Be human: Heidegger and online authenticity

This is the second post in a series on online authenticity. The first post, Beyond ‘brand you’: reflections on social authenticity, points out a challenge for anyone who seeks to brand themselves on social media. It is easy to fall into the trap of defining oneself through shares and retweets. This sets up a shiny wall of themes and memes surrounding your brand, but it can make it impossible for friends and followers to access the real you. To define an authentic presence on social media, you need to tap into the unique person that you are offline. An authentic presence requires that you creatively represent the best version of who you are.

What do you have to give to the world? Take the best version of who you are and give it to the crowd. I call this: creative self-affirmation. Creative self-affirmation is authentic self-expression.

US management guru Tom Peters has an uncompromising view of creative self-affirmation. The key to self-branding online, Peters claims, is to become ‘extraordinarily/noticeably good at something of use/significance’ in the real world and brand that. This is easy enough for a management guru to do – but what about the rest of us? This post dips into the philosophy of Martin Heidegger to define a reflective approach to personal authenticity online that is both easier and more natural than the path Peters suggests.

Authenticity shouldn’t be a chore. Being authentic is simply being human.

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What does it mean to be you – the real you – online? Is it possible or desirable to express your real thoughts and feelings if you are developing a commercial image, or brand? Many people argue that, when it comes to online branding, commercial imperatives trump authenticity every time. The watchword of social media PR is caution: stay on message, avoid equivocal turns of phrase, keep the brand strategy in mind at all times. The upshot is that branded social media content often lacks a human voice. Like manikins in a store front window, branded content strikes a pose that reminds us of authenticity, but is incapable of offering up the real thing.

What about self-branding online? If cultivating a personal brand is subject to the same market imperatives as corporate PR, we should expect social media to be full of plastic people robotically spouting on point messaging. Some commentators argue that this is the way that things are headed. Geoff Livingstone, for instance, argues that ‘[t]he commercialization of the social web has reduced most communications to simply corporate or marketing initiatives’. Perhaps genuine authenticity is an outmoded virtue, as quaint as chivalry and just as absurd.

I don’t buy it. Every brand benefits from a human touch, no matter what product it’s selling. My thesis is that the best branded content online speaks of human values and experiences. It speaks of a human world, or set of worlds, and it makes us want to inhabit them.

Foucault and social media: I tweet, therefore I become

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.

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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.