Evolución del Esquema Centralista hacia un esquema de prevención gestionado localmente

“Wrapped” has been praised by Spotify users and producers on social media, by trades publications like Ad Age and Tech Times, and by marketing professionals. It

35. Zola Jesus, “On AI and Silicon Fascist Privilege,” Patreon post, November 24, 2019, https://www.patreon.com/posts/31828469.

36. Zuboff, Surveillance Capitalism, 141.

37. Zola Jesus (@zolajesus), “streaming services are extortion,” Twitter post, January 29, 2020, https://twitter.com/ZOLAJESUS/status/1222572662318301185.

received “Webby Awards” for “Best Visual Design” (2019) and “Best User Experience” (2018),38 _{and generates substantial attention for the company each December. While} social media platforms like Twitter have long invited users to share the data of their activity on the platform—number of “retweets,” “likes,” etc.—few have generated the excitement and accolades that accompany “Wrapped.” Though Spotify thinly veils the campaign as a “gift” for both producers and users, both its motivation and success as a marketing campaign are clear. David Turner points out that “[t]he two biggest spikes in searches for Spotify over the last few years correlate to Spotify’s early December

Wrapped campaigns.”39 _{While Lisa Segarra writes in Fortune: “With the marketing blitz} surrounding Wrapped, Spotify [its app] is suddenly being downloaded at a remarkable clip.”40 _{The popularity of the campaign appears to illustrate that many have accepted the} terms—not just contractual, but Spotify’s definition of music, the self, and their

success—of the machine’s data collection.

The process Zuboff calls “habituation” in her discussion of Google, is useful for illuminating Spotify’s production of subjectivity by normalizing surveillance.

Habituation, in her words, is the process required for Google’s “simple robbery of [users’] decision rights to shade into normalcy and even to be reckoned as ‘convenient,’

38. “Your 2017 Wrapped,” The Webby Awards, accessed March 8, 2020,

https://www.webbyawards.com/winners/2018/advertising-media-pr/craft/best-user-experience/your-2017- wrapped/. The “Webby Awards” have given out awards for “the best of the internet” for the past 24 years and are, according to the New York Times, “the internet’s highest honor.”

39. David Turner, “How Musicians Fought, and Won, Against Big Business,” Penny Fractions

Newsletter, December 11, 2019.

40. Lisa Marie Segarra, “Spotify Wrapped Isn't Just a Personalized Playlist. It's an App Download Blitz,” Fortune, December 11, 2019, https://fortune.com/2019/12/11/spotify-wrapped-playlist-app-

‘useful,’ or ‘marvelous.’”41 _{“Wrapped” illustrates Spotify’s latest and most visible} success at shading its surveillance toward “fun.” Haley Weiss writes in The Atlantic:

In a year when other tech giants were taken to task by the government, the market, and the public for their privacy practices, it’s hard to imagine anyone would respond with such enthusiasm if Facebook, Twitter, or Google started sending out annual summaries of everything they’ve got on us.42

However, Spotify did not achieve this level of acceptance of its surveillance without facing some user outrage—a reaction Zuboff identifies as a precursor to habituation. Following a 2015 privacy policy update in which Spotify’s application requested access to location services and other personal data on its users’ devices,

Business Insider reported: “Users have taken to social media platforms like Twitter to

threaten to cancel their subscriptions if the new policy is not pared back, with some declaring that they've already pulled the trigger.”43 _{Spotify CEO Daniel Ek issued a blog} post in the aftermath titled “SORRY.” He wrote: “Let me be crystal clear here: If you don’t want to share this kind of information, you don’t have to,”44 _{and the controversial} policy was scaled back. After the outrage subsided, Spotify began a new approach to

41. Zuboff, Surveillance Capitalism, 148.

42. Haley Weiss, “Why People Love Spotify's Annual Wrap-Ups,” The Atlantic, December 13, 2018, https://www.theatlantic.com/technology/archive/2018/12/spotify-wrapped-and-data-

collection/577930/.

