Comparison between Russian and British Politics: Has British Politics Become More Virtual?

The thesis assumes that there is an ideological dimension to virtual politics. The Andrew Wilson’s concept of virtual politics. Virtual Politics: Definition, Origin and Evolution. Political Technology and Protest. Populist Nationalism and Dramaturgiiya.

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NATIONAL RESEASRCH UNIVERSITY - HIGHER SCHOOL OF ECONOMICS

UNIVERSITY COLLEGE LONDON / UNIVERSITY OF KENT

Comparison between Russian and British Politics: Has British Politics Become More Virtual?

Master Dissertation by

virtual politics political technology

PATRICK JOHN FLEMING McGOVERN

Student Number (UCL): 13032261

Student Number (HSE): 00486288

Master Programme `International Relations in Eurasia'

Field of Study 41.04.05 International Relations

Supervisor: Assistant Professor,

Dina Rosenberg

Word count: 24,848

Moscow, Russia 2020

Table of contents

  • Table of contents
  • Introduction
    • Literature Review
    • Methodology
  • Chapter 1 Virtual Politics: Definition, Origin and Evolution
    • Media Technologies
    • Guns for Hire
    • Dramaturgiiya
    • Evolution
  • Chapter 2 Dramaturgiiya and ideology
    • Post-Soviet Identity
    • Friends and Enemies
    • Political Technology and Protest
    • Masculinity and the Nation
    • The Construction of Nations
    • The Invention of Tradition
    • The Invention of Enemies
    • Populist Nationalism and Dramaturgiiya
  • Chapter 3 Has British politics become more virtual?
    • Micro-Targeting
    • Social Media and The People
    • Fairy tales
    • Take Back Control
    • Exceptionalism
    • Victimhood
    • Nostalgia
    • Conspiracy
    • Spreading from The Core
    • Brexit Party
    • Government Sources
  • Conclusion
  • Bibliography

Introduction

This thesis proposes two main ideas. Firstly, it looks to build on Andrew Wilson's concept of virtual politics by adding an ideological dimension to it. Virtual politics emphasises the deceptive practices of political technologists as a defining feature of post-Soviet Russian politics. The idea of deception in Russian politics is not a new one. In fact, Alena Ledeneva identifies three traditional patterns of governance which have remained persistent features of Russian political culture throughout its history. These are: `“feeding” (kormlenie), joint responsibility (krugovaya poruka), and the use of formal faзades (potemkinskie derevni) that deviate from how things really are' (Ledeneva, 2013, p.1140). The final feature describes the historically ambivalent presentation of reality in Russian politics and culture, grasped in the metaphor of Potemkin villages.

Potemkin villages are associated with Count Potemkin. He is accredited with constructing faзades of fake villages along the journey path of Catherine the Great (ibid., p.1142). The faзades of the villages were designed to conceal the truth of village life in Russia by presenting the Tsaress with a superficial image of prosperity, which bore little resemblance to reality. It is unclear whether this is a real historical event, but, in any case, its significance lies in its metaphorical value, as an expression of a predilection towards the distortion of reality to convey an illusory world or image as a traditional form of governance in Russia. The metaphor is always invoked to convey the same point, that is the supremacy of the appearance of reality over the substance of reality, reflecting a proclivity to relativism in which perception constitutes the complete understanding or acknowledgment of the existence of something.

Captured within the Potemkin village metaphor lies the postmodernist vision of the world, which also holds perception as an adequate replacement for existence. Virtual politics follows in this tradition. Emboldened by modern technology, political manipulation and deception has become an all-pervading characteristic of Russian political culture. The association between deceptive political maneuvering and Russia is well established. However, the ideological constraints to unscrupulous political activity is absent in the discussion. This thesis attempts to establish the ideological limitations of virtual politics, suggesting that political technologists are not omnipotent, and `reality' is not endlessly malleable. The Thesis argues that the deceptive and manipulative techniques of political technologists, the architects of virtual politics, are constrained within the ideology of populist nationalism. This is observed, above all, in their perpetual invention of foreign threats and enemies to the Russian nation and people. The invention of foreign threats subsequently underpins the other methods of deception they employ. As virtual politics is typically associated with post-Soviet Russia, a significant part of the thesis is concerned with its definition and establishing the ideological restraints.

It is only after the association between ideology and virtual politics has been determined, that the thesis can move onto its second proposal - to assess whether British politics has become more virtual. The thesis only deemed the grounds for comparison between the two countries to be sufficient after the ideological component had been incorporated into the understanding of virtual politics. This is because the similarity that was observed, is a combination of manipulation and populist nationalist ideology. The thesis identifies a change in British politics during and after the Brexit referendum campaign, in which populist nationalism and political deception became normalised. It is on this basis that it assesses whether British politics has become more virtual. That is, virtual in terms of the manipulation of political reality, which Wilson discusses in his work, and, also, in terms of ideology - as will be set out in the thesis.

