This Is What Happens When Tinder Becomes A Platform For Experimental Art

For most people, Tinder is, at best, a chance to find a date and, at worst, an amusing diversion when standing in line or when there's nothing good on Netflix. But for artist and hacker Matthew Rothenberg, Tinder is an opportunity for an art project.

The project is called Swipe Left, and in it he inserts imagery of drone strikes and drone strike victims into the dating app. “For most of my career I've explored how real people and communities interact with technology,” Rothenberg writes on his website, “and all the messy things that happen when they do.”

That's exactly what this project does, although “messy” is a strong understatement. Rothenberg drew a complex connection between Tinder use and drone strikes. “The interface of Tinder is consciously reductionist,” he writes on Medium. “You get a name, age, and (sometimes) a very brief bio. The decision tree is binary: yes or no (or in Tinder UI, swipe right or left). No winks, nudges, or ratings. No bookmarking to come back later for decision. You have to make a decision in order to move on.”

Every decision made on Tinder is final. Accidentally swipe left on the love of your life, and they're gone for good. But, Tinder reminds you, there's a new potential love waiting just on the other side of that swipe. They're available immediately. There's no time for regret, remorse, reflection – the cycle continues instantly, and users are left feeling fine about the fact that they just reduced an incredibly complex thing – love – to a painfully simple activity.

And then there's drone strikes. Part of the reason they are so controversial is “the sense of dehumanized technology,” Rothenberg says. The kill list looks remarkably similar to something else: a list of members who meet a series of criteria, a photo, their age, a brief bio. In the end it's a simple binary decision. Yes or no. Swipe right or swipe left.

In both cases, the computer mediated user interface provides a distancing barrier between the viewer and an action. The barrier creates a sense of separation and encourages quick action. So what happens when New Yorkers find “drone strikes images interspersed with their continuous yes-and-no swiping to Tinder matches of shirtless-ab-photos and Instagram-filtered-art-selfies taken in the MoMA rain room?”

Well, the “what” isn't actually important, according to Rothenberg. He is uninterested in which way people swipe, merely the fact that they have to swipe. “How viewers choose to react is far less interesting to me than the fact that they’ve been forced into this situation to begin with,” he says. Any reaction at all is a valid and interesting data point for the Swipe Left project.