Journal articles on the topic 'Conative engagement'

PurposeWith the prevalence of user-generated content on the internet, this study aims to propose a cognitive-affective-conative model to examine how users create and share their content online. The moderating role of gender differences is also tested in the model.Design/methodology/approachThis study collects a representative sample of 873 internet users via a nation-wide survey in Taiwan.FindingsThe results show that hedonic value has a positive impact on internet satisfaction, and social value affects life satisfaction and internet satisfaction positively. Both life satisfaction and internet satisfaction are positively related to content sharing on the internet. In particular, the positive effect of life satisfaction on online content sharing is greater for male users than for female users.Research limitations/implicationsThis study contributes to the existing literature by investigating online content sharing behavior from the cognitive-affective-conative perspective. This study also provides a better understanding of this behavior by simultaneously examining life satisfaction and internet satisfaction as two underlying mechanisms. Furthermore, gender differences play an important role in determining content sharing on the internet.Practical implicationsFor digital marketing practitioners, this study suggests several online editing and social mechanisms for encouraging users' engagement in content sharing behavior on the internet.Originality/valueThis study is one of the first that examines a cognitive-affective-conative framework of content sharing behavior on the internet. This study also demonstrates boundary conditions of this framework by testing the moderating role of gender differences.

Purpose – The purpose of this paper is to provide an interpretation of the lived experiences of salespersons’ work engagement and work-related flow and how these states are related. Design/methodology/approach – A mixed-methods qualitative investigation on a sample of 14 salespeople from a large Australian-based consumer goods enterprise was conducted. Using interpretative phenomenological analyses and ethnographic content analyses the antecedents and conditions for salesperson work engagement and work-related flow were investigated. Findings – The data showed that affective, cognitive and conative dimensions underpinned the experience of work engagement and work-related flow. Work engagement was interpreted as an aroused and self-regulated psychological state of energy, focus and striving aimed to address the situational and task relevant opportunities and demands encountered. Work-related flow was characterized by passion, absorption, eudaimonia and automatic self-regulation of goal pursuit. Research limitations/implications – The sample was from a single manufacturing organization with sales roles focussed primarily on business-to-business selling, and as such the generalizability of results to salespeople working in different contexts (e.g. retail sales, telesales) needs to be established. Practical implications – The research helps sales managers to take more account of the conditions that foster salesperson engagement and flow. Originality/value – This study represents one of the first attempts to interpret, compare and contrast the lived experience of salesperson work engagement with that of work-related flow. The study also adds to the relative paucity of research published on work engagement using qualitative methods.

Since currently there is no established, unitary and shared theory on consumer–brand engagement (CBE), this exploratory study is aimed at inductively proposing a preliminary conceptual framework of CBE disclosing the knowledge embedded in marketing practice. Our study is designed according to a Grounded Theory approach and it is focused on how practitioners conceive and pursue CBE through their branding strategies and tactics. Findings reveal that CBE is seen by practitioners as a dynamic and process-based concept evolving in intensity on the basis of the brand capability of increasingly intercepting consumers' desires and expectations using all possible physical and virtual touchpoints between brand and consumers. CBE appears as an overarching marketing concept encapsulating different consumer decision-making dimensions, from brand preference to brand purchase. Furthermore CBE emerges as a multi-dimensional construct that beyond traditional cognitive, emotional and conative dimensions seems to be based on emerging experiential and social dimensions that appear as its central elements.

Purpose A customer’s visit to a retail website is a critical “moment of truth” during which contemporary retailers attempt to simultaneously, during a single web navigation, capture customers’ attention, build rapport, and prompt them to act. By showing how to capture customer commitment over the course of a single website visit, the concept of customer website engagement, defined as “the process of developing cognitive, affective and behavioural commitment to an active relationship with the website”, addresses strategic concerns. Drawing from literature on engagement, the purpose of this paper is to consider how retail websites can engage customers during the course of a website navigation. A conceptual model of website customer engagement underpinned by relationship marketing and communication knowledge, shows how perceptions of the website’s exploration and sense-making potential can activate consumer engagement, and is then empirically tested. Design/methodology/approach Using survey data, measures of the four dimensions of engagement (interaction engagement, activity engagement, behavioural engagement, and communication engagement) and of three drivers are developed and validated. The model is tested empirically (n=301) using structural equation modelling. Findings The results support the process conceptualisation of engagement, which identifies organismic as well as conative stages, and show the distinct roles played by perceptions of informational exploration, experiential exploration and sense-making in activating engagement. Practical implications The study provides online retailing practice with an organising framework enabling online retailing managers to consider how, depending on their product category and their size, they might (re)design their website to optimally produce customer engagement. Originality/value The study contributes to online marketing and retailing knowledge by showing the relevance of the concept of engagement as it pertains to customers’ single navigations on retail websites, and by empirically showing, through a parsimonious model, how engagement can be activated and unfold.

