Tag: #digitalisation

Distraction and manipulation: the two horsemen of the digital economy

By Jan Michael Bauer

◦ 2 min read ◦

Even before COVID, people have spent more and more time online. Particularly mobile devices have become a large part of our daily routines and for many there are few moments when the phone is not within direct reach. While studies have shown that even teenagers think they waste too much time online, surprisingly little is done to stop this trend. 

But how did we get here? Several dovetailing factors enabled this development and give me little hope that this trend will slow down any time soon. While technological advancements in mobile internet and device components were necessary conditions that allow for an easy and enjoyable interaction with platforms and services at all times and places, the real champions of compulsive internet use are social and data scientists driven by monetary incentives and unrestrained by a lack of proper ethics training. 

Despite the frequent regrets about the many hours wasted on the internet, people are struggling with self-regulation and apps, like “RescueTime”, with to sole purpose to block oneself from using other apps are becoming increasingly popular. 

While internet addiction has not been officially recognized as a disorder by the WHO, close parallels can be drawn to officially acknowledge gaming and gambling addictions. 

And this is certainly no coincidence as tech companies hire psychologists and designers to make their products and services as tempting as possible, frequently borrowing elements from the gambling industry. However, even though some tweaks based on the knowledge of capable social scientists will increase user engagement, much more can be learned about consumer behavior and how to manipulate it through the application of the scientific method itself. The use of experimentation, collection of big user data and application of machine learning algorithms are the big guns in the fight for user attention and their money.  

All these efforts are used to make social media more “engaging” but ultimately sales and advertising campaigns more effective. To do so, user interfaces and features are explicitly designed to grab attention and contain what has been termed as “dark patterns”. Design elements that often tap into the subconscious decision-making processes and therefore manipulate user through purposefully curated interfaces. While such practices benefit the company, they can have detrimental effects on individuals and society as a whole. 

We know that individual choices reflect individual preferences only under certain conditions, including the absence of deceptive choice architecture or marketing messages. Hence, I can’t stop wondering about the opportunity costs and side-effects of these miraculous little devices in our pockets that have grown into an ugly hybrid between a snake oil salesman and one-armed bandit. 

We have free markets based on the belief that they create value for society and make people better off by efficiently satisfying their needs. The recent U.S. opioid scandal has shown that for some products, sellers’ profits might not be positively related to consumer value. It certainly gives me pause that the best offline equivalent to the “RescueTime” App is probably the Betty Ford Clinic.

We are faced with many pressing issues that would require our full attention, while people are increasingly plagued by credit card debt, the planet is suffering from overconsumption and we spent 30,000 years alone, watching Gangnam Style on YouTube. 

Regarding the larger point that any efforts against these trends would hurt innovation, jobs and growth; let us take one step back and point out that the Western world has made it an imperative to ensure individual property rights and outlaw the use of violence with the explicit goal to increase investment and productivity. People can just do more good stuff, when they do not have to spend time protecting their property and family. Given our current technology and knowledge from the behavioral sciences, I think we have seen enough and should start treating distraction and manipulation as similar threads to human flourishing. 

So, what could we do? In the short run, we need to find ways to reduce the stream of big data feeding these efforts, force these practices out in the open and raise awareness about their use and effects, and find effective regulation to limit manipulation efforts in a dynamic attention economy. In the long run, we probably need to go beyond those patches as these issues not only hurt individual lives and careers but also the fabric of our democracy. 

Further reading

We recently published a paper showing how users can be manipulated through dark patterns to provide more data:

J. M. Bauer, R. Bergstrøm, R. Foss-Madsen (2021) – Are you sure, you want a cookie? – The effects of choice architecture on users’ decisions about sharing private online data, Computers in Human Behavior.

About the Author

Jan Michael Bauer is Associate Professor at Copenhagen Business School and part of the Consumer & Behavioural Insights Group at CBS Sustainability. His research interests are in the fields of sustainability, consumer behavior and decision-making.

Source: photo by ROBIN WORRALL on Unsplash

How do the arts impact our societies in times of digitalisation?

By Kirsti Reitan Andersen and members of the Artsformation consortium 

Two decades into the new millennium it is almost impossible to imagine a future in which digital technologies do not play a key role. Today, digitalisation changes the way things are done across business and society alike. 

