Using Anonymous

I saw E. Gabriella Coleman give a terrific talk Friday at the New Media/Social Change Symposium on Anonymous, the loose online collective bent on wreaking havoc and occasionally bringing about positive social change. Like Alan Smithee or Luther Blissett, Anonymous is an "open reputation" or an "improper name", an identity to be used by anyone. Coleman's talk prompted me to ask several questions about Anonymous, aside from the obvious question of who uses the title: why do people use it and under what circumstances do they use it?

There's something exhilarating, liberating, and perhaps frightening about an identity that gives anyone the freedom to do or say anything without fear of reprisal. You could think of the title "Anonymous" as less of an identity and more of a tool that could be used by the powerless to subvert the creeping surveillance state. But that's not quite what this is. In actuality, there are authorities trying to identify and prosecute members of Anonymous or, more intriguingly, trying to infiltrate it and discredit it by engaging in activities in its name that are antithetical to its stated modus operandi. In order to outwit their "competition", members of Anonymous require free time and technical know-how: two things many young, unemployed or under-employed men happen to have in spades. It certainly helps explain the original aesthetic and ideological tendencies that marked Anonymous's original endeavors, and also helps explain its limits: why it can't be picked up by any group to do anything. Instead of a selfless Robin-Hood-type collective, we're left with a small, relatively homogeneous group that is the only group capable of using the tool well. They all have the same axes to grind, the same sense of humor, and very similar experiences: all markers of a relatively uncomplicated identity. Anonymous didn't have to be an identity, but there just aren't that many people who have the time and the skill to use it as a tool.  

While one anonymous collective is good at disrupting and tearing things down, another relatively anonymous collective is good at building things up: wikipedia. As an anonymite, you can create or you can destroy, but (to return to the topic of the symposium) can you really change anything, any existing power structure in the offline world? Offline world changes - changes in policy, changes in the flow of capital - usually require actors to maintain traceable identities. But maybe the disruptions caused by Anonymous are enough to spark offline changes by people who have traceable identities - voters, investors, consumers, and workers.

Finally, to get a sense of the possibilities of anonymous social action, its worth considering two competing popular narratives that revolve around revolutionaries, justice, and open reputations. Anonymous borrowed the iconography of a graphic novel and film from the 1980's/mid-2000's: V for Vendetta, which featured the open reputation of V, a freedom fighter (or anarchist) intent on bringing down a fascist regime. The story leaves it open as to whether V was sane or not, but his actions - toppling a regime that is obviously fascist - are treated by author and audience as having a positive outcome. Conversely, in Fight Club, we see a collective like so many military or para-military revolutionists, bent on washing away any trace of individuality in order to form a stronger coalition, only to re-discover the value of individual identity when one of them is martyred. But the real identity problem in this story is with the main character, who is either a downtrodden worker drone or the lead revolutionary. Instead of sloughing off his old, ineffectual identity for his gleaming new one, he's caught between the two, a stranger to himself. It remains to be seen as to whether the lead hackers behind Anonymous are less like Bruce Wayne/Batman and more like Ed Norton's character/Tyler Durden, and whether their minions are more like the group-thinking benign terrorists of Project Mayhem and less like the triumphant masses of the Arab Spring.

Are Online Communities Sustainable? (or online relationships, for that matter)

Reading an interesting post by Trent Reznor regarding his departure from social media (in particular Twitter, but also his extensive participation in online fora w/ fans). He charts his progress from idealist (hoping that he could make the relationship between artist and fan more intimate and unmediated, no PR people, etc) to cynic. His major problems with social media are trolls and anonymity. Essentially, its the classic problem of anonymity leading to more purposefully disruptive hate speech. Reznor offer a little dimestore psychology based on his discovery of who was behind the trolling. It is more or less consistent with the findings of Mattathias Schwartz in his NYTimes article on trolling: people who troll are looking for a way to get back at the world for hurting them, marginalizing them, or rendering them powerless, and anonymous internet fora provide them with the easiest way to do this.

Reznor's relationship with fans is unlike most social media users' experiences. There's a significant real-world power imbalance between star and fan, one that attracts trolling. Trolling doesn't happen everywhere or in random places; usually, its only highly-trafficked places or in communities that someone has something against. Reznor notes how moderators can use filters to reduce the effects of trolls (and places like Digg and Youtube do good jobs of getting rid of spam and trolls by using collective downvoting to obscure them and render them ineffective) but its still trouble to do this and if the benefits don't outweigh the trouble, then you stop doing it.

Social media as a whole seems sustainable to me. People really want the ability to connect with others who share some of the same values, preference, or beliefs, some who may not be available in the real-world social networks they inhabit. But individual online social networks or applications like Twitter and various message boards seem precarious. Some of their appeal might be in their novelty. Another problem might be the "tipping point" effect when several key members decide to leave or have some real-world commitment that draws them away. As with a real-life party, if a couple of key people leave, that tends to clear everyone else out, even if those people wouldn't have planned on leaving that soon in the first place. Its just group-think and there are no negative repercussions for bailing on an online social scene.

Its possible that online social scenes develop at a point when its members have some down-time, in transition periods in their real world lives. Its not that they're "losers" and can't make it in the real world social scenes (though that might still be the case for many). Its more that they have an appetite for sociability that is underserved at the time they join the social scene. So really, members have two things in common: whatever the raison d'etre of the scene is and the fact that they're all in some sort of transition period (which could include a period of identity questioning, hence popularity w/ teens). Anyway, these scenes don't last b/c the law of averages says that each person's real life will eventually interfere with their participation and the group will splinter.

But perhaps that depends on how much the group is really about the people in the group or whatever the group happens to be "about" (e.g. Nine Inch Nails, funny online videos, hunting, etc). I guess the latter are more informational exchanges or opportunities to share amusement over a subject while the former are something resembling (and perhaps standing in for) real world social scenes. Real world social scenes break up, too. People move away, get jobs, have kids, get divorced, etc. But I still suspect that b/c they are joined during times of real world social transition and there's no negative repercussions to leaving, online social scenes are more apt to disintegrate (or at least cycle through members) than real world social scenes. Really, they haven't been around long enough to say one way or the other.