In his incisive book, Filterworld: How Algorithms Flattened Culture, Kyle Chayka delves deep into the unsettling reality of how algorithms have subtly, yet profoundly, altered our cultural landscape. Chayka, known for his astute observations of the intersection of technology and culture, presents a compelling narrative that unveils the hidden mechanisms shaping our digital lives. This review explores Chayka’s critical analysis, highlighting the pervasive influence of algorithms on aesthetics, cultural consumption, and the broader implications for society.

Chayka begins with the seemingly innocuous concept of personalisation, a feature heralded by tech companies as a major convenience. From Spotify playlists to Netflix recommendations, the allure of personalised content is undeniable. However, Chayka skilfully argues that this personalisation is a double-edged sword. While it offers a semblance of control, it also confines us within echo chambers, reinforcing existing preferences and biases.

Chayka’s critique extends to how platforms like Instagram and YouTube promote content based on user behaviour, creating feedback loops that favour conformity over diversity. He posits that algorithms, while appearing neutral, are inherently biased towards content that maximises engagement. This leads to a homogenisation of cultural experiences, as the same trends and aesthetics are amplified across platforms. Chayka’s observation that “we are all living in our personalised bubbles, but these bubbles are eerily similar to one another” captures the paradox of algorithmic personalisation.

One of the most compelling arguments Chayka presents is the flattening of aesthetic diversity. He vividly describes how the ubiquity of algorithmically curated content has led to a pervasive sameness in visual colour, and a curated imperfection epitomises this phenomenon. Chayka traces the rise of this aesthetic, examining how algorithms not only popularise but also perpetuate it, making it the default visual language of the digital age.

Chayka extends his analysis beyond social media to explore its impact on physical spaces. He notes how the principles of algorithmic curation have infiltrated architecture and interior design, leading to environments that prioritise ‘Instagrammability’ over authenticity. Through detailed case studies, Chayka illustrates how this aesthetic flattening affects not only our online experiences but also our real-world interactions.

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The book paints a vivid picture of how digital algorithms have come to dictate even our tangible surroundings, from cafés to living rooms, all designed to be perfect.

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Chayka’s examination of cultural gatekeeping is particularly thought-provoking. Traditionally, cultural critics, editors and curators served as gatekeepers, determining which works of art, literature or music gained prominence. Today, algorithms fulfil this role. But their criteria are vastly different. Instead of valuing originality, critical acclaim or historical significance, algorithms prioritise engagement metrics such as likes, shares and comments. This, in my opinion, more than anything else, should give us sleepless nights. The lack of originality is already evident in the current cultural milieu. And it only promises to get worse. Be it advertising or entertainment, the likes of Oppenheimer stood out ironically because the writer-director eschews smartphones and social media, preferring to go old school – books, art and the imagination.

A recurring theme in Chayka’s book is the commercialisation of culture. Algorithms, designed primarily for profit maximisation, prioritise content that keeps users engaged for longer periods. This commercial imperative leads to a prioritisation of content that is safe, broadly appealing, and often devoid of deeper cultural significance. Chayka explores how this shift affects everything from journalism to entertainment, creating a landscape where sensationalism often trumps substance.

Chayka’s critique is not limited to social media platforms but extends to streaming services, online retailers, and even news outlets. He argues that as algorithms become more sophisticated, their ability to manipulate our consumption patterns increases, often at the expense of independent creators and niche cultural products. This commercialisation, according to Chayka, contributes to the overall flattening of culture, where diversity and depth are sacrificed for profitability.

Although Chayka may appear pessimistic, his view of the future is not completely dystopian. He does offer insights into how we might resist and reclaim control of our cultural experiences. He highlights movements and individuals who are pushing back against algorithmic dominance, advocating for a return to human-centred curation and creation.

He points to initiatives like slow content and digital detoxes as ways to counteract algorithmic curation. He goes on to emphasise the importance of supporting independent creators and platforms that prioritise diversity and depth over engagement metrics. By championing these alternatives, Chayka envisions a future where cultural production is once again driven by human creativity and critical engagement rather than algorithmic efficiency.

Filterworld is not just a critique but a much-needed call to awareness, even a warning. Chayka urges readers to recognise the subtle ways in which algorithms shape their cultural consumption and to question the consequences of this influence. He advocates for a more conscious and deliberate engagement with cultural content, one that values diversity, depth and critical thought. Chayka is clearly erudite in his subject and the writing is simple and thought-provoking. His arguments are well-supported by research and he keeps human stories at the heart of his hypotheses. The balance of insightful scholarship and an easily flowing narrative makes this book compelling reading, whether the reader is well-versed in technology or not.

The risks of aesthetic homogenisation, superficial engagement and diminished cultural diversity are clearly explained and explored without demonising the algorithmic network in our lives. He generously acknowledges the benefits while pointing out the watch-outs, one of which is the distortion of reality, the growing disconnect between what is authentic and what is not, and the many mental health implications related to this. The psychological effects of living in a ‘filtered’ world and the resulting feelings of inadequacy will abound when real life does not measure up to online life. What the book actually does in the end is challenge us to strive for a richer, more varied cultural landscape that is original and possibly not even perfect.

Filterworld: How Algorithms Flattened Culture
By Kyle Chayka
Published by Doubleday
304 pp, Rs 3,295
ISBN: 978-0385548281

Rashna Abdi is CEO, Vitamin C.
rashna@vitamincdigital.com