This piece originally appeared in New Atlantis.
Let me tell you two stories about the Internet. The first story is so familiar it hardly warrants retelling. It goes like this. The Internet is breaking the old powers of the state, the media, the church, and every other institution. It is even breaking society itself. By subjecting their helpless users to ever more potent algorithms to boost engagement, powerful platforms distort reality and disrupt our politics. YouTube radicalizes young men into misogynists. TikTok turns moderate progressives into Hamas supporters. Facebook boosts election denialism; or it censors stories doubting the safety of mRNA vaccines. On the world stage, the fate of nations hinges on whether Twitter promotes color revolutions, WeChat censors Hong Kong protesters, and Facebook ads boost the Brexit campaign. The platforms are producing a fractured society: diversity of opinion is running amok, consensus is dead.
The second story is very different. In the 2023 essay “The age of average,” Alex Murrell recounts a project undertaken in the 1990s by Russian artists Vitaly Komar and Alexander Melamid. The artists commissioned a public affairs firm to poll over a thousand Americans on their ideal painting: the colors they liked, the subjects they gravitated toward, and so forth. Using the aggregate data, the artists created a painting, and they repeated this procedure in a number of other countries, exhibiting the final collection as an art exhibition called The People’s Choice. What they found, by and large, was not individual and national difference but the opposite: shocking uniformity — landscapes with a few animals and human figures with trees and a blue-hued color palette.
And it isn’t just paintings that are converging, Murrell argues. Car designs look more like each other than ever. Color is disappearing as most cars become white, gray, or black. From Sydney to Riyadh to Cleveland, an upscale coffee shop is more likely than ever to bear the same design features: reclaimed wood, hanging Edison bulbs, marble countertops. So is an Airbnb. Even celebrities increasingly look the same, with the rising ubiquity of “Instagram face” driven by cosmetic injectables and Photoshop touch-ups.
Murrell focuses on design, but the same trend holds elsewhere: Kirk Goldsberry, a basketball statistician, has shown that the top two hundred shot locations in the NBA today, which twenty years ago formed a wide array of the court, now form a narrow ring at the three-point line, with a dense cluster near the hoop. The less said about the sameness of pop melodies or Hollywood movies, the better.
As we approach the moment when all information everywhere from all time is available to everyone at once, what we find is not new artistic energy, not explosive diversity, but stifling sameness. Everything is converging — and it’s happening even as the power of the old monopolies and centralized tastemakers is broken up.
Are the powerful platforms now in charge? Or are the forces at work today something even bigger?
