A team of machine learning researchers including Ferenc Huszár, Sofia Ira Ktena, and Conor O’Brien publish findings that Twitter’s algorithmically ranked home timeline amps up the visibility of right-wing content when compared to the reverse chronological timeline. Analysis of 2020 tweets from America, Canada, France, Germany, Japan, Spain, and the UK revealed that in six out of seven of those countries elected officials on the political right received more amplification than those on the left, and that right-leaning news organizations were also amplified. “We hope that by sharing this analysis, we can help spark a productive conversation with the broader research community,” write Twitter’s Rumman Chowdhury and Luca Belli.
New Orleans news nonprofit The Lens releases “Neighborhoods Watched: The Rise of Urban Mass Surveillance,” a five-part series on the city’s rapidly growing surveillance apparatus. In obtaining and reviewing thousands of city documents, Michael Isaac Stein, Caroline Sinders, and Winnie Yoe demonstrate how a $40 million public safety plan created a “sprawling, decentralized and constantly changing patchwork of tools” maintained by various departments, agencies, private nonprofits, and law enforcement with little oversight.
“Offshore finance pierces reality,” French artist collective RYBN reflects on their Offshore Tours (2018-20) in a Palm editorial. Over two years, the artists mapped 785,000 leaked addresses tied to offshore activity. “Behind each photographed facade hides a hot spot, a gap in the urban landscape connected to elsewhere, a true crossing point to offshore space,” they write. “These addresses are deserted at the very moment of their unveiling, the tracking of offshore finance thus turns into ghost hunting.”
Extending out of Oli Sorenson’s visual cataloguing of the technological artifacts and compromised landscapes of our current era, “Diamond edition: Panorama of the Anthropocene” opens at Montréal’s ELEKTRA Gallery. For the show, Sorenson adapts material from the his ongoing painting and inkjet series about the perennial clash between production and nature (image: Oil extraction detail, 2020) rendered in the style of “Minecraft’s landscapes and Peter Halley’s geometries,” and (re)presents it on angled digital displays.