Spotify, for example, has invested heavily in its own curation services — both algorithmic and human — after finding that many of its listeners were baffled by superabundance, burdened by excessive choice and uninterested in charting their own paths through the digital wilderness.

Some invest a lot of time and skill in crafting TikTok videos, but neither time nor skill is required. If TikTok “enables everyone to be a creator,” as its former mission statement proclaimed, this is because creative labor on the platform has been automated and deskilled.

Yet the cultural dominance of the iPhone — and the transformation of the open internet into “walled gardens” and apps focused on simplifying the user experience — has taken the “triumph of seamless usability” to a new level. This “tyranny of convenience,” to borrow Tim Wu’s phrase , should sensitize us to what may be lost when democratization proc

Truly democratizing cultural creativity, one might argue, would promote the development of skills and capacities rather than minimize the need for them.

Researchers have found instead that the distribution of attention remains highly unequal across a wide range of digital contexts, ensuring the hypervisibility of a few and the invisibility or near-invisibility of the great majority. The winner-take-all (or winner-take-most) logic, sustained in part by algorithms that ratify and reinforce what is a

The means of circulation are algorithmic, and they are not subject to democratic accountability or control. Hyperconnectivity has in fact further concentrated power over the means of circulation in the hands of the giant platforms that design and control the architectures of visibility.

Vigorously participatory curatorial subcultures certainly exist, but in practice, they require too much time and energy to have a broad appeal. People enjoy sharing their discoveries with friends, and they may at least occasionally rate and review items. But most people, most of the time, leave the hard work of curation to others — or to algorithm

Anybody can speak, but in an increasingly saturated cultural environment, nobody may be listening. Gatekeepers may no longer control what gets published, but algorithms control what gets circulated. Who sees what — in the domain of culture as well as news and commentary — is governed by opaque and proprietary software.

Instead of being fed from above a limited diet of standardized cultural products, everyone — not just a minority of highly educated omnivores — can now craft a varied and customized cultural diet from the digital cornucopia. People create these customized diets by sharing the work of “curation” in differentiated niche taste communities. This colle