Facebook, Twitter and YouTube each took first steps to rein in the worst behavior on their platforms in the heat of the election, but none have confronted how their spaces were structured to become ideal venues for outrage and incitement.

The first step in the process is realizing that the problems we’re experiencing in digital life — how to gather strangers together in public in ways that make it so people generally behave themselves — aren’t new. They’re problems that physical communities have wrestled with for centuries. In physical communities, businesses play a critical role — but so do public libraries, schools, parks and roads. These spaces are often the groundwork that private industry builds itself around: Schools teach and train the next generation of workers; new public parks and plazas often spur private real estate development; businesses transport goods on publicly funded roads; and so on. Public spaces and private industry work symbiotically, if sometimes imperfectly.

These kinds of public spaces mostly don’t exist online. Twitter, Facebook, YouTube and Twitch each offer some aspects of these experiences. But ultimately, they’re all organized around the need for growth and revenue — incentives which are in tension with the critical community functions these institutions also serve, and with the heavy staffing models they require.

Recent peer-reviewed research from three professors at the University of Virginia demonstrates how dramatically the design of platforms can affect how people behave on them. In their study, in months where conservative-leaning users visited Facebook more, they saw much more ideological content than normal, whereas in months where they visited Reddit more they “read news that was 50 percent more moderate than what they typically read.” (This effect was smaller but similar for political liberals). Same people, different platforms, and dramatically different news diets as a result.

Wikipedia is probably the best-known example of this kind of institution — a nonprofit, mission-driven piece of digital infrastructure. The nonprofit Internet Archive, which bills itself as a free “digital library,” a repository of books, movies and music and over 500 billion archived webpages to create a living history of the internet, is another. But what we need are not just information services with a mission-driven agenda, but spaces where people can talk, share and relate without those relationships being distorted and shaped by profit-seeking incentive structures.

Users can post only once a day, every post is read by a moderating team, and if you’re too salty or run afoul of other norms, you’re encouraged to rewrite. This is terrible for short-term engagement — flame wars drive attention and use, after all — and as a business model, all those moderators are costly. But there’s a long-term payoff: two-thirds of Vermont households are on the Forum, and many Vermonters find it a valuable place for thoughtful public discussions.

In fact, public digital infrastructures might be the right place to start exploring how to reinvent governance and civil society more broadly.

If mission, design and governance are important ingredients, the final component is what might be called digital essential workers — professionals like librarians whose job is to manage, steward, and care for the people in these spaces. This care work is one of the pillars of successful physical communities, which has been abstracted away by the existing tech platforms. S

The truth is that Facebook, Google and Twitter have displaced and sucked the revenue out of an entire ecosystem of local journalistic enterprises and other institutions that served some of these public functions.

Whoever is behind the scenes of these movies fails to understand that you can actually make more money by making something that is "good". That making a "good" movie means people will want to watch your movie multiple times and then purchase it again later, and purchase more tickets, and purchase the streaming service with your movie, and purchase the box-set with your movie.

There are three ways you could make a film like this, and make it somewhat "good", whatever that term may mean. You could:A) Make a good movie. Make a movie that is artistically fulfilling, filled to the brim with interesting themes and ideas, passionate craftwork, talented artistry. Something that makes people proud that they went to the movies.B) Make a good Jurassic Park/World movie. Make something that builds on the source material before it in an interesting way and gives itself a purpose to exist in the first place outside of being just a cash cow. Something that makes people proud to be a fan of the franchise.C) Make a good dinosaur movie. Just show a bunch of fucking dinosaurs crashing into each other. Something stupid but ultimately fun. Something that makes people proud to have eyes and ears so that they can see something cool.

Discord stands at an exciting moment in history, in which brands and businesses evolve from a Web2 mindset to a Web3 mindset where more dynamic and organic communities come first. The expansion of Discord from a gaming platform to one all brands can leverage is a clear sign that gamification is becoming the new mainstream: designing for niche-driven communities who are seeking co-creation opportunities and rewards for participation

The impact is particularly noticeable among Generation Z and millennials, the first generations to come of age with the possibility of knowing where their peers are at all times. It has changed how friends communicate with one another and blurred lines of privacy. Friends now, sometimes unwittingly yet obsessively, check one another’s locations and bypass whole conversations — about where somebody is, what they are doing or how their days are going — when socializing. All of that information can be gleaned from Find My.

