The Endless Doomscroller
net-based artwork, 2020
By distilling the news and social media sites down to their barest messages and interface conventions, The Endless Doomscroller shows us what’s behind our pandemic-era scroll-induced anxiety: interfaces—and corporations—that always want more. They show us more doom (bad news headlines) to compel more engagement which produces more personal data, all to create ever more profit. By stripping away the specifics wrapped up in each headline and minimizing the mechanics behind most interface patterns, The Endless Doomscroller offers up an opportunity for mindfulness about how we’re spending our time online and about who most benefits from our late night scroll sessions.
Ben Grosser (US)
Ben Grosser creates experiences, machines, and systems that examine the cultural effects of software. Recent exhibition venues include the Barbican Centre in London, Museu das Comunicações in Lisbon, and Galerie Charlot in Paris. His works have been featured in The New Yorker, Wired, The Guardian, Libération, and Der Spiegel. The Chicago Tribune called him the “unrivaled king of ominous gibberish.” Slate referred to his work as “creative civil disobedience in the digital age.” Grosser’s artworks are regularly cited in books, including The Age of Surveillance Capitalism and The Metainterface, Electronic Literature and Digital Art. Grosser is an associate professor at the University of Illinois, USA.