Of course, the differences between the political cultures of Britain and Russia are vast, however, by focusing on the interrelationship between ideology and deception, and its presence in both countries, the thesis hopes to provide a narrow enough conceptual focus to draw meaningful comparison. The emphasis is on British politics becoming more virtual, as opposed to suggesting Britain has become a mirror image of the virtual politics Wilson describes in Russia. In short, the comparison operates on two levels - the weakening of truthful representations of political reality in Britain alongside its relationship with populist nationalist ideology. An ideology which shares some features with dominant political trends in Russian governance.

It is important not to claim too much. In isolation, each one of the comparisons made, do not suggest British politics has become like Russian politics. However, when taken together they reflect the changing political landscape in Britain. The thesis suggests there are lessons to be learnt from Russia about how to analyse the changes which have occurred in Britain, in particular the relationship between ideology and deception. Jean-Jacques Rousseau argued that `there is no subjection so perfect as that which keeps the appearance of freedom' (Rousseau, 1979, p.120). While Britain is clearly not authoritarian or totalitarian, freedoms should never be assumed as immutable or inevitable. This analysis hopes to demonstrate how an uneasy level of political manipulation can creep into a democracy under the guise of ideology.

Hypothesis: The thesis assumes that there is an ideological dimension to virtual politics. Thereafter, it applies those assumptions to British politics.

Literature Review

It is important to assess the literature that addresses the following key terms which are used throughout the thesis: `populism', `populist nationalism', `nationalism' and `national identity'.

Populism is the concept which requires the most attention. Populism is a notoriously difficult concept to define and is often used without a settled theoretical framework (Deegan-Krause & Haughton, 2009). This has led to criticism that the term populism is so imprecise, and, is applied to describe such a wide variety of social phenomena, that, in the end, it becomes a meaningless word (Serhan, 2020).The debate over its meaning is not a modern problem and similarly occupied academics throughout the 20th century (To Define Populism, 1968). An exact definition of populism may be impractical due to the vast number of different national and historic contexts in which the word has been implemented.

However, there is a `consensus conception of populism' in which, `at least, three core components that can be viewed as common denominators' for the analysis of populism exist (Woods, 2014, p.2). Those three categories are as follows:

populism always refers to the people and justifies its actions by appealing to and identifying with the people; it is rooted in anti-elite feelings; and it considers the people as a monolithic group without internal differences except for some very specific categories who are subject to an exclusion strategy. (Jдgers and Walgrave 2007, as cited in Woods, 2014, p.3).

For the purposes of the thesis, those three core components provide a rough guide for the understanding of populism. However, this definition does not describe populism's relationship with ideology or democracy and authoritarianism.

Ernesto Laclau's `On Populist Reason' provides an explanatory framework which can accommodate for the existence of populism in both democratic and authoritarian societies (Laclau, 2005). Some writers, such as Levitsky and Loxton argue that populism, `the election of a personalistic outsider who mobilizes voters' (Levitsky & Loxton, 2013, p.107) is inherently connected with and acts as a catalyst for authoritarianism. However, Laclau proposes that populism is fundamentally `the construction of a chain of equivalences out of a dispersion of fragmented demands, and their unification around popular positions operating as empty signifiers, is not totalitarian but the very condition for the construction of a collective will which, in many cases, can be profoundly democratic' (Laclau, 2005, p.166). He acknowledges that `some populist movements can be totalitarian' but populism should not be conflated with totalitarianism (ibid.). As the thesis compares a democracy and an authoritarian regime, it was important to establish an understanding of populism in which it can exist in both.

Carl Schmitt's Concept of the Political corroborated Laclau's view. Schmitt's theory depicts the political world as inherently conflictual and antagonistic, and, in its purest form, can be reduced down to the friend-enemy distinction (Schmitt, 1996, p.27). Schmitt's work, in turn, is rooted in Thomas Hobbe's vision of the state of nature in Leviathan; `during the time men live without a common Power to keep them all in awe, they are in that condition which is called Warre; and such a warre as is of every man against every man' (Hobbes, 1968, p.185). This view of politics suggests a divisive and hostile `us' and `them' can come into existence in any society, irrespective of the political structure, if it is without a `common Power'.

Another issue that arises when trying to apply the term populism is that it `does not come intrinsically from one side of the political spectrum or the other' (Calhoun, 2017, p.63), existing in both left-wing and right-wing politics. Francis Fukuyama's book, `Identity: contemporary identity politics and the struggle for recognition' (Fukuyama, 2018) addresses this point. It is true that populism can emerge from any political direction and is sometimes not even described as a political position at all, but as a discursive practice (Kelly, 2018). However, there is an unmistakable global pattern, whereby populism has given expression to right wing politics more often than not. That does not exclude its existence on the left, but it simply has not been as prevalent.

Fukuyama explains the rise in right-wing populism in terms of dignity, for which he refers to the Greek concept of Thymos; `the part of the soul that craves dignity' (Fukuyama, 2018, p.9). While modern democracies offer a `minimal degree of equal respect, embodied in individual rights, the rule of law, and franchise. What this does not guarantee is that people in a democracy will be equally respected in practice' (ibid.). The lack of `respect' afforded between citizens existing in a democracy drives a populist affirmation for recognition. As Thymos is a universal and human condition, it opens up the possibility for cross-country comparison. As Fukuyama notes:

Many of those who voted for Donald Trump remembered a better time in the past when their place in their own societies was more secure and hoped through their actions to “make America great again.” While distant in time and place, the feelings among Putin's supporters over the arrogance and contempt of Western elites were similar to those experienced by rural voters in the United States who felt that the urban bicoastal elites and their media allies were similarly ignoring them and their problems. (Fukuyama, 2018, p.17).

