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Opinion: Chan Culture and Good-Faith Arguments

photo of Cat Rambo
Getting ready for the New Year.
I wrote a piece, #PurpleSF, about feminism and SF for Clarkesworld. It was in part stirred up by the convulsions of the Gamergate controversy, which has continued to provide plenty of food for thought (and probably will continue to do so).

One of the many interesting (and sometimes positive) things that’s come out of that controversy has been a lot of examinations of Internet culture and many of its subsets. Before last year, I had only the vaguest idea what “chan culture” would be, so I found this piece really fascinating, particularly because questions about anonymity are (imo) going to continue to rear their heads whenever they bump into notions of transparency in coming years.

The full piece, How imageboard culture shaped Gamergate, appeared on BoingBoing. Its author has produced a lot of interesting pieces about Gamergate, usually composed as Storify pieces, such as these: Gamergate, Sexism, and Tribalism; Why I Oppose #Gamergate

The article is talking specifically about image boards, and here’s a chunk from it that describes the culture:

These anonymous imageboards have their own idiosyncratic culture, despite the lack of permanent identity. Posters call themselves anons, or occasionally channers. While anonymity is a core part of this identity, merely being anonymous does not make you an anon. Rather, it’s about identifying as a larger whole. Capital-A Anonymous, such as the Project Chanology protestors and the hacking/activist groups like @youranonnews, are anons, but most anons don’t think of themselves as part of Anonymous.

Without identity, every anon is whoever they want to be at the moment. It’s freeing! Anons exalt these imageboards as the only place people can truly be themselves, without being burdened by their identity or consequences. This includes genuinely awful or hateful opinions. Anons have a broad, often absolutist view of free speech, sometimes extending that so far as to include threats of violence or extreme pornography. Anons are extremely protective of their culture and this very broad view of free speech, because of both great faith in their ability to self-police argument and an unconscious, internal reliance on irony.

The atmosphere is that of a paradoxically jovial angry mob. Almost everyone sees their own point of view as the consensus, assuming that most people most people agree with them. Any possibly contentious statement is presumed to be ironic, told as a joke or to rile up people who disagree. Since everyone assumes that anyone who disagrees is arguing in bad faith and doesn’t mean what they’re saying, anyone who disagrees is a fair target for apparently hateful mockery. This basic assumption of bad faith applies even when arguments are long-lasting and well-known: for example, the console war arguments in /v/, 4chan’s video games sub-board. However, this mockery is defanged by anonymity and irony.

Everyone’s anonymous, so a poster can just join the winning side of an argument, cheerfully mocking their own older posts. One poster can even play both sides from the start. Every anon can choose whatever opinion they want to have on a post-by-post basis, so everything flows smoothly even as people hatefully attack each other for having the wrong opinion. Anons believe in this free marketplace of ideas: good ones survive the firestorm, while bad ones burn to ash as everyone dogpiles on mocking them.

Wayne and I were talking about this conception of discussion/argument today and I can at least partially understand how it’s shaped some of the conversation within Gamergate (the overall situation, not the group) and created many of the problems. (Anders Sandburg has an interesting piece about such culture clashes.) I think it’s important to look at the background people are coming from and the Internet etiquette norms that they’ve absorbed.

At the same time, bad faith arguments are something I don’t practice and I find trolls kinda appalling, because the idea of getting enjoyment from making other people angry, upset, or otherwise unhappy seems something only a retrograde would relish. I blogged about arguing on the Internet a while back and said I’d follow up and talk about bad faith argument, but I never have, because I find its habitual practitioners antithetical to the way I try to think.

Don’t get me wrong. I like debate, and life with Wayne is a lively series of conversations in which one or the other will often take the role of devil’s advocate just to see how sound or defensible an idea is. But that seems different to me than taking on the Internet identity of someone who believes something just to see if you can get other people riled up enough to waste time on composing eight page replies to your argument rather than something, I dunno, actually productive or enjoyable.

But, as Wayne can testify, I am painfully earnest about a number of things, including the idea that the human race should be advancing and that part of that advance is being fairer about our treatment of the people and world around us. The idea that love is both greater than and preferable to hate. That cruelty only creates more cruelty. That civility and an assumption of good faith should be the baseline, rather than the exception. And that we are fallible creatures who are nonetheless capable of learning from both experience as well as questioning ourselves.

