Grimes' move to LinkedIn is a bold statement in the world of art and technology, marking a significant shift in her career and a commentary on the state of the internet. Her decision to join the platform, often seen as a last resort for artists, is a strategic move that goes beyond mere provocation. It's a calculated step to engage with a platform that is currently dominated by AI disruptors and victims, a space where the lines between creativity and corporate interests are blurred. This move is a direct response to the 'enshittification' of the internet, a phenomenon where the once-generous digital landscape has been replaced by a flood of automated bots, NFT hustlers, and AI forgers, leaving artists struggling to rebuild their networks and find meaningful engagement.
Grimes' move to LinkedIn is a strategic move to start a conversation about the future of technology, video games, and AI, and the impact of these advancements on the post-work era. Her film, Image Empire, is a public information film that tells the creation myth of Nvidia, a company that has become a central player in the AI industry. The film is inspired by John Berger's 'Ways of Seeing' and follows up on her previous work, 'The Wizard of AI', which introduced the term 'AI slop'. By using a fairytale narrative, she aims to explore the complex relationship between technology, creativity, and the future of work.
The timing of her move to LinkedIn is particularly interesting. The platform has become a dystopian nightmare, with members using AI tools to write posts, making it nearly unusable. The platform's algorithm, which stockpiles and drip-feeds content, has led to a decline in engagement and a sense of stale, out-of-date information. This is a stark contrast to the vibrant and creative communities that once thrived on platforms like Twitter, Etsy, and Vimeo. The rise of AI has created a new dynamic, where artists are now competing with bots, NFT hustlers, and AI forgers for attention and engagement.
Grimes' presence on LinkedIn is a commentary on the power dynamics between artists and big tech. She is one of the few 'accelerationist' voices that embraces the dark futures that AI disruptors like Musk, Thiel, and Altman champion. Her move to LinkedIn is a strategic move to 'own' the story and take control of the corporate narrative, a role that is highly sought after by big tech companies. These companies are offering six-figure bounties for 'full-stack' creatives who can 'leverage new agentic pipelines to change storytelling forever'.
However, the move to LinkedIn is not without its challenges. The platform's clunky algorithm and the dominance of AI-generated content make it difficult for artists to stand out and engage with their audience. The 'enshittification' of the internet has led to a decline in attention spans, sales, wages, and funding, making it increasingly difficult for artists to make a living and build a sustainable career. Despite these challenges, Grimes' move to LinkedIn is a bold statement, a commentary on the state of the internet, and a strategic move to engage with a platform that is currently in flux.
In conclusion, Grimes' move to LinkedIn is a significant moment in the world of art and technology. It is a commentary on the 'enshittification' of the internet, the power dynamics between artists and big tech, and the future of creativity in the age of AI. Her decision to join the platform is a strategic move to start a conversation and engage with a space that is currently in flux, marking a new chapter in her career and a significant moment in the world of digital art.