His work also provides an answer for a curious feature of contemporary populist movements; if socio-economic inequality is rising and populists are so preoccupied with elites and identifying themselves with ordinary people, why, then, are they so rarely left-wing? Fukuyama suggests, focusing solely on economic incentives for human conduct does not offer an explanation for this. Instead, it overlooks an important driver of human behaviour, the desire for dignity and recognition, which, in turn, is given expression by right-wing populism. Fukuyama identifies this particular ideological pattern in contemporary populism. Subsequently, the thesis tries to establish an additional pattern between right-wing populism and the disinformation of virtual politics.

The `consensus' definition of populism given above, specifies one of the key characteristics of populism, as it being `rooted in anti-elite feelings'. While this is certainly the case, it does prove to be too broad. In both Russian and British politics, the presence of elites within populist movements are visible. Whether it be public-school educated Conservatives in Britain, or the political-economic elite in Russia. The thesis places an emphasis on which elites are defined and constructed as being in opposition to `the people'.

If populism is inherently un-ideological, we can only understand how it determines who the elites are, by accompanying it with a qualifying word. In order for populism to be successful, it is required to associate itself with a provisional ideology (Mudde, 2004). Populism, in this light, can be regarded as `a rhetorical strategy to help achieve ideological goals' (Miller-Idriss, 2019, p.18). The thesis reflects the insufficient clarity of the word `populist' and turns it into an adjective, referring instead to `populist nationalism'. This allows us to address the discourse of the populist movement as distinctly ideological and endow populism with a political meaning. Populist nationalism still pitches the ordinary people against the elite, but rather than only focusing on an internal elite, they identify a foreign elite and threat - this can be another nation or a multinational organisation, such as the European Union (EU) or the United Nations (UN) (ibid., p.21). The ordinary people are then understood in national terms, either ethnic or civic, in opposition to a foreign entity (Fox & Miller-Idriss, 2008). For example, when `nationalists advocating Brexit or Eurosceptic nationalist movements in Europe [they] not only position the EU as the corrupt elite but position the pure people in nativist ways' (Miller-Idriss, 2018, p.21).

it is questionable if Russia has populist characteristics in the first place (Busygina, 2019). Oliker argues that `anti-elite and anti-corruption campaigns, and popular feeling, are fundamentally different in Russia, where corruption is simply more accepted as part and parcel of the system, than in Europe', in addition Putin was anointed by his predecessor Yeltsin, rather than coming to power on a populist platform (Oliker, 2017, p.16). This, she argues, is sufficient evidence to reject the description of Putin's regime as populist. However, she does not acknowledge that in Putin's early presidency, much of his popularity was rooted in his supposed cleansing of the oligarchs, a clear appeal to anti-elitist sentiments.

Furthermore, by accompanying populism with nationalism we can describe Putin as defining the Russian people in opposition to the West. The search for external enemies is also a `widely acknowledged feature of populism' (Ambrosetti, 2018, p.133). In other words, nationalism influences Russian populism, so that, `there is an externalisation of the “elites”, which, in some cases, are identified with the wealthy and powerful states making up the category of the “West”' (ibid., p.134). Oliker's narrow focus on populism as only a reaction to internal elites means she overlooks important characteristics of Putin's ideology. Incorporating nationalism into our understanding of populism justified the description of Putin's regime as populist in the thesis. Furthermore, It also allows us to compare Britain and Russia, as in both cases they divide the political territory between “us” and “them”, but, significantly the “them” is a foreign entity.

It also seems to me that we can add to this discussion, by considering the inevitable contradiction which populism runs into - that of populist governments. Populist movements are not a perpetual opposition and if they are successful, then they often find themselves in government. In this case, the representatives of so-called ordinary people have suddenly become the elite. In order to maintain the “us” and “them” divide which powers populism, a new “them” has to be found. Typically, this can be done by identifying foreign enemies or internal fifth columns (which represent the interest of foreign enemies). Putin's regime seems to follow this trajectory, at the beginning the enemies of the state were presented as internal in the form of Chechens and oligarchs. After establishing government, new enemies were located in former Soviet countries and the West.

Nationalism is another nebulous concept. However, Ernest Gellner provides a succinct definition, that nationalism is `primarily a political principle which holds that the political and the national unit should be congruent' (Gellner, 1983, p.1). While Gellner's explanation helps to simplify a difficult idea and clarify the internal dynamics of nationalism, it fails to address the relationship between nations. Nationalists also believe that `the nation is culturally and historically distinctive and therefore possesses moral authority to exist as a separate territorial and political entity. (Harris, 2009, p.6). The major threats to this are typically other foreign entities which may infringe on the nation's exclusive territory or migrants who may alter the cultural distinctiveness from within. This explains the fixation with sovereignty and immigration typically held by nationalists. It also provides an answer to the populist question of who `the people' are - those who have a cultural or ethnic attachment to this `separate and political entity'.

