Image Credit: OneZero
In an article titled The Illinois Artist Behind Social Media’s Latest Big Idea, the new tech magazine OneZero wrote about my seven year (and going) project to “demetricate” social media. Will Oremus writes:
Grosser’s ideas, initially fringey and obscure, have gained traction over the years among tech critics and garnered mainstream press coverage. The CEOs of both Twitter and Instagram have articulated their rationales in terms that evoke Grosser’s critiques, noting how the visual prominence of like and follower counts can encourage people to treat the platforms like a competition. Even Kanye West has become an advocate of hiding metrics on social media.
Yet Grosser himself has gone unrecognized and unmentioned by the big Silicon Valley tech firms, even as they begin at last to incorporate fragments of the ideas that he has been propounding for so long. “It’s certainly been a strange ride to watch the ideas emerge in the public consciousness,” he said in a phone interview. After years in which it felt like he was shouting “demetrication” into the void, “It’s a bit disorienting to see everyone from Jack Dorsey to Kanye West to now Instagram talking about it.”
It’s a study in how a critique of technology that’s ahead of its time can be ignored for years, then suddenly catch fire in Silicon Valley when circumstances shift — and companies that once dismissed it find it in their interest to espouse. Whether they’ve actually taken it to heart is another matter.
The piece is comprehensive, and includes quotes from Twitter and Instagram. If you don’t already follow Will Oremus‘ writing about tech and culture, you should. He’s part of a small group of journalists doing important, considered, and critical writing about big tech.
One point of clarification in relation to the piece. Will writes about Facebook’s move to kick Demetricator off the Chrome Web Store in 2016, saying: “[Grosser] says it was due to a takedown request by Facebook.” For any journalists interested in this history, I’ll be happy to provide documentation of the takedown request, and the Electronic Frontier Foundation—who represented me pro bono in that conflict—is also happy to talk about the case. Just let me know.
My work Computers Watching Movies is part of the Reboot Digital Arts Festival, opening today at Palácio Baldaya in Lisbon. Reboot is a new festival—assembled by some of the same folks involved with the PLUNC—that describes itself as:
…a digital restart – [Reboot] cleans a digital system of some saturating element, reviving it. In the tangible world, the concept of Reboot is sold to us in many forms – restful sleep, detox treatments, therapeutics, and the like – but it hardly parallels with this digital recurrence. This Reboot is an invitation to speculation, to criticism, to a fresh scientific production, and to formal, transdisciplinary artistic interventions.
The festival includes a two-day symposium that has some great looking talks. More available at the festival site.
On the latest episode of Today, Explained, Arielle Pardes of Wired talked with Vox about her experience of using my social media Demetricators:
When I first started using the Demetricators, it was a little bit scary. But over time it sort of led me to believe that I was putting too much value in things like how many likes or retweets or comments that my posts were getting. It really made me aware of how quickly I was judging other people’s profiles for how many followers they had or how quickly I was judging somebody else’s posts for how many likes it received. … there is a sort of blissful oblivion when you don’t know how well something is performing.
To hear the rest, listen to the episode by clicking play above (or, alternatively, here’s links for Apple and Spotify).
Portrait of Zuck at Galerie Manqué in Brooklyn
My work ORDER OF MAGNITUDE will be part of the exhibition Portrait of Zuck. Opening this Friday at Galerie Manqué in Brooklyn, the show presents work that focuses on Mark Zuckerberg’s role(s) as:
“tech billionaire, ultimate data merchant, CEO of the world’s largest social media corporation, enabler of Cambridge Analytica and Russian trolls, goat slayer, Puli owner, embodiment of insatiable capitalism, awkward person, possible robot, probable alien, privacy violator supreme, etc.”
The exhibition features work by Sandra Araujo, Marion Balac & Carlos Carbonell, Bob Bicknell-Knight, Ryan Garvey, Ben Grosser, Claire Jervert and Lane Twitchell.
