Copyright has been a relevant topic since the development of the printing press. It grants the author the exclusive right to reproduce, publish, and sell the content and form of intellectual property. The copy & paste mentality of the Internet user brought chaos to the system. Blockchain technology should now manage the author and marketing rights in a way that is more transparent, completely free of Bitcoin and monetary background. The idea had its origin in the art scene.
The Internet is a space without horizons or frontiers. It has changed our environment and also, thereby, our sensory perception. In ‘the real world’ we are confronted everywhere by people gazing deeply into smartphones: on the street, on the subway, in airplanes, in queues and cafés. Interpersonal dialogue is increasingly being conducted in the virtual sphere. How does the art scene react to new technological developments in arts? I asked Alain Servais (collector), Wolf Lieser (gallerist) and Aram Bartholl (artist.)
AD: Alain, you are collector of digital art since many years. How actively do you use the Internet and the possibilities that it brings for research into art?
AS: I have the opportunity to generally be able to experience art in the real. This is still an indispensable element in the process of acquiring. I’m a big user of the Internet when it’s a question of looking for information on art that’s of interest to me. The key information I always try to gather before acquiring a work is: – a document collating the works which have marked the evolution of the artist’s practice –a piece of writing by an academic, curator or critic contextualizing the artist’s work – an interview with the artist, as I want to hear his/her ‘ voice’ speaking about on his/her art – and a biography.
AD: Wolf, how much do you use the Internet and its possibilities for better marketing in the art scene?WL: We have a presence on various social media and websites, for example, FB, FLICKR, Bpigs, ArtfactsNet, etc. But we try to limit it to those pages that are relevant to art. As an actual communication medium we primarily use Facebook.
AD: Aram, killyourphone.com provides relief and a critique of technology. What would your subjects be without the Internet?
AB: Despite rising levels of communication across devices and networks, I nonetheless notice how, when friends express their opinions on the social media channels, they do so ever more consciously and selectively. We’ve come to understand that all of the commentary and spontaneous utterances on Twitter, FB & co no longer just disappear, but are saved, analyzed and used. ‘Private is the new public’, said Geraldine Juarez recently. The belief that the net makes the world fantastically democratic and offers an equal chance for everyone has, at least since Snowden’s revelations, been finally buried. To that extent, the theme ‘how would it be without the Internet?’ is very interesting! How could we communicate without central, monitoring services? Which low-tech DIY technologies are available in order to exchange data ‘offline’? How can we live without Google?… (A self-test is strongly recommended).
The interplay between the old and new environments leads to numerous uncertainties and generational conflicts. While some nostalgic digital immigrants still assess the advantages of the digital world as being synthetic, alien and unsocial, to the generation of digital natives, the digital abundance is felt as entirely natural. For them, the new technologies were with them in the cradle.
AD: Alain, you are a digital immigrant. What was the first media work in your collection? When did you buy it and why?
AL: My first experience with digital art was with bitforms gallery in NY, more than 10 years ago – at a time when it was really under the radar. I went to an exhibition by Mark Napier from whom I acquired a work at that time – one of the “Old Testament” pieces. That was very natural for me, because I was looking for some new kind of art. I knew enough of art history to know that every important movement in art was always linked to a social, economical, technological, psychological development in society. It was a time, when I was trying to collect works that were really addicted/connected to the actual world, the world around us. I was thinking, ok let’s put myself in 2150: when I’ll be using my third heart and my second brain, what will I say was important in the year 1999/ 2000? Without any doubt it will be the computer and the Internet 2.0 with Facebook and social networks and everything. Eventually I thought: wow people were creating art and it is digital. I immediately considered it to be a very important development for the arts.
AD: Wolf, you procure and sell digital art. What do you think today is the greatest obstacle to understanding the effect of new media?
WL: The sale and procurement via the Internet leads to superficiality. This is, at least, my perception. Experiencing art on a website, interactively or not, is often characterized by shorter cycles/loops compared to viewing the same website here in the gallery. I think we need, as we always did, a balance between the real and the virtual. And actually, this makes sense, because we ourselves do embody both. It’s a reason why the digital natives often express themselves in analog media – it’s no coincidence!
