Who are the trolls?

What we know about the men (and sometimes women) who spend their days trying to provoke a reaction on the internet.

What's the best definition of an internet troll? Here are two I like:

“A computer user who constructs the identity of sincerely wishing to be part of the group in question … but whose real intention is to cause disruption and/or trigger conflict for the purposes of their own amusement.”

--- Dr Claire Hardaker, academic researcher

The less famous of two people in a Twitter argument.                                                                                                            

--- @ropestoinfinity

Between them, they catch the complexity of the huge, sprawling phenomenon we've come to call trolling. For, as pedants will tell you, the name originally meant someone whose activities were irritating, but essentially harmless: one Guardian commenter confessed in a thread asking trolls to out themselves that he spent his time on Christian websites, calling Herbie: Fully Loaded blasphemous, because it involved a talking car. 

Now, the term is used much more broadly, to mean anyone who enrages, disrupts or threatens people over the internet. It's usually assumed that there is a simple power dynamic at work - good people get trolled by bad people. (The media loves this, because a campaign against a faceless, anonymous group that no one will admit to being a part of is the easiest campaign you'll ever run.) But it's not that easy. When a famous comedian gets mild abuse on Twitter, and retweets it to his followers, encouraging them to pile on, who's more at fault? If a person has ever said anything rude or offensive against about another person online, do they lose their right to complain about trolls?

The academic Claire Hardaker has proposed a useful taxonomy of trolls:

RIP trolls, who spend their time causing misery on memorial sites;

fame trolls, who focus all their energies on provoking celebrities;

care trolls, who purport to see abuse in every post about children or animals;

political trolls who seek to bully MPs out of office; and many others besides.

To these I would add two more: first, subcultural trolls - or "true" trolls - the ones who trawl forums full of earnest people and derail their conversations with silly questions, or hackers like "weev" who really work at being awful (he was involved with a troll collective known as the "Gay Nigger Association of America" and a hacking group called "Goatse Security"). And second, "professional trolls" or "trollumnists": writers and public figures like Samantha Brick and Katie Hopkins whose media careers are built on their willingness to "say the unsayable"; or rather, say something which will attract huge volumes of attention (albeit negative) and hits.

Although there is still relatively little research into trolling - I would recommend Hardaker's work if you are interested, along with that of US academic Whitney Phillips - we can begin to see a few patterns emerging.

Most of the high profile prosecuted cases in Britain have been of young men: 19-year-old Linford House, who burned a poppy in protest at "squadey cunts"; 25-year-old Sean Duffy, who posted offensive words and images on the Facebook sites of dead teenagers; 21-year-old Liam Stacey, who tweeted racist abuse about Fabrice Muamba while the footballer lay prone and close to death on the pitch; 17-year-old Reece Messer, who was arrested after telling Olympic diver Tom Daley "I'm going to drown you in the pool you cocky twat". Messer suffered from ADHD, and Duffy from a form of autism.

The stereotypical profile doesn't fit all abusive trolls, of course. Frank Zimmerman, who emailed Louise Mensch "You now have Sophie’s Choice: which kid is to go. One will. Count on it cunt. Have a nice day", was 60 when he was prosecuted in June 2012. (Zimmerman was an agoraphobic with mental health issues, which the judge cited when ruling that he would not face a custodial sentence.) Megan Meier committed suicide after being sent unpleasant messages by a Facebook friend called "Josh". Josh turned out to be Lori Drew, the mother of one of her friends.

Sub-cultural trolls often share a similar profile to abusive trolls: young, male and troubled. I asked Adrian Chen, the Gawker writer who has unmasked several trolls such as Reddit's Violentacrez (moderator of r/chokeabitch and r/niggerjailbait), if he had seen any common traits in the sub-cultural trolls he had encountered. He said:

These trolls are predominantly younger white men, although of course trolls of all gender/race/age exist (one of the trolls that has been popping up in my feed recently is Jamie Cochran aka "AssHurtMacFags" a trans woman from Chicago). They're bright, often self-educated. A lot seem to come from troubled backgrounds. They seem to come from the middle parts of the country [America] more than urban centers. 

