The Scientists Who Make Apps Addictive

Tech companies use the insights of behaviour design to keep us returning to their products. But some of the psychologists who developed the science of persuasion are worried about how it is being used

.. Skinner was the most prominent exponent of a school of psychology called behaviourism, the premise of which was that human behaviour is best understood as a function of incentives and rewards. Let’s not get distracted by the nebulous and impossible to observe stuff of thoughts and feelings, said the behaviourists, but focus simply on how the operant’s environment shapes what it does. Understand the box and you understand the behaviour. Design the right box and you can control behaviour.

.. Skinner turned out to be the last of the pure behaviourists. From the late 1950s onwards, a new generation of scholars redirected the field of psychology back towards internal mental processes, like memory and emotion. But behaviourism never went away completely, and in recent years it has re-emerged in a new form, as an applied discipline deployed by businesses and governments to influence the choices you make every day: what you buy, who you talk to, what you do at work.

.. Fogg told me that he read the classics in the course of a master’s degree in the humanities. He never found much in Plato, but strongly identified with Aristotle’s drive to organise and catalogue the world, to see systems and patterns behind the confusion of phenomena. He says that when he read Aristotle’s “Rhetoric”, a treatise on the art of persuasion, “It just struck me, oh my gosh, this stuff is going to be rolled out in tech one day!”

.. computer applications could be methodically designed to exploit the rules of psychology in order to get people to do things they might not otherwise do

.. Fogg called for a new field, sitting at the intersection of computer science and psychology, and proposed a name for it: “captology” (Computers as Persuasive Technologies). Captology later became behaviour design

.. Fogg himself has not made millions of dollars from his insights. He stayed at Stanford, and now does little commercial work. He is increasingly troubled by the thought that those who told him his ideas were dangerous may have been on to something.

.. When we want people to do something our first instinct is usually to try to increase their motivation – to persuade them. Sometimes this works, but more often than not the best route is to make the behaviour easier.

.. When you get to the end of an episode of “House of Cards” on Netflix, the next episode plays automatically unless you tell it to stop. Your motivation is high ..

.. The most important nine words in behaviour design, says Fogg, are, “Put hot triggers in the path of motivated people.”

.. Consider the way Instagram lets you try 12 different filters on your picture, says Fogg. Sure, there’s a functional benefit: the user has control over their images. But the real transaction is emotional: before you even post anything, you get to feel like an artist.

.. she had recently interviewed heavy users of Instagram: young women who cultivated different personas on different social networks. Their aim was to get as many followers as possible – that was their definition of success.

.. Moseley’s respondents spent all their hours thinking about how to organise their lives in order to take pictures they could post to each persona, which meant they weren’t able to enjoy whatever they were doing, which made them stressed and unhappy. “It was like a sickness,” said Moseley.

.. One of his alumni, Nir Eyal, went on to write a successful book, aimed at tech entrepreneurs, called “Hooked: How to Build Habit-Forming Products”.

.. When B.F. Skinner performed further experiments with his box, he discovered that if the rat got the same reward each time, it pulled the lever only when it was hungry. The way to maximise the number of times the rat pulled the lever was to vary the rewards it received.

.. In “Hooked”, Eyal argues that successful digital products incorporate Skinner’s insight. Facebook, Pinterest and others tap into basic human needs for connection, approval and affirmation, and dispense their rewards on a variable schedule.

.. If our behaviours are being designed for us, to whom are the designers responsible? That’s what Tristan Harris, another former student of Fogg’s, wants everyone to think about. “BJ founded the field of behaviour design,” he told me. “But he doesn’t have an answer to the ethics of it. That’s what I’m looking for.”

.. “The job of these companies is to hook people, and they do that by hijacking our psychological vulnerabilities.”

..Facebook gives your new profile photo a special prominence in the news feeds of your friends, because it knows that this is a moment when you are vulnerable to social approval, and that “likes” and comments will draw you in repeatedly.

.. After a while, Harris realised that although his colleagues were listening politely, they would never take his message seriously without pressure from the outside.

.. One of his mantras is, “Whoever controls the menu controls the choices.”

.. Menus used by billions of people are designed by a small group of men, aged between 25 and 35, who studied computer science and live in San Francisco. “What’s the moral operating system running in their head?” Harris asks. “Are they thinking about their ethical responsibility? Do they even have the time to think about it?”

.. “Companies say, we’re just getting better at giving people what they want. But the average person checks their phone 150 times a day. Is each one a conscious choice? No. Companies are getting better at getting people to make the choices they want them to make.”

