ORDER OF MAGNITUDE
As the founder and CEO of the world’s largest social media corporation, what does Mark Zuckerberg think about? While we get clues from his posts on Facebook and elsewhere, a primary window into this question is through his public video recorded appearances. Covering the earliest days of Facebook in 2004 up through Zuckerberg’s compelled appearances before the US Congress in 2018, these recordings reveal what’s changed and what hasn’t changed about the way he speaks and what he says. For ORDER OF MAGNITUDE, I viewed every one of these recordings and used them to build a supercut drawn from three of Mark’s most favored words: “more,” “grow,” and his every utterance of a metric such as “two million” or “one billion.” The result is a nearly fifty minute film that reveals primary topics of focus for the tech CEO, acting as a lens on what he cares about, how he thinks, and what he hopes to attain.
ORDER OF MAGNITUDE premiered as part of arebyte On Screen (AOS) in an edition curated by David Quiles Guilló. Subsequent exhibitions include “Please don’t stand in the middle of the road waiting for me to get you on camera” (exhibition info, exhibition entry) and Portrait of Zuck at Galerie Manqué in Brooklyn.
Currently, the work is on view as part of 24/7, an exhibition at Somerset House in London that “explore[s] the unrelenting pressure to produce and consume around the clock … and holds a mirror up to a society where complex systems are exerting control, causing us to sleep less and disrupting our instincts to daydream and pay attention to the world around us, and each other.” 24/7, which is curated by Sarah Cook, is on view through the 23rd of February, 2020.
Thanks to The Zuckerberg Files, an archive of Mark Zuckerberg-related materials from the Center for Information Policy Research at the University of Wisconsin-Milwaukee. I was able to draw on many transcripts they have produced as part of their work, and I will be offering external materials I’ve acquired back to their archive. More broadly, I drew from hundreds of clips in the making of this work; producers, creators, and posters of that material are acknowledged in the end credits of the film.