There's this idea that trolls exist as Jekyll-and-Hyde characters: that they are normal people who go online and turn into monsters. But the biggest thing I've realised while reporting on trolls is that they are pretty much the same offline as online. They like to fuck with people in real life, make crude jokes, get attention. It's just that the internet makes all this much more visible to a bigger audience, and it creates a sort of feedback loop where the most intense parts of their personality are instantly rewarded with more attention, and so those aspects are honed and focused until you have the "troll" persona... I don't think you ever have a case where you show someone's real-life friends what they've been doing online and they would be completely surprised.

The issue of gender is worth raising, because although men and women are both targeted by abusive trolls, they seem to find women - particularly feminists - more fun to harass. When there are group troll attacks, male-dominated forums such as Reddit's anti-feminist threads or 4Chan's /b/ board are often implicated. The use of the spelling "raep" in several of the threats sent to Caroline Criado-Perez, and the words "rape train" suggest an organised, subcultural element, and Anita Sarkeesian reports that "Coincidentally whenever I see a noticeable uptick in hate and harassment sent my way there's almost always an angry reddit thread somewhere."

Just as there are social networks, so there are anti-social networks, where those who want to harass a given target can congregate. That has an important bearing on any idea of moderating or policing one network: it's harder to clean up Twitter when a co-ordinated attack on a tweeter can be arranged on another forum.

As for why would anyone do this? Well, anonymity is the reason that's usually given, but as Tom Postmes, a researcher at the University of Groningen, says: "It’s too simple, too straightforward, to say it turns you into an animal. In all the research online that we know of, anonymity has never had that effect of reducing self-awareness.” He suggests it might be more to do with the lack of consequences: after all, what percentage of people would steal, or lie, or drop litter, or if they knew they would not caught? 

Other researchers point to "disinhibition", where people feel less restrained and bound by social norms because they're communicating via a computer rather than face to face. Psychologist John Suller broke this down in a 2004 paper into several aspects, which Wired summarised as:

Dissociative anonymity ("my actions can't be attributed to my person"); invisibility ("nobody can tell what I look like, or judge my tone"); asynchronicity ("my actions do not occur in real-time"); solipsistic Introjection ("I can't see these people, I have to guess at who they are and their intent"); dissociative imagination ("this is not the real world, these are not real people"); and minimising authority ("there are no authority figures here, I can act freely").

Finally, US researcher Alice Marwick has a simple, if sad, answer for why online trolling exists:

"There’s the disturbing possibility that people are creating online environments purely to express the type of racist, homophobic, or sexist speech that is no longer acceptable in public society, at work, or even at home.”

If that's true, the abusive trolls are a by-product of how far we've come. Is that any comfort to their victims? I don't know. 

The "trollface" meme.

Helen Lewis is deputy editor of the New Statesman. She has presented BBC Radio 4’s Week in Westminster and is a regular panellist on BBC1’s Sunday Politics.

Alan Schulz
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An Amazonian tribe is challenging scientific assumptions about our musical preferences

The Tsimane’ – a population of people in a rural village in Bolivia – are overturning scientists' understanding of why humans prefer consonant sounds over dissonant ones.

It was 29 May 1913. Hoards of Parisians packed out the newly-opened Théâtre des Champs-Élysées. Messrs Proust, Picasso and Debussy were in attendance. Billed for the evening was the premiere of Le Sacre du PrintempsThe Rite of Spring, a ballet and orchestral work debuted by Russian composer Igor Stravinsky.

The attention and conjecture focused on the theatre that day meant expectations were high. However, within moments of the piece beginning, all preconceived notions held by the audience were shattered, as what was unfolding in front of them was a musical tragedy unlike anything they had ever witnessed.

A bassoon hummed into the ether before ballet dancers stomped on stage; the music, unpredictable with its experimental edge, drove forth the onstage narrative of a young girl whose selection during a pagan ritual saw her sacrificially dance towards death. Stravinsky’s composition and the ensemble of the night caused the room to descend from laughter and disruption to chaos and uproar.

The employment of dissonance – sharp, unstable chords – largely contributed to the audience’s disturbed reaction. Dissonant chords create a tension, one which seeks to be resolved by transitioning to a consonant chord – for example an octave or perfect fifth. These musical intervals sound far calmer than the chords which riveted the audience of The Rite of Spring.

Dissonant and consonant intervals find themselves as binary opposites; the frequencies at which notes played together vibrate determine whether an interval is consonant or dissonant. Consonant intervals have simple mathematical relationships between them, but greater digression from that simplicity makes an interval increasingly dissonant.