43. Nathan McAlone, “People Are Quitting Spotify over Its New Privacy Policy,” Business

Insider, August 21, 2015, https://www.businessinsider.com/people-are-quitting-spotify-over-new-privacy-

policy-2015-8.

44. Quoted in Tim Ingham, “Daniel Ek Says Sorry after Spotify Privacy Backlash,” Music

Business Worldwide, August 24, 2015, https://www.musicbusinessworldwide.com/daniel-ek-says-sorry-

habituation in order to rehabilitate its public data broker image. Zuboff explains that as the habituation process becomes successful, “[t]he sense of astonishment and outrage dissipates. The incursion itself, once unthinkable, slowly worms its way into the

ordinary.”45 _{Spotify works to maximize the effectiveness and efficiency of its machine by} gradually eliciting users’ compliance to constant data extraction, making it a part of the ordinary experience of consuming music and even presenting its data as something extraordinary, a gift, with “Wrapped.”

Spotify began its post-outrage rehabilitation in late 2016, just before the first “Wrapped” campaign. Its aggressive data-habituation tactics were put on display with a series of billboard advertisements that appeared in major cities, “jokingly showcasing aggregate data sets.”46 _{The ads featured text such as: “Dear person who made a playlist} called: 'One Night Stand with Jeb Bush Like

He's a Bond Girl in a European Casino.' We have so many questions” (see fig. 2.4). Tech Times, says this campaign “shows the fun side of user data,”47 _{but I argue it is another thinly veiled} ploy to habituate users to Spotify’s surveillance.

45. Zuboff, Surveillance Capitalism, 140.

46. Eriksson et al., Spotify Teardown, 4.

47. Aaron Mamiit, “Spotify Says Thanks To Weird 2016 In New Ad Campaign That Shows The Fun Side Of User Data,” Tech Times, November 30, 2016,

https://www.techtimes.com/articles/187415/20161130/spotify-says-thanks-to-weird-2016-in-new-ad- campaign-that-shows-the-fun-side-of-user-data.htm.

Figure 2.4: Billboard showcasing the

"fun side" of data. Photo retrieved from TechTimes.com, November 2019.

While public awareness grows of the data extracted from our every digital move, surveillance firms like Facebook and Google face increased scrutiny over what

information they collect, how it is gathered, and whom they share it with. As Zuboff details, these firms quietly assembled their pervasive surveillance networks, only ever slowing down to ask for forgiveness after instances of public “outrage” when it was discovered they’d gone too far. For instance, Facebook scrambled to reassure users of their commitment to a “privacy-focused future” after scandals such as 2017’s Cambridge Analytica breach.48 _{Meanwhile, Spotify has taken a different approach, proudly flaunting} its collection of user data on billboards and with “Wrapped.” The company publicly portrays its surveillance as light-hearted and innocuous through marketing tactics designed to normalize and even promote its prowess as “not only a music provider but also as a private data broker.”49 _{Media scholar Robert Prey tells The Atlantic that} listening to music is “fun, and so people don’t take [Spotify’s data collection] as seriously.”50 _{As a result, Spotify has since been able to distance itself from the more} sinister face of surveillance capitalism often associated with Facebook and Google. For instance, Spotify came out virtually unscathed from a December 2018 New York Times story (coinciding with “Wrapped”) claiming that Facebook gave “Spotify the ability to

48. Julia Carrie Wong, “The Cambridge Analytica Scandal Changed the World – but It Didn't Change Facebook,” The Guardian, March 18, 2019,

https://www.theguardian.com/technology/2019/mar/17/the-cambridge-analytica-scandal-changed-the- world-but-it-didnt-change-facebook.

49. Eriksson et al., Spotify Teardown, 4.

read Facebook users’ private messages.”51 _{Even though it’s clearly listening to more than} what its users are listening to, Spotify implies that its machine is non-controversial and maintains its image as “outwardly tame,”52 _{while it habituates users and producers to the} “fun side” of the idea that they are constantly monitored.