However, Gellner's definition does not explain what constitutes the `national unit' - are individuals required to inherit membership or can it be adopted? Kolstш & Blakkisrud focus this issue of identity onto Russia specifically. They discuss the difference between ethnic and civic forms of identity, which is reflected in the linguistic distinction russkii and rosisski. Rossiski describes a `civic identity intended to encompass everyone residing within the borders of the new state'. Russkii, on the other hand, refers to a `traditional ethno-cultural core' (Kolstш and Blakkisrud, 2016, pp.249-250). They are able to demonstrate how competing forms of identification create a loose sense of nationhood for many Russians. This is an essential observation for the thesis, as it proposes that populist nationalism can provide a fixed and seemingly stable identity for many Russians, by identifying themselves in contrast to a common enemy.

Kumar sheds light on difficulties in reconciling ethnic and civic notions of identity in Britain (Kumar, 2006). His focus is specifically on the problems of English national identity, as it conflicts with British national identity, which has civic connotations (Kumar, 2006, p.428). This has been described as a plausible explanation for the disproportionate amount of Eurosceptics in England relative to Britain (Henderson, 2016). This also opened up the possibility of comparison between Russia and Britain, because it suggested in both countries a weak sense of identity could lead to a political disdain towards foreign entities, given fullest expression by populist nationalism.

Gellner's work is complemented by Anderson's `Imagined communities: reflections on the origin and spread of nationalism' (Anderson, 2006) and Hobsbawm's `The invention of Tradition' (Hobsbawm, 1983). All three of them explicitly connect the emergence of nations, as an accepted reality of a social and political order, with modernity. In doing so, they are able to demonstrate the artificial nature of nations and, consequently, nationalism. Anderson focuses on the inability for all people within a nation to physically meet each other or gain an accurate image of what their fellow countrymen are like. This leads to what he calls an `imagined community' where the nation is a result of the collective imagination of its inhabitants (Anderson, 2006). Hobsbawm points to a different aspect of the artificiality in the creation of nations and nationalism - the invention of traditions. The book charts a number of traditions which appear to be ancient and deeply woven into the fabric of the national spirit, but were, in fact, often created recently and by venal entrepreneurs (Hobsbawm, 1983). As the thesis explores, this understanding of nations and nationalism as essentially constructed concepts expose them to exploitation by political manipulators.

National identity is a strong form of political attachment which provides a framework for individuals to understand themselves and others. In its simplest terms it can be defined as, `a sense of belonging to and being a member of a geopolitical entity' (Verdugo & Milne, 2016, p.3). McCrone and Bechhofer, when surveying the United Kingdom found that: `from interviews with Scots who migrate to England, and English-born people who come to live in Scotland, that their country of origin, where they were born and brought up, confers on them a powerful sense of who they are' (McCrone & Bechhofer, 2015, p.6). While some sceptics may think national identity is an outdated and unimportant concept, it still seems to be a significant driver in human behaviour and political association. In other words, in spite of the work of Gellner, Anderson and Hobsbawm to demonstrate the artificiality of nations, this is not necessarily indicative of how people feel about nations.

Smith argues that `a sense of national identity provides a powerful means of defining and locating individual selves in the world, through the prism of the collective personality and its distinctive culture' (Smith, 1991, p.17). This is an important understanding of national identity for the thesis. That it is essentially a form of association that facilitates both unification between members who think they share a national identity and dissociation with those who they think do not.

Three dominant views of national identity exist in the research: essentialist, constructivist and civic citizenship (Verdugo & Milne, 2016, p.4). Essentialists view national identity as fixed, whereas constructivists posit that `that dominant groups create, manipulate, and dismantle identities for their specific gains' (ibid.). The constructivist analysis of national identity is adopted for the thesis. Firstly, because it recognises that identities can be reimagined and reconstituted; something which seems particularly clear when we look at Russian cultural transitions, from Peter the Great, to Bolshevism, and, into the post-Soviet era. Secondly, they are in close alliance with postmodernists due to their inclination towards relativism (Prawat, 1996). As virtual politics can be regarded as a postmodern interpretation of an authoritarian regime, it required a post-modern or constructivist notion of national identity in order to form a coherent argument. If national identities were fixed, as essentialists would suggest, the scope for manipulating them would be reduced to a minimum.

Wilson's work on virtual politics forms the backbone of the thesis. `Virtual politics: faking democracy in the post-Soviet world' (Wilson, 2005) provides the most detailed account of the methods and techniques employed by political technologists, which the thesis uses to support its central theory. In the introduction, Wilson explains that the key to virtual politics is that `authority is invented' (Wilson, 2005, p.16). This is an important feature of the thesis, as it felt necessary to attempt to connect virtual politics with an ideology which is also predicated on invention - nationalism. The book recognises the significance of enemies and the need for internal cohesion in virtual politics. However, it does not systematically attach virtual politics to an ideology. The thesis attempts to demonstrate that virtual politics operates within an ideological framework, namely, that of populist nationalism. Theoretical considerations are therefore applied to the research already carried out by Wilson.