Part of my plea in the Clarkesworld column is that we stop arguing in bad faith and lazy categories. It’s a Quixotic fight, but I’ll continue to carry its banner. And part of that banner is to argue in good faith, to ask questions and interrogate the world around me to see what blinders it’s imposing on me. That’s a vital part of making good art. And good conversation.

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Making the Most of Cons (and ArmadilloCon)

Howard Waldrop Reads Project Superman
Howard Waldrop reading issue 1 of Project Superman
I was just at ArmadilloCon over the weekend, and had a fabulous time of it. There’s an account of that, with sundry photos, on my Google+ page.

For me it was a pretty productive con – I connected with a few people that I definitely wanted to meet or see, I got a chance to hang out with some favorite peeps, I got a little writing done, and I did some career/work stuff that I wanted to get done. And I got the photo of Howard Waldrop with my brother and Gene Ha’s Project Superman.

Beforehand I did some stuff – I made a list of what I wanted to get accomplished, wrote to a couple people who I wanted to make sure to spend time with, and I went through the con program to identify some of the panels/features that I really didn’t want to miss. I also blocked in plenty of time for hanging at the bar, which I consider a crucial part of any con. I didn’t plan out every waking minute, to be sure, but I did make sure I knew what I wanted to do. I volunteered for programming and set up an individual reading as well as being part of the Broad Universe Rapidfire Reading.

This is, I think, the sort of thing you need to do if you’re going to cons and justifying the expenditure as work/career related rather than fun. Otherwise you end up sitting in your hotel room thinking that you should be doing something or being somewhere but not quite sure what.

Absolutely, cons are about friendships, that’s one of the more enjoyable aspects. But some you know a lot of folks at and others you have to push yourself a bit. I tend to retreat when around people I don’t know, but I’ve found that if I push myself out of my comfort zone some, I end up having a much better time.

If I’d been more diligent, I would have done the following:

  • Found the con organizers and thanked them. The con was well run and trouble free, and the panels were a nice mix.
  • Organized some sort of Broad Universe coffee or lunch meet-up, as well as something with the Codex peeps.
  • Gone through the dealers room and introduced myself, making sure book dealers had the card for my collection. I know no one had my book for sale, which was a little dampening, but I don’t know the best way to prevent that. Do folks write to dealers ahead of time in order to make sure they know where to get the books?

How do y’all prep for conventions? Or do you even bother about this sort of thing?

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Exploring Near + Far's Interior Art: Row 2 (Giveaway Day Two)
Art by Mark W. Tripp for Cat Rambo's Near + Far interior
Row 2

This week sees the book getting officially launched on Wednesday. This week I’ll be doing a series of five posts about the interior art. Comment on a post to be entered to win one of three pieces of Near + Far jewelry; comment on all five posts and you’ll be entered five times.

Here’s the second row of pieces. I was talking to someone last night about why it made me so happy to use Mark’s art: he’s been showing it to me for close to two decades and I’ve always wanted to use it to illustrate something.

So, left to right: Image #1, which has a funky little seahorse feel. When looking at Mark’s pieces, I tended to use the older stuff for “Near” stories and newer for “Far”. This one went with VocoBox ™, an early story about what would happen if cats could talk. (And I think it’s fairly accurate in that regard.) My cat is named Raven, much like the cat in the story, and this is my way of preserving him, because he’s been a great cat. 🙂

Image #2 has a sparse feel to it, and there’s one of those funky little eyes peering out at you. It accompanies the story “Not Waving, Drowning” (a title shamelessly taken from Stevie Smith, because it’s so terrific), which is about the harder side of telepathy, which always seemed to me like a terrible, terrifying superpower.

Image #3 is another earlier one, and it makes me think of the idea of spaceships as living things. It accompanies RealFur, a story about the relationship between people and objects, a theme which gets explored in “Therapy Buddha” as well.

Image #4 accompanies a story that appeared in Talebones, “Memories of Moments, Bright As Falling Stars”. It’s a cypberpunk-influenced story, and one I like a lot for its grungy and sometimes eccentric world.

Image #5 also accompanies a story influenced by the cyberpunk movment, “10 New Metaphors for Cyberspace.” It’s a flash piece, or perhaps a prose poem, depending on your definition, trying to think about how we might have seen cyberspace if Gibson hadn’t shaped it so definitively.

If I picked a favorite from this batch, it would be either #2 or #5. We still haven’t seen the one that I have as a tattoo yet, or the one that I’m thinking about for a new tattoo. 😉

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