This study examines interindividual differences between gifted and non-gifted children in the school environment. Three distinct measurement tools were used to enable a multimodal approach of gifted and non-gifted children with abstract graphic creativity, feelings about school and engagement in the school environment being considered. The results obtained from 328 children (including 45 gifted children) revealed that the gifted children obtained scores significantly higher than non-gifted children in terms of self-determination, feelings about school, and creativity. In addition, a gap appears among gifted children between their significantly higher scores for motivation and intellectual skills versus standard scores for their socio-affective development. Such results are consistent with the idea of asynchronous development, which is characteristic of gifted children (cognitive and conative vs. socio-affective sphere), offering perspectives for more adapted support for these pupils in elementary school.

A positive attitude towards physical education (PE) is an important component of students? engagement in classes and extracurricular physical activities. Relying on students? interests when planning the class work can contribute to the formation of such an attitude. The research was aimed at verifying the effects of the experimental programme ?Inclusion of music in Physical Education classes? on the formation of students? attitude towards PE. An experiment with parallel groups that lasted for 26 classes was applied in the research on the sample of 141 primary school students attending the seventh grade. In the initial and final testing two instruments for measuring the attitudes were applied: the Students? Attitudes toward Physical Education - SATPE and the Connotative Differential (CD-15). In the final testing, the experimental group also completed the questionnaire on students? assessment of classes with and without music. The analysis of variance has shown that the experimental group achieved considerably higher scores at the final testing compared to the initial on the cognitive and conative subscales of the CD-15 instrument. This change was not linked to gender, PE grade and involvement in music. It has been shown that students in the experimental group assessed more positively the classes accompanied by music compared to the classes without music, measured by the questionnaire on students? assessment of classes with and without music. It can be concluded that the application of music has influenced the development of a more positive attitude towards PE, observed via the cognitive and conative dimension, which points to the fact that it is justifiable and desirable to use music in PE education.

Physical design studio (PDS) and live critique sessions are essential elements in design school pedagogy. It enables students to construct their socio-spatial ability through creativity and rationality in a simultaneous way. However, due to the COVID-19 global pandemic, all teaching and learning activities must be conducted remotely in a virtual design studio (VDS). Unfortunately, VDS could be a placeless place for the students and significantly affects their overall learning experience. ‘Sense of Place’, or the people-place engagement, is an important concept in the virtual learning context from the cognitive, affective, and conative domain. VDS not merely provide the ‘place’, but should be able to support dynamic social interactions between students and the tutors as well as to conduct pedagogical activities. Without ‘Sense of Place’, the emotional and psychological engagement in creating learning experiences could not be fulfilled. This paper reviews the previous studies that concentrate on the pedagogical method and ‘Sense of Place’ in VDS at a higher education level. There are several strategies for constructing ‘Sense of Place’ in a VDS. Those are humanization, socialization, the presence of a teacher, guiding structure, graphic tools used, and the student contribution during the learning process. Another strategy is to blend both online and classroom that encourages teachings with multiple learning styles. This conceptualization of ‘Sense of Place’ in VDS is beneficial in further research with empirical data.

blue spaces. Attitude towards green-blue space were also studied. However, little attention is given to perceived benefits and attitude components in ecosystem service research. This paper aims to examine community attitudes towards urban green-blue spaces and its association with perceived benefits based on cultural ecosystem services concept. A questionnaire was conducted among 31 respondents of local community at Taiping Lake Garden, Perak. The data were analyzed using Statistical Package for the Social Science (SPSS) which involving multiple regression to capture the effects of attitude components on perceived benefits. The findings suggest that overall attitudes of respondents had an excellent level of perceived attitudes toward urban green-blue space. However, among three sub-construct of attitudes, only cognitive attitude was found to be the dominant variable compared to conative and affective attitude that predicts perceived cultural ecosystem benefits. This indicates that if the community could enhance their positive attitudes toward their urban green-blue space, they may perceive higher cultural ecosystem benefits. Future research should continue to explore ways of enhancing positive attitudes among urban community as attitude may guide them to enhance their engagement in urban green-blue spaces.

National calls in science, technology, engineering, and technology education reform efforts have advanced the wide-scale engagement of students in undergraduate research for the preparation of a workforce and citizenry able to attend to the challenges of the 21st century. Awareness of the potential benefits and costs of these experiences has led to an emerging literature base outlining gains in participants’ cognitive, affective, and conative domains to support the impact of undergraduate research for students of all backgrounds; however, the majority of this work has relied on self-report data limiting inferences to the causal effects on student learning. As part of a larger project on apprentice-like undergraduate research experiences (UREs) in the physical sciences, the present exploratory study complemented indirect self-report data with direct performance data to assess the development of chemistry students’ scientific thinking skills over a research experience. Performance data were collected using the Performance assessment of Undergraduate Research Experiences (PURE) instrument, a validated tool designed to assess changes in chemistry students’ analytical and data driven decision-making skills through open-response tasks situated in real-world problems from primary literature. Twenty-four summer research students in chemistry (46% women; 50% 1st/2nd year students; 42% first time URE participant) from seven colleges and universities provided baseline and post-intervention performance data. Differences in pre/post-response task correctness provided a direct measure of individual changes in student competencies. Early study findings indicate the positive contributions of UREs to student's competencies in the areas of problem-solving, experimental design and the use of research techniques, data analysis and the interpretation of results, and the evaluation of primary literature. Survey data were also collected on students’ self-skill ratings to allow comparisons between perceived and demonstrated competencies, which were found to be weakly correlated. This work begins to offer direct evidence to the effect of UREs on student learning progressions as well as the potential use of performance test data in evaluating the success of research training interventions designed to improve scientific thinking skills.