In a later publication, `Ukraine crisis: what it means for the West', Wilson describes political technology and many of the features of virtual politics in detail in chapter 2 (Wilson, 2014). This was vital for the research, because it updates the different uses of dramaturgiiya which had been used in the intervening nine years since `Virtual politics: faking democracy in the post-Soviet world'. Without this, it would not have been possible to observe a significant pattern within the dramaturgiiya, which then underpins much of the thesis. Furthermore, the chapter reflects the changing nature of virtual politics, in which dramaturgiiya becomes a more prominent feature of political technology. Primarily, this is because there is no substantial opposition to the Putin regime, so the `organisational technologies' (Wilson, 2005, p.66) of day-to-day campaigning became less significant. The article `Is Russian Politics Still Virtual?' (Wilson, 2015) further charts the development of political technology in Russia, paying attention to more recent targets of political manipulation.

Pomerantsev's work complements Wilsons. In `Nothing Is True And Everything Is Possible' (Pomerantsev, 2015), he goes into detail on the illusory quality of Russian politics. He also has a detailed account of Vladislav Surkov and provides interesting insight. Both Pomerantsev and Wilson have interviews with political technologists in their books, which provide useful primary source accounts of the architects of virtual politics. However, the book is discernibly journalistic and therefore sometimes superficial in its analysis. For example, he spends a lot of time focusing on the lives of individuals, such as business woman Yana Yakovleva, but gives little evidence to suggest why or how her experience may be representative of Russian society and politics more generally (Pomerantsev, 2015, pp.93-123).

A later publication of his, `This Is Not Propaganda: Adventures in the War Against Reality' (Pomerantsev, 2019) is particularly insightful with regards to the new methods of political manipulation available on social media and newfound techniques for disinformation. An interview with Thomas Borwick, the chief technology officer for Vote Leave, proved to be a valuable example of the use of social media in Britain (Pomerantsev, 2019, p.211-214). Pomerantsev also makes the connection between Russian politics and developments in the West, although the focus on Britain is relatively limited.

However, he misunderstands the role of ideology in both Russian and Western politics. This leads to him assuming the concept of `the people' is more malleable than it is. For example, he claims that Labour's defeat (albeit a surprisingly close contest) to the Conservatives in the 2017 General Election acts as another example of `the people' being reorganised. This time, around the slogan `For the Many not the Few' (Pomernatsev, 2019, p.214).

He makes this claim without analysis of the opposition which the Labour party faced, widely considered to have run a particularly dismal campaign (Beckett, 2017). In 2019, the year the book was published, the very same Labour party, with a similar campaign for social justice, were heavily defeated by Boris Johnson's populist nationalist Conservative party, who were promising to enact the referendum result. This suggests that `the people' had not changed that much at all since the 2016 referendum. If Pomerantsev had analysed the significance of ideology as a constituent part of the deceptive politics now present in the West, he may not have been so quick to assume `the people' could be reconstituted and reassembled into any ideological shape, on the basis of slogans and social media targeting alone.

This section has looked to define the key terms which are hereafter applied throughout the thesis and provided justification for the use of the term populist nationalist in particular. The most relevant pieces of literature for the thesis have been reviewed. However, as it is predominantly a theoretical piece of work, it was most important to define the key terms as they are applied to the empirical research undertaken by others.

Methodology

The goal of the research is to contribute to Andrew Wilson's work on virtual politics by assessing its relationship with ideology. Thereafter, the thesis aims to make a cross country comparison with Britain.

The thesis takes theories about nationalism and the construction of nations and applies them to the existing work on the concept of virtual politics. This allows the thesis to contribute to the existing theory by identifying an undiscussed but resolute ideological component in virtual politics. This method also suggests that there is an inherent link between political deception and populist nationalism, and therefore, it is not exclusively a Russian phenomenon, even if Russia presents the clearest case. By evaluating virtual politics with an ideology that is not uniquely Russian (populist nationalist), the thesis universalises some of its concepts. This opens up the opportunity to assess whether elements of virtual politics exist in any contexts outside of the former Soviet Union. In this case, Britain.

The thesis pays attention to historical and cultural contexts in order to grasp a deeper understanding of contemporary political activity in both countries and provide a basis for comparison. The current political regimes in Russia and Britain share a limited amount in common. However, analysing the socio-political context of both countries brings further points of comparison to light.

The thesis evaluates a mixture of primary and secondary sources, statistics and qualitative research in order to test and support the theoretical claims about the nature of virtual politics. Finally, the thesis is broadly multi-disciplinary; drawing from linguistic analysis, critical discourse analysis, social science and political philosophy in order to reconstruct the relevant intellectual contexts needed to understand populist nationalist discourse in both Russia and Britain, and, how this relates to political deception.

