Tag: OkCupid

  • The Meet Market

    Love, Sex, and Dating in the Digital Age
    Tuesday, November 19, 2014
    The Art of Sex and Seduction
    French Institute Alliance Française, Florence Gould Hall, New York

    Gerard ter Borch the Younger, The Suitor’s Visit, ca. 1658, oil on canvas, 31½ x 29½ in. (artwork in the public domain)

    The internet was once the “meat market for the undatable,” said the journalist Erica Lumière. Now, meeting people online for dating and sex has nearly become completely normalized in American culture. Which is good news, especially for couples who no longer must make excuses for how they met—“at a party,” “through mutual friends,” or something of the sort—and just say “on OKCupid” without feeling ashamed. In fact, men and women older than fifty is the largest growing segment of online dating (and the market cornered by a company called Our Time).

    The three speakers on the panel “Love, Sex, and Dating in the Digital Age,” hosted by the French Institute Alliance Française and moderated by Lumière, offered their experiences as writers, researchers, and professors—and as advocates—and the ensuing discussion culminated in agreement over a moderate, thoughtful approach to modern romance that originates on the web.1

    Swipe Right

    Lumière began the conversation with a few statistics: one out of ten people have used a dating site or app; 66 percent of those users go on a date; and 23 percent of them have met a spouse or started a long-term relationship via the internet. Harry Reis, a professor of psychology at the University of Rochester, praised the unprecedented opportunities we have to meet potential romantic partners, with large cities offering hundreds to thousands of people. But, he warned, a dating website is “only a good tool if you know how to use it.” Backed with statistics from Match.com’s annual Singles in America survey report, the biological anthropologist Helen Fisher said that cognitive overload is the biggest problem and that users can become overwhelmed with choices, overweighing trivial aspects of a person’s looks, dress, interests, and personality, gleaned from a person’s profile, at the expense of finding common ground.2 Don’t use a check-off strategy, Reis and Fisher both recommended. My question is, does anyone consider those endless lists of favorite movies, bands, and books that people put in their profiles to be helpful criteria?

    The experience Daniel Jones brought to the panel wasn’t scientific but literary—he is a writer and the editor of the New York Times column Modern Love, for which ordinary people contribute personal essays about their relationships. Dating sites put you in the driver’s seat, “looking for the ideal person,” he said, but you’re thrown into the sea with an “illusion of control.” Sometimes opposites—whether that’s differences in income, religion, politics, or smoking preferences—really do attract. In short, he advised, don’t be too strict with your imagined ideal.

    The sexperts, from left: Daniel Jones, Hellen Fisher, and Harry Reis, with the moderator Erica Lumière at right

    Fisher agreed: the algorithms work of dating websites work, but having a common background—which can be social values, good looks, or the same reproductive goals—is also important. “I don’t think they’re dating services.” Fisher continued. “I think they’re introducing services.” These websites are “changing courtship,” she said, “but [they’re] not changing love.”3 Connections happen in real life, Reis emphasized again. A prospective car buyer can read Consumer Reports cover to cover, his analogy went, but he or she must take a test drive before making a decision. Fisher nodded, stating that 35 percent of people fall in love “down the road,” not instantly, so patience is a virtue for anyone behind the wheel. There’s a joke about rocks songs about cars and girls in here somewhere.

    “Hi” Tech

    Many have declared that technology has killed romance. Jones recounted a story of a woman in Washington, DC, who Googled her date before meeting him. Because she “was able to excavate his entire personal life, and family life, all in advance of the date,” their conversation suffered from stunted communications and even led to an embarrassing mistake: she mentioned his sister before he said he had one. Yet 29 percent of internet users, Lumière stated, have looked up the person they are dating, or are going to date, online. Fisher had different statistics—38 percent of men and 53 percent of women have researched a date on Google and Facebook—and with safety and curiosity in mind and with different statistics said, “I don’t know why 100 percent don’t.” Besides, she explained, from hunter-gatherer era to the small towns of yore, many people already knew the family of the people with whom they might partner. This idea spurred Jones to assert that we’ve experienced a sea change of people dating strangers, especially in larger cities like New York and Chicago. Dating strangers inherently creates suspicion, the panelists concurred, so it’s sensible that a person conduct research in advance. And no, it’s not stalking.