AD: Aram, your works stand at the charged interface between public and private, online and offline, between technological infatuation and everyday life, whereby you teach us how to better understand our new environment. ‘ Whoever sharpens our perception tends to [be] antisocial …’, said media theorist Marshall McLuhan. Is it true?
AB: Especially TODAY it is more important than ever to sharpen perception with regard to the effects of technological development. Two and a half years after Snowden the public discussion on privacy and mass surveillance continues to level off. While the big secret services use their hefty budgets to snow us under, and to lock the doors to the NSA, the interest in further explosive leaks from the Snowden documents is fading. ‘Nothing to hide’ is the mantra of the ‘Smart New World’, in which we can neither see nor sense the complex mechanisms of surveillance. In contrast to the dystopic Matrix scenario, our world will ever be fluffier, smarter and more comfortable, unless one has the wrong passport or sits on a bus next to a presumed terrorist. Then reality will be brutal. Precisely for these reasons it is so important to make the hidden, abstract data world understandable, whether through concrete images, objects, or installations. If you were to hold 8 volumes with 4.7 million passwords of LinkedIn users in your hand hand, you would suddenly understand the significance of the security of our online identities.
Copyright has been a relevant topic since the development of the printing press. It grants the author the exclusive right to reproduce, publish, and sell the content and form of intellectual property. The copy & paste mentality of the Internet user brought chaos to the system. The blockchain technology should now manage the author and marketing rights in a way that is more transparent, completely free of Bitcoin and monetary background. The idea had its origin in the art scene.
AD: Alain, do you think the further development of the blockchain lead to more transparency and protection against forgery?
AS: I would not use the word forgery, but certainly [against] an unfair use of material or a copyright infringement. I suppose that the blockchain is one path that should be investigated and tested for the copyright protection of online works of art. I believe in a transformation of the economy of the market for online art towards the direction of a wider distribution through, perhaps, a ‘renting’ of the work rather than an illusory acquisition (taking into account the copyright stays with the artist anyway). i-tunes and Spotify both adapted well to the online art economy.
AD: Wolf, do you make use of these new possibilities within the marketing of digital art? And have you already thought about a new currency model?
WL: I’ve already been confronted by this and I think that it makes sense. With my artists though there’s as yet no need or willingness. I’ve yet to engage with new currency models.
AD: Aram, to what extent is the blockchain and Bitcoin really discussed within artist circles?
AB: Services like Wikipedia, the Open-Source Software movement and, in principle, the entire World Wide Web wouldn’t exist at all today had Telco-payment-services pushed through its fee-based BTX/videotext with pay-per-view, in the 1980s. Naturally the possibility turns the never-ending reproduction of classic markets on its head, and in recent years, there have been extensive debates about copyright and intellectual property. We shouldn’t forget though, that a large part of the software that operates the Internet and millions of devices came about in the spirit of the sharing-culture. The blockchain is a powerful tool, which introduces a form of artificial scarcity into the digital environment. It’s up to each artist himself or herself whether and how he or she chooses to distribute their work. The art market and the demand will certainly create some model or other for the sale and distribution of art that only exists in bits and bytes. Let’s wait and see…
Many of both Bitcoin’s most vocal proponents and detractors agree that the way the cryptocurrency operates technologically determines the form of the economy and therefore the society that uses it. That society would be anarcho-capitalist, lacking state institutions (anarcho-) but enforcing commodity property law (capitalist). If this is true then Bitcoin has the potential to achieve a far greater political effect than financial engineering efforts like the Euro or quantitative easing and with far fewer resources. Perhaps variations on this technology can create alternatives to Bitcoin that determine or at least afford different socioeconomic orders.
Bitcoin is already more than half a decade old and “Crypto 2.0” systems that build on its underlying blockchain technology (the blockchain is a network-wide shared database built by consensus, Bitcoin uses it for its ledger) are starting to emerge. The most advanced allow the creation of entire organizations and systems of organization on the blockchain, as Decentralized Autonomous Organizations (DAOs). We can use them to help create those different socioeconomic orders.