Chapter 1

Virtual Politics: Definition, Origin and Evolution

Virtual politics does not describe a feature or a characteristic of Russian politics but seeks to offer an alternative description of the political system itself. This alternative is in distinction to more commonplace representations of Russian politics, which seek to attach it to various forms of authoritarianism ,or, present it as a distorted form of democracy - describing it as `semi democratic' or `semi authoritarian' (Wilson, 2005, pp.15-16). Stephen Holme's offers an explanation as to why the authoritarian label should be rejected, pointing out, `the regime's desire and ability to render its actions opaque and illegible to the public… does not make it into an authoritarian regime in the classical sense' (Holmes, 2015, p.40). He suggests that Russia's rulers `hide the failure of their overestimated state-building efforts only by creating an alternative reality through Kremlin-controlled television news' alongside subservient national papers such as Komsomolskaya Pravda and Moskovsky Komsomolets (ibid.). For Holmes, this preoccupation with concealment and deception reveals the fundamental weakness of the Russian political machine, that rather than wielding genuine power, it has to resort to `smoke and mirrors to imitate authoritarianism' (ibid.).

According to Holmes, the ability to cultivate `an unearned reputation for power is a venerable political art' (ibid., p.38). This is the very art that virtual politics looks to examine, addressing the fundamental questions; who are the artists and what are their tools? For this thesis, whether the reputation for power is `earned' or `unearned' is unimportant. Instead its existence alone, deems it worthy of analysis. Virtual politics, as a theory, places these notions of imitation, `smoke and mirrors' and the creation of alternative reality at the very heart of our understanding of political power and authority in contemporary Russia, and, does not regard them as simply an attempt to feign the capacity of the state; `political technology is the life-blood of the system, not a discardable technique' (Wilson, 2015). In democracies, broadly speaking, authority derives from some type of election process, `however imperfect' and in authoritarian states `authority is asserted rather than earned' (Wilson, 2005, p.16). In contrast, `the key to “virtual politics” is that authority is invented (Ibid.).'

If authority is invented, then it follows there is an inventor or a group of inventors. According to Wilson, this process of inventing authority falls under the remit of `political technologists'. In his words, `political technologists… see themselves as puppet-masters, scene-setters, political programmers' (Wilson, 2005, p.41) who are able to `stage the basic mythology of the state' (ibid., p.15). In an interview with Wilson, Gleb Pavlovskii, one of Russia's most prominent political technologists, outlined the significance of political technology, stating, `political technologists play the crucial role, set the agenda, change the agenda… There is a group of people, more like a corporation, who decide politics' (Wilson, 2005, p.50). Indeed, the obvious comparison in the West would be with spin doctors and advisors. However, while spin doctors predominantly try to put `spin' on a story and alter its meaning before it enters the public domain, political technologists `bestride an entire culture of politics-as-performance' applying whatever `technology' they can `to the construction of politics as a whole' (ibid., p.49). Although trying to influence and manipulate the media narrative is a principal task for a political technologist, they also harness the capacity to destroy and create political parties and even frame the `general campaign dynamics and the manipulation of results' (ibid.).

These highly pragmatic and cynical political manipulators rose to prominence in the 1990's, the decade which began with the collapse of communism. They simulated democratic institutions while distracting the `population with carefully scripted drama' as `the energy wealth had temporarily stopped flowing' (Wilson, 2014, p.19). This was accompanied by more crude and less sophisticated techniques of coercion, including the use of `contracted-out KGB services: agents everywhere, alongside agents provocateurs, divide and rule, kompromat (`compromising materials'), bribery and control' (ibid., pp.20-21).

Aleksii Koshmarov's company Novokom acquired a reputation for employing some of the more unscrupulous methods, which are credited with contributing to Yakovlev's victory over Sobchak for governor of St.Petersburg in 1996, Yakovlev's re-election in 2000 and the city legislative elections in 1998 (Wilson, 2005, p.56). For example, in the 1998 city legislative election, the use of `clones' and `doubles' were used to `rout' the local democrats (ibid.). `Doubles' and `clones' are the creation of candidates or parties with very similar or identical names, to confuse voters when they were trying to identify and select their preferred candidate or party on the ballot paper. This in turn, splits the opposition vote as voters accidentally pick the `clone' or the `double' instead of their party or candidate of choice. In this case, the fake “Yabloko-St Petersburg” party was created to drain votes away from the real and liberal “Yabloko” party (ibid.). In gubernatorial elections Koshmarov would use `late-night phone calls' from people pretending to represent one of the parties he was competing against (designed to wake up and irritate potential voters for the opposition) and `fake leaflets from opponents stuck to cars with superglue' (ibid.). Such methods are said to have helped apparent `lost causes' such as `Vladimir Yegorov win in Kaliningrad in 2000 and Vasili Starodubtsev in Tula in 2001' (ibid.). Wilson describes these sorts of tactics more generally as the `organisational technologies' at the disposal of political technologists (ibid., pp. 66 - 69).

Media Technologies

The other key weapon in the arsenal of the political technologist is the use of `media technologies' (ibid., pp. 64 - 66). These relate to the way in which political technologists are able to control narrative by manipulating the media agenda. This can range from employing anchors on news programmes to attack opponents, to getting stories placed in national papers (ibid.). The standout use of `media technologies' in the decade was the unlikely presidential election victory for President Boris Yeltsin against the communists in 1996. The campaign was coordinated by the oligarch Boris Berezovsky, who was nicknamed the “godfather of the Kremlin” and considered to be the man `who first understood the power of television in Russia' , privately owning Russia's main TV channel, `Channel 1' (Pomerantsev, 2015, p.78).