Although Find My is not marketed as a social experience, sharing locations has become a test of sorts, much like being included on a close friends list on Instagram or on a private story on Snapchat can signal closer friendships.

With Find My, “you aren’t actively choosing to do something as you reach a certain location because you’re constantly sharing your location,” said Michael Saker, a senior lecturer in digital sociology at City, University of London. As a result, “there’s an intimacy that’s intertwined with that act,” he added. “There’s a verification of being friends.”

In other words, when Kylie Jenner posts a petition demanding that Meta “Make Instagram Instagram again”, the honest answer is that changing Instagram is the most Instagram-like behavior possible.

The first trend is the shift towards ever more immersive mediums. Facebook, for example, started with text but exploded with the addition of photos. Instagram started with photos and expanded into video. Gaming was the first to make this progression, and is well into the 3D era. The next step is full immersion — virtual reality — and while the format has yet to penetrate the mainstream this progression in mediums is perhaps the most obvious reason to be bullish about the possibility.

The second trend is the increase in artificial intelligence. I’m using the term colloquially to refer to the overall trend of computers getting smarter and more useful, even if those smarts are a function of simple algorithms, machine learning, or, perhaps someday, something approaching general intelligence.

The third trend is the change in interaction models from user-directed to computer-controlled. The first version of Facebook relied on users clicking on links to visit different profiles; the News Feed changed the interaction model to scrolling. Stories reduced that to tapping, and Reels/TikTok is about swiping. YouTube has gone further than anyone here: Autoplay simply plays the next video without any interaction required at all.

The problem is that the main incentive for pursuing corporate sustainability work is its ability to create more marketable products. Outside of sustainability efforts that are pursued based on compliance or regulation, much of this work is built around the idea of pandering to consumers' understanding of sustainability, something that’s notoriously variable.

in Instagram apologies, even when someone ostensibly confronts their ugliness, it’s hard to read the gesture as anything but an effort to publicly reclaim their image. But at least the Notes App Apology permitted us a semblance of sincerity, and suggested there might be a human being who typed the message—even if that human was an intern or assistant. There’s nothing sincere about a trickle-down excuse crafted to look pretty for Instagram grids, and the processed nature of Photoshopped Apologies implies the absence of the one thing all genuine apologies must possess: accountability straight from the person who committed the transgression.

Advertisers don’t really want to know who you are - they want to show diaper ads to people who have babies, not to show them to people who don’t, and to have some sense of which ads drove half a million sales and which ads drove a million sales.

In practice, ‘showing car ads to people who read about cars’ led the adtech industry to build vast piles of semi-random personal data, aggregated, disaggregated, traded, passed around and sometimes just lost, partly because it could and partly because that appeared to be the only way to do it. After half a decade of backlash, there are now a bunch of projects trying to get to the same underlying advertiser aims - to show ads that are relevant, and get some measure of ad effectiveness - while keeping the private data private.

Apple has pursued a very clear theory that analysis and tracking is private if it happens on your device and is not private if leaves your device or happens in the cloud. Hence, it’s built a complex system of tracking and analysis on your iPhone, but is adamant that this is private because the data stays on the device. People have seemed to accept this (so far - or perhaps the just haven’t noticed it), but acting on the same theory Apple also created a CSAM scanning system that it thought was entirely private - ‘it only happens your device!’ - that created a huge privacy backlash, because a bunch of other people think that if your phone is scanning your photos, that isn’t ‘private’ at all. So is ‘on device’ private or not? What’s the rule? What if Apple tried the same model for ‘private’ ads in Safari? How will the public take FLoC? I don’t think we know.

On / off device is one test, but another and much broader is first party / third party: the idea it’s OK for a website to track what you do on that website but not OK for adtech companies to track you across many different websites. This is the core of the cookie question

At this point one answer is to cut across all these questions and say that what really matters is whether you disclose whatever you’re doing and get consent. Steve Jobs liked this argument. But in practice, as we've discovered, ‘get consent’ means endless cookie pop-ups full of endless incomprehensible questions that no normal consumer should be expected to understand, and that just train people to click ‘stop bothering me’. Meanwhile, Apple’s on-device tracking doesn't ask for permission, and opts you in by default, because, of course, Apple thinks that if it's on the device it's private. Perhaps ‘consent’ is not a complete solution after all.

