This image points to an instance of “astroturfing” as a practice of converting economic capital into political power through the purchase and/or production of an illusion of grassroots support. The image is composed of a juxtaposition of a photograph of a New Orleans City Council meeting with a screenshot taken from the company website of Crowds on Demand, a freelance publicity firm that specializes in contracting crowds of actors to influence legislation and sway public opinion. In this particular instance, Crowds on Demand was contracted to influence the New Orleans City Council to approve the construction of a new natural-gas power plant in New Orleans East, a predominantly immigrant and minority community that has a long history of struggling against similar instances of environmental racism. The fallout from this astroturfing campaign, as well as the failure of the City Council to respond adequately, has called the very possibility of a meaningful democratic politics into question. The image thus attempts to make use of this particular breach of trust to exemplify and discuss astroturfing as a toxic force that deteriorates the meaning of symbolic forms and therein leaches the potential for meaningful political action.
In 2018, Crowds on Demand was indirectly contracted by Entergy (a New Orleans based energy company) to hire dozens of professional actors to create the impression of strong grassroots support for a new, $211 million natural-gas plant in east New Orleans. Despite attempts to obscure their involvement through subcontractors, the combined evidence garnered through the investigations of The Lens (a local non-profit newsroom) and a city-commissioned law firm suggests that the company intentionally financed the hiring of false advocates to overcome the otherwise formidable grassroots opposition taking hold in the communities living in close proximity to proposed construction site. On two occasions, these trained actors flooded New Orleans’ City Council meetings, providing fraudulent testimony as false constituents while simultaneously preempting actual constituents from entering the meeting and participating in the discussion. The photograph of one such meeting—located the bottom of the combined image—shows the numerous bright-orange shirts and bold printed signs, held by a diverse group of inconspicuous looking actors, that provided a convincing representation of popular support for the new plant. What cannot be captured here, however, are the lists of talking points developed and given to the actors by Crowds on Demand, along with non-disclosure agreements and strict instructions to avoid the media and deny any accusations of monetary compensation for their appearance.
The disciplining of deception in this way enabled Crowds on Demand’s involvement to remain concealed until after the City Council had already approved the controversial power plant in March of 2018. However, with numerous convergences of evidence of Entergy’s willing financial connection to this bout of political theater, crowds of disaffected citizens—this time authentic—soon gathered in protest, calling for the City Council to respond by holding a vote to repeal the plant’s approval. The Council initially appeared to be receptive to this idea but later refused a second vote on the issue, choosing instead to impose a $5 million fine on Entergy for their deceptions. This disappointment prompted further skepticism of the City Council’s allegiances, a mistrust not unwarranted, given that the majority of current council members had either received substantial campaign contributions from Entergy or had previously worked for the energy company. Thus, in addition to the safely-assumed public health impacts of the off-gassed chemicals of the future power plant, this coming to light of evidence of corruption and professionally organized deceit has fomented a sense of fatalist cynicism amongst residents of New Orleans East. Take, for example, the words of one local activist, Ming Nguyen: “We’ve done this community-based process, but I don’t know if it ever mattered, because this decision was made before there was ever a hearing.” Thus, perhaps this instance of astroturfing was a double deception, a falsification of grassroots support that enabled the City Council to act as if they had been persuaded, when in reality, in order to protect the City's vested interests, they were always already going to approve the plant. I am neither able nor particularly interested in endorsing or denouncing this view. Aside from whether or not the New Orleans municipal government is actually plagued with this degree of corruption, the fact that it is being posited cuts to the core of what I mean by post-trust.
One way of understanding toxicity is as a reactive force, a force of deterioration, with the effect of rendering the active passive; toxicity as a leaching of vitality. As such, toxicity is not an essential but a relational property of that which inhabits channels of communication and impedes or alters the signals between senders and receivers, broadly conceived. Like the parasite (Kockelman 2010, Serres 2007), its effect is not simply upon an object or a "host" as a single unit. Instead it takes effect within a system of relations as an impedance, or a corrosive agent. For instance, neurotoxins work by either reducing the production of neurotransmitters or by blocking the reception sites between neurons. Hemotoxins interrupt cardiovascular system by disrupting blood coagulation processes, therein precluding its normal flow. Analogously, the campaigns of Crowds on Demand—and the practice of astroturfing more generally—are toxic because they inhabit the gaps, the interstices of symbolic channels of democratic political participation so as to filter, jumble, or overload these channels in ways that circumvent the democratic process.
If we take democracy to be a uniquely symbolic and performative mode of politics (Matynia 2009), then we must also appreciate the fundamental role of our capacity to trust in the sincerity of these symbolic performances. Like a well-camouflaged parasite, Crowds on Demand hides within the established symbolic forms of grassroots-based political expression (protests, rallies, testimony, letters to congress, etc.), all the while diminishing their value. It sustains itself on the very same trust in the democratic process that it undermines. Accordingly, Ming Nguyen’s quote perfectly encapsulates the potentially toxic effect of Post-trust politics. It denotes an acquiescence, a sense of loss and resentment, of isolation and futility that is symptomatic of losing faith in one’s capacity to act.
This image is an illustration of a mode of political toxicity that takes effect through the manipulation of symbolic forms. It serves as an example, a case in point, of how the inherently symbolic grounds of democratic political action leaves its modes and forms of representation vulnerable to distortion. The ethnographic utility of this image is rooted in its ability to provide a “thicker” conception of what astroturfing is as a concept and practice by providing the viewer with visual access to a single, exemplary manifestation. It manages to do so by taking advantage of the ethnographic technique of juxtaposition. The screenshot of website shows a number of grassroots political tactics that Crowds on Demand lists as potential symbolic forms available to mimicry. The image of the city council meeting then provides a snap shot of this practice, capturing the likeness of this imitation in the moment. Illustrations like these are useful in ethnography to add precision and substance to the concept, situation, or process being described. That is, much like an ethnographic vignette, they enable the ethnographer to reduce the ambiguity of theory by detailing a particular situation, event, or episode of interest.
“Crowds on Demand.” n.d. Crowds On Demand. Accessed May 10, 2019. https://crowdsondemand.com/.
Kockelman, Paul. 2010. “Enemies, Parasites, and Noise:How to Take Up Residence in a System Without Becoming a Term in It.” Journal of Linguistic Anthropology 20 (2): 406–21. https://doi.org/10.1111/j.1548-1395.2010.01077.x.
Matynia, Elżbieta. 2009. Performative Democracy. The Yale Cultural Sociology Series. Boulder: Paradigm Publishers.
Serres, Michel. 1982. The Parasite. Translated by Lawrence R. Schehr. Baltimore: Johns Hopkins University Press.
Stein, Michael Isacc. 2018. “Actors Were Paid to Support Entergy’s Power Plant at New Orleans City Council Meetings.” Newsroom. The Lens. May 4, 2018. https://thelensnola.org/2018/05/04/actors-were-paid-to-support-entergys-....
Adams, James. 2019. “Created Image: Crowds on Demand: Toxicity and Symbolic Form.” In Static: The Toxic Knowledge Politics of a Post-trust Era, created by James Adams. In Visualizing Toxic Subjects Digital Exhibit, curated by James Adams and Kim Fortun. The Center for Ethnography. June.