While Berezovsky may have coordinated and financed the campaign, political technologists organised its victory. Yeltsin's chances of success, by almost all accounts, were slim and it was widely regarded as a lost election. However, with the use of `media technologies', political technologists framed Yeltsin as the only man capable of saving the nation `from a return to revanchist communism and a new fascism' (ibid.). This virtual script was complete with purposefully produced TV scare stories of `looming pogroms and conjured fake far right parties, insinuating that the other candidate was a Stalinist (he was really more of a socialist democrat), to help the mirage of a looming “red-brown” menace' (ibid., pp.78-79).

The extent to which political technologists are able to manipulate the media with outright disinformation `embodies entire dramaturgiiya rather than simple smears' (Wilson, 2005, p.66). Wilson explains that dramaturgiiya in Russia `is not just “drama” in the sense of excitement, but a whole scenario, like the work of a playwright (dramaturg)' (ibid.). From this election, one such example in how to create a dramaturgiiya, was the planting of the Communist Party's “secret memo” which outlined `its supposed plans for a violent seizure of power,' by Kremlin technologists in Nezavisimaia gazeta on 8 June 1996 (ibid.). This story was then picked up and disseminated as truth by numerous reporters, and Yeltsin even discussed it himself in a TV interview (ibid.).

Guns for Hire

During the 1990's the organisation of political technology reflected the chaos and disorder of the decade. Vladimir Sorokin conveyed the dislocation and disorder that followed the collapse of communism in the afterword to his novel, `The Queue'. The afterword is entitled `Farewell To The Queue'. He expresses the shock as `the steel hands of the world's first proletarian government, which carried us from cradle to grave, cracked and fell off' through the metaphor of the notorious Soviet queues (Sorokin, 2008, p.254). According to statistics, Soviet citizens spent a third of each day standing in queues. For Sorokin, these queues were the hallmark of socialism, whether it be standing in line for butter and sugar in the Stalin years or American Jeans and German shoes in Brezhnev's era (ibid., pp.253-263). The `monstrous leviathan that wound entire cities in its motley coils' distilled the true values of socialism; order, equality and the collective body (ibid., p.254).

It was in the queues that the collective body `was steadily ritualised' being taught `obedience' and becoming `maximally governable' (ibid., p257). But, in a `catastrophically short time', just a couple of years, `the line was dispersed and reborn as a crowd' (ibid., p254). The collapse of communism ushered in `the atom bomb of the market economy' which exploded on the queue (ibid., p.260). The singular big queue `shuddered and wavered' until it eventually divided itself into smaller lines, as newfound entrepreneurs enticed members and groups away from the queue with choice and variety (ibid.). The destruction of the queue amounted to the destruction of the socialist collective body and authoritarian order.

Just as the queue disbanded, centrally controlled politics dissolved into molecules, as new sources of wealth and power appeared uncontrollably in a new competitive marketplace of private political interests. In this arena the political technologists were `guns for hire', prepared to work for the highest bidder (Wilson, 2014, p.22). They were operating in the frenzied crowd of personal political ambition and no longer formed part of the centralised apparatus of the state. As already discussed, it was the oligarch Berezovsky who paid for and coordinated Yeltsin's presidential victory in 1996, using the services of political technologists. Control over the manipulation of politics itself split up, as political technologists found themselves in popular demand, strewn across the election campaign business, classical political consulting, media campaign managers and kompromat agencies (Wilson, 2005, p.51).

Vladislav Surkov, who has been closely associated with the Kremlin's political technology during Putin's presidency, confirms this account, describing the 1990's as a place where `a vulgar, nouveau riche class of criminals and kleptocrats seemed to dominate the still-feudal government' (Surkov, 2010, p.86). In his most recent book, Pomerantsev recalls an interview with Gleb Pavlovskii, who explains the newfound freedom for political technologists; `a vacuum arose, requiring a new language. We were an absolutely blank canvas. We had, in a sense, to reinvent the principles of the political system as best as possible' (Pomerantsev, 2019, p.220). The methods were particularly effective, as they had inherited manipulative techniques from the Soviet era but their means `were married to modern capacities' (Wilson, 2014, p.20). It was in these years that the abuse of administrative resources, the destruction of political opponents with active measures and kompromat along with `virtual brands that disguise a party or a politician's real nature' became incorporated into Russian politics (Wilson, 2005, p.266).

Dramaturgiiya

Out of the newly emboldened political technologist's toolkit, this thesis is particularly concerned with the use of dramaturgiiya, which was briefly touched upon in relation to Yeltsin's 1996 presidential campaign. Primarily, this is because my thesis hopes to understand and establish the relationship between virtual politics and ideology. While there is no doubt that some of the more crude methods of democratic manipulation, that have already been mentioned, form an important part of virtual politics, they have no relation to ideas and ideology. In other words, they could be used by a party of any persuasion in any country, if they thought they could get away with it - they reflect no ideological values, but simply a pragmatic desire to `win' political competitions. Apart from a rejection of democratic standards, which could be construed as an ideological position, these methods are in fact deeply un-ideological. It would be hard to describe sticking opposition leaflets on car windows with superglue as reflecting the values of communism, nationalism or liberalism. Instead it is the behaviour of power-hungry opportunists with no regard for rules or notions of fair play. A good example of this can be found in America in 1972. Patrick Buchanan, the aide to Nixon, smeared Pete McCloskey, Nixon's moderate rival for the Republican nomination, by sending him donations from fake Gay Liberation and Black Panther organisations before tipping off the press on the eve of the New Hampshire primary (Wilson, 2005, p.67). A similar tactic was used by the political technologist Koshmarov in 1999, when he gave out free condoms to conservative voters on behalf of his rival `Mr Symonenko' (ibid.).