La relation entre confiance interpersonnelle et engagement est devenue depuis les travaux de Morgan et Hunt (1994) le modèle cognitif de référence du marketing relationnel. Cet article développe et teste un modèle des antécédents comportementaux de la confiance et de l'engagement. Les résultats révèlent que les comportements d'achats (engagement implicite) ont une influence positive sur les dimensions de la confiance interpersonnelle et sur le désir durable du client de maintenir la relation (engagement explicite). Les résultats suggèrent aussi que l'engagement implicite et la sympathie ont une influence positive équivalente sur l'engagement explicite du client. Les présomptions de bienveillance, de cohérence et de compétence apparaissent comme les variables médiatrices des processus conatifs et cognitifs de l'engagement.

L’évaluation de la qualité des systèmes de formation, qu’ils soient éducatifs ou professionnels, nécessite de prendre en compte des critères d’ordre économique (l’efficacité et l’efficience) et d’ordre social (l’équité), mais aussi d’ordre pédagogique (l’équilibre, conçu comme étant la capacité du système à développer de manière harmonieuse tous les types d’objectifs liés au savoir) et d’ordre conatif (l’engagement, conçu comme étant la capacité du système à développer auprès des apprenants un réel engagement en vue d’apprendre ou d’agir).

Despite the power of VR in immersing viewers in an experience, it generally only targets viewers via visual and auditory cues. Human beings use more senses to gather information, so expectedly, the full potential of this medium is currently not yet tapped. This study contributes in answering two research questions: (1) How can conventional VR ads be enriched by also addressing the forgotten sense of smell?; and (2) Does doing so indeed instill more engaging experiences? A 2 × 3 between-subjects study (n = 235) is conducted, whereby an existing branded VR commercial (Boursin Sensorium Experience) is augmented with “sound” (on/off) and (congruent/incongruent/no) “scents.” The power of these sensory augmentations is evaluated by inspecting emotional, cognitive and conative dimensions of customer engagement. The results identify product-scent congruence (with sound) as a deal-maker, albeit product-scent incongruence is not necessarily a deal-breaker. The article concludes with further research avenues and a translation into managerial implications.

Purpose The purpose of this study is to examine how consumer-brand engagement on social networking sites (SNS) is an outcome of the message orientation/vividness. Design/methodology/approach Message design is proposed to include two components, namely, orientation and vividness. The message orientation is classified as either task/instrumental or socioemotional. The message vividness is measured through content type. The consumer-brand engagement is conceptualized at three levels, namely, cognitive (comment), affective (shares) and conative (likes). A total of 1,000 posts were collected from the official Facebook pages of the 10 most popular travel brands, five each from India and the USA. These two countries were chosen as they are culturally different, with the former representing a largely collectivist culture and greater social connectivity and the latter representing primarily an individualistic culture. Findings The study reveals that greater message vividness, with more interactive/audio-visual content, leads to higher engagement. The task/instrumental message orientation leads to low-/medium-level engagement. Overall, a combination of high-vividness and socioemotional orientation generates maximum engagement. India and the USA depict unique effects of message orientations/vividness on the consumer-brand engagement levels, indicating cultural implications for the brand SNS messages – effectiveness. Research limitations/implications The study’s conceptualization of consumer-brand engagement reflected through the consumers – responses to brands – SNS messages, represents new knowledge. The unique effects of message vividness and orientation on consumer-brand engagement and the variations across cultures is also a novel contribution to the extant branding literature. Practical implications The brand marketers should not only design their SNS messages with appropriate vividness/orientation but also tweak them across cultures, for maximum consumer engagement. Originality/value The study is a novel attempt to deploy the interaction process analysis framework in an SNS setting.

Purpose Customers nowadays would expect more than just the sales process. As loyal customers are crucial for businesses, research indicates that engaged consumers exhibit greater loyalty to brands. Despite its significance, consumer brand engagement (CBE) remains a concept worth deeper investigation. Building on the cognitive-affective-conative (CAC) model, this paper aims to address this lacuna by examining the precursors of CBE and tests CBE as a higher-order construct consisting of three formative dimensions, namely, cognitive processing, affection and activation. Design/methodology/approach Using a non-probability purposive sampling method, data was collected from a sample of 237 Malaysian consumers who subscribe to any of the local telco service providers. Data was then analysed using the partial least squares structural equation modelling (PLS-SEM) technique. Findings Communication effectiveness, core service quality and corporate social responsibility strategy are important determinants that explain consumers’ brand engagement. Furthermore, it was found that CBE prompts consumer satisfaction, which then leads to brand loyalty towards a telco service provider. Additionally, confirmatory tetrad analysis reassured CBE as a formative construct. Research limitations/implications CBE should be best assessed as a higher-order reflective formative construct composed of cognitive processing, affection and activation. Practical implications Telco companies seeking to attain brand loyalty and consumer satisfaction should ensure that their customers are engrossed, inspired and energized in their interaction with the brands. Originality/value Drawing on the CAC model, this study contributes to consumer marketing literature by filling the gap regarding the precursors and outcomes of CBE. In addition, the multidimensionality of CBE as a higher-order reflective formative construct was established.

