|
00:00 - 0:00:02
*Music*
|
|
0:00:02 – 0:00:31
[Music]
|
|
0:00:31 – 0:00:39
Hello and welcome to a new edition of the digression. Where I sometimes go from
|
|
0:00:39 – 0:00:49
The topic is digressive or not. I'm Sascha Markmann and I say hello. Today's topic is
|
|
0:00:49 – 0:01:00
Top labels and the psychology behind them. I did a podcast in disarray.
|
|
0:01:00 – 0:01:17
In which it liked YouTube, i.e. where criticism comes from or is referred to as bullying. Then I have
|
|
0:01:17 – 0:01:29
I made a podcast that came from the group of Leisenstille. It was about
|
|
0:01:29 – 0:01:40
a pattern of communication, denial, attack and victim reversal, the so-called
|
|
0:01:40 – 0:01:56
described patterns before and there were some hard reactions to it and that's why it should now be
|
|
0:01:56 – 0:02:08
Let's go. We all know this from social media. There are quarrels, labels and drama are produced,
|
|
0:02:08 – 0:02:17
The algorithm likes this very much. But instead of just paying attention to the conflict,
|
|
0:02:17 – 0:02:25
Let's look at the mechanics behind it. It's almost like we're psychologically
|
|
0:02:25 – 0:02:40
Diagnosis, assessment, classification and how do these disputes work? So
|
|
0:02:40 – 0:02:48
Let's start with that. How's this going? On Instagram, YouTube or in Shorts, in Reels,
|
|
0:02:48 – 0:02:57
In Stories, we see the same choreography over and over again. Someone criticizes someone else,
|
|
0:02:57 – 0:03:04
the other responds fairly promptly, almost immediately, publicly and with clear peaks.
|
|
0:03:04 – 0:03:11
And quickly labels and terms fall, which put the opponent in a drawer in advance.
|
|
0:03:11 – 0:03:21
Scrap radio, Asifunk or similar devaluations. Importantly, these terms act like cognitive
|
|
0:03:21 – 0:03:33
Filters. They hear more or less or whoever hears them already has a picture in their mind,
|
|
0:03:33 – 0:03:43
Before it even comes to content. The whole thing produces images like "the one can't do anything",
|
|
0:03:43 – 0:03:52
"he's just talking bullshit anyway" or "there's not much to expect anyway, there's junk".
|
|
0:03:52 – 0:04:00
So, what are the techniques behind it? These are some typical mechanisms.
|
|
0:04:00 – 0:04:09
Frame control. With a single word, the narrative is steered. Who says junk,
|
|
0:04:09 – 0:04:18
The decision was made before the discussion began. The well-known Davor pattern. First will be
|
|
0:04:18 – 0:04:29
Denied, then reactivated, then attacked the critic and in the end the victim role turns
|
|
0:04:29 – 0:04:40
um. "I'm being criticized" becomes "I'm being bullied." The next point would be the "Ephemeral
|
|
0:04:40 – 0:04:49
escalation. Stories disappear after 24 hours. They are ideal for putting tips without them
|
|
0:04:49 – 0:04:57
They are easy to prove. What remains are reels or clips. Selectively as desired image
|
|
0:04:57 – 0:05:06
be conserved. The last point would be humorous devaluation. Labels like Asifunk
|
|
0:05:06 – 0:05:14
It works not only as a devaluation, but also as a running gag. Humor is aggression.
|
|
0:05:14 – 0:05:22
And even if you haven't done anything on the subject for weeks, good three weeks,
|
|
0:05:22 – 0:05:35
is repeatedly expressed in Live on YouTube or in other channels pejoratively about it.
|
|
0:05:35 – 0:05:44
There are always tips, again and again. And this is proven by other content creators,
|
|
0:05:44 – 0:05:48
with whom you stand in the air. That even if you don't do anything for months,
|
|
0:05:48 – 0:05:55
There are always peaks. But what is psychologically behind it now, i.e. purely hypothetical?
