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Byung-Chul Han, in treatises such as “The Burnout Society” and his latest, “The Crisis of Narration,” diagnoses the frenetic aimlessness of the digital age.

Alena Kate Pettitt helped lead an online movement promoting domesticity. Now she says, “It’s become its own monster.”

Online platforms allowed me to cultivate a freer version of myself. Then the digital world began to close off.

The gags that got the Internet laughing, and liking, the most in the past year.

The Israel-Hamas war has displayed with fresh urgency the perils of relying on our feeds for updates about events unfolding in real time.

The duelling memoirs of Caroline Calloway and Natalie Beach.

“Just five more minutes.”

Earnest and heartfelt Instagram announcements are out. Instead, try to be vague and insouciant.

In Julia Jansch’s short documentary “Elsa,” the Kenyan comedian opens up about the darker side of becoming a social-media sensation.

Influencers discovered they could earn tens of thousands of dollars on the platform by making simple reaction videos. 

Most people don’t know this, but we all consented to being hexed by Instagram when we signed their terms of service.

My Polaroid camera is now a retired witness of former travels. But my cell phone has enabled me to unite with the exploding collage of our culture.

The artist discusses Charlotte Gainsbourg, Uggs, and finding inspiration on Instagram.

“I feel like Instagram really wants us to go apple-picking this weekend.”

What they say: “Mr. Pickles is a sweet older dog who loves to take it easy.” What they mean: “Mr. Pickles might just be a human cursed to live as a dog.”

Interacting online today means being besieged by system-generated recommendations. Do we want what the machines tell us we want?

The creators of an artificial intelligence that can produce almost any art work imaginable—from “cheeseburger lamp” to “the rest of mona lisa”—sift through their latest requests for original images.

Two new books examine how social media traps users in a brutal race to the bottom.

The comedian describes finding online success during the pandemic, playing Helen Keller’s mom (briefly), and the inspiration behind “Hi, gay.”

The difference between this app and the social-media giants isn’t its relationship to truth but the size and scale of its deceptions.