PurposeThe current study aims to develop a comprehensive model of cocreation and immersion/engagement for café brands as well as their antecedent and consequences in a café brand context. Inherently involving highly socially involving consumption settings, cafés are particularly conducive to brand cocreation.Design/methodology/approachThe current study tested a model of these relationships by analyzing data from customers of a local café and those of a global café, Starbucks, situated in the same town, Karakoy, in Istanbul, Turkey. Data from 241 respondents were analyzed using partial least squares structural equation modeling (PLS-SEM) to test the model of the study.FindingsResults show that sense of brand community is a powerful predictor of cocreation and brand immersion, which are also important antecedents of attitude toward a brand including, cognitive, affective and conative dimensions. Results also revealed slight differences between the local and global brands in terms of brand cocreation's influence on brand trust and loyalty.Research limitations/implicationsThe study is conducted with a limited number of customers of two cafés in a city in Turkey. Future research with the customers from other locations of these cafés, especially the multinational customers of the international café brand is needed to retest the model for its validity.Practical implicationsThe significant differences between ratings of local and global café brands are positive news for local and traditional cafés that are losing considerable market share to their global competitors. Strategic cocreation implementations can be used to instill special and robust relationships with consumers.Originality/valueThe study provides evidence that in highly socially dynamic brand contexts, such as café brands, brand community is a critical predictor of cocreation and brand immersion, which then affect attitude toward a brand with cognitive, affective and conative dimensions, reflected in brand trust, brand love, satisfaction with the brand, brand commitment and brand loyalty.

The present paper attempts to look at on the genealogy of both shared intentionality and collective intentionality, comparing Michael Tomasello’s concept with Max Scheler’s threedimensional concept of intentionality: ens amans, ens volens, ens cogitans, as affective, conative, and cognitive intentionality. I focus on various forms of affective collective intentionality — Schelerian forms of sympathy — to show collective subjectivity from the whole spectrum of emotional intentionality, presented by Scheler’s example of parents standing over the corpse of a child. Even though Tomasello’s works seem to empirically corroborate Scheler’s intuitions about the emotional genealogy of collective intentionality, they will differ in the horizons within they locate intentionality. In the case of the evolutionary psychology of Tomasello, we can talk about the horizon of cooperation, in the case of Scheler’s Scheler’s phenomenology of acts about the horizon of responsibility or co-responsibility, which gives intentionality its unique character. The similarities of both concepts concern the following pillars: 1) genealogy of intentionality covering the dimension of affective intentionality, conative intentionality, and the level of cognitive intentionality; 2) Imitation or, as Scheler would say, following someone. Because a person is recognized by the author of Formalism as an act, or a bundle of acts, the way to understanding and communication with another person is the maieutic coperformance of their acts — i.e., imitation. The maieutic co-execution of acts of others triggers the constitution process of a person, both on an individual and community level. We can speak, in the case of Tomasello, about the ontho- and sociogenetic function of co-executing acts or imitating; however, in the case of Scheler, we are dealing with the clearly axiological nature of such a constitution of both the individual and collective subjectivity (axiological ego, axiological communio); 3) collaborative engagement as a driving force behind collective intentionality in one case in form of co-responsibility, a nature of a collective person (Scheler); in the other case in form of collaboration developing intentionality to various units of community life (Tomasello).