If you can only analyse behaviour within one site but not across many sites, or make it much harder to do that, companies that have a big site where people spend lots of time have better targeting information and make more money from advertising. If you can only track behaviour across lots of different sites if you do it ‘privately’ on the device or in the browser, then the companies that control the device or the browser have much more control over that advertising

it is very difficult to figure out what specific effect ATT has because there are so many factors involved

If ATT were so significantly kneecapping revenue, I would think we would see a pronounced skew against North America compared to elsewhere. But that is not the case. Revenue in North America is only slightly off compared to the company total, and it is increasing how much it earns per North American user compared to the rest of the world.

iOS is far more popular in the U.S. and Canada than it is in Europe, but Meta incurred a greater revenue decline — in absolute terms and, especially, in percentage terms — in Europe. Meta was still posting year-over-year gains in both those regions until this most recent quarter, even though ATT rolled out over a year ago.

there are those who believe highly-targeted advertisements are a fair trade-off because they offer businesses a more accurate means of finding their customers, and the behavioural data collected from all of us is valuable only in the aggregate. That is, as I understand it, the view of analysts like Seufert, Benedict Evans, and Ben Thompson. Frequent readers will not be surprised to know I disagree with this premise. Regardless of how many user agreements we sign and privacy policies we read, we cannot know the full extent of the data economy. Personal information about us is being collected, shared, combined, and repackaged. It may only be profitable in aggregate, but it is useful with finer granularity, so it is unsurprising that it is indefinitely warehoused in detail.

Seufert asked, rhetorically, “what happens when ads aren’t personalized?”, answering “digital ads resemble TV ads: jarring distractions from core content experience. Non-personalized is another way of saying irrelevant, or at best, randomly relevant.”

does it make sense to build the internet’s economy on the backs of a few hundred brokers none of us have heard of, trading and merging our personal information in the hope of generating a slightly better click-through rate?

Then there is the much bigger question of whether people should even be able to opt into such widespread tracking. We simply cannot be informed consumers in every aspect of our lives, and we cannot foresee how this information will be used and abused in the full extent of time. It sounds boring, but what is so wrong with requiring data minimization at every turn, permitting only the most relevant personal data to be collected, and restricting the ability for this information to be shared or combined?

Does ATT really “[deprive] consumers of widespread ad relevancy and advertisers and publishers of commercial opportunity”? Even if it does — which I doubt — has that commercial opportunity really existed with meaningful consumer awareness and choice? Or is this entire market illegitimate, artificially inflated by our inability to avoid becoming its subjects?

Conflicts like these are one of many reasons why privacy rights should be established by regulators, not individual companies. Privacy must not be a luxury good, or something you opt into, and it should not be a radical position to say so. We all value different degrees of privacy, but it should not be possible for businesses to be built on whether we have rights at all. The digital economy should not be built on such rickety and obviously flawed foundations.

Nick Clegg, president of Meta, penned a lengthy Medium post trying to portray a more positive vision to justify the company’s pivot to all-in for the metaverse future. To Clegg, the metaverse is “ultimately about finding ever more ways for the benefits of the online world to be felt in our daily lives.” This frame is backwards, and reinforces the technology-first lens of social construction that has not held up well over time. A better lens to explain the inevitability of the metaverse is that technology will, over time, provide ever more ways for the benefits of the offline world to be felt through online services. Today’s social media is about communication; the metaverse of tomorrow will be about experiences. Its value is not inherent, but rather lies in the ability of technology to recreate and transport things—in particular, experiences—that have inherent value.

Metaverse technology will, in all likelihood, follow that same evolution. Today’s VR headsets are the equivalent of phonographs and radio. But someday, metaverse users will be able to mix their favorite cocktails in their homes, strap on their multisensory gear, and “walk” into a virtual bar to socialize with friends located anywhere in the world. They’d save the $18 that cocktail costs in a physical bar, and spend it on the $18/month subscription fee for their VirtualBar membership. As the world continues to suffer from the COVID-19 pandemic, it’s easy to see the appeal of virtual substitutes for in-person experiences. In 2020, Zoom replaced in-person social events and professional collaborations; in 2030, the technology options will be far richer, and will capture and convey even more (though not all) of the subtle interpersonal dynamics inherent in human interaction.

It creates more generic-looking interfaces that may perform well in numbers but fall short of appealing to our senses.

It’s easy to make data-driven design decisions, but relying on data alone ignores that some goals are difficult to measure. Data is very useful for incremental, tactical changes, but only if it’s checked and balanced by our instincts and common sense.