It’s long been believed  both experimentally and anecdotally – that the preference among Westerners for consonant chords highlights a universal, perhaps biologically-rooted, leaning among all humans towards consonant sounds. If you were present at the introduction of Stravinsky’s The Rite of Spring on that night of furore in Paris, you’d find it hard to disagree.

There is, however, a growing movement against this consensus. Ethnomusicologists and composers alike argue that favouring consonance may just be a phenomenon that has evolved from Western musical culture. And following the visit of a group of researchers to a remote Amazonian society, these claims could well be grounded in scientific evidence.

Led by Josh McDermott, an MIT researcher who studies how people hear, the group travelled to a village in the Amazon rainforest called Santa Maria. It’s populated by the Tsimane’ – a group of native Amazonians whose rural abode is inaccessible by road and foot, and can be reached only by canoe. There are no televisions in Santa Maria and its inhabitants have little access to radio, meaning exposure to Western cultural influences is minimal.

The researchers were curious to see how the Tsimane’ would respond to music, in order to determine whether they too had a preference for consonant sounds over dissonant ones. To everyone’s surprise, the Tsimane’ showed no preference for consonance; the two different sounds, to the Tsimane’ at least, were equally pleasant.

Detailing their research in a paper published by Nature, the group explains how the Tsimane’ people’s indifference to dissonance is a product of their distance from Western culture and music, removing any purported notion that humans are hard-wired to praise perfect fifths and fourths.

McDermott tells me that the Western preference for consonance may just be based on familiarity. “The music we hear typically has more consonant chords than dissonant chords, and we may like what we are most exposed to,” he says. “Another possibility is that we are conditioned by all the instances in which we hear consonant and dissonant chords when something good or bad is happening, for example in films and on TV. Music is so ubiquitous in modern entertainment that I think this could be a huge effect. But it could also be mere exposure.”

To fully gauge the Tsimane’ responses to the music, 64 participants, listening via headphones, were asked to rate the pleasantness of chords composed of synthetic tones, and chords composed of recorded notes sung by a vocalist. At a later date, another 50 took part in the experiment. They had their responses compared to Bolivian residents in a town called San Borja, the capital city La Paz, and residents in the United States – locations selected based on their varying exposures to Western music.

What made the Tsimane’ particularly interesting to McDermott and his group was the absence of harmony, polyphony and group performances in their music. It was something the researchers initially thought may prevent an aesthetic response from forming, but the worry was quickly diminished given the Tsimane’ participants’ measure of pleasantness on the four-point scale they were provided.

Unsurprisingly, the US residents showed a strong preference for consonance – an expected preference given the overrunning of Western music with consonant chords. Meanwhile, the San Borja and La Paz residents demonstrated inclinations towards consonant sounds similar to the US residents. The implication of these results – that consonance preferences are absent in cultures “sufficiently isolated” from Western music – are huge. We most probably aren’t as polarised by consonance and dissonance as we assume; cultural prevalence is far more likely to have shaped the consonant-dominant sounds of Western music.

McDermott raised the question about why Western music may feature certain intervals over others to begin with:

“One possibility is that biology and physics conspire to make conventionally consonant and dissonant chords easy to distinguish, and so that distinction becomes a natural one on which to set up an aesthetic contrast even if the preference is not obligatory. We have a little evidence for this in that the Tsimane' could discriminate harmonic from inharmonic frequencies, which we believe form the basis of the Western consonance/dissonance distinction, even though they did not prefer harmonic to inharmonic frequencies.”

There has been some criticism of this. Speaking to The Atlantic, Daniel Bowling from the University of Vienna said:

“The claim that the human perception of tonal beauty is free from biological constraint on the basis of a lack of full-blown Western consonance preferences in one Amazonian tribe is misleading.”

Though the results from the Amazonian tribe demonstrate a complete refutation of previous assumptions, people's musical preferences from other cultures and places will need to be analysed to cement the idea.

With research beginning to expand beyond WEIRD people – those from a Western, Educated, Industrialised, Rich and Democratic background – the tastes in music of people the world over may continue to surprise, just as the Tsimane’ did.

The Rite of Spring, which was met with ridiculing reviews has now been canonised and is considered to be one of the most important pieces of music of the twentieth century. A Tsimane’ crowd on that tender night a century ago in Paris may have responded with instant praise and elation. With further research, the imagined Bolivian adoration of a Russian composer’s piece in the French city of love may prove music to be the universal language after all.