Disclaimer: The situation on PixelCanvas is constantly changing due to raids from both sides. The figures in this article represent the state as of April 2020. In the politicized digital environment, the superiority of the alt-right’s weaponization of memes is often taken for granted. As summarized in the buzzword-phrase “the left can’t meme”, the digital engagements of self-identified leftist activists are usually seen as less effective than the ones of the right: their attempts at utilizing Internet culture described as too “politically correct” and “devoid of humour”. This supposedly “immutable law of the Internet” (Dankulous Memeulon) often found confirmation in research.Described by Phillips and Milner, Internet culture – “a highly insular clique”, now seeping into popular culture – is by design rooted in liberalism and fetishized sight. Through its principles of “free speech”, “harmless fun”, and dehumanizing detachment of memes from real-life production and consequence, meme-sharing was enabling deception, “bigoted pollution”, and reinforcing white racial frames, regardless of intentions (Phillips and Milner). From Andersson to Nagle, many come to the conclusion that the left’s presence online is simply not organized, not active, not transgressive enough to appeal to the sensibilities of Internet culture. Meanwhile, the playful, deceptive online engagements of the alt-right are found to be increasingly viral, set to recruit numerous young rebels, hence upholding a cultural hegemony which has already transcended over to the offline world. This online right style is one where a rejection of morality and nihilistic nonconformity reign supreme – all packaged in carnivalesque laughter and identity-bending “trolling” (Nagle 28-39). Even if counterculture and transgression used to be domains of the left, nowadays the nihilistic, fetishizing landscape of online humour is popularized via alt-right aligned message boards like 4chan (Nagle 28-39).Left-wing alternatives, encompassed by Nagle in the term “Tumblr liberalism”, were often described as “fragmented” through identitarianism and call-out-culture, enclosed in echo chambers, “nannying, language policing, and authoritarian” (68-85). This categorization has been rightfully criticized for reductionism that lumps together diverse political strands, focuses on form only, and omits the importance of subcultural logic in its caricature of the censorious left (Davies). However, it would be difficult to deny that this is exactly how the online left is, unfortunately, often perceived by the right and liberals/centrists alike, evidenced by its niche quality.The solutions to the problem of the right’s dominance in the memeosphere – and their Gramscian cultural hegemony – offered by Phillips and Milner could include disavowing fetishized sight while maintaining “slapdash, quippy, and Internet Ugly” qualities to deconstruct meme culture’s whiteness; Davies suggests that “if the left is to have the same degree of success in translating online cultures into political movements then it needs to understand both the online world and its own IRL history”.Nonetheless, some strands of the online left have been rather close in style and form to the ones of the alt-right, despite their clear difference of “stance” (Shifman 367). In this article, I demonstrate an example of a multi-faceted, united, witty, and countercultural meme leftism on PixelCanvas.io (PixelCanvas): a nearly unlimited online canvas, where anyone can place coloured pixels with an obligatory cooldown time after each. Intended for creative expression, PixelCanvas became a site of click-battles between organized dichotomous extremes of the left and the alt-right, and is swarmed with political imagery. The right’s use of this platform has been already examined by Thibault, well-fitting into the consensus about the efficiency of right-wing online activity. My focus is the rebuttal of alt-right imagery that the radical left replaces with their own.With a brief account of PixelCanvas’s affordances and recounting the recent history of its culture wars, I trace the hybrid leftist activity on PixelCanvas to argue that it is comparably grounded in dissimulation and transgression to the alt-right’s. Based on the case study, I explore how certain strands of online left might reappropriate the carnivalesque, deceptive, and countercultural meme culture sensibilities and forms, while simultaneously rejecting its “bigoted pollution” (Phillips and Milner) aspects. While arguably problematic, these new strategies might be necessary to combat the alt-right’s hegemony in the meme environment – and by extension, in popular culture.PixelCanvas as a Metapolitical Platform of Culture WarsPixelCanvas affords a blend of 4chan-style open-access, no-login anonymity and the importance of organized collective effort. As described by Thibault, it is an “online ‘game’ that allows players to colour pixels ..., either collaborating or competing for the control of the shared space” (102). The obligatory cooldown period on PixelCanvas results in most of the works requiring either dedication of long periods of time or collaboration: as such, the majority of canvas art has a “shared authorship” (102). As a space for creative expression, PixelCanvas encourages expressing aspects of genuine personal identity (political views, sexuality, etc.) albeit reduced to symbols and memes that rarely remain personal. Although the primary medium of information transfer on the platform is visual, brief written catchphrases are also utilized. While the canvas is not lacking in free areas, competition for space is prevalent: between political viewpoints, nationalist groups (Bakalım), and other communities (PixelCanvas.io).Given this setup, it might be expected that battling for hegemony took over the game. The affordances of PixelCanvas as accepting anonymous unmoderated expressions of identity/political views encourage dissimulation similarly