Workers’ Councils are a Liberatarian Socialist system of organization. Rather than implementing Soviet-style centralized command economies, workers councils are decentralized and democratic. Workers in a particular workplace decide what their objectives are then appoint temporary (and instantly revocable) delegates to be responsible for them. Workplaces appoint representatives to local councils, local councils appoint representatives to regional councils, and so on, always temporarily and revocably. It is a system of face to face socialisation and political representation rather than top-down control.
This system emerged at various times in Europe, South America and the Middle East throughout the Twentieth Century. It is a very human method of governance, in stark contrast to the “trustless” code of Bitcoin as well as to the centralized politics of the Soviets. That said, technology can assist organization as easily as it can support material production. In the 1970s the cordones of Chile interfaced with the Allende government’s Project Cybersyn network, and contemporary online workers collectives can use the Internet to co-ordinate.
A DAO is a blockchain-based program that implements an organization’s governance and controls its resources using code rather than law. There can be a fetishistic quality to the idea of cold, hard, unyielding software perfect in its unambiguous transparency and incapable of human failing in its decision making. There can be similar fetishistic qualities to legal and political organizational perfectionism, this doesn’t disqualify any of their subjects as useful ideals however they need to be tempered pragmatically.
Using the public code and records of a DAO can help with the well known problem of structurelessness, and can store information more efficiently and reliably than a human being with a pen and paper. The much vaunted trustlessness of cryptovurrency and smart contract systems can help build trust in communication within and between groups – cryptographically signed minutes are relatively hard to forge although the ambiguity of language is impossible to avoid even in the mathematics of software.
The delegates of a workers’ council can be efficiently and transparently voted on, identified by, and recalled using a DAO. This makes even more sense for distributed groups of workers, groups that share a common cause but lack a geographic centre. Delegates can even be implemented as smart contracts, code written to control resource allocation and evaluate performance in the pursuit of their objective (unless recalled by the council that created them).
Entire councils, and inter-council organisation, can be supported or implemented in their organization as DAOs. Support includes communication and record keeping. Implementation included control of resources, running delegates as code, and even setting objectives for delegates programatically.
The latter finally brings the concept of DAOs into direct conflict with the spirit of the Workers’ Council. Councils exist to allow individual human beings to express and agree on their objectives, not to have them imposed from above. Being controlled by code is no better than political or economic control. It is the nature of this relationship to code, politics or the economy that is positive or negative – writing code to charge someone or something with seeing that a task be undertaken is no different from writing it in the minutes and makes mroe explicit that organization is production as the subject of work in itself. A democratic, recallable DAO that sets objectives is very different from a blob of capital with unchangeable orders to maximise its profits online.
The resources that a DAO controls need not be monetary (or tokenized). A DAO that controls access to property, energy or other resources can contribute to avoiding the pricing problem that conventional economics regarded as a showstopper for the Soviet cybernetic economic planning of “Red Plenty“. DAOs need not even be created to represent human organization – “deodands” can represent environmental commons as economic actors. These can then interact with workers council DAOs, representing environmental factors as social and economic peers and avoiding the neoliberal economic problems both of externalities and privatisation.
Workers Council DAOs – Decentralized Autonomous Workers Councils (DAWCs) are science fiction, but only just. Workers councils have existed and been plugged in to the network, structurelessnes and scalability are problems, DAOs exist and can help with this. Simply tokenizing “sharing economy” (actually rentier economy) forms, for example replacing Uber’s taxi sharing with La’zooz, while maintaining the exploitative logic of disintermediation isn’t enough.
If we are unable or unwilling to accelerate the social and productive forces of technology to take us to the moon, we can at least embrace and extend them in a more human direction.
The text of this article is licenced under the Creative Commons BY-SA 4.0 Licence.
