
Laura Herman
DPhil Student
Laura is a 1+3 DPhil student at the OII and an Experience Research Lead at Adobe. Her research at both institutions aims to unpack how technology-based design affordances influence artistic output and creativity.
An exhibit-based research project showcasing images curated by artist Fabienne Hess and Instagram’s algorithm.
The Algorithmic Pedestal showcases the differences between human and machine ways of seeing. Drawing on the Metropolitan Museum of Art’s open access collection, both a human artist and an algorithm have been invited to select images for this exhibit. Sorting through thousands of images, they have each chosen 20-30 images to display in a particular order and layout.
Visitors are invited to compare and reflect on the differences in algorithmic and human curation decisions.
Instagram’s algorithmic feed performed the machine-driven curation. In recent months, Instagram has publicly announced that the content displayed in users’ Home feed will increasingly be decided by a “black box” algorithm, rather than what friends or family have recently posted.
This means that we do not know exactly what Instagram chooses to prioritise, or why. Through its prioritised selections, the algorithm reveals its own ways of seeing, providing the audience with an intimate lens into its perceptual mechanisms.
We captured Instagram’s curatorial decisions by uploading 800 images from the Metropolitan Museum of Art’s Open Access collection to a new Instagram account: @thealgorithmicpedestal. At the time, this account was followed only by one other account (@following_algorithmicpedestal). Visiting the Home feed of the following account, we saw which images Instagram chose to display from @thealgorithmicpedestal, and in which order. No captions, metadata, or social information was provided, such that the algorithmic curation was determined only based on the image itself.
Artist Fabienne Hess elected to select images that correspond to a concept: loss. Hess believes that loss is a uniquely—and universally—human experience, inescapable in human lives.
The images displayed here are part of Hess’ “Dataset of Loss,” which she has created over the course of three years as a resistance to the dominant algorithmic ways of seeing, which are shaped by the commercial interests of Big Tech. Her curatorial process is driven by the human experiences of time, curiosity, and patience; she has spent years physically exploring collections in an embodied fashion, learning about each object’s stories and photographing them during site visits. In this way, Hess’ curation represents both a very human process and a very human selection criteria.
Hess’ curation contributes to the field of machine vision from an artistic angle, rather than a commercial or technological one. Algorithms are trained on labelled datasets; Hess views her curation as a dataset as well. However, the organizing principle of Hess’ dataset—the theme of loss—is not a label stating what the images depict, which is how current algorithmic datasets are labelled for the purposes of computer vision. Instead, the images in Hess’ dataset ask questions about origin and content while resisting being categorized and labelled. She is working on a forthcoming book of a broader “Dataset of Loss,” including her own photographs and images from other collections.
Hess graduated from the Royal College of Art in 2012 and is based in London. Her work can be seen on her website and Instagram.
As an increasing proportion of our exposure to visual content is mediated by algorithmic platforms (such as Instagram, TikTok, Twitter, etc.), we must urgently consider algorithms’ impact on visual society and cultural norms.
Fabienne Hess’ Artist Bio:
Fabienne Hess is a London-based Swiss artist. She graduated from the Royal College of Art in 2012 and has since shown her work, among other places, at Art Night, French Riviera, London; MK Gallery, Milton Keynes; Baltic, Newcastle; Talbot Rice Gallery, Edinburgh; Upstream Gallery, Amsterdam; Museum Tinguely, Basel and Dakar Biennale. She has been awarded a fellowship by Artangel, published an artist book with Common Editions and has received commissions from LUX artists’s moving image, the BBC and the University of Edinburgh.
Website: fabiennehess.com Instagram: @fabienne_hess
DPhil Student
Laura is a 1+3 DPhil student at the OII and an Experience Research Lead at Adobe. Her research at both institutions aims to unpack how technology-based design affordances influence artistic output and creativity.
Associate Professor, Senior Research Fellow
Kathryn Eccles has research interests in the impact of new technologies on Humanities scholarship, and the re-organisation of cultural heritage and higher education in the digital world.
“AI can’t come for creativity because that’s an inherently human act”, says Laura Herman, a researcher at the Oxford Internet Institute. However, the rise of AI technologies such as ChatGPT and Midjourney has questioned whether that is actually true
BBC Radio 4, 27 February 2023
Algorithms are not just changing how we create art, they’ve been curating everything we see and hear online for years.
New Scientist, 07 February 2023
Watch the New Scientist interview with OII doctoral researcher Laura Herman talking about her goals and motivations behind The Algorithmic Pedestal exhibition and research project.
Forbes, 24 January 2023
Earlier this year OpenAI released ChatGPT, which showcased the ability of AI to write text, tell stories, and code to a pretty decent degree. The Algorithmic Pedestal' offered a more traditional take on AI-driven curation.