to boards such as 4chan; its immediate visual/one-liner focus overlaps with the prerequisites of meme culture. Meanwhile, the game’s competition aspect leads to large-scale organization of polarized metapolitical groups and to imagery that is increasingly larger, more taboo-breaking, and playful: meant to catch the eye of a viewer before the opponents do. PixelCanvas, as such, is a platform fitting into transgressive, trolling, fetishizing, and “liberal” affordances of Internet culture: the same affordances that made it, according to Nagle or Phillips and Milner, into a space of desensitized white supremacy and right-wing dominance.Such a setup may seem to work in favour of the 4chan-style raids and against the supposed identitarianism of “Tumblr liberalism”. One could recall the importance of united collective efforts on 4chan: from meme-sharing to Gamergate raids (Beran). Meanwhile, suggested by Citarella, a problem of the online left is its fragmentation, and its “poorly organized and smaller followings” (10). As he observed on Politigram, “DemSocs, Syndicalists, ML’s, AnComs, … and so on, all hated each other. The online right was equally divided but managed to coordinate cultural agitations” (Citarella 10).Indeed, the platform displayed the effects of alt-right virality multiple times, involving creations of self-identified Kekistanis (KnowYourMeme), anarcho-capitalists, 4chan-aligned “bronies” (My Little Pony fans), etc. However, since 2017, the left joined the game, becoming another example of a united, well-organized and strongly participatory group, which continuously resists alt-right attacks and establishes its own raids, often gaining an upper hand.Named “Battle of Pixelgrad”, the influx of leftist activity began to combat the forming Reich Iron Cross posted by “a user on 4chan's /pol/” which has caught the attention of Leftbook/meme groups and subreddits (PLK Wiki) (Wrigley). The groups involved spanned “all beliefs under a unified socialist umbrella” (Pixel Liberation Front) ranging from communism through anarchism subtypes to identity politics: all associating with the “left unity” flag that they replaced the Iron Cross with. Their efforts against alt-right raids were coordinated through Discord servers and a public Facebook group. Soon, a Facebook page for Left Unity Fighting Front (LUFF) was set up, with the PixelCanvas flag in the banner and the description: “We decided to form the new rival of 4chan, LUFF. We are the new united front of the internet. Promoting left unity, trolling Nazis, and taking on sectarianism.”Figure 1: The ’Left Unity’ flag. Source: https://pixelcanvas.io/@-1554,3594.The concept of left unity has been criticised before, as one that would lead to “the co-optation of anarchism under a Marxist leadership”, charged with the history of anarchist-Bolshevik clashes in USSR, and marred by a “lack of willingness among some Marxists to actually engage with anarchists in legitimate debate” (Springer). Still, the PixelCanvas left unity is one of the rare instances of Marxist, anarchist, and other leftist online groups working together on rather equal grounds, without cracking down on discourse and historical contexts: which is afforded by a subcultural logic and focus on combating a common enemy. The PixelCanvas leftists support common projects, readily bending their beliefs/ identity to create an efficient community that can resist 4chan: self-identifying as an “allyship” with anonymous “soldiers”/comrades belonging together on the left side of the pixel “war” (Pixel Liberation Front). While the diversity of their beliefs is made clear through the variously aligned flags/thinkers they choose to represent with pixels, the union stands without in-fighting, emulating simplistic versions of history as a dichotomous struggle between left and right (which deliberately rejects centrism): from Nazi/communist battles to Cold War imagery. Although reductionist, this us/them thinking is especially necessary in the visual, time-sensitive, and competitive space of PixelCanvas. No matter how extreme the common projects are, what matters in the pixel war is camaraderie and defeating the enemy in the most striking manner possible. After all, the setup of the platform (and the immediacy of Internet culture) supports attention- grabbing transgression and memes better than nuanced discourse. Figure 2: Representation of the left uniting against Nazism and anarcho-capitalism. Source: https://pixelcanvas.io/@-143,-782.As of April 2020, hardly any Nazi/4chan/ancap imagery on PixelCanvas stands without being challenged by the Left Unity. Although some of the groups involved in Pixelgrad do not exist anymore, Discord servers (e.g. RedPixel) and Pixel Liberation Front (PLF) Facebook group remain, defending the platform from continued raids. These coordinating bodies are easily accessible to anyone willing to contribute (shall one wish for complete anonymity, they are also free to participate without joining the servers). Their efforts could be understood as “clicktivism” (Halupka); however, the involved leftists view it as a “war” (PLF) or “Memeolution” (Wrigley), an important way in which the “virality of right-wing populism” (Thibault) must be resisted. This use of language highlights their serious awareness of the need for combating the right’s digital hegemony, no matter how playful their activity seems.Even if this phenomenon is specific to PixelCanvas, one should acknowledge that the identity-bending unity of the left has been enough to challenge continued raids. Niche practices, as seen through 4chan, might break into the mainstream: according to Hobson and Modi, online spaces “are a rich recruiting ground for previously antithetical/apolitical young people” (345) who find refuge in memes and trolling. The agenda of the PixelCanvas left (counterplatforming activism) in this case differs from 4chan’s. However, the forms they assume to reach their goal are often “pithy, funny, or