This includes for example the impact of new technologies on processes of democratisation, like the role of Facebook in the UK referendum in 2016. Or the increasing collection and analysis of personal data in the use of any social media. Another area in which technology is having an enormous impact is in our ways of communication and being together, for example through technologies like Zoom or Facetime.

Throughout history, the arts have always reflected major transitions as they unfold.

Therefore, it is perhaps no surprise that the social, environmental and economic consequences of the digital transformation are now also increasingly addressed by artists. For example, with the project SOMEONE (2019), Lauren McCarthy tries to address the advances in human-machine relationships represented in ‘smart houses’ and try to give back a human identity to artificial intelligent devices through active human participation.

As part of the H2020 research project Artsformation, we explore the current and potential role of the arts in the digital transformation. Exploring the role of the arts across both business and society, one part of the project has a particular focus on marginalized groups of people who today do not reap the acclaimed benefits of the digital transformation (e.g. Gangadharan and Niklas, 2019; Gebru, 2018; Neves, Franz, Munteanu and Baecker, 2018; Park and Humphry, 2019). In this context, the “socially engaged arts” (Bishop, 2012) is of particular interest.

In contrast to more traditional forms of art, socially engaged artists often work closely with their audiences in one way or other.

For example, by gaining in-depth knowledge of particular challenges in specific communities and creating awareness about such issues through the artwork or by directly engaging people in the production of art. One such example could be the engagement of people in the production of artwork using the so-called maker spaces as a place of work and thereby also introducing “audiences” to new digital technologies and skill sets. Catch, a center for art design and technology located in Elsinore, for example, has much experience facilitating such processes of learning.  

In recent years we have seen artistic examinations of the digital transformation become increasingly complex, evolving from what we might understand as a fascination or embracement of digital tools to reflections on the transformation itself. In general, we find that socially engaged artists are addressing societal issues (of the digital transformation) in three ways (Andersen et al., 2020):  

  • The artist as a commentator:  The artist as a commentator is not directly concerned with audience engagement as part of the artistic process. The work of Dr. Ahmed Elgammal and an artificial intelligence named AICAN exemplifies “the artist as a commentator”. In this case Dr. Elgammal and AICON created an exhibition of prints called Faceless Portraits Transcending Time. While there is no direct audience engagement, the work of Dr. Elgammal and AICON brings attention to current debates about technology and creative work.
  • The artist as one who gives voice to a community:  More than ever, artists have become ever more important as voices of reason and clarity, pressing for social justice and engaging the public conversation about the controversial issues shaping the world in which we live. Forensic Architecture’s attempt to raise awareness of oil and gas pollution in Vaca Muerta, Argentina, is a good illustration of this approach. Vaca Muerta has become one of the world’s largest shale oil and gas fields. It is also the home of indigenous communities, including some of the Mapuche people who live between Chile and Argentina. In collaboration with The Guardian newspaper, Forensic Architecture investigated a local Mapuche community’s claim that “the oil and gas industry has irreversibly damaged their ancestral homeland and eroded their traditional ways of life.”
  • The artist as a social entrepreneur: consults and facilitates a community problem in a much more ‘organised’ and ‘long-term’ manner than is typical of the two previous roles. This, for example, is what happened when artist Olafur Eliasson and engineer Frederik Ottesen at London’s Tate Modern launched the social enterprise Little Sun in 2012, setting out to change the world with ‘solar art’. Little Sun aims to bring clean, reliable and affordable energy to the 1.1 billion people who live without electricity while raising awareness of energy access and climate action worldwide. Eliasson demonstrates his conviction that art can change the world by continuing to promote Little Sun as an extension of his art practice, arguing that many of Little Sun’s “current and future projects stem from art, involve artistic thinking or use our products themselves to create art”.

While all three roles co-exist, intersect and share the ability to imagine new ways and generate change, each role does so in slightly different ways. We suggest that each of the three roles requires artists to organise in different ways, which may also impact the kinds of change they can facilitate. Moving forward, we are extremely eager to explore the ways in which artists as social entrepreneurs may inspire and offer new and more sustainable ways of organizing. 

Further Reading

The Social and Civic Impact of the Arts

About the Author

Kirsti Reitan Andersen is a Post Doc at the Department of Management, Society and Communication, Copenhagen Business School. In her current work, she explores the role of the arts in the transformation towards more sustainable ways of organizing.

Photo by Stan Narten and Otto Saxinger, SOMEONE.