|
|
0:05:55 – 0:06:05
Hypothetically, such behaviors play certain personality dimensions
|
|
0:06:05 – 0:06:15
again. A high reward sensitivity, likes and range act like an amplifier. Each
|
|
0:06:15 – 0:06:23
Every reaction gives a dopamine kick in the short term. The brain literally floats in dopamine and you
|
|
0:06:23 – 0:06:35
It's pretty horny. Range, clicks, admiration. That can be cool. The next point is an
|
|
0:06:35 – 0:06:42
fragile self-esteem system. Criticism is seen as a threat. Therefore, the fast, partly
|
|
0:06:42 – 0:06:48
aggressive backlash. Yeah, if you don't like what I'm doing, that's bad because
|
|
0:06:48 – 0:06:56
I'm so cool, I'm so horny. The others reward me. If you criticize me,
|
|
0:06:56 – 0:07:04
Something must be broken with you, not me. Then there is dominance. dispute
|
|
0:07:04 – 0:07:12
is not avoided, but sought because it allows a status game. I can stop over
|
|
0:07:12 – 0:07:21
Raise the other, I can discredit the other, put him in a drawer
|
|
0:07:21 – 0:07:28
I'm stuck and so I always have a slightly higher level, because I determine the playing field,
|
|
0:07:28 – 0:07:36
I set the rules and you're on my terrain right now and you have to do what I want
|
|
0:07:36 – 0:07:43
And what I allow. And then there is external attribution. Have I got it right
|
|
0:07:43 – 0:07:53
pronounced? Attribution. Yeah, yeah, yeah. Guilt or mistakes are consistently prescribed to others.
|
|
0:07:53 – 0:08:01
They are formally sought. You go through all the content. You work for days,
|
|
0:08:01 – 0:08:08
listens to hours over hours, oh what do I say, several days of content and searches for itself
|
|
0:08:08 – 0:08:15
The smallest promises out. As a dyslexic, I can only say that I always prescribe myself completely.
|
|
0:08:15 – 0:08:21
gladly. We look for such small weaknesses, such small mistakes, and then, of course, we highlight them.
|
|
0:08:21 – 0:08:28
because, aha, look, the other can't do it, the other doesn't do it better, the other,
|
|
0:08:28 – 0:08:36
What kind of training does he have? He must be a charlatan!" To make it clear again,
|
|
0:08:36 – 0:08:44
This is purely hypothetical. It's not about a diagnosis, it's about psychological patterns.
|
|
0:08:44 – 0:08:55
And now we come to the huge side effects of this behavior. In the short term, this
|
|
0:08:55 – 0:09:05
Strategy "reach" argues clicks. The algorithm loves click in dispute. Beef is in
|
|
0:09:05 – 0:09:15
Internet is always a guarantee for content creators to increase their reach. In the medium term, it can
|
|
0:09:15 – 0:09:23
But this will become the core of the brand, because you will be reduced to drama. And you can already
|
|
0:09:23 – 0:09:33
observe that a colorfully mixed portfolio of topics at once separates and separates
|
|
0:09:33 – 0:09:42
beef content and trash and so on
|
|
0:09:42 – 0:09:49
concentrated. On the other hand, actually what one had liked to do with
|
|
0:09:49 – 0:09:55
It's the heartblood of retro content. And of course there is also a problem,
|
|
0:09:55 – 0:10:03
In the long run, there is a risk of loss of confidence. Who is perceived only through conflicts,
|
|
0:10:03 – 0:10:11
It's hard to be taken seriously with content beyond the pen. And that is also
|
|
0:10:11 – 0:10:17
It's already happened. You've seen that certain things just don't work anymore.
|
|
0:10:17 – 0:10:25
or have much fewer clicks in relation to other content and so you have just separated that,
|
|
0:10:25 – 0:10:31
on its own channel. And then we come to the end so slowly.
|
|
0:10:31 – 0:10:41
Yeah, what does that mean for us? Yes, if terms like junk radio fall, then it is not a neutral
|
|
0:10:41 – 0:10:48
Description, but a psychological trick. It shifts the discourse before it starts.
|
|
0:10:48 – 0:11:01
has. This is pure distraction. He knows very well that there are many critics. Before these people
|
|
0:11:01 – 0:11:08
can become dangerous, they become dangerous in his group, in his inner group, in his peer group,
|
|
0:11:08 – 0:11:15
So the people he works closely with and the people who like to hang out with them.
|
|
0:11:15 – 0:11:21
If you are or work with them, everything will be framed from the outset.
|
|
0:11:21 – 0:11:32
that even if information arrives there, by naming it as dubious,
|
|
0:11:32 – 0:11:44
Not worth anything, Asifunk and so on, that you just don't believe the people. And so
|
|
0:11:44 – 0:11:52
he can be sure that he will continue to have a certain status in his group and also in
|
|
0:11:52 – 0:12:00
Its supporters have the status, without it somehow comes to the fact that criticism is received.