Screenshot of Aftenposten
Aftenposten (Oslo) and FAZ (Frankfurt) both wrote about my efforts with social media demetrication as it relates to current experiments at Twitter and Instagram. Unfortunately, both are behind a paywall. But here’s a couple excerpts (using Google Translate):
The last few weeks show that Grosser was ahead of his time. Instagram, which belongs to the Facebook group, is now testing a kind of “metric light” in Australia, Brazil, Ireland, Italy, Japan and New Zealand following successful tests in Canada. Users can no longer see how many Likes have been received by the photos of other users, only [one’s] own can be seen. Instagram’s commentary on the test sounds much like Grosser’s: “Helping users focus on their shared photos and videos – not how many likes they get.” Or: “We do not want Instagram to be a competition.”
“It’s really hard not to focus on [our social media metrics],” says Ben Grosser. The art professor has been fighting the role of numbers in social media for seven years. Grosser sits back in his own home, with dark curly hair and beard, and talks enthusiastically about how the numbers control us. He thinks we lose an important part of the conversation when everything is measured. … Grosser is not among the influential giants of Silicon Valley. He works at the University of Illinois, on almost the opposite side of the United States. His job as an art professor gives him no shortcuts to power. But he knows that Facebook knows his work. When the Facebook Demetricator was new, he saw a lot of traffic from the Facebook offices by looking at the IPs that tested the program, “but I didn’t hear anything from them for many years. It doesn’t seem like they cared enough to do anything,” says Grosser. (until 2016 when they got Demetricator kicked off the Chrome web store —bg)
BBC Click (click to watch segment)
The BBC news program Click aired a segment about my work, focusing on Go Rando and my Demetricators as ways of “obscuring your data” in the face of big tech. Watch here.
Screenshot from interview with PBS
On Monday I spoke with Chicago PBS’ nightly news program Chicago Tonight, talking about social media metrics and my seven years of work on Facebook/Twitter/Instagram Demetricator. Read the story and watch the interview here.
Demetricators in The Telegraph (UK)
The Telegraph (UK), in an article titled The quest to create a world without likes, retweets and follower counts, wrote about how Twitter, Instagram, and others are now experimenting with hiding metrics. Here’s an excerpt, from journalist Laurence Dodds:
“When we see a number that reflects our social interactions, it’s very hard for us not to want that number to be larger,” says Ben Grosser, an artist and professor at the University of Illinois whose work focuses on the cultural effects of software.
“Ten likes is good, but I’d really prefer 11; 100 followers is great, but 200 would be better. It relates to self-esteem, to how we evolved with the need to feel value about ourselves and others, but now value is quantifiable. So we are compelled by the presence of the numbers to want them to be bigger.”
It was this “desire for more” that persuaded Grosser to build the work he is probably most famous for: a series of custom computer programs called “demetricators” which plug into Facebook, Instagram and Twitter and render all numbers invisible.
Read the whole piece at The Telegraph (free registration required).
IASIS at TILT Platform in Loutraki, Greece
I’ll have two works at IASIS, an exhibition opening next week at TILT Platform in Loutraki, Greece. Safebook will be exhibited at Ξενοδοχειο Beau Rivage Λουτράκι, while Get More will be all over the city as part of BrowserBased (and I’ll setup a US-based monitoring terminal during the show).
IASIS is curated by Fofi Vergidou, Makis Faros, Zoi Pirini, and Takis Zervedas … and BrowserBased is organized by Zsolt Mesterhazy, Bjørn Magnhildøen, Alex Zakkas, and Joubin Zargarbashi.
My older sound work If But Or will be part of an installation at this year’s ArteScienza Festival in Rome. Under the theme Interattivo-Adattivo (Interactive-Adaptive), the installation includes “eight reflective screens distributed in the Goethe-Institut lower garden, allowing the sound sources placed at their bases to widen the lobes of sound radiation and offer the listener an extended, non-localizable scenario, within which are however perceptible the trajectories or movements of the sound modulated in depth and width.” (translation via Google)
Interestingly, If But Or was the first work I made using my new (at that time) synthesis software called GACSS (Genetic Algorithms in Composition and Sound Synthesis). If you’re in Rome, here is info for the concert on 5 July. Otherwise, you can hear If But Or by clicking below:
My work ORDER OF MAGNITUDE is part of an online exhibition titled Please don’t stand in the middle of the road waiting for me to get you on camera (exhibition info, enter exhibition). From curator Bob Bicknell-Knight:
The works presented consider how human beings are increasingly reliant on digital technologies, from navigating through offline environments utilising Google Maps to having a job as a micro-tasker, working for an online service where users pay to have a pretend girlfriend or boyfriend text them. The crafting of digital, online identities, to be monetised and utilised when traversing offline space has become increasingly prevalent due to the rise of social media sites, allowing everybody to be anybody in a world of hypercapitalism. The exhibition takes its name from a Reddit AMA (Ask Me Anything) with a Google Maps Driver. Throughout the thread the driver details their exploits, from sticking to the speed limit to being harassed at rest stops.