It became clear to the team in that moment that we cared about more than just clicks. We had other goals for this design: It needed to set expectations about what happens next, it needed to communicate quality, and we wanted it to build familiarity and trust in our brand.We could have easily measured how many customers clicked one button versus another, and used that data to pick an optimal button. But that approach would have ignored the big picture and other important goals.

Not everything that can be counted counts. Not everything that counts can be counted.Data is good at measuring things that are easy to measure. Some goals are less tangible, but that doesn’t make them less important.While you’re chasing a 2% increase in conversion rate you may be suffering a 10% decrease in brand trustworthiness. You’ve optimized for something that’s objectively measured, at the cost of goals that aren’t so easily codified.

Design instinct is a lot more than innate creative ability and cultural guesswork. It’s your wealth of experience. It’s familiarity with industry standards and best practices.

Overreliance on data to drive design decisions can be just as harmful as ignoring it. Data only tells one kind of story. But your project goals are often more complex than that. Goals can’t always be objectively measured.

The game is that every time we create a new technology, we’re creating new possibilities, new choices that didn’t exist before. Those choices themselves—even the choice to do harm—are a good, they’re a plus.

We want an economy that’s growing in the second sense: unlimited betterment, unlimited increase in wisdom, and complexity, and choices. I don’t see any limit there. We don’t want an economy that’s just getting fatter and fatter, and bigger and bigger, in terms of its size. Can we imagine such a system? That’s hard, but I don’t think it’s impossible.

Social networking is much more than just a dominant discourse. We need to go beyond text and images and include its software, interfaces, and networks that depend on a technical infrastructure consisting of offices and their consultants and cleaners, cables and data centers, working in close concert with the movements and habits of the connected billions. Academic internet studies circles have shifted their attention from utopian promises, impulses, and critiques to “mapping” the network’s impact. From digital humanities to data science we see a shift in network-oriented inquiry from Whether and Why, What and Who, to (merely) How. From a sociality of causes to a sociality of net effects. A new generation of humanistic researchers is lured into the “big data” trap, and kept busy capturing user behavior whilst producing seductive eye candy for an image-hungry audience (and vice versa).

We need to politicize the New Electricity, the privately owned utilities of our century, before they disappear into the background.

What remains particularly unexplained is the apparent paradox between the hyper-individualized subject and the herd mentality of the social.

Before we enter the social media sphere, everyone first fills out a profile and choses a username and password in order to create an account. Minutes later, you’re part of the game and you start sharing, creating, playing, as if it has always been like that. The profile is the a priori part and the profiling and targeted advertising cannot operate without it. The platforms present themselves as self-evident. They just are—facilitating our feature-rich lives. Everyone that counts is there. It is through the gate of the profile that we become its subject.

We pull in updates, 24/7, in a real-time global economy of interdependencies, having been taught to read news feeds as interpersonal indicators of the planetary condition

Treating social media as ideology means observing how it binds together media, culture, and identity into an ever-growing cultural performance (and related “cultural studies”) of gender, lifestyle, fashion, brands, celebrity, and news from radio, television, magazines, and the web—all of this imbricated with the entrepreneurial values of venture capital and start-up culture, with their underside of declining livelihoods and growing inequality.

Software, or perhaps more precisely operating systems, offer us an imaginary relationship to our hardware: they do not represent transistors but rather desktops and recycling bins. Software produces users. Without operating system (OS) there would be no access to hardware; without OS no actions, no practices, and thus no user. Each OS, through its advertisements, interpellates a “user”: calls it and offers it a name or image with which to identify. We could say that social media performs the same function, and is even more powerful.

In the age of social media we seem to confess less what we think. It’s considered too risky, too private. We share what we do, and see, in a staged manner. Yes, we share judgments and opinions, but no thoughts. Our Self is too busy for that, always on the move, flexible, open, sporty, sexy, and always ready to connect and express.

Platforms are not stages; they bring together and synthesize (multimedia) data, yes, but what is lacking here is the (curatorial) element of human labor. That’s why there is no media in social media. The platforms operate because of their software, automated procedures, algorithms, and filters, not because of their large staff of editors and designers. Their lack of employees is what makes current debates in terms of racism, anti-Semitism, and jihadism so timely, as social media platforms are currently forced by politicians to employ editors who will have to do the all-too-human monitoring work (filtering out ancient ideologies that refuse to disappear).

