The swarms of online surveillers typically only know how to detect clearly stated opinions, and the less linguistic jouissance the writer of these opinions displays in writing them, the easier job the surveillers will have of it. Another way of saying this is that those who read in order to find new targets of denunciation are so far along now in their convergent evolution with AI, that the best way to protect yourself from them is to conceal your writing under a shroud of irreducibly human style

Such camouflage was harder to wear within the 280-word limit on Twitter, which of course meant that the most fitting and obvious way to avoid the Maoists was to retreat into insincere shitposting — arguably the first truly new genre of artistic or literary endeavor in the 21st century, which perhaps will turn out to have been as explosive and revolutionary as, say, jazz was in the 20th.

Our master shitposter has perfectly mirrored the breakdown of sense that characterizes our era — dril’s body of work looks like our moment no less than, say, an Otto Dix painting looks like World War I

through the lens of critical media literacy, I argue that shitposting exists as an online pedagogical technology that can potentially reorient the network of relationships within social media spheres and expand the possible range of identities for those involved. To illustrate this argument, I conclude with a close reading of posts from two Twitter accounts: dril, an anonymous user who has managed to inform political discourse through his shitposts, and the corporate account for the Sunny Delight Beverage Corporation. I describe how tweets from these accounts engage shitposts in divergent ways. In doing so, I contend that these tweets reveal shitposting’s potential for contributing to the democratic aims of critical media literacy education, but the appropriation of that practice by large corporations and individuals imbued with political power jeopardize that already fraught potential.

Beyond the narrow framing of previous literature that only considers the use of shitposting for social exclusion or as fascist propaganda, I argue for an encompassing approach to this discursive tool that embodies a polysemic and open-ended cultural politic.

The analysis presented here shows that the circumstances under which shitposts circulate hold significant information when trying to understand the potential of these texts within a critical pedagogy. Expanding this assertion to consider other discursive technologies, it follows that both public pedagogy and critical media literacy research must continue to examine not only media itself but how pieces of media circulate, considering both who (or what) this media circulates between and where in that circulation people can begin to challenge the digital milieu.

I contend that positioning shitposting as a uniform tool in terms of its politics within previous scholarship misrepresents the practice. Instead, shitposting can serve a multitude of pedagogical ends depending on how individuals and groups use shitposts.

shitposting represents one tool within this broader, holistic understanding of public pedagogy, albeit one that often manifests unintentionally. By producing turbulence within social media, shitposting can contribute to the public pedagogies of social media that mirror the goals of critical media literacy education. However, a deployment or engagement with public pedagogy does not guarantee a critically oriented outcome.