The show is up through 23 July, and includes works by Aram Bartholl, Petra Cortright, Joe Hamilton, and Pilvi Takala.
AI: More Than Human opens at The Barbican Centre in London on 16 May 2019
(photo by Tom Morris)
I’m happy to share that my work Computers Watching Movies will be part of the exhibition AI: More Than Human at the Barbican Centre in London. According to the Barbican, “AI: More than Human is an unprecedented survey of the creative and scientific developments in artificial intelligence, exploring the evolution of the relationship between humans and technology.” The show is divided into four sections: The Dream of AI, Mind Machines, Data Worlds, and Endless Evolution. My work is part of the Mind Machines section. The exhibition is curated by Dr. Suzanne Livingston and Maholo Uchida and runs from 16 May to 26 August, 2019. The show will travel after its run at the Barbican, with its next stop at the Groninger Forum in The Netherlands.
ORDER OF MAGNITUDE is a supercut drawn from video of Mark Zuckerberg from 2004-2018
I’ve just launched my latest work, titled ORDER OF MAGNITUDE, a nearly fifty minute supercut that draws from video recorded appearances of Mark Zuckerberg from 2004-2018. Using these videos as source material, the work examines what the tech CEO cares about, how he thinks, and what he hopes to attain.
The work premieres as part of arebyte on screen (AOS), “a platform dedicated to artist videos, multimedia experiences and curatorial interventions utilizing digital formats to address current political, economic and theoretical discussion, viewable 24/7 both online and via a screen in the gallery…” This edition of AOS is curated by David Quiles Guilló.
My Demetricators for Facebook, Twitter, and Instagram were featured in the March issue of Wired
My work on social media demetrication—and the writer’s experience of using it—is the subject of a feature article in the March issue of Wired Magazine. In a piece titled I Am Immeasurable: My Life Online—Without all the Metrics, Senior Associate Editor Arielle Pardes talks about her ups and downs with metrics-free social media. Pardes writes of how it felt after she demetricated:
It took a second. The rivers of tweets and ’grams still flowed, dragging along the usual cyberpollution. I composed a tweet with a link to a story I’d written, then refreshed the page and waited for my digital pat on the back. It never arrived. Where once I hovered my cursor, waiting for the dopamine hits, there was only blankness. … Not that I immediately stopped searching for approval. When someone new followed me on Twitter, I’d make my way to their follower count … only to find nothing. I’d dreamily wonder how many people liked my latest Instagram post or whether I was the first or 500th to retweet a joke. With the demetricators engaged, I found my cursor circling vacant space, waiting to be told how to think. The emptiness made apparent how much I’d depended on those numbers.
There’s plenty more; I don’t want to spoil it. Read the whole thing.
I should also note that Pardes and others talked discussed my Twitter Demetricator a few months ago for a segment on the Wired Gadget Lab Podcast. You can listen here (link should jump right to it, but just in case, it starts at 31:05).
Lecture series poster for the new Center for Ethics, Society, and Computing (ESC) at the University of Michigan (click for full poster)
I’m excited to be headed up to the University of Michigan to give a talk as part of the “soft” opening for their new Center for Ethics, Society, and Computing (ESC). (gotta love that acronym — perfect). Part of the “CRITICAL x DESIGN” segment of the series, the title of my talk is Less Metrics, More Rando: (Net) Art as Software Research. I’ll speak about a number of my works, and spend some time on my artistic method of software recomposition.
You can see talk details and my abstract here, or view the full talk series poster.