerance.

Coincidentally, I happened to see the film Trumbo last week after wanting to do so since it was released this time last year.  It really is a very solid little film, the relevance of which increased by orders of magnitude with the results of yesterday’s election.

For those who are not familiar, this multi-award-nominated biopic starring Bryan Cranston dramatizes the struggle and triumph of Dalton Trumbo, the screenwriter who was the most prominent of the Hollywood 10 blacklisted by the House Un-American Activities Committee.  After refusing to name names, or even answer questions, Trumbo was sent to prison for contempt of Congress and then officially barred from working at the only profession he had to support his family.

This disenfranchisement from the opportunity to work wiped out many Americans who were blacklisted, but Trumbo was comparatively lucky because he was so damn good that there were people willing to hire him to write screenplays under various pseudonyms.  His writing even received two Academy Awards he could not publicly claim. Above all, the Blacklist took a toll on the Trumbo family, which is very poignantly portrayed in the film.

I have asserted in other posts that it is the middle class creator, who is suffering in the current market.  And although we cannot wholly blame mass infringement (i.e. digital piracy) for the market we have, the free-culture movement certainly exacerbated the problem.  For instance, the movie Trumbo cost a modest $15 million to produce, a budget zone that I will argue is ideal for small, character-driven movies of this nature.  It’s enough money to properly pay people to work on the project but not so much money that the whole enterprise must involve layers of corporate suits with responsibility for a  $100 million investment.

That there were not at least two million viewers in America who went to see Trumbo in the theater may be answered by any number of factors, including over-saturation of choices in the market, limited distribution and marketing options, an unwillingness to engage with a painful subject like the Blacklist, or a simple trend away from theaters.  Whatever the factors, new distribution models, along with any changes to copyright law, must find a way to support this kind of mid-range project if we are to keep alive expressive works that demand engagement with serious subject matter.  The same is true for the middle-class novelist, composer, performer, photographer, or journalist. Economic power is power. This is no time to be devaluing creators.