The illusion of anonymity: how easy it is to hunt down a troll?

"Come and find me," said the man who didn't believe it was easy to find people on the net, giving his real name. Twenty minutes later, I knew his address, university and current height and weight.

"Come find me."

Last week, I wrote a feature for a tech blog about the problem of abuse on Twitter. To recap, a number of high-profile women have been on the receiving end of some increasingly nasty abusive messages which have run the gamut from sexist slurs and angry rants to threats of rape and violence. These culminated in a series of messages to the journalists Caroline Criado-Perez, Grace Dent, India Knight and Laurie Penny among others which stated that a bomb had been placed outside each of their homes.

In my piece, I had looked at some of the practical tools that might help people, such as the proposed 'Report Abuse Button' and techniques for filtering out threatening or unpleasant messages and managing a Twitter feed when it is under attack.

The link to my piece that I posted on Twitter got a fair few retweets and I got a lot of feedback. Much was positive, some was less so and I had a few discussions with people who thought that my suggestions were unworkable and one or two who just denied that there was really a problem at all.

One chap in particular took exception to what I'd written. I'll call him Liam, although that is not his real name - he tweets under a pseudonym. Liam tweeted me to say "who actually believes these threats?! How could you put a bomb outside the home of a person you don't know. Just block."

This encapsulates two pretty common reactions to the idea of being threatened via social media. First, it's not real, it is "just words" and, second, the person doesn't really know who you are and can't physically harm you. So you should just block them and move on.

The problem with the latter approach, as I tried to suggest to Liam, is that it just doesn't scale. If you are being harassed by hundreds of people from multiple accounts, as has been the case with people like Caroline Criado-Perez, then blocking becomes more than just a chore. As Caitlin Moran put it, "If a woman is getting fifty of these messages an hour, blocking all the abusers becomes something of a thankless, full-time job."

As for the former - well, that is just wrong, isn't it? We live in public now and it could be possible for someone who wanted to carry out a threat of violence to find their victim in real life. I put this to Liam and we went back and forth for a while. "Where do I live?" he asked at one point.

I conceded that it would be more difficult to find someone like him. People like Stella Creasy and Laurie Penny tweet as themselves and have fairly public lives whereas with him there wasn't even a real name to go on.

He replied simply, giving me his real name and adding: "Come find me."

So I did. Because I realised that I was taking a lot of this on faith - the idea that we all traceable and that the dividing line between the internet and the real world is illusory. Mostly, however, I did it because he was being a cocky so-and-so and I thought it might be funny.

It took around 20 minutes. In my next reply to him I told him the town where he lived, the first 3 characters of his postcode, where he went to university and - I was showboating here - his current height and weight.

He went a bit quiet.

A few hours later he came back to me to admit, somewhat sheepishly, that I was correct and that he probably had too much information online. He has since blocked me and I can't say I blame him, really.

So, how did I do it? It was surprisingly easy. I should stress that I am not any kind of hacker. I work in and write about IT and the internet and I know my way around a UNIX box but I didn't have to breach any firewalls or tweeze open any private data vaults. At no point did ASCII characters reflect off my glasses in a darkened room while I chugged Red Bull and typed MANUAL OVERRIDE. Everything I found out about Liam was on the open web.

Facebook was the obvious starting point. I searched and then narrowed down the fifty-odd people in the UK of the same name using a process of deduction, based on other details from his Twitter feed - mostly to do with the kind of music he liked and some concerts he tweeted about attending. I also made a couple of lucky guesses that I was able to confirm by a kind of triangulation with the odd mention of him on other websites and some forum posts. His height and weight came from his rugby team's published player stats. (He's a big lad, so I definitely won't be paying him a visit.)

There was a point where I realised that I could have found out more. By paying for credits on a reverse directory site I could have found out his exact address. Doubtless, if I had been prepared to break the law and had the necessary skills I may have been able to retrieve much more personal data. Equally, if I had the law behind me and could get a court order then I might not even have needed his name to find who he was.

I was surprised by what I was able to find out but it did confirm to me that although the kind of physical threats that people like Criado-Perez et al have been getting have so far turned out to be all bluster, there is a genuine reason to be concerned that someone who is determined enough could carry them out in person.

That sense of anonymity that we feel online is largely an illusion. It is really little more than the anonymity of the herd - the sense that because we are part of a mass of people it is just too much bother for someone to seek us out.

I had no intention of travelling to [place redacted] to meet [name redacted] or to otherwise act on what I found and I was careful not to put anything too personal in my reply to him where someone else might read it.

It is likely that the quarter-wits currently sending poison-pixel messages to journalists and campaigners via social media have no plans to carry out their threats either, but this doesn’t mean that those threats have any less an impact on their targets. Even the fact that a troll or a stalker can dig up personal information about you could be very intimidating.

The one positive, perhaps, is that the police can use their greater resources to achieve the same ends. As several of the trolls tweeting threats of violence and sexual assault have discovered in the past week, it is foolish to assume that an online persona leaves no trace in the real world.

Troll. Flickr/aka Jens Rost, used under Creative Commons
Calvert 22/Courtesy of the artist, Danila Tkachenko
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Ruin porn: the art world’s awkward obsession with abandoned Soviet architecture

Deserted fairgrounds, disused factories and forgotten military bases may look cool, but are we fetishising the remnants of such a cruel history?

Armenia, where one side of my family is from, was one of the first members of the USSR, annexed by Russia in 1922. A few years ago, when I visited this little country that perches precariously in the south of the Caucasus, I was struck most by its Soviet architecture.