particularly striking” enough to potentially make one “pause to think, and/or laugh” (Hobson and Modi 345) regardless of political alignment.The Form, Content, and Stance of PixelCanvas Left ActivityDespite the unity in the organization of the PixelCanvas left, the approaches/strategies of its various pixel artworks are far from uniform. At the first sight, the creations of RedPixel members already appear as a multi-faceted (and potentially confusing) mixture of serious real-life agenda and playful Internet culture. Guided by Shifman’s communication-oriented typology of memes, I analyze the different “contents, forms, and stances” (367) that the PixelCanvas left displays in its creations. For analytical clarity, I distinguish three main approaches which overlap and play various roles in contributing to the collective image of RedPixel as simultaneously activist, serious, inclusive, and Internet-culture-savvy, transgressive, deceptive.The first approach of PixelCanvas leftist creations is most serious and least grounded in Internet culture. A portion of RedPixel activity directly reproduces real-life protest chants, posters, flags, murals, movement symbols, and portraits of leftist icons, with little alteration to the form other than pixelating. The contents of such creations vary, however, they remain serious and focused on real-life issues: voicing support for contemporary leftist movements (Black Lives Matter, pro-refugee, Rojava liberation, etc.), celebrating the countercultural, class-centric leftist history (anarchist, communist, socialist victories, thinkers, and revolutionaries), and representing a plethora of identities within hyper-inclusive flag clusters (of various sexualities, genders, and ethnicities). The stance of these images can be plausibly interpreted as charged with serious/genuine “keying” (Shifman 367), and “conative” (imperative) or “emotive” (367) functions. Within those images, the meme culture’s problematic affordances (“fetishization” and “liberalism” (Phillips and Milner)) are disavowed clearly: exemplified by a banner on the site suggesting that “just a meme” mentality created a shield for “meme Nazis” that led to the 2019 Christchurch mosque shooting. Although this strand of RedPixel’s works could be criticized as “humourless” and rather detached from the platform’s affordances, its role lies in displaying the connection to the real world with potential suggestions for mobilization, the awareness of meme culture’s problematic nature, and the image of radical left cooperation. Figure 3: The Christchurch memorial. Source: https://pixelcanvas.io/@-2815,3321. Figure 4: Posters and symbols in support of Rojava, Palestine liberation, and Black Lives Matter. Source: https://pixelcanvas.io/@5340,4121. Figure 5: Early Paris Commune poster reproduced on PixelCanvas. Source: https://pixelcanvas.io/@7629,2134. Figure 6: Example of a PixelCanvas hyper-inclusive flag cluster. Source: https://pixelcanvas.io/@2741,-3508.The second approach, while similar in the diversity of content, adopts memetic forms, and the light-hearted “harmless fun” of Internet culture. Through popular meme formats (molded to call for action), slang expressions, pop-cultural references (anime/cartoon/video game characters), to adopting “cutesy” aesthetics, these creations present identity politics, anti-fascism, and anti-capitalism in a light, aestheticized form. Popular characters, colourful art, and repetitive base colour schemes (red, black, rainbow) are likely to attract attention; recognition of the pop-cultural references, and of known meme formats might sustain it, urging one to focus on the only uncertain element: the politics behind it. Being visually and contextually appealing to online youth, this political-memetic imagery is well-adapted to the platform. Simultaneously, the carnivalesque forms contrast with the frequently more transgressive contents this approach employs. As a result, the tone of their work seems lighthearted even in its incitement to “kill the Nazis” and “eat the rich”. Clearly aware of the language of its opposition, RedPixel reacts similarly to how 4chan reacted to Tumblr liberalism: responding to “lightly thrown accusations” (Nagle) by intensifying them to the point where they can be seen as “owning” the labels they have been given – instead of “getting offended”. Through memes and reappropriated posters they present themselves as “Red Menace,” as a direct threat to 4channers, and as a “trigger-warning” club, using the existing criticisms to self-identify as formidable enemies of the right. While the transgression in RedPixel style often remains acceptable by radical left standards, it is certainly not the same as “virtue signalling”, “hypersensitive”, “vulnerable” Tumblr liberalism (Nagle 68–85); and it might be shocking or amoral to some. Much of their imagery is provocative: inciting violence, glorifying deeply problematic parts of communist history, using religious symbols in a potentially blasphemous way, supporting occultism/ Satanism, and explicitly amplifying (queer) sexuality. In the mix of (sometimes) extreme contents and forms that suggest a light-hearted attitude, it might be difficult to determine the keying of their stance. Although it is unlikely that RedPixel would avow politics they do not actually believe (given the activist, anti-fetishizing agenda of their first approach), their political choices are frequently amplified to their full “tankie” form, and even up to Stalin support: raising the question how much of it is serious intent masked with humour, and what could be written off as deliberate identity play, deceptive “trolling” and jokes, similar in style to 4chan’s. Figure 7: Revolution-inciting appropriation of a popular meme format. Source: https://pixelcanvas.io/@-1765,3376. Figure 8: Fictional characters Stevonnie (Steven Universe) and Cirno (Touhou) with leftist captions. Source: https://pixelcanvas.io/@-847,-748. Figure 9: Call