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Conspiracy Theory Is Actually Just Postmodernism In Disguise

I should preface this by saying I don’t know anything “officially” about postmodernism outside of what I read on Wikipedia and Googling around (and a really stupid Jordan Peterson article I won’t link to). And the fun part is, that’s kind of postmodern itself. You can become an expert in five minutes. And then of course being an expert then makes you automatically untrusthworthy as a source. It’s ninja turtles all the way down, I tells ya…

Anyway, I gathered some of what I found already here, so I won’t rehash that all at length, but wanted to pull on a couple strands I didn’t cover there.

Namely, that Lyotard himself defined the postmodern as, “incredulity toward metanarratives.”

Anyone who has looked at conspiracy theory stuff online will know that people are always saying in a tongue and cheek way: “Don’t question the narrative.” That is, they feel oppressed by or don’t agree with whatever they perceive to be the “official” metanarrative.

What’s a metanarrative in the context of postmodernism? Also from Wikipedia: “a global or totalizing cultural narrative schema which orders and explains knowledge and experience.”

So when they jokingly say, don’t question the metanarrative, they are literally demonstrating Lyotard’s own definition of the postmodern. They are incredulous of the metanarrative. They want to question it, to challenge it, to tear it down and replace it with their own version of the truth. Their own metanarrative.

This is a decent WaPo article by Aaron Hanlon from August 2018 about Postmodernism. I’ll pull out a few choice quotes. Regarding his book, The Postmodern Condition, it:

“…described the state of our era by building out Lyotard’s observations that society was becoming a “consumer society,” a “media society” and a “postindustrial society…”

Hanlon continues:

“This was a diagnosis, not a political outcome that he and other postmodernist theorists agitated to bring about.”

“[…] Right-leaning critics in the decades since Bloom have crassly contorted this argument into a charge that postmodernism was made not by consumerism and other large-scale social and technological developments, but by dangerous lefty academics, or what Kimball called “Tenured Radicals,” in his 1990 polemic against the academic left. At the heart of this accusation is the tendency to treat postmodernism as a form of left-wing politics — with its own set of tenets — rather than as a broader cultural moment that left-wing academics diagnosed.

“[…] This “gospel” characterization is misleading in two ways. First, it treats Lyotard and his fellows as proponents of a world where objective truth loses all value, rather than analysts who wanted to explain why this had already happened.”

So if we accept Lyotard’s original assertion, that postmodernism is characterized by mistrust of “grand narratives,” it unequivocally has that in common with garden variety conspiracy theory. But not only that, right-leaning conspiracy theory has reconstructed its own grand narrative where Postmodernism is the grand narrative which it mistrusts… Which is entirely postmodern in itself if you think about it. A subset of postmodernism attacking its own superstructure…

It would be funny if it weren’t so foolish and tragic. Because this kind of blatant self-denial creates a somewhat predictable (and boring) loop. Conspiracy theory denies it has anything in common with Postmodernism. It then projects its shadow contents onto the “other” & villifies the perceived differences. When, in actuality, they’re rooted in the exact same thing. The same social-cultural phenomenon that’s been happening for decades now, generations. Brought on by consumerism, industrialization, media-saturated soeiety, etc. Which is what the original theorists were observing happening all along, and which is still happening today. Nay, which is in utter free fall today. Hyperreality is on over-drive, and virtual & augmented reality haven’t even yet kicked in. HFS. Are w ever in for it!

I mean, no wonder people are clinging to any & every life raft they can find. I don’t blame them. I do blame the short-sightedness of getting bogged down in dumb political-territorial games & losing track of the larger phenomena at play though. When instead, we could be working on finding a way through it all. There is so much greater possible insight we could have into our shared condition than just fighting or getting sucked down into the quagmire of loser scripts that constitutes conspiracy theory outright.

The world is literally never going to learn, though. I’m old enough to accept that now. At least I got to write a nifty blog post about it.

Conspiracy Theory as Post-Modernism

Happened across this compelling quote on the Wikipedia metanarrative page:

Although first used earlier in the 20th century, the term was brought into prominence by Jean-François Lyotard in 1979, with his claim that the postmodern was characterised precisely by a mistrust of the “grand narratives” (Progress, Enlightenment, Emancipation, Marxism) that had formed an essential part of modernity.[5]

It’s compelling to me because it neatly characterizes conspiracy theory, in terms of its “mistrust of the grand narratives” as a central defining characteristic.

