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Algorithms steering us?

I wrote this blog article first for Knowledge@emlyon.com, based on research published with Massimo Airoldi :

In the same way that algorithms influence our everyday experiences, we have the ability to influence the algorithms. But how exactly? Algorithms are here to stay and they are part of our culture from now on. We therefore need to try to understand how they work.

We live in an algorithmic age where much of what we experience is controlled and shaped by digital platforms and their algorithms. Yet, given that algorithms are owned by companies, we know only very little about them and often we are not even aware of them. As scholars, it is hard not to ignore this problematic issue. We are facing something that may easily foster utopian or dystopian illusions and thoughts.

On the one hand, the new technology offers many opportunities for people and companies. We may have a chance to receive recommended content that interests us. Spotify spurs tips on music and artists that we did not know of but – based on our prior listening behavior – would likely interest us. Netflix finds movies and TV series in the same way, and our Instagram feed is populated by content optimized by the algorithm’s calculation, in ways that takes into account the content we are following and interacting with. For scholars, platforms such as Google Scholar or Research Gate recommend research articles that we should be reading. We can just sit back and enjoy, while the algorithm is doing the job for us?

On the other hand, there is a potential dark side to companies’ endless data collection, surveillance and exploitation practices. They can not only tell what we have been doing in the past but predict which choices we are likely to make in the future, too – also shaping us in ways that align us with their purposes and ideology of consumption. A consequence can be that the algorithms and powerful machine learning techniques lead to greater corporate manipulation.

In our recent research article, published in the Consumption Markets and Culture, we examined perspectives toward understanding this cultural shift. Instead of painting a picture of either a utopian or dystopian condition, we hoped to nuance a more holistic understanding of how algorithms influence us. We highlight that companies’ attempts to control, or “nudge”, people also depend on their more or less active resistance.

Algorithmic consumer culture is characterized by four features. They include:

  1. Opaque. Hardly anyone, even the experts themselves, has an insight into how the algorithms are structured and how they do calculations and classifications based on data. They are owned by private companies and thus are part of their commercial secrets. Also they are driven by AI solutions that constantly feed in new input to get more accurate output, and they are therefore constantly changing, explaining why it is even more difficult to keep up with how they function.
  2. Authoritative. They want to direct us toward certain choices. All marketing communications want to control us in the same sense – buy three, pay for two! – but this is perhaps another level of influencing. The algorithms create our entire digital world, making us perceive and relate to the world in a specific way, and to act according to what is reasonable given this standpoint.
  3. Non-neutral. Algorithmic systems depend on cultural assumptions in their construction. If you like this, then you probably like this too, if you have this profile, then chances are you like similar things to others with similar kinds of profiles. Such assumptions are fed into the mathematical models behind the algorithm and because the systems constantly retrieve new input data as a feedback from people, then such assumptions get reinforced and emphasized in the future content recommendations. Eventually, as other scholars have shown, this can facilitate the polarization of stereotypes, which guide our actions, and the content that is made visible (or invisible) to us.
  4. Recursive. The algorithmic systems are based on user data being constantly fed into the systems, which with the help of machine learning are constantly tweaked to function even better. The systems therefore control us humans, but we also control the systems themselves. This recursive relationship is what makes the systems work – and thus our chances for intervention and resistance. Yet, should we not pay critical attention, they may keep getting more extreme, in the sense of corporate control and manipulation, making us act according to how the companies want.

In short, this is what the algorithmic systems look like. What does this then mean for us, having to navigate the consumer culture increasingly co-created by the algorithms? It appears there is a constant negotiation between control and resistance that we have to acknowledge. On the other hand, we are controlled by the algorithms, but we also control the algorithms in turn, and this can influence the way they end up developing. We can see this dynamic on three levels:

  • Individual level. Well-adapted algorithms can assume the guise of “technological unconscious” (Beer 2009) that controls and mediates our desires in ways that we do not fully comprehend. Without really knowing how it happened, we surfed away online, clicked on something, and we maybe even feel good about it. A world is created in which we feel natural. But maybe we can also sometimes be disgusted about the fact that we are running into content that we did not choose ourselves. There are individual ways to resist such as blocking advertising, refusing cookies, refusing to release data between apps, or simply providing incorrect information about ourselves when given the opportunity. As an individual, you have understood that all data is collected and used and optimized for you based on a commercial logic.
  • Collective level. The social exchange between different individuals is tightly controlled in social media. Most of us have experienced how we only see a fraction of our “friends” on Facebook, Instagram, TikTok or whatever platform we prefer. These “friends” are also ones with whom we share a lot in common, so that filter bubbles are created based on what everyone seemingly agrees on. It looks like this because companies have figured out that this makes us spend more time on their platforms, and more time means more data and money for them. However, there are several examples of how groups of consumers can mobilize and even hijack the algorithmic logic for their own purposes. This is what we can call “algorithmic resistance”. A poignant example is when Reddit users banded together and managed to drive up GameStop stock through a resistant collective action.
  • Market level. One of the domains in which market actors use algorithmic systems to influence and control is to classify and rank different cultural manifestations. This is manifested not least in the search engines’ constant attempts to offer us things we appreciate when we search for a specific concept. These attempts to predict what we will appreciate also lead to simplifications and, not least, to the reinforcement of stereotypes. This has been criticized in various ways and there also exists ways to resist. An interesting example is Johanna Burai’s internationally recognized art project “World-White-Web”. The idea was to influence the search algorithm in a way that it would not only return images of “white people”, and instead began to represent different ethnicities and skin tones, when searching for the word “hands”. A small resistance, perhaps, but nevertheless an illustration that it is possible to change the system on its own terms.

In conclusion, we don’t agree that algorithms are bound to creating either utopian or dystopian worlds. It’s easy to keep with old habits and routines, shrug one’s shoulders and blame the algorithmic culture. But algorithms are here to stay and belong to the culture from now on. It is our task and responsibility to be reflexive about how we interact with them, and figuring out how they influence us. Culture is not something external out there, but it exists because we reproduce it every day. Algorithms require input from people in order to function, and thus they largely reflect and re-iterate patterns of our behavior. Thus they do not control us more than we control them.

This article is based on the academic publication: Airoldi, M. and Rokka, J. (2022) “Algorithmic consumer culture”, Consumption Markets & Culture, 25(5), 411-428. https://doi.org/10.1080/10253866.2022.2084726.

Helsingin Sanomat interview: “The Dark Side of Flow”

Helsingin Sanomat journalist Veera Luoma-Aho interviewed me concerning my and Ioana Lupu‘s study on extreme busyness in professional service work recently published in Organization Science. The press article “Flow’n pimeä puoli” – i.e. “The dark side of flow” – (8.11.2021), can be accessed in Finnish here.

Article on extreme busyness in Organization Science

My research with Ioana Lupu, professor at ESSEC, on extreme busyness and temporal experiences of busyness was recently published in Organization Science (“Feeling in Control”: Optimal Busyness and the Temporality of Organizational Controls) . You can access a pre-print version of it here. The study uncovers how professionals in elite institutions experience and reproduce extreme busyness, despite harmful effects on their health and private lives. We highlight how many professionals are in fact not seeking to balance their work and private life in a harmonious way but instead are seeking an energizing and hectic busyness experience that they enjoy.

Feature at Ekonomi magazine

Finnish magazine Ekonomi made an interview feature about how it is to work and live in France.

In it, I discuss the notable differences between France and Finland, touching on the role of social relations, language, hierarchy and leadership in organisations, and also the quality and attitude to life.

Access the original article by Mikko Huotari here.