for fighting fascism referencing a Pacman video game and Karl Marx. Source: https://pixelcanvas.io/@-712,-395. Figure 10: Joseph Stalin reimagined as a My Little Pony character. Source: https://pixelcanvas.io/@-1197,966. Figure 11: “A spectre is haunting Kekistan.” Source: https://pixelcanvas.io/@-2196,3248. Figure 12: “Trigger Warning Gun Club” badge. Source: https://pixelcanvas.io/@2741,-3508.Figure 13: “Have you heard that Nazis get vored?” anime catgirl. Source: https://pixelcanvas.io/@1684,928. Figure 14: Rainbow genitals on a former Kekistan flag. Source: https://pixelcanvas.io/@-2513,3221. Figure 15: “Eat the Rich — OK Boomer” wizard ghost. Source: https://pixelcanvas.io/@-4390,-697.The third approach can be read as a subset of the second: however, what distinguishes it is a clearly parodic stance and reappropriating of 4chan’s forms. The PixelCanvas activists, unlike the supposed “anti-free speech” left (Lukianoff and Haidt) do not try to get the alt-right imagery removed by others, and do not fully erase it. Instead, they repurpose 4chan memes and flags, ridiculing them or making them stand for leftist views. An unaware viewer could mistake their parodies of 4chan for parodies of the left made by 4chaners; the true stance sometimes only suggested by their placement within RedPixel-reclaimed areas. Communist and LGBTQ+ Pepes or Ponies, modified Kekistan flags, and even claiming that “the right can’t meme” all point to an interesting trend that instead of banning symbols associated with alt-right groups wants to exploit the malleability of memes: confusing and parodying their original content and stance while maintaining the form and style. This aim is perhaps best exemplified in the image The Greatest Game of Capture the Flag where Pepes in anarcho-communist, communist, and transgender Pride hoodies are escaping from a crying white man while carrying a 4chan flag. Interpreted in context, this image summarizes the new direction that leftists take against 4chan. This is a direction of left unity (with various strands of radical left maintaining their identities but establishing an overarching collective “allyship” identification), of mixing identity politics with classic ideologies, of reconciling Internet culture with IRL socio-political awareness, and finally, of reappropriating proven-effective play, dissimulation, and transgression from 4chan. Figure 16: Pride flag cluster with Pride-coloured Pepes. Source: https://pixelcanvas.io/@-1599,3516. Figure 17: Communist/anarchist thinkers and leaders reimagined as Pepes. Source: https://pixelcanvas.io/@-1885,3203. Figure 18: “The Right Can’t Meme.” Source: https://pixelcanvas.io/@-1885,3203. Figure 19: The reclaimed Kekistan area. Source: https://pixelcanvas.io/@-2439,3210. Figure 20: “The Greatest Game of Capture the Flag.” Source: https://pixelcanvas.io/@-1885,3203.ConclusionThe PixelCanvas left can serve as an example of a united stronghold which managed to counterplatform the alt-right: assuming dominance in 2017 to later rebuild and expand their pixel spheres of influence after each 4chan raid. Online culture wars are nowadays recognized as Gramscian in their roots: according to Burton, “the young people confronting this reactionary shift head-on with memes normalizing are … on the front lines of a culture war with global repercussions” (13). By far, this “war” for digital hegemony has been overwhelmingly evaluated as one that the alt-right is simply better at, due to the natural affordances of Internet culture. However, the “united front of the internet” “promoting left unity and trolling Nazis” (LUFF) exemplifies a possible direction which the online radical left could follow to take on 4chan’s digital dominance. This direction is complex and hybrid: with overlapping/combined approaches. The activities of PixelCanvas left include practices that are well-adapted to the immediate meme culture and those based on IRL movements; practices similar to 4chan’s problematic transgression and those that are activist, disavowing fetishized sight; serious practices and deceptive/ironic ones. Their 2017 PixelCanvas victory and later resistance persisting despite continuing raids might suggest that this strategy works, with the key to its coordination laying in the subcultural logic of an “allyship” that privileges fast-paced mobilization and swift comebacks over careful nuance: necessitated by meme culture affordances. Although only time can prove if this new left digital language will become more widespread, it has the potential to become an alternative to “hypersensitive Tumblr liberalism” and to challenge the idea that meme culture is doomed to be right-wing.ReferencesAndersson, Linus. “No Digital ‘Castles in the Air’: Online Non-Participation and the Radical Left.” Media and Communication 4.4 (2016): 53–62.Bakalım, Seyret. “Pixel io Türkiye vs Brezilya [Turkey vs Brazil] Pixel War.” YouTube, 23 June 2017. <https://www.youtube.com/watch?v=NsPHVNpB8Hg>.Beran, Dale. “4chan: The Skeleton Key to the Rise of Trump.” Medium, 14 Feb. 2017. <https://medium.com/@DaleBeran/4chan-the-skeleton-key-to-the-rise-of-trump-624e7cb798cb>.Burton, Julian. “Look at Us, We Have Anxiety: Youth, Memes, and the Power of Online Cultural Politics.” Journal of Childhood Studies 44.3 (2019): 3–17.Dankulous Memeulon. “The Left Can’t Meme.” UrbanDictionary, 11 May 2018. <https://www.urbandictionary.com/define.php?term=The%20Left%20can%27t%20Meme>.Davies, Josh. “Tumblr Liberalism’ vs the Serious Authentic Left: On Angela Nagle’s Kill All Normies.” Ceasefire Magazine, 8 Sep. 2017. <https://ceasefiremagazine.co.uk/tumblr-liberalism-authentic-left-review-kill-normies/>.Halupka, Max. “Clicktivism: A Systematic Heuristic.” Policy & Internet 6.2 (2014): 115–32.Hobson, Thomas, and Kaajal Modi. “Socialist Imaginaries and Queer Futures: Memes as Sites of Collective Imagining.” Post Memes: Seizing the Memes of Production. 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