.. The machines are programmed to create near misses: winning symbols appear just above or below the “payline” far more often than chance alone would dictate. The player’s losses are thus reframed as potential wins, motivating her to try again.

Mathematicians design payout schedules to ensure that people keep playing while they steadily lose money.

.. Alternative schedules are matched to different types of players, with differing appetites for risk: some gamblers are drawn towards the possibility of big wins and big losses, others prefer a drip-feed of little payouts (as a game designer told Schüll, “Some people want to be bled slowly”).

..Gamblers themselves talk about “the machine zone”: a mental state in which their attention is locked into the screen in front of them, and the rest of the world fades away. “You’re in a trance,” one gambler explains to Schüll. “The zone is like a magnet,” says another. “It just pulls you in and holds you there.”

.. A player who is feeling frustrated and considering quitting for the day might receive a tap on the shoulder from a “luck ambassador”, dispensing tickets to shows or gambling coupons. What the player doesn’t know is that data from his game-playing has been fed into an algorithm that calculates how much that player can lose and still feel satisfied, and how close he is to the “pain point”.

.. “The world is turning into this giant Skinner box for the self,” Schüll told me. “The experience that is being designed for in banking or health care is the same as in Candy Crush. It’s about looping people into these flows of incentive and reward. Your coffee at Starbucks, your education software, your credit card, the meds you need for your diabetes. Every consumer interface is becoming like a slot machine.”

.. Tristan Harris sees the entire digital economy in similar terms. No matter how useful the products, the system itself is tilted in favour of its designers. The house always wins. “There is a fundamental conflict between what people need and what companies need,”

.. Google and Apple didn’t set out to make phones like slot machines. But the imperative of the system is to maximise time-on-device, and it turns out the best way of doing that is to dispense rewards to the operant on a variable schedule.

.. Things that aren’t important to a person are bound up with things that are very important: the machine on which you play games and read celebrity gossip is the one on which you’ll find out if your daughter has fallen ill. So you can’t turn it off or leave it behind.

What Powers Instagram: Hundreds of Instances, Dozens of Technologies

We run Django on Amazon High-CPU Extra-Large machines

.. We’ve found that our particular work-load is very CPU-bound rather than memory-bound, so the High-CPU Extra-Large instance type provides the right balance of memory and CPU.

.. We use http://gunicorn.org/ as our WSGI server; we used to use mod_wsgi and Apache, but found Gunicorn was much easier to configure, and less CPU-intensive. To run commands on many instances at once (like deploying code), we use Fabric, which recently added a useful parallel mode so that deploys take a matter of seconds.

.. Most of our data (users, photo metadata, tags, etc) lives in PostgreSQL; we’ve previously written about how we shard across our different Postgres instances. Our main shard cluster involves 12 Quadruple Extra-Large memory instances (and twelve replicas in a different zone.)

.. The photos themselves go straight to Amazon S3, which currently stores several terabytes of photo data for us. We use Amazon CloudFront as our CDN, which helps with image load times from users around the world (like in Japan, our second most-popular country).

How Instagram Opened a Ruthless New Chapter in the Teen Photo Wars

Millions of teens have migrated much of their daily photo-messaging to Snapchat, which offers many of Instagram’s perks in a more private venue. Could Instagram lure them back? And how did Snapchat—an app that some adults find impenetrable—attract so many kids in the first place?

.. With Snapchat Stories, they have the expectation that their friends will see it, but with Instagram, you can’t really trust that it’s just your friends who will be seeing it.

.. If you exchange snaps with someone for more than three days in a row, a number starts to appear next to their name on the app. This signifies that you have “a streak” going with them. Every day you keep the streak going, the number counts up. After a 100-day streak, the 100 emoji appears. And an arcane set of emoji start to appear next to their name on Snapchat, too: Emojipedia has an explainer of what these mean, but a yellow heart, for instance, signifies that you and someone else are “best friends”—that they are the person you send and receive snaps with the most.

.. Rob: Are you intentional about the streaks? They’re not an accident?

Rob’s Brother: Yeah, they’re not an accident. I have not initiated that many streaks. I think you just ask someone who you want to spend more time with if they want to have a streak. It’s also like—for people who are going on Snapchat everyday, it’s not a big deal to add another streak. And then the more streaks you have, the better it looks.

.. Someone’s Snapchat score is the sum total of all the snaps they’ve ever received, all the snaps they’ve ever sent, and all the snaps they’ve ever posted to their story. It is publicly viewable and the object of some teasing. My Snapchat score is 10,085.