Miller is the CEO of a new startup called The Browser Company, and he wants to change the way people think about browsers altogether. He sees browsers as operating systems, and likes to wonder aloud what "iOS for the web" might look like. What if your browser could build you a personalized news feed because it knows the sites you go to? What if every web app felt like a native app, and the browser itself was just the app launcher? What if you could drag a file from one tab to another, and it just worked? What if the web browser was a shareable, synced, multiplayer experience?

Miller became convinced that the next big platform was right in front of his face: the open web. The underlying infrastructure worked, the apps were great, there were no tech giants in the way imposing rules and extracting huge commissions. The only thing missing was a tool to bring it all together in a user-friendly way, and make the web more than the sum of its parts.

Browser's team instead spent its time thinking about how to solve things like tab overload, that all-too-familiar feeling of not being able to find anything in a sea of tiny icons at the top of the screen.That's something Nate Parrott, a designer on the team, had been thinking about for a long time. "Before I met Josh," he said, "I had this fascination with browsers, because it's the window through which you experience so much of the web, and yet it feels like no one is working on web browsers." Outside of his day job at Snap, he was also building a web browser with some new interaction ideas. "A big one for me was that I wanted to get rid of the distinction between open and closed tabs," he said. "I wanted to encourage tab-hoarding behavior, where you can open as many tabs as you want and organize them so you're not constantly overwhelmed seeing them all at the same time."

One of Arc's most immediately noticeable features is that it combines bookmarks and tabs. Clicking an icon in the sidebar opens the app, just like on iOS or Android. When users navigate somewhere else, they don't have to close the tab; it just waits in the background until it's needed again, and Arc manages its background performance so it doesn't use too much memory. Instead of opening Gmail in a tab, users just … open Gmail.

Everyone at The Browser Company swears there's no Master Plan, or much of a roadmap. What they have is a lot of ideas, a base on which they can develop really quickly, and a deep affinity for prototypes. "You can't just think really hard and design the best web browser," Parrott said. "You have to feel it and put it in front of people and get them to react to it."

The Browser Company could become an R&D shop, full of interesting ideas but unable to build a browser that anyone actually uses. The company does have plenty of runway: It recently raised more than $13 million in funding from investors including Jeff Weiner, Eric Yuan, Patrick Collison, Fidji Simo and a number of other people with long experience building for the internet, that values The Browser Company at $100 million. Still, Agrawal said, "We're paranoid that we could end up in this world of just having a Bell Labs kind of situation, where you have a lot of interesting stuff, but it's not monetizable, it's not sticky, any of that." That's why they're religious about talking to users all the time, getting feedback on everything, making sure that the stuff they're building is genuinely useful. And when it's not, they pivot fast.

For the layman to build their own Folk Interfaces, jigs to wield the media they care about, we must offer simple primitives. A designer in Blender thinks in terms of lighting, camera movements, and materials. An editor in Premiere, in sequences, transitions, titles, and colors. Critically, this is different from automating existing patterns, e.g. making it easy to create a website, simulate the visuals of film photography, or 3D-scan one's room. Instead, it's about building a playground in which those novel computational artifacts can be tinkered with and composed, via a grammar native to their own domain, to produce the fruits of the users' own vision. The goal of the computational tool-maker then is not to teach the layman about recursion, abstraction, or composition, but to provide meaningful primitives (i.e. a system) with which the user can do real work. End-user programming is a red herring: We need to focus on materiality, what some disparage as mere "side effects." The goal is to enable others to feel the agency and power that comes when the world ceases to be immutable.

I hope this mode can paint the picture of software, not as a teleological instrument careening towards automation and ease, but as a medium for intimacy with the matter of our time (images, audio, video), yielding a sense of agency with what, to most, feels like an indelible substrate.

With greater access to news on social media and the internet, Americans are more deluged than they used to be by depressing stories. (And the news cycle really can be pretty depressing!) This is leading to a kind of perma-gloom about the state of the world, even as we maintain a certain resilience about the things that we have the most control over. Beyond the diverse array of daily challenges that Americans face, many of us seem to be suffering from something related to the German concept of weltschmerz, or world-sadness. It’s mediaschmerz—a sadness about the news cycle and news media, which is distinct from the experience of our everyday life. I’m not entirely sure if I think this is good or bad. It simply is. Individual hope and national despair are not contradictions. For now, they form the double helix of the American spirit.