#ingroup

👇🏻👇🏻👇🏻

We live in a time when groupthink and echo chambers are everywhere, where ingroup radicalisation, cult-like behaviours and submission to scammers and demagogues seem to be defining patterns of the era. Blame for these things is often laid at the feet of algorithms, of politicians, of capital - in many cases rightly so - but we all individually play the game too. We build the walls of our own cultural gated communities, with tweets and artworks and individual choices about where to go and what to say, and the more we do so the more those spaces that we force ourselves – and others – into become more or less gilded prisons. We all think we’re hip to something, and end up orbiting that something endlessly.

The first rule of hip club is you don’t talk about hip club. That is: if you’re serious about your aesthetic nowadays, you do your very best to not acknowledge that it even is an aesthetic – let alone identify its rules and delineations. Now, of course this doesn’t go for everyone: there are still anime cosplayers, emo kids and others who still gauchely adhere to the overt “style tribe” late 20th century ways of belonging. But these are exceptions that prove the rule. Far more often the things that make us “us”, that hold us together, are still based on taste - but these tastes that provide us with a sense of belonging are signalled covertly. They’re signalled not by discussing, or even necessarily knowing, what preferences make you belong among Your People, but rigidly enforcing the ingroup-outgroup divide with reactions against The Others’ tastes: through a set of real or figurative winces, grimaces and cringes. 

Oh yes, the cringe. That most visceral response, often deployed simply as a single word sentence by the Terminally Online, the argument ender to end all argument enders: just “cringe”. It’s noun, verb and adjective all rolled together into a gut level rejection, and it’s a dead giveaway that so, so many parts of The Discourse - as people solipsistically have it - is based way more on aesthetics than it is on any kind of coherent set of positions. That is, it’s less about showing revulsion at ideas, than about the fact that they’re expressed gauchely or clumsily or simply with the wrong slang. It’s a social cue, a nod to one’s fellows, to acknowledge shared good taste in memes, phrases and cadences, which one’s interlocutor has unforgivably failed to engage properly with. 

This kind of of us-and-them cringe-signalling operates in various ways across society, but perhaps the most fundamental dichotomy is basic vs hip, or normie vs hip. This in itself is framed in a variety of ways, but a super simplified version might run like this: influencer culture, sincere slogans, Will Ferrell and The Office memes, Goop wellness, "Fiat 500 Twitter" on one side - and shitposting, pursuit of the latest zero-caps punctuational microvariant, everything intellectualised but ironised, the moods formerly known as “based” and "dank" on the other. The former sees the latter as smug, pretentious, nonsensical, messy while in the other direction the hip cast the basics as conservative, simplistic, unimaginative, conformist. Each cringes at the other, each considers the other fundamentally in bad taste.

And these dichotomies are held in place firmly by the material interests of vested powers. So to keep with our sample duality, on the basic side, there are the affirmatory or aspirational solution-havers, the Matt Haigs and Johann Haris, Rupi Kaurs and Molly Maes, while on the hip side there’s the Somethingawful-to-Vice-to-Broadsheet ironymonger pipeline and the Politics Podcast Industrial Complex embodied in people called things like “PissPigGrandad”. Each relies on hate and fear of the other to provide a steady stream of attention and income to those who shore up their own self-image, who normalise an way of being, who provide just enough answers to make people feel like they’re on the right track, but not so many that they won’t keep coming back for more. Yet each is, of course, built on a lie. 

The basic think they are commonsensical and unpretentious, but actually adhere to byzantine aesthetic and political codes of belonging. The hip think they are switched on, fast moving and progressive but in fact their gatekeeping is deeply conservative: the solipsism of believing an echo chamber is “The Discourse”, no matter how ironically you try to couch that, is all about normalising enormously limited race, age, nationality and class boundaries around what is acceptable. Both are co-dependent false divisions of ideas and people made to shore up power structures and the interests of the privileged, and both are built on aesthetics above all else. Each is, in its own way, an insistence of good taste.