.. Rob’s Brother: I’d say that the higher the number of your streaks—I don’t how to put this—the more streaks you have and the higher they are, generally, the more “popular” you are, in air quotes.

.. Rob: Do you have a sense that’s an average number?

Rob’s Brother: Yeah, that’s pretty average. Most people are near where I am, with a score in the 10,000s. But then there are people with 15 streaks, four of them into 200 days, and their Snapchat score is 400,000.

.. Like, the better you are at Snapchat, the better you are in the social hierarchy of school.

.. Rob: Do you find people do that thing where they post something to their Snapchat story that’s only aimed at two to three people? Like, someone is trying to send a message to someone they like, or someone they want to be better friends with, but they don’t just want to send a snap directly to them.

Rob’s Brother: Oh, you mean like the “anyone up” post, or something like that?

.. Rob: Like, this is a thing as in—snapping your own internet usage?

Rob’s Brother: Well, I do not do this. And I don’t think many people do. But it’s a thing.

.. Rob’s Brother: I think stories are also more casual on Snapchat still, and less formal, than they are on Instagram. It’s a more casual way of saying, look at me, I’m hanging out with friends, I have a life.

Rob: That seems a part of the candid thing.

Rob’s Brother: Yeah, exactly. Just taking candid pictures of your friends doing things is advertising to the world that you don’t spend your whole day inside watching TV.

.. Rob: The bad candid picture of your friends—I feel like it’s also a way of being like, look, we’re so cool, we don’t even have to look cool, I don’t need to make this person look attractive in any way. But I might be reading too much into it.

Rob’s Brother: I think on Instagram, if you make someone look unattractive, that’s what you’re saying. On Snapchat, there’s an assumption that you’re advertising all this stuff only to your friends.

 .. Rob: So, on Myspace, you had a couple hundred friends, but only your top eight friends displayed, and—this was slightly before my time—but there was a lot of status-seeking in which eight friends you displayed and what it meant. You might have someone in your top friends, but did they have you in their top eight friends? People got knocked out.
.. There’s not a huge amount of talking about Snapchat. There’s more talk about Instagram than Snapchat.
.. Rob’s Brother: When you first get Instagram, you Instagram stuff a lot.Rob: Gotta build up that archive.

.. Instagram at this point is just pretty pictures and occasional life events that I want to advertise. And Snapchat is, like, here’s a thing that’s funny, and here’s a joke about it. Or, I’m bored, and here’s my face that looks like a dog.

.. Instagram just feels too formal. Like, “everyone’s gonna see this”—I feel like, often, Instagram is your first impression on a lot of people.

.. Rob: It is! It is the most public part of most people’s internet persona.

Rob’s Brother: And as you use Instagram to get a first impression on other people, you realize that people are using yours to get a first impression on you. So then you change it.

Rob: You start performing for a generic internet person, or a generic high schooler, and you start performing less for your friends.

.. Also I feel like people don’t post on Instagram as much during the winter, because people definitely want to show off the beach day, but they know that people don’t really care about them sipping hot cocoa and doing homework.

.. People carry their phone during the summer a lot more than they do during the winter, because it’s a lot less likely for your phone to fall out of your pocket and immediately be ruined.

I also feel like, winter is during the school year, so you get to communicate with your friends more, and they know what you’re doing more.

.. Rob: So Instagram is almost like a postcard-y medium? It’s like postcards for teens.

.. Rob’s Brother: It’s like a personal Instagram that’s private, and it’s only got like 25 followers. It’s not for the likes, and it’s not for anyone else to see. And you post, like, very personal things on it.

Rob: So it’s like people using a private Twitter? So Finsta is like you and your 19 best friends?

Rob’s Brother: You and your 40 best friends. I think generally if someone’s in your grade, and they want to follow your Finsta, you accept them, but there isn’t that much on a Finsta, honestly. If you’re not their friend, it’s not that interesting.

.. Rob’s Brother: Yes. Correct. It’s mostly complaining and bad selfies. Roasting teachers. They’re generally not that interesting. I feel like they’re almost the equivalent of a diary.

Rob: I mean, I know adults who have private locked Twitter accounts and they use it mostly for complaining about work or family stuff.

Rob’s Brother: Yeah, it’s mostly for complaining. And people with Finstas don’t want people to see them complaining because A, if you don’t know them, it translates as whininess, and B, if you do know them, you have a chance of being mean to somebody. The other appeal of a Finsta is that your parents can’t find you on a Finsta.