Although its landscape is a hotchpotch of medieval Orthodox churches, a smattering of Persian-era domes, and brutalist concrete, it was the latter that particularly stuck out. From unfelled statues of Stalin to giant tower blocks spelling out the letters “CCCP” from a bird’s-eye view (well, half spelt-out – construction stopped partway through, with the fall of the Soviet Union), I’ve never forgotten it.

Perhaps it was so compelling because such stark physical symbols make recent history all the more tangible. A history still profoundly affecting the country of my ancestors (and all post-Soviet and communist states). But also, it just looked really cool.


Mixed air corps, Mongolia. Photo: Calvert 22/Courtesy of the artist, Eric Losito

It’s a bit passé now to mock the hipster obsession with reclaimed industrial detritus, exposed pipes and bare concrete. An aesthetic – that of a post-industrial wasteland, but a chic one – which has gripped western cities for years, and crept worldwide.

But it could be this tendency to find disused stuff visually intriguing, and a morbid fascination with cruel regimes, which has led to the art world’s obsession with abandoned Soviet architecture. A whole wave of artists and photographers have been poking around the eastern bloc’s architectural graveyard in recent years.

Late last year, we saw the hugely popular disused Soviet bus stop series by photographer Christopher Herwig, echoing photographer Sergey Novikov’s equally absorbing collection of abandoned Soviet cinemas from 2013.

Following Russian filmmaker and photographer Maria Morina’s “Atomic Cities” project four years ago, London-based artist Nadav Kander explored the “aesthetics of destruction” in his exhibition, Dust, in 2014, snapping “radioactive ruins” of secret cities on the border between Kazakhstan and Russia. The same year, Moscow photographers Sasha Mademuaselle and Sergey Kostromin travelled to the disputed region of Abkhazia, capturing fragments of its deserted infrastructure.


Fighter aviation regiment, Mongolia. Photo: Eric Losito
 

And photojournalist Anton Petrus’ now iconic pictures of Chernobyl’s abandoned amusement park have long been an internet favourite, as have numerous haunting images of Pripyet – the city famous for lying deserted following the nuclear disaster.

Jamie Rann, a lecturer in Russian at Oxford University, has written that the quality and technical accomplishment of most of this photography make the style more “ruin erotica” than “ruin porn” (the tag being used by some critics), but argues: “The enormous online popularity of this genre . . . combined with their voyeuristic, almost exploitative feel, certainly has something porny about it.”

The latest exploration of Soviet society’s skeletons can be found at the Power & Architecture season at London’s Calvert 22 Foundation. In an exhibition called Dead Space and Ruins, we see abandoned military bases and formerly mighty monuments, forgotten space ports freezing in the tundra, the ghost of an entire unused, unfinished city in Armenia lying derelict.



The unfinished "ghost city" built in Armenia to house earthquake survivors (water added by artist). Photo: Calvert 22/Courtesy of the artist, Vahram Aghasyan

The works are beautiful, but do they feed in to this zeitgeisty lust for Soviet ruins?

One of its curators, Will Strong, laments this trend. “I was keen that this didn’t become like a kind of ‘ruin lust’, ‘ruin porn’ thing; this slightly buzzwordy term that there is at the moment, this kind of fetishisation of dead space,” he tells me.

“This history is incredibly loaded, and it did not end in 1991. To sort of fetishise it in the very bourgeois western way of, ‘oh yeah, look at all this wonderful Soviet architecture, isn’t it fantastic?’ Obviously a lot of people who lived in that time hated it . . . a lot of people were very miserable under these regimes, so it’s important not to forget that.”


Gym at the Independent Radar Centre of Early Detection, Latvia. Photo: Eric Losito

He adds: “It’s more a point of reflection on how buildings were designed, what their legacy is, what their narrative is, and who the people are who live with that story. This show looks at the aftermaths of when utopia hasn’t been delivered.”

This view is echoed by the Moscow artist, Danila Tkachenko, whose work is featured in the exhibition. “It is rather a metaphor for the future, not the past,” he says. “It represents an image of a possible future. When there is a visualisation of this issue [utopia], it evokes a response in people; they see this utopia in their lives . . . There is disappointment in all utopias.”


The world's largest diesel submarine, in Russia's Samara region. Photo: Calvert 22/Courtesy of the artist, Danila Tkachenko

His Restricted Areas series explores great behemoths of European communism left to lie forgotten in the tundra of remote regions in and around Russia and Kazakhstan: the world’s largest diesel submarine, like a beached whale in the snow; a giant satellite, thatched with antennae, built to communicate with Soviet bases on other planets some day; the deserted flying saucer-like communist headquarters in a region of Bulgaria. The structures hover in blank, white space, making the photos appear black-and-white.


Deserted observatory, Kazakhstan's Almaty region. Photo: Danila Tkachenko
 

Anton Ginzburg is an artist who grew up in St Petersburg in the Eighties as the Soviet Union was disintegrating. He believes studies like his film, Turo, of disused modernist constructions in the post-Soviet bloc, appeal to people’s connection to history. After all, picking through the architectural carcasses of former societies isn’t exactly a new thing:

“Russian culture is still haunted by its Communist past, and constructivist architecture is a decaying shell for its ghosts. It is an active reminder of the recent history,” he reflects. “Perhaps [its appeal] is a mixture of memento mori, with its thrill of beauty and destruction, along with a Romantic tradition of contemplation of Greek and Roman ruins.”

(Anton Ginzburg Turo teaser from Visionaireworld on Vimeo.)

The Power & Architecture season is on at the Calvert 22 Foundation, London, from 10 June-9 October 2016. Entry is free.

Anoosh Chakelian is deputy web editor at the New Statesman.