    Technology doesn’t protect people from getting hurt, Jones said. Considering hookup culture (i.e., sex without commitment) in 2008, he observed that things go tragically wrong when the emotional involvement becomes imbalanced. There’s an understanding between partners when hooking up, he said, but “the rules aren’t posted in the dorm walls.” When hooking up, kids feel vulnerable but cannot act vulnerable. On the positive side, the panelists agreed noted that people’s sexual needs are being met this way, despite the anxiety hooking up might cause. Fisher even revealed that 35 percent of one night stands and 47 percent of friends with benefits turn into long-term relationships. The rules are developing now, she said, just like they were developing in other ways a hundred years ago. Later, during the Q&A, an audience member felt that hooking up takes time away from working on a core relationship, but Reis has observed that emotion flows plentifully in hookups, that “it’s following some different norms, to be sure,” and not necessarily a linear courtship progression. Jones, however, has witnessed people struggling with such arrangements but offered the idea that they’re practicing pieces of relationships. Sometimes dealing with a whole relationship while too young, he suggested, can damage a younger person.

    Daniel Jones (left) offered his experience as a writer and editor

    The panelists discussed long-distance relationships that develop online between people who have never met face to face. “It’s completely liberating,” Jones said, and “The flirtation is intense.” The risk for vulnerability is low, he continued, but foibles may develop, such as when one couple worked up to Skyping naked but still preferred typing to speaking. Another couple would fall asleep together online, Jones recalled, but the relationship failed after she drove from Missouri to New York. In real life they were bored by each other and could only get their emotional fix through their electronic devices. Lumière asked if these online relationships can work. “I would say ultimately not,” responded Reis, who again endorsed the primacy of flesh-and-blood connections.

    Deception is built into technology, Jones said. Since people regularly fudge their income, height, weight, and age in their online profiles, he wondered, how should an honest person act when everyone else is enhancing their image? Others might think a person who genuinely lists himself as 45 year old is actually 50, or a 180-pound person actually weighs 200. “Lying and cheating are hardly new inventions,” responded Reis, and the opportunities to both cheat and detect cheating are relatively equal. “It’s a bit of an arms race,” he observed. Jones believes that Facebook helps reignite old flames, but often you’re seeing someone’s curated life, not their actual life, and therefore illusions can develop. What’s more, he said, you must work harder to block people from your life online. Fisher asserted the notion that if you’re not predisposed to cheat, you probably won’t cheat. Dating sites, she concluded, don’t change brain chemistry and personality. After a few weeks, Reis added, you generally know who a person is—unless he or she is a pathological liar.

    It’s All Good?

    One study, Lumière noted, found that internet marriages are three to four times more likely to end in divorce, but Reiss asserted the opposite: “The right science has not been done to answer that question.” People don’t sacrifice their career for a relationship anymore, he continued, which is a positive development, and women need not follow their partners around the country or be told where to attend graduate school. Further, people may now split up romantically and separate geographically but stay together emotionally, which Reis said could develop into a new kind of relationship. Ever ready with her statistics, Fisher stated that 81 percent of lifelong partners would marry the same person again, and 76 percent are still in love with him or her. Now we choose for ourselves, often later in life, and leave bad relationships more readily.

    Harry Reis (center) encourages online daters to meet in person

    Regarding genders, Reis claimed that the similarities between men and women overwhelm the differences. Thus, the perception that single men only want sex, that married men pretend to be single want sex, and that women seek long-term relationships isn’t accurate. Based on her figures, Fisher even proposed that men are more romantic, fall in love easier, suggest moving in together sooner, and want to introduce family members earlier. Men are also more likely to commit suicide, she added, after a romantic snub. Reis stated, again, that there’s no information you can put online that’s better than what you’ll learn from meeting in person. The better dating sites, he said, tell you who is in your geographic area.

