![]() ![]() Levine, Forms: Whole, Rhythm, Hierarchy, Network (Princeton UP, 2019), of which a review can be read here.įrom Svetlin Vassilev’s Antigone (2013), reproduced with the artist’s permission (© Vicens Vices, Barcelona, Spain). Rather, like the recent study by Caroline Levine, I am interested in form as both an aesthetic and political means of structuring power. Dewald, “Narrative surface and authorial voice in Herodotus’ Histories,” Arethusa 20 (1987) 147–80, which can be read here in 2020, Dewald revisited her ideas in this video for the Herodotus Helpline. My interest here is not in how information is weaponised: on this, Cathryn Dewald’s classic 1987 article tracing Herodotus’ inquiring path through competing accounts ( logoi) would repay consideration. Their very form – demanding likes, funnelling responses – underpins, replays and drives conflict. The “them and us” discourse has been particularly stratified, and stratifying, on social media platforms where black-box algorithms function to drive strong emotions (as they track individuals’ preferences for advertisers). ![]() Whether in “Brexit Britain” or the ”Trumperiness” of US society, political debate appears inescapably doomed to endlessly replaying social divisions. ![]() ![]() Which effectively means upsetting the far right and the far left equally.Ĭivic discourse has never seemed so polarised. For Twitter to deserve public trust, it must be politically neutral, ![]()
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