When electronic musician Grimes – AKA Claire Boucher – took to X last year to claim she was “only gonna be releasing music on LinkedIn from now on”, it seemed like yet another provocation from an often eccentric artist. But the ex-partner of Elon Musk may have followed through on her promise. Last month, a profile purporting to be the 38-year-old appeared on the world’s least gratifying social networking platform. Its only post so far promotes an appearance at Nvidia’s GPU Technology Conference – Nvidia being the most valuable company in the world and the engine behind just about all AI applications.
Pivoting to LinkedIn might seem a depressing thing for an artist to resort to: a bit like moving in with your boomer grandparents. And it is. I should know because, in one of the more counterintuitive brags I’ve made in my two-decade career as an artist, I did it first.
My latest art project, Image Empire – a public information film about 3D worlds and AI deepfakes, told in the guise of a children’s fairytale – was released on LinkedIn in early March. It did some pretty good numbers, but sank quickly thanks to LinkedIn’s clunky algorithm, which likes to stockpile content and drip-feed it slowly to users via constant push notifications. In fact, just like when your grandparents give you out-of-date biscuits from the back of the kitchen cupboard, LinkedIn also likes to offer stale goods – job ads that expired three weeks ago, for instance. And just like visiting your grandparents, a trip to LinkedIn involves a whole lot of biting your tongue and smiling politely.
So why would any artist decamp here? The chief reason is “enshittification”, which has wreaked havoc on creative communities. The generous spirits who once filled Twitter, Etsy or Vimeo with content have long since scarpered, only to be replaced by a flood of automated bots, NFT hustlers, dropshippers and AI forgers. Unsure of how or what to share now that the internet is a scrapable bucket of free training data, artists have had limited success rebuilding networks on TikTok and Instagram. With attention spans, sales, wages and funding all in decline, it’s looking bleak for the creative industries: we’re all having to hustle harder for diminishing rewards. Of course, there will be many people whose response to all this is: boo-hoo, poor artists. “Get a job!” screams gilet-wearing Steve from Berkshire. Well, Steve, we are trying.
I headed for LinkedIn because I wanted to start a conversation with the site’s strange mix of AI disruptors and AI victims about tech, video games, AI and our precarious post-work future. The film, which is three and a half minutes long, was inspired by John Berger’s legendary art history series Ways of Seeing, and came as a follow-up to my 2023 film The Wizard of AI, which prefigured the term “AI slop” with the…
Source link
Disclaimer
We strive to uphold the highest ethical standards in all of our reporting and coverage. We blogs.grocliq.com want to be transparent with our readers about any potential conflicts of interest that may arise in our work. It’s possible that some of the investors we feature may have connections to other businesses, including competitors or companies we write about. However, we want to assure our readers that this will not have any impact on the integrity or impartiality of our reporting. We are committed to delivering accurate, unbiased news and information to our audience, and we will continue to uphold our ethics and principles in all of our work. Thank you for your trust and support.
Website Upgradation is going on for any glitch kindly connect at [email protected]
