This is the second instalment in a three-part series. Part one discusses how the open commons ideal of social media creates a ‘virtual Panopticon’ effect that impacts on the psychology of users. I argue, building on Michel Foucault’s account of the Panopticon:
There is a self-reflexive structure to sharing content on Facebook or Twitter. Just as actors on stage know that they are being watched by the audience and tailor their behaviour to find the best effect, effective use of social media implies selecting and framing content with a view to pleasing and/or impressing a certain crowd. We may not intend to do this but it is essential to doing it well. Unless we are sharing anonymously (and the radical end of internet culture, Anonymous, favours anonymity), all the content we share is tagged with an existential marker:
‘I sent this – it is part of my work. You shall know me by my works’.
Part two continues the Foucaultian interrogation of social media looking at Foucault’s concept of subjectivation. I argue for a playful approach to life in the virtual Panopticon. Social media shapes us, so why shouldn’t we engage this process in a creative way? Indeed, we can and do use social media as a vehicle for creative self-development.
‘Never stop sculpting your own statue’, the ancient philosopher Plotinus said. Latter-day Foucaultians are recovering this teaching in an age of social media. We are crafting our selves online in the engagement with crowds.
Peggy Orenstein came late to Twitter. Orenstein was sceptical at first when her publisher suggested she use Twitter to promote her book, Cinderella Ate My Daughter. She wasn’t fond of the gossip and celebrity culture and the trivial nature of much of what passed as content in the Twittersphere. Orenstein knew, however, that a ready tribe of tweeps is an essential part of the contemporary writer’s guerilla marketing toolkit. She succumbed to pressure and signed up.
Orenstein approached her Twitter experiment with the studious detachment of the field anthropologist. I imagine this is why she noticed how Twitter was changing her.
Tweeting, it turned out, was more fun than she had expected. It was addictive. In an article on her experience published in the New York Times, ‘I Tweet, Therefore I Am’, Orenstein describes how using Twitter redefined her experience of life and self. There was nothing covert or oppressive about this transformation. Orenstein was a willing participant in her own subjectivation.