Zoekresultaten

Ben Grosser-Geert Lovink Dialogue on Media Art in the Age of Platform Capitalism

US new media artist Ben Grosser and I met at the 2013 Unlike Us #3 Institute of Network Cultures event in Amsterdam where he presented his Demetricator, a free web browser extension that hides all the metrics on Facebook. I have followed his work ever since. We got in contact again in 2019 when he premiered his video art clip Order of Magnitude.[1] The cut-up piece features Mark Zuckerberg’s obsession with growth. Instead of taking the traditional critical approach, Ben Grosser magnifies particular words that return in each and every one of his sentences: more, millions, billions, trillions. Covering the earliest days of Facebook in 2004 up through Zuckerberg’s compelled appearances before the US Congress in 2018, Grosser viewed every one of these recordings and used them to build a supercut drawn from three of Mark’s most favoured words: more, grow, and his every utterance of a metric such as two million or one billion. Inside the exploding galaxy of Facebook there are no limits of growth. After a few minutes the viewer gets exhausted and is ready to swipe the video away, stand up and walk out: the exact opposite response to what we experience when we’re on Facebook, Instagram, or WhatsApp. The emptiness of the guy suffocates. Well done, Ben.

Instagram’s shift towards live

I'm not lonely, I have memes

A long time ago, well before the COVID-19 pandemic, a sad, dark thing clawed its way into our social media feeds: depression memes. These memes, shared on social platforms such as Instagram, Twitter, Reddit, 4chan, and TikTok, date back to as early as 2016, although it’s hard to tell precisely. What we do know is that people (meme makers) have been saying to their audience (users with or without clinical depression and/or anxiety symptoms) that it’s okay to feel horrible and that if our therapist asks ‘What do we do when we feel this way?’ we do not reply ‘Add to cart’. The online world has given us clearance to lift the taboo (slightly) on mental health issues while simultaneously educating some boomers along the way, resulting in many users using memes ever since as the life raft they can be.

Elevating the Antagonist Encounter

Working as speech acts that delineate online communities, claims to victimhood tend to evoke contestation. Their inherent political nature spurs user engagement in the shape of clicks, shares, emojis, and so on. TikTok’s multimodality has given rise to new practices of engagement that significantly shape how victimhood is communicated and negotiated. This study draws attention to the platform vernacular practice of the ‘stitch.’ Allowing users to respond to someone else by ‘remixing’ social media content of others, the stitch is a platform practice designed for commentary. We zoom in on stitched videos networked by hashtags, published in relation to the Israel-Hamas war. TikTok’s multimodality expands user pathways that connect claimants and those who contest them. Moving beyond hashtag hijacking the stitch elevates a practice of commentary that turns victimhood politics into a spectacle that politicizes formerly less political realms, and that further blurs the boundaries between on- and offline spaces. The analysis shows how stitched videos are especially used for antagonist encounters where they crowd out the ‘original’ post to which they respond. In this way, stitches can be seen as tools that aid platformed ‘regimes’ of visibility that prioritize the antagonist encounter in order to commodify them.

Now You See Me: Visibility of the Lesbian Identity on TikTok

In April 2020, I was in my second month of lockdown. The particular state of isolation I was in made my digital life more tangible, and my ‘real life’ intensively more digital. Around that time, TikTok started to gain more popularity and to become a social networking phenomenon which I didn’t delve into until I found out about ‘lesbians on TikTok’ through a discussion on my Twitter feed. TikTok lesbians were talked about as a particular category of both platform users, and lesbians in general, which some perceived as either fun, cringe, attractive, educational and/or just purely fascinating. Driven by that conversation and curiosity it sparked in me, I joined the app and without giving its recommendation algorithm a chance to ‘clock’ me on its own, I started typing #lesbian in the search bar.

Designing the User Experience to achieve better engagement and Feedback on TikTok Accounts

In this research, we explored how different variables influence the user experience in the TikTok social media channel. The engagement of the users in giving meaningful feedback to the posts was the main variable being observed. This is important because in several business-to-business and business-to-consumer applications the companies are interested in using meaningful feedback from the users to improve their products, be it a tangible device or a media product. So, instead of focusing on getting more followers, in situations like that, it is more important the kind of feedback received from the users. In this research, a mixed methods approach was applied. Joining the quantitative results with the insights from the qualitative part of the research, it is possible to conclude that the algorithm used by TikTok to define the content in the timelines has a bigger influence on engagement than the kind of content. To achieve the desired result of an increase in the number and quality of feedback by the viewers, it was found that being more direct can produce interesting increases. The posts where the viewers were asked to comment and reply with a certain answer have the most comments. In some instances, the increase is almost 300% more when comparing it to the average amount of comments. Most interviewees also stated that they would love to help out and would provide meaningful feedback if this was directly asked. The same goes for Q&A’s and interaction-based posts.