    The evening’s conversation completely avoided racial preferences, which were brought up in a 2013 report on interracial communications on a single Facebook-based dating site, Are You Interested. A few findings: black women are the least likely to be contacted, Asian women were the most pursued, and most women wrote to white men. OkCupid found similar results in 2009, including the fact that approximately two out of three whites prefer to date someone with the same skin color and racial background. And I don’t recollect a single mention by the panelists of issues affecting gays and lesbians. It’s inexplicable how the speakers—who were all white and straight—failed to widened their scope for a more inclusive discussion.

    Anna Gensler’s collage of Keith comprising drawing and smart phone screen shot, from November 24, 2014 (artwork © Anna Gensler)

    The panelists barely acknowledged accusations of emotional manipulation on social-media sites, which Facebook and OkCupid both faced earlier this year. And while the speakers discussed online communications between potential mates, they forgot to talk about the severe harassment of women by men—from sexually explicit written invitations to unwanted dick pics—which has become so widespread in the dating community that the aberrant behavior has become expected, in a way. Just ask the artist Anna Gensler, who draws caricatures of the men who contact her on Tinder with sexually explicit messages and publishes them, sometimes with collaged digital images but always showing the man with a hilariously small penis, on Tumblr and Instagram (as well as Granniepants.)

    In Terms Of count: 5.


    1 Tonight’s event was the third and final panel in the Art de Vivre: Talks series produced by the French Institute Alliance Française in conjunction with its gallery exhibition of fashion photographs by Jean-Daniel Lorieux, titled Seducing the Lens, and a film series.

    2 Fisher is not only a research professor at the Center for Human Evolution Studies in Rutgers University’s Department of Anthropology, she is also chief scientific advisor for Chemistry.com, a division of Match.com, which colored her comments.

    3 One trend Reis has noticed is that people prefer finding a good provider to finding love. The opposite was true during the 1970s and 1980s, he said, but because divorce is so prevalent, singles are suspicious of intense passion.

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  • Fun Fun Fun on the Infobahn

    The World Wide Web at 25: Terms and Conditions
    Sunday, May 11, 2014
    Frieze Talks 2014
    Frieze Projects, Frieze New York, Randall’s Island, New York

    Dana Schutz, Google, 2006, oil on canvas, 72 x 72 in. (artwork © Dana Schutz)

    In her opening remarks for “The World Wide Web at 25: Terms and Conditions” at the art fair Frieze New York, the panel’s moderator Orit Gat remarked that conversation about net neutrality has changed in recent years. Indeed, public awareness regarding the controlling forces behind the delivery infrastructure of the web has risen sharply after two pieces of federal legislation introduced in 2011—the House of Representatives’ Stop Online Piracy Act (SOPA) and Senate’s PROTECT IP Act (PIPA)—failed to develop, along with the “internet blackout” protest on January 28, 2012, and the onslaught of related op-ed pieces over the last couple years.

    Reducing the information superhighway to fast and slow lanes would no doubt pave the way to chaos on the roads on which millions of ordinary Americans travel daily. We would witness terrible bottlenecks and breakdowns, insufferable congestion and gridlock, and relentless construction work and impossible detours. If the internet behemoths have their way, Gat warned, “you will stream Netflix faster than you read the New York Times, if Netflix chooses to pay for it.” And the start-ups, the nonprofits, and all those individually maintained websites would presumably stall into obscurity. I wonder, though, how significant net neutrality is for contemporary artists, especially those who work closely with digital media. Based on this panel discussion, the issue doesn’t seem that important, but related topics—such as how the corporatization of the internet affects artists and the definition of postinternet art—are of particular interest.

