Gillmor Gang: In The Bag
This can be a counter notification. I hope so I remember the day I first started using Twitter. My friend Gabby Rivera suggested that it would be a good idea to sign the running network. Originally it was a land grab – claim real estate in my name. I most likely knew the fundamentals of the new service, but in fact it was somewhat pretentious. Why would I, as the day frame went by, announce what I was having for lunch?
But I knew that Gab was right; I should be in line for the day when it became clear what it was good for. As Professor Irwin Corey would say Adam had previously said to Eve: Stand back, I don’t know how big it’s going to be. So I did, and sat back for about a year. Eventually some thread caught my eye, or my ego encouraged me to think that someone might be interested in my lunch. Because of this we all made a series of discoveries about how this thing could work if it could not crash from the roots of its unstable neo-scalable scripting language.
One of the most interesting things in those early days was to misuse the network for creative purposes. If the logic of posting was to deliver meaningful content that would be of interest to a large audience, then we would have known where it was headed. A triple version of celebrities, verified accounts, mainstream media big leagues. Might be logical, but not something I was interested in. On the contrary, I recollected the exact opposite, an experience where the result was already something else. Was. One trick was to make me speak constitutionally to a small audience of people I was pinging with their username.
This may or may not have preceded @mention, but the intention was to send a message to someone who had been notified of the attempt by notification. Alternatively, a short but targeted series of accounts was followed by a stream of posts from people who shared some vested common interests. Either way, ultimately these @mention Megh became a rich source and an object of breaking news, jokes and social energy. I enjoyed the occasional response, and would respond as soon as I had a private chat. The theory went: if it bothers people, they will unfollow me and be happy for it. Many did, and were.
Moving on from now on, I still use Twitter for the most part. I set my notification stream to display to my followers, first around 50, then 100, now above 4 or 500. It is visually disruptive at the top of the screen; When I am trying to read the first two lines of a page, reading an ebook book is a slow experience in a span of a few hours. But what I get is reminiscent of the coffee house circle of friends during college days. The major news media breaks through repetition when someone dies or succeeds, but is also arbitrary of entrepreneurs and thought leaders, the masters of the industry who republish the direct channel, Digital Underground Politicians, comedians, culture mates and cowgirls, right, left, and centrist.
It is a living breathing thing, and it is different from everything else. Facebook is what you think about it, but I am saddened for its function as the glue between family, friends and a shared personal history. Never mind that once it flows it is impossible to find anything. I hate it yet appreciate it. But Twitter is an incomplete pacemaker in my chest, beating the pulse of the nation, the notifications starting in Europe, then the East Coast, finally the Valley and Hollywood, before I get beyond reality and the next day on the hill. .
As michael markman Jerry Seinfeld’s quote on this Gilmour Gang episode, “It’s never in the bag, and you’re never out of the running.” Yes, as we move towards the election, Trump dominates the service and every other network. Twitter fills in some of the epidemic gaps in traditional propaganda. Some are good with Twitter; Are nothing. But when shouting overs and ballots are counted, Trump may or may not stand. Twitter will definitely do. Just don’t call it Shirley.
Gilmour Gang – Frank Redis, Michael Markman, Keith Tier, Dennis Pombrient, Brent Leary, And Steve Gilmour . Recorded live on Friday, September 11, 2020.
Produced and directed by Tina Chase Gilmour @tinagillmor
@fradice, @mickeleh, @denispombriant, @kteare, @brentleary, @stevegillmor, @gillmorgang
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