|
|
0:12:00 – 0:12:06
It doesn't matter if the criticism is justified or not. This criticism will
|
|
0:12:06 – 0:12:16
In the beginning, it was dismissed as nonsense, because he always goes back and does the things.
|
|
0:12:16 – 0:12:26
So framed, so arranged that it's nothing. He makes fun of it and that
|
|
0:12:26 – 0:12:33
They are repeating, repeating and repeating predecessors over and over again.
|
|
0:12:33 – 0:12:40
And that's how it settles down mentally. Because one thing is certain, conflicts are on the net
|
|
0:12:40 – 0:12:50
unavoidable. There are also people who have fun. I find conflicts on the Internet in places
|
|
0:12:50 – 0:12:56
entertaining. I find even this conflict entertaining for me here, because it gives me the opportunity
|
|
0:12:56 – 0:13:03
provides information about these mechanisms or in a playful, ironic way
|
|
0:13:03 – 0:13:13
to inform about this group of people. You can show them the mirror and they hold you
|
|
0:13:13 – 0:13:19
even larger mirrors back, then we hold an even larger mirror back and they
|
|
0:13:19 – 0:13:26
Hold back a large mirror. The only thing you get out of it is range and
|
|
0:13:26 – 0:13:33
It's a good time when we're doing our content. As long as it's not "legal"
|
|
0:13:33 – 0:13:40
To stay or to be, that's perfectly fine. This is a win-win situation for everyone.
|
|
0:13:40 – 0:13:50
So much for that. In the end, spikes fizzle out, substance remains. Goodbye, Sasha.
|
|
0:13:50 – 0:13:53
[Music]
|
|
0:13:53 – 0:13:56
[Music]
|
|
0:13:56 – 0:14:02
[Music]
|
|
0:14:02 – 0:14:08
[Music]
|
|
0:14:08 – 0:14:14
[Music]
|
|
0:14:14 – 0:14:20
[Music]
|
|
0:14:20 – 0:14:23
[Music]
|
|
0:14:23 – 0:14:29
[Music]
|
|
0:14:29 – 0:14:35
[Music]
|
|
0:14:35 – 0:14:41
[Music]
|
|
0:14:41 – 0:14:47
[Music]
|
|
0:14:47 – 0:14:54
[Music]
|
|
0:14:54 – 0:14:59
[Music]
|
|
0:14:59 – 0:15:06
[Music]
|
|
0:15:06 – 0:15:13
[Music]
|
|
0:15:13 – 0:15:16
[Music]
|
|
0:15:16 – 0:15:22
[Music]
|
|
0:15:22 – 0:15:28
[Music]
|
|
0:15:28 – 0:15:34
[Music]
|
|
0:15:34 – 0:15:40
[Music]
|
|
0:15:40 – 0:15:43
[Music]
|
|
0:15:43 – 0:15:49
[Music]
|
|
0:15:49 – 0:15:55
[Music]
|
|
0:15:55 – 0:16:01
[Music]
|
|
0:16:01 – 0:16:07
[Music]
|
|
0:16:07 – 0:16:10
[Music]
|
|
0:16:10 – 0:16:17
[Music]
|
|
0:16:17 – 0:16:24
[Music]
|
|
0:16:24 – 0:16:32
[Music]
|
|
0:16:32 – 0:16:36
[Music]
|
|
0:16:36 – 0:16:43
[Music]
|
|
0:16:43 – 0:16:51
[Music]
|
|
0:16:51 – 0:16:58
[Music]
|
|
0:16:58 – 0:17:01
[Music]
|
|
0:17:01 – 0:17:07
[Music]
|
|
0:17:07 – 0:17:13
[Music]
|
|
0:17:13 – 0:17:19
[Music]
|
|
0:17:19 – 0:17:25
[Music]
|
|
0:17:25 – 0:17:28
[Music]
|
|
0:17:28 – 0:17:34
[Music]
|
|
0:17:34 – 0:17:40
[Music]
|
|
0:17:40 – 0:17:46
[Music]
|
|
0:17:46 – 0:17:52
[Music]
|
|
0:17:52 – 0:18:10
[Music]
|
|
0:18:10 – 0:18:12
[Music]
|