    Oblique view of “The World Wide Web at 25: Terms and Conditions” (photograph by Christopher Howard)

    Gat, a writer and editor for Rhizome and WdW Review, quickly gave a chronological history of the web as it intersected with digital art. While working at CERN in Switzerland, the British engineer Tim Berners-Lee invented hypertext transfer protocol (http) in 1989. Internet art grew in the early 1990s, she continued, helped along when US Congress passed the Telecommunications Act of 1996, which greatly expanded online access for many citizens and businesses. Artists have influenced the web’s look and feel as we know it today much more than we realize, Gat said, and that internet and postinternet art developed simultaneously. This makes sense—thinking about Web 2.0, you can’t theorize the massive influence of Facebook and OkCupid, which launched in 2004 and run at full steam today, without considering LiveJournal and the Makeout Club, both founded in 1999 (but now puttering along). Despite the term “post,” Gat insisted, there is no art after the internet. Rather, postinternet art is a product of, and a response to, the changing digital landscape.

    The first speaker was Gene McHugh, a writer and curator known for the blog Post Internet, who spoke biographically. The mainstream migration of people to the web, he said, took place in the late 1990s, when he was in high school. “I was an internet addict,” he said. “My identity was as much online as it was a body sitting there typing.” I was relieved McHugh advocated a synthetic view of a person’s relationship to digital culture, instead of trotting out the clichéd internet/IRL divide.

    The cover of the print book edition of Gene McHugh’s Post Internet: Notes on the Internet and Art (2011)

    McHugh intended Post Internet to explore and connect modes of digital production to modernism and the Pictures Generation—a pretentious approach, he admitted. Modernist terms, he came to realize as the project evolved, are not useful when describing the banal behavior of checking Gmail and social networks and watching cat videos. “The writing was rough, in retrospect,” he said, and also full of young fervor. For Post Internet McHugh deliberately chose the default blog settings, a kind of readymade design that he said created an awareness of the self-publication format. That sounds suspiciously like self-reflexive modernism, like Jean-Luc Godard foregrounding the act of making and watching films. The blog’s domain name contained a short string of numbers (122909a.com), and the posts contained only writing—no embedded links or photos.1 “It’s a certain way to approach the internet” that he said was characteristic of the late 2000s. “If you push it far into this banal realm, it works in an interesting way.”

    McHugh explained Guthrie Lonergan’s term “internet aware art” as meaning offline art made with the internet in mind, or art made with an eye toward how it will look online. Considering time as an element, McHugh theorized that multiauthor projects such as the Jogging and Dump.fm, as well as surfing clubs, can be understood as performance, since you can follow this activity online but in real time. He also identified Marisa Olson, Cory Arcangel, and Michael Bell-Smith as artists exploring this kind of art in different ways.

    The second speaker, the artist and writer Tyler Coburn, wanted to define postinternet, and especially that nagging prefix “post.” Instead, he read a formal, polemical, and somewhat difficult-to-follow artist’s statement that addressed the art market and art history. “The current market for postinternet art,” Coburn claimed, “is nothing if not robust.” He was less optimistic about periodization, which constricts some artists and renders others illegible. I don’t, however, find it unreasonable to group together similar artists and their work for the sake of convenience, acknowledging, of course, that such categorization doesn’t always make sense at a granular level. As problematic as they might be, terms like Cubism, Minimalism, and Abstract Expressionism simply work. As much the term postinternet makes its supporters anxious, it still allows them to slide their work into a relevant discourse.

    Regarding his own critical practice, Coburn firmly stated: “My work attempts to disenchant the dominant metaphors and mindsets at work in contemporary technology.” The reflexivity and opacity of digital infrastructure concern him greatly, as do finding a digital space outside Facebook and exploring emerging methods and practices, whatever those may be. He named Benjamin H. Bratton and Ann Hirsch as people doing critical work and cited his own project, I’m That Angel (2012–13), which took the form of a physical book and several readings inside data farms around the world, as another example.