Its interesting to me especially because there’s an undercurrent of contemporary conspiracy theory which claims to attack post-modernism itself as one of the “grand narratives.” But upon reading the above, it set things back into perspective for me. Namely, that conspiracy theory, where it does purport to attack post-modernism, does so by completely embracing its tools and methods.

Modern Dilemma of Communication

How do you communicate, write, or make art publicly, when everything you do or say can and will be turned against you one day? Justice in the court of public opinion may be swift and brutal. Not only that but everyone is just so inundated and saturated with endless communications and creations. All vying for their time and eyes and attention, and belief or behavior modulation. We have to tune it out just to survive, let alone hear the “still small voice” that drives the creative spirit in the first place.

Interestingly, never knew the origin of the “still small voice,” though had some vague idea it was religious (though that’s not quite the way I’m using it above). Not sure I’ve ever read that book of the Bible (Kings, evidently), but I have to admit this original excerpt is kind of cool just purely as epic poetry:

“…a great and strong wind tore into the mountains and broke the rocks in pieces before the Lord, but the Lord was not in the wind; and after the wind an earthquake, but the Lord was not in the earthquake; 12 and after the earthquake a fire, but the Lord was not in the fire; and after the fire a still small voice.”

The rest looks sorta violent, so I’ll leave that off, cause this was already a tangent to begin with. Or was it??

We see them as we are

I’ve never actually read any Nin (though I listened to some NIN in high-school), but this quote popped out at me once again for the hundredth time, as being entirely related to the hyperreal [found this time via]:

We don’t see things as they are; we see them as we are.

– Anaïs Nin

I’ve been watching & interacting with the phenomenon of conspiracy videos lately (some example selections here). This is kind of a hyperreal stew when you get right down to it. Or maybe like the offal from a slaughterhouse might be more accurate. It’s messy. It’s chaotic. There are bits and bobs of disembodied parts of stories floating around in it. Many of them putrid or toxic…

Conspiracy as an online subculture is of course remarkable, despite & because of all that. So much is wrapped up in it. A lot of really dark & bad, to be sure, but the kernel of something if not always good in its outcomes, then at least true as a human need is in it somewhere too. The desire to seek and ask questions, and seriously look for real answers. That’s actually noble at its core, and can be harnessed in more or less productive and impactful directions as a human or groups of humans. However, in actual practice, the art of online conspiracy artifacts is usually just this sort of weird & sometimes dumb thing of unqualified assertions and free association that people get into.

Which, don’t get me wrong is sometimes fun. I’m a writer & an artist. I love to free associate and see where things take me. To go along for the ride, as a maybe what if type thing.

How much of ourselves we put into it, I guess is the thing. How does belief even work? When we talk about projection, what is it we’re projecting? Conspiracy theories and fantasy are cut from the same cloth. Conspiracy is just like a very stilted and predictable subgenre of fantasy whose narrative mutates really rapidly as it gets networked.

It’s shitty, but it’s our modern folklore, to some extent. To ignore it or dismiss it out of hand, without gaining a real understanding of the dynamics or the needs that drive it would be a mistake for me as a writer operating already on the fringes of reality. I make my own projections into all of this. Have my own reactions and reads, my own deep dark weird needs and dreams that drive it all. I don’t know what to say about it all, and it really doesn’t matter. Because no one will read this far who isn’t carrying with them already their own assumptions, assertions, and associations about all of this. And most likely they made up their mind already.

One thing I’ve noticed at the platform level is viewer comments on YouTube within the same conspiracy subculture, and on TikTok are extremely different. YT commenters seem far more often out for blood. Hyper-critical and weirdly demanding at times, and eager to see through the veil as presented to them. Or so they seem to see it. TT commenters seem more like they want to see the veil. They are more along for the participation mystique aspect of things as presented, perhaps partly due to the rapid fire pace of browsing very short videos. At the same time, I feel less frequently that YT commenters are “playing along” in a sort of suspension of disbelief (rather than active belief) relative to TT viewers who very much do seem to be playing along. Probably due both to content & format differences, along with user base and other factors. Who knows.

