<unlike-us> Order of Maginitude by Ben Grosser: a 45 min. video compilation of Mark Zuckerberg's rhetoric
geert at xs4all.nl
Mon Jul 29 12:36:53 CEST 2019
Order of Maginitude by Ben Grosser (2019)
As the founder and CEO of the world’s largest social media corporation, what does Mark Zuckerberg think about? While we get clues from his posts on Facebook and elsewhere, a primary window into this question is through his public video recorded appearances. Covering the earliest days of Facebook in 2004 up through Zuckerberg’s compelled appearances before the US Congress in 2018, these recordings reveal what’s changed and what hasn’t changed about the way he speaks and what he says. For ORDER OF MAGNITUDE, I viewed every one of these recordings and used them to build a supercut drawn from three of Mark’s most favored words: “more,” “grow,” and his every utterance of a metric such as “two million” or “one billion.” The result is a nearly fifty minute film that reveals primary topics of focus for the tech CEO, acting as a lens on what he cares about, how he thinks, and what he hopes to attain.
direct link to Vimeo: https://vimeo.com/333795857 <https://vimeo.com/333795857>
Exhibition and Support
ORDER OF MAGNITUDE premiered as part of arebyte On Screen <https://www.arebyte.com/aboutaos> (AOS), “a platform dedicated to artist videos, multimedia experiences and curatorial interventions utilizing digital formats to address current political, economic and theoretical discussion.” This edition of AOS was curated by David Quiles Guilló <https://davidquilesguillo.com/>. I appreciate David’s and arebyte’s support of this project.
Currently, the work is part of “Please don’t stand in the middle of the road waiting for me to get you on camera” (exhibition info <https://www.isthisitisthisit.com/please-dont-stand>, exhibition entry <https://www.isthisitisthisit.com/please-dont-stand-2>), an online exhibition curated by Bob Bicknell-Knight.
Thanks to The Zuckerberg Files <https://zuckerbergfiles.org/>, an archive of Mark Zuckerberg-related materials from the Center for Information Policy Research at the University of Wisconsin-Milwaukee. I was able to draw on many transcripts they have produced as part of their work, and I will be offering external materials I’ve acquired back to their archive. More broadly, I drew from hundreds of clips in the making of this work; producers, creators, and posters of that material are acknowledged in the end credits of the film.
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