LAB #2 in the Art Data Money series
A weekend workshop, led by Dan Hassan of the Robin Hood Cooperative, focusing on the political/social relevance of Bitcoin, blockchains, and finance. All participants will be given some Bitcoin.
ADMISSION FEE: £10 for one day or £15 for the weekend*
The weekend workshop will take a historical look at the political / social relevance of Bitcoin (“Breaking the Taboo on Money”) by looking at the history of technical and social inventions the came before it. I’ll then futurecast what this could mean for the future of p2p finance (blockchains, new social architectures and peer owned platforms with a mix of synthetic finance, peer-owned-banks) and place Robin Hood Coop within this future (“Breaking the Taboo of Financial Markets”).
It will include hands on activities on covering topics such as blockchains (actually running them and understanding them) as well as dissecting financial instruments – such as Robin Hood Cooperative has been doing.
Day 1 – Breaking the Taboo on Money (focus on Bitcoin and blockchain):
11.00 Group introductions
11.30 Bitcoin, blockchains, finance – a series of quick 5 minute 101 introductions
11.30 – 13.00 Using Bitcoins whilst expanding our understanding of why this is so groundbreaking
13.00 – 13.30 Lunch
13.30 – 14.00 Recap
14.00 – 17.00 (with tea breaks) tbc
Day 2 – Breaking the Taboo on Financial Markets (focus on Robin Hood’s activities on Wall Street):
11.00 Group introductions
11.30 Bitcoin, blockchains, finance – a series of quick 5 minute one-to-one introductions (+ quick recap from the previous days session).
11.30 – 13.00 Emergent workshop from constellation of interests of those who turn up
13.00 – 13.30 Lunch
13.30 – 14.00 Recap
14.00 – 17.00 (with tea breaks) tbc
Part of Furtherfield’s Art Data Money programme.
– If you can’t afford the entry price, get in touch anyway and we can figure something out.
– All participants will be given some Bitcoin
– The workshop runs across two days. Both days will be complementary, but will also be standalone. there won’t be too much duplication for those who attend both, but you won’t be left behind if you only attend one.
Pre-reading / listening: Listen to as much of this talk by Vinay Gupta as you can.
Robin Hood Asset Management Cooperative is a cooperative owned and run by its members. At the moment we have over 500 members from 15 different countries and together we manage assets of about half a million euros. In the two years we have been active, we have created over 100,000 euros to our members and to our common pool. We disrupt the ordinary flows of money, share the loot, and invest the profits in the production and protection of commons.
More info: http://robinhoodcoop.org/
Dan Hassan (UK) is a computer engineer active in autonomous co-operatives over the last decade; in areas of economics (Robin Hood), housing (Radical Routes), migration (No Borders) and labour (Footprint Workers). He tweets as @dan_mi_sun
Featured image: Aram Bartholl, Forgot Your Password?, 2013
Historical art is developed by way of its respective era and society, meaning that it is always made in the present. Today, new technologies open up new possibilities for artistic potential. Currently, art production, which is influenced by new technologies, is reacting strongly to the changing times. Artworks are being created, which react to digitalisation, even if they don’t necessarily reflect the digital format itself (i.e. like works by Aram Bartholl).
In its purest form, digital art is ephemeral and based on a transient technology. The continual advancement of the technology demands on-going improvements; challenges from which many emerging artists refuse to be deterred. On the contrary: the monthly quota of events related to digital art proves the high level of interest around the form.
The global technical networks thereby bring about new atmospheres, or perhaps, infospheres, as media theorist Peter Weibel calls them. In the art world, previously held art-historical considerations are forced towards a re-evaluation. Conventional theories and practices must be called into question. New art forms in the immaterial digital domain demand a general rethink in terms of their conservation, presentation and acquisition. And, of course, the reception of digital art is also different.
According to studies by Hiscox, a preference for original works still dominates both in conventional and online trade. Authenticity and intrinsic value continue to be important criteria when it comes to decision-making regarding the purchase of art. Transparency will remain, for the long term, a fundamental prerequisite for the establishment of trust.
Most acquisitions of digital art take place conventionally by way of galleries. If a collector acquires