Dramaturgiiya, on the other hand relates directly to ideas, and, in particular, which type of political stories captivate and mobilise the public (i.e prove to be useful for political technologists and politicians). Later, the thesis will propose that the spinning of dramaturgiiya references an ideological subtext within the political discourse, that of populist nationalism, which makes the stories both appealing and intelligible to the public. However, at this stage it will suffice just to expand on the idea of dramaturgiiya. The political technologists were particularly `skilled at manipulating information technologies, creating dramas that were literally virtual because they mainly existed on TV; or later, at nudging, deflecting or reshaping the narratives of social media' (Wilson, 2014, p.21).

The production of these virtual meta-narratives (dramaturgiiya) are key to the functioning of virtual politics, as the individual parts of the system do `not work in isolation' (ibid.) The dramaturgiiya acts to hold all the different parts together, providing `the script that everybody had to follow, kept elites and masses aligned, and ensured “organised [i.e. inevitable] victory”... at election time' (ibid.). Examples of these artificial and virtual dramas include Yeltsin versus the communists in 1996 (as already discussed), Putin versus the Chechens in 1999, Putin against the oligarchs in 2003-04 and in `2007-08 it was “Russia restored” versus all comers, and Putin passing on the torch of Russia's restored power to Medvedev' (ibid.). If you wanted to add another one in, you could think of Putin's `conservative turn' after 2012, as Putin vs the West or Putin as the guardian of traditional values. It is also worth noting, that as real opposition is essentially non-existent in Putin's Russia, `organisational technologies', like the superglue trick, play a less important role. Dramaturgiiya, on the other hand, is still vital in contemporary Russian political technology.

These dramas transform the public face of politics into virtuality, `most often in the form of “broadcast parties'' or politicians that are almost entirely media phenomena' (Wilson, 2005, p.48). However, this invented world and storyline can take on properties of the real world. For example, in post-Soviet Russia `puppet politicians such as Zhirinovskii… often end up playing a real political role', in this information haze it is difficult for voters to distinguish between the invented and the real elements of political life (ibid., p.90). Vladimir Zhirinovskii is the leader of the LDPR, the Liberal Democratic Party, which, `true to its Orwellian name, was invented by the KGB in the early 1990s to siphon off populist and nationalist voters' (Holmes, 2015, p.50).

Zhirinovskii, also known as `Mad Vlad', is renowned for his incoherent and furious nationalist rants, which are typically targeted at immigrants or what he perceives as Western cultural values. Sometimes he `criticises' the executive and sometimes he is in agreement with them, but he never fails to make the government appear moderate and prudent in contrast with his radical rhetoric, spurious accusations and unfounded claims. It is possible to see how political technologists, along with their control over television outlets, from which Russians receive most of their political information (Volkov & Goncharov, 2019), have the facilities to stage these full length dramas, controlling all the characters (like Zhirinovskii), the plot outcomes and the way in which it it will be presented to the public.

A famous example of dramaturgiiya, prepared in a `classic virtual fashion', was the framing of Mikhail Khordokovskii's arrest, which was complete with special forces storming his private plane (Wilson, 2005, p.109). Stanislav Belkovskii, a Kremlin technologist at the time, `issued a “scare story” entitled “The State and Oligarchs”, which provided an ideological justification for Khordokovskii's arrest, by alleging that `Russia is on the verge of a creeping oligarchic coup' (ibid). He wrote a further article in the run up to the arrest on `Putin's Loneliness', again, forecasting a coup. In this case the `virtual text' became `the real news' being `used as the initial excuse for… the “prophylactic” arrests of Yukos executives' (ibid.). Arresting Khordokovskii is widely recognised as strengthening the Kremlin's control over the Duma and eradicating a potentially dangerous political opponent (ibid., p.110).

Moreover, the dramaturgiiya gave Putin the opportunity to align himself with `the people' against the parasitic and venal oligarchy. While Putin has used staged events like this to present himself as having cleared Russian politics of oligarchs, he is widely considered to have simply ousted the oligarchs he does not like and replace them with allies; bringing in personally trusted siloviki (politicians with backgrounds in security or the military services, like Putin himself) and `business-minded civilian bureaucrats and close business associates from St. Petersburg into the political-economic elite' (Holmes, 2015, p.42). In this regard, the virtual drama of the Khordokovskii case conceals two realities. Firstly, it covers up the Kremlin's immediate pragmatic motivation for his arrest (the fact they wanted to remove a plausible and well-financed oppositionist) and, secondly, it camouflages Putin's true relationship with oligarchy.


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