Anyway, my emotional reaction, my gut feeling, after having seen a lot of activity on both platforms is that people online like & need to criticize each other. I am no different, I’m sure. One tried & true way to get engagement in a hyperreality campaign is to take the road of triggering the critics. Getting people to speak up, to correct. Directed provocation is as old as the hills. Counter-engagement is still engagement. Traffic is traffic.

To sum it all up, I guess I would say that the art of crafting a hyperreal conspiracy is, you want to leave plenty of room for the audience to speculate, to criticize, to question, to believe, to feel wonder, etc. To leave room for the broadband spectrum of human experience that makes up this hyperwebbed interworld we all live in now. And the algorithms will bring it to the people. And the people will basically do the rest. They will project any and everything into it, any which way they can. They will free associate, make assumptions, and state unqualified assertions as facts. Rinse repeat as a fractal. This is simply how online communication functions. You read something. You “like” it, you share it, you pose with it for status, etc. People reinforce each others likes. And that starts to count for more than anything. As it should be. As it shouldn’t be. And everything in between. In the future there are few answers, and also immeasurably more. We just have to ask the right questions, and undertake the right quality of investigations. Bring of ourselves everything we can, bring it to light, and examine that too. The conspiracy isn’t just outside. It is within. The hyperreal continuum.

Grotto-Heavens (Taoist mythology)

Source

The Grotto-Heavens and the Blissful Lands are worlds believed to exist hidden within famous mountains and beautiful places. They are earthly paradises that do not suffer from floods, wars, epidemics, illnesses, old age or death. Such imaginary places are usually known by the single compound, dongtian fudi. However, the two words originally referred to different things, fudi broadly meaning “paradise” and dongtian denoting an underground utopia.

One of the earliest descriptions of the Blissful Lands is found in the Baopu zi. The major mountains, says Ge Hong, “have gods of their own, and sometimes earthly transcendents (dixian) are to be found there too. Numinous mushrooms (zhi) and grasses grow there. There you can not only compound the medicines, but also escape war and catastrophe” (see Ware 1966, 94).

And, very interesting vis-a-vis Quatrian mythology:

Another feature of the grottoes is that, although each one is independent of the others, they are all linked in a network by underground passages called dimai (“earth channels”).

Secret to Effective World-Building?

This actually strikes me as good advice about world-building (archived), based on what I’ve seen in the wild. Plus it references a Gary Larson Far Side cartoon. What more could you ask for?

I’ve become convinced that that’s the real secret to effective worldbuilding in gaming media. Certainly, the “core” of the setting should make sense, but all the peripheral stuff surrounding it? Just throw in a bunch of incomprehensible bullshit seasoned with the occasional bit that almost makes sense, and people will seize on those bits and ratonalise all the rest of it for you – and what they come up with is generally going to be way more interesting than whatever your original plan was, if indeed you had one at all.

Hidden Ireland Quote

Just finished “Hidden Ireland” by Daniel Corkery, which was a great read. I’m trying to determine the provenance of this quote in it on page 180, but not having any luck outside of this book.

“He who understands my music aright is lifted above the sorrows of the world.”

And here’s a link to the quote in context in the book.

Quotes from The Beginning Place by Ursula Leguin

Notes from having read this book recently, which I loved.

Page 39:

“Part of the pleasure of being here was that he could listen for and obey such impulses and commands coming from within him, undistorted by external pressures and compulsions.”

Page 73:

“It was being alone here that was the joy of it. Being alone, not having to try to handle other people, their needs, demands, commands.”

Ulster Cycle (Irish myth, societal depictions)

“Unlike the majority of early Irish historical tradition, which presents ancient Ireland as largely united under a succession of High Kings, the stories of the Ulster Cycle depict a country with no effective central authority, divided into local and provincial kingdoms often at war with each other. The civilisation depicted is a pagan, pastoral one ruled by a warrior aristocracy. Bonds between aristocratic families are cemented by fosterage of each other’s children. Wealth is reckoned in cattle. Warfare mainly takes the form of cattle raids, or single combats between champions at fords. The characters’ actions are sometimes restricted by religious taboos known as geasa.”

Wikipedia

Some Technology-Based Data From Viewers of a YouTube Conspiracy Channel

Our source continues to provide us with some interesting data… This time about the technological patterns of viewers to a conspiracy channel on YouTube.

Interesting stuff!

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