Once you see this, you see it everywhere. There are so many versions of this mutually exclusionary duality. Sometimes they’ll manifest as ostensible generational, regional or professional divides, sometimes as scene or faction schisms (and note well, political factions have more in common with musical, fashion or social scenes than anyone within them would ever care to admit). Each time, if you look, you’ll find that they are defined more by aesthetics than ethics: by those assemblages of catchphrases, by certain quirks of timing and emphasis. Whether it’s Dawkins and Harris quoting facts-and-reason guys defining themselves against what they think of as a feminised, emotion-driven mushiness in the barbaric masses, or underground music fans against the flash and spectacle of EDM, or vintage specs wearing postgrad ketamine-leftist cliques against “shitlib centrists”, or crypto-bros against anyone who doesn’t have a wallet, all too often the sense of self is generated by what one is NOT. 

And each time if you dig into what is happening in these oppositions, you’ll find someone benefitting in real, material terms: spokespeople, figureheads, demagogues, people whose theories or slogans are rallying points for believers and who rely on those believers for speaking engagements, podcast and newsletter subscriptions, NFT sales, academic tenure, political appointments, newspaper columns. There is a whole egosystem of commentariat and metacommentariat whose job appears to make bogeymen of one another, yet who one all too often finds in the upper echelons are on perfectly friendly terms when they run into one another in green rooms of media recordings, backstage at literary festivals or in the offices of the agents that they share. This last location not picked idly, n.b.: one of the UK’s loudest hip-left commentators of the past decade shares a literary agent with a leading hip-right provocateur and an old-school hard-right rabble rouser: they are very literally all in it together.

All of this, it really bears repeating, is built on lies, and further, is built on consciously or unconsciously deliberate obscuring of the truth, in order to support these power structures. If ever you see an argument that’s built around one of these abstracted dualities - pop vs underground, modernist vs traditional, respectable vs transgressive, health vs pleasure, decadence vs morality, rationalism vs “the blob”, take your pick - you can be sure that not only is there someone making cultural or actual capital out of it, but that they are muddying waters to make it more difficult to make out the connections, genealogies and human realities underlying what is being discussed. An appeal to take a side in one of these, ultimately aesthetic, judgements – an appeal to show good taste – is an appeal to feel the cringe instead of analysing what one is cringing at. It’s an appeal against scholarship.

Which is why we must, with extreme prejudice, abolish the concept of good taste. “In principle,” said the DJ and dance music producer Chrissy in 2020, “I think the idea of good taste is classist and racist! Usually whatever's considered good taste is what the most powerful or most educated or wealthiest people feel comfortable yelling about, and the ones out of them that can yell loudest and most eloquently about it, as a society we call that good taste.” And he is entirely right. No matter how you define “good taste”, you are defining it as a power relation, an exclusionary tool, a way to deride. 

Which is not to say that taste and discernment don’t and shouldn’t exist – but they exist in the sense that scholarship exists. Not ivory tower, status-accrued-by-citations scholarship, but scholarship as in demonstration of knowledge accumulated and the practice of accumulating it. The kind of scholarship that’s as likely – or perhaps more likely – to be exhibited by autodidacts as celebrity professors. You can’t judge scholarship according to winces, grimaces and cringes, you have to take it on according to what it is actually saying about its subjects and objects: and so with taste. Someone’s taste should impress precisely to the degree that they demonstrate that they know and care about the objects of their affection, not for its adherence to a social code imposed by vested interests. 

Maybe there are reasons to hope. The early years of this century were formed by information glut, by seemingly all of cultural history being available all at once. Many thought this would lead to cultural paralysis, a dissipation into undifferentiated “conent”, and a death of innovation – and certainly it can be seen to have driven a retreat into reactive and reactionary positions. When bold statement of preference and belonging is made difficult by the baffling array of choice, covertly coded taste bubbles are an inevitable outcome. But two things abode. 

Firstly, those genuine old-school style tribes, from cosplayers to grime lovers, who grew up together over years, put in the time together, and truly and positively identified with what they do, and the real spatio-temporal existence of what they do, in defiance of the grimaces of others. Second, the rise in value of curation. It’s a word often derided because of its ubiquity in marketing speech, and mocked because “everyone’s a curator” (or “everyone’s a DJ”) nowadays. But curation at its best is precisely the kind of pride in scholarship and individual ability to map connections across the information ocean, that can short circuit the demands of good taste.