    Readings of Tyler Coburn’s I’m That Angel at EvoSwitch in Haarlem, the Netherlands, took place June 6–7, 2013

    Christiane Paul, a professor and program director at the New School for Social Research and an adjunct curator of new media arts for the Whitney Museum of American Art, ran through highlights of a previous talk called “The Network Space,” which chronicles the transition from web 1.0 and web 2.0—in particular the move from publishing (e.g., personal websites) to participation and broadcasting (blogging)—through works of art. She mentioned Mark Napier’s browser mash-up Riot (1999/2000); Paolo Cirio and Alessandro Ludovico’s Lovely Faces (2011), a fictitious dating website created from scraped Facebook profiles; projects such as Jennifer Ringley’s JenniCam (1996–2003) and its commercially oriented spawn, lonelygirl15 (2006–8); and Aaron Koblin’s crowd-sourced drawings for The Sheep Market (2006).

    Shane Hope, Backdoor.Deathsys.exe Running Soon on a Death Cube Near You: Posted Two Thousand Sixty Whatever and Ever, 2007, oil on canvas, 96 x 96 in. (artwork © Shane Hope)

    According to Paul, “There’s nothing post in postinternet” art, which she described as work that is “deeply informed by networked technology” and is digitally aware but takes the form of material objects. Paul’s canon of postinternet artists includes Rafaël Rozendaal, Clement Valla, Petra Cortright, John Raffman, Evan Roth, and Katie Torn—artists who have emerged in the past few years. For me, some of the best work about the internet (using Paul’s formulation) came even earlier and often took offline forms. Seth Price’s ongoing explorations of digital distribution (since 2000), Adam McEwen’s drawings of text messages from a Nokia phone (ca. 2006–8?), Shane Hope’s rickety laptops built from painted wood scraps (2006) and his paintings of imaginary digital-device screens (2007), Ryan Trecartin and Lizzie Fitch’s bizarre videos (2006–present), and even Dana Schutz’s Google (2006), where she sits in her studio entranced by the offerings of the almighty company’s Image Search—these artworks, made by fairly traditional and post-Conceptual artists (and not necessarily creators of digitally sophisticated forms), explore the condition of interacting with digital networks and technologies.2 On a side note, one of the most brilliant artworks of the George W. Bush era was Ramsay Stirling’s animated GIF, Enduring Freedom (2008).

    Anyway, postinternet art takes on a physical form, Paul reminded us, but whether or not a viewer understands the concept of the form (or its subject matter) is another issue. Like Gat before her, Paul noticed the increasing corporatization of the internet during the 1990s but, in slight contrast to Coburn’s celebration of sales of postinternet art, stated that the market for internet art hasn’t changed since the 1990s. How do these observations square with Rachel Greene, who ten years ago wrote that “as yet, there exists no viable or stable market for net art.”3 Furthermore, Paul vaguely described an antimarket attitude among postinternet artists, who are “savvier” in some undisclosed way. It’s not clear to me how artists working in the digital realm are making money—or not—based on these three assessments.

    Christiane Paul (photograph by Michael Stewart/Getty Images North America)

    The conversation among the panelists after their individual presentations progressed productively. McHugh argued that first-generation net artists, who had trained academically, were happy working in the margins, and that younger artists would have used paintbrushes, too, if they hadn’t grown up digital. Nevertheless, he said, those younger artists still want the white-cube experience.

    Gat complained that much digital art ends up looking the same, aggravated by the ubiquitous use of Facebook and products from Google (and Google Earth in particular). She wondered if artists are problematizing the operations of these corporations or are complicit with them. I sympathize with her wariness of the dependence on proprietary corporate platforms. If Tumblr, which allows people to use their own domain names for their microblog but doesn’t offer back-end programming access, pulled the plug tomorrow, the content for every site would likely disappear with it. Conversely, platforms are occasionally abandoned en masse by their users. Remember all those indie bands that created MySpace pages instead designing their own stand-alone websites? Well, they’re on Soundcloud and Bandcamp now, because that’s where the audience is. The question is, how much self-sufficiency should an artist relinquish to reach that audience? McHugh said that postinternet art aims for a larger audience beyond the art world. Paul doesn’t see Google taking over art with a nonexclusive right, and there are ways to combat marketing, such as, for example, by “liking” everything.