Apply: 4th EMLyon Videography Workshop / 16-18 May 2018

Apply now to 4th Videography Workshop organised by Lifestyle Research Centre at EMLYON Business School, Lyon, France, 16-18 May, 2018. This two-and-half-day intensive workshop is designed particularly for researchers, Phd students, and also industry practitioners who wish to communicate their research through video medium, or who wish to prepare a videography submission for a conference, or journal submission. It consists of both theoretical and practical ingredients and insights on research videography production, including short lectures, discussions, readings, video examples, and a hands-on videography research project that is completed during the workshop. In short, videography presents an innovative and transdisciplinary research methodology that can be used to study, for example, identities, experiences, communities, practices, brands, or organisation on the moving image. If you’re curious to know more, have a look on experiences from past workshops here. Participate by sending a message of interest to: joonas.rokka(at)gmail.com. The intensive nature of the workshop unfortunately restricts participants to max 12 participants, so be quick to reserve your spot! Fees are €350 Phd students and faculty members, and €700 industry participants – covering all equipment (cameras, Laptop edits).

Apply: 3rd EMLyon Videography Workshop / 11-13 May 2017

Apply now to the 3rd Videography Workshop organised at EMLYON Business School, Lyon, France, 11-13 May, 2017. In collaboration with Lifestyle Research Centre, this two-and-half-day intensive workshop is designed particularly for researchers, Phd students, and industry practitioners who wish to communicate their research through video medium, or who wish to prepare a videography submission for a conference, or journal submission. It consists of both theoretical and practical ingredients and insights on research videography production, including short lectures, discussions, readings, video examples, and a hands-on videography research project that is completed during the workshop. In short, videography presents an innovative and transdisciplinary research methodology that can be used to study, for example, identities, experiences, communities, practices, brands, or organisation on the moving image. If you’re curious to know more, have a look on experiences from past workshops here. Participate by sending a message of interest to: joonas.rokka(at)gmail.com. The intensive nature of the workshop unfortunately restricts participants to max 12 participants, so be quick to reserve your spot! Fees are €250 Phd students, €500 faculty members, and €700 industry participants – covering all equipment (cameras, Laptop edits).

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Call for Papers: JMM Videography Special Issue

We’re super happy to tell that me, Joel Hietanen and Doug Brownlie are going to be Guest Editors for an exciting upcoming Videography Special Issue in Journal of Marketing Management titled “Screening Marketing: Videography and the Expanding Horizons of Filmic Research“.

It’s a fantastic opportunity for all research filmmakers to embrace video in a variety of ways. Notably, we’re accepting film submissions. As far as we know, our “film only” submission format is presented for the first time ever in a renown academic journal. In addition, it’s possible to send “film plus commentary” pieces as well as classic written papers.

This is an astronomic step towards making video an even more legit research format. We hope the special issue will open new doors and spur new creative thinking and approaches in research that is in tune with “era of video” we currently live in. Feel free to be in contact with us should you wish to inquire about submissions or requirements. Submissions are due November 1, 2016.

See the detailed Call for Papers behind the link HERE.

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Apply: Glasgow Videography Workshop / 30 June – 2 July 2016

The Glasgow Consumer Culture Group Videography Workshop is hosted by Strathclyde Business School, Glasgow, Scotland, 30 June – 2 July, 2016. This two-and-half-day intensive workshop provided by Joonas Rokka, Joel Hietanen, Paul Hewer and Douglas Brownlie, runs just before ACR Gender, Paris and CCT, Lille 2016. The workshop is designed particularly for researchers and Phd students who wish to communicate their research through video medium, or who wish to prepare a videography submission for a conference, or for the forthcoming special issue of the JMM ‘Screening Marketing‘. It consists of both theoretical and practical ingredients and insights on research videography production, including short lectures, discussions, readings, video examples, and a hands-on videography research project that is completed during the workshop. If you’re curious to know more, check out http://insidevideography.com. Participate by sending a message of interest to: paul.hewer(at)strath.ac.uk, d.z.brownlie(at)dundee.ac.uk, johi(at)abs.su.se, joonas.rokka(at)gmail.com. The intensive nature of the workshop unfortunately restricts participants to 12 participants, so be quick to reserve your spot! Fees are £250 Doctoral students; and £400 faculty members.

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Welcome!

This is the personal website of Prof Joonas Rokka – Find here information about my biography, research interests, publications, presentations, films, press articles, and collaboration with companies.

Please do get in touch with me via email (joonas.rokka (at) gmail.com)!

 

Joonas Rokka