    I agree with Gat in that postinternet artists often produce consumer-friendly work which anyone can make, and that using a popular, deskilled digital process does make things homogenous. But Coburn reminded us that, whether it’s art that conforms to the New Aesthetic, a term used by the writer James Bridle to describe a certain kind of visuality, or automatic, personless photography taken by drones and satellites and affiliated with corporations and governments, this is how we view the world now. Besides, Paul added, it’s easy to argue that any style or moment can appear homogenous. For her it’s Abstract Expressionism, but for me the black-and-white photographs, typewritten texts, and maps of Conceptual art and Earthworks readily come to mind. While artists in the late 1960s were emulating science and industry—what Benjamin H. D. Buchloh called the aesthetic of administration—postinternet artists are making user-end art, based not on programming and hand coding, skills the first generation of net artist learned, but rather on out-of-the-box applications. Postinternet artists—who Coburn proposed are targeting nonart audiences but needing art-world legitimation—want to have their cake and eat it too. Paul said that criticality comes from within the medium, an awkward position of which artists are aware. A curator (like herself) looks at both critical work and the stuff “riding the wave of flashiness.”

    The idea of audience intrigued me. I wondered how much contemporary digital art—especially the stuff using Google Maps or Twitter—would be interesting to your typical Silicon Valley entrepreneur? What would highly skilled programmers and designers make of work by all the artists mentioned during this panel? Probably with the same kind of amusement that a 1970s Hollywood filmmaker would have when viewing early video art by William Wegman and Vito Acconci. Similarly, what kind of distinctions would contemporary programmers and designers make between an art-gallery video and an amateur YouTube clip? We’re now fully immersed in the world in which the gap between art and life has ceased to exist. Would avant-garde artists who championed that notion one hundred years ago be horrified or pleased with early-twenty-first-century practices?

    Tyler Coburn (photograph by Michael Stewart/Getty Images North America)

    An audience member had the same idea and queried the panelists about differences between avant-garde or critical artists and the general public when both use the same digital tools. The gap has collapsed, McHugh said, but artists are examining issues other than these products, such as the physical and environmental impact of cloud computing. But that is also an important topic for mainstream media, especially in states such as North Carolina, where Apple has built several solar-powered data farms. Paul said that while some artists produce interesting work from behind the curve, most of them are “by nature and statistically” ahead of the curve, waiting for the technologies to be invented for their use. Char Davies, she recalled, was a frustrated painter who in the 1980s helped create Softimage, a software application for three-dimensional image creation that was later acquired by Microsoft in the 1990s. That happened twenty years ago—which artists have done something like this recently?

    Another audience member linked the web’s founding in 1989 to the fall of communism and then asked about digital natives of technology and of “markets as the only way of organizing the world.” Is postinternet a condition, he wanted to know, and not a subgenre? “I would say absolutely, yes,” said Paul. “It’s not an art movement. It’s not an art genre.” She acknowledged that (art-historical) acceptance comes from the market, and that museums look to the market for validation. For her, artists and critical practitioners must therefore denaturalize the present condition and create suspicion, whatever that might be. McHugh wondered about the critical role of writers and curators, of articles and exhibitions. I’d say all of that is highly important to the development of both internet and postinternet art, which is still very much up in the cloud, I mean, in the air.

    In Terms Of count: 12.


    1 Funded in part by a grant from the Arts Writers Grant Program, Post Internet published regularly for most of 2010 but was then taken offline. McHugh’s collected posts can be read online or downloaded as a PDF for free, or purchased as a print-on-demand book from Lulu.

    2 For a superb essay on Schutz’s painting Google, see Steven Stern, “Image Search,” Frieze 106 (April 2007): 136–41.

    3 Rachel Greene, Internet Art (London: Thames and Hudson, 2004), 31.

    Listen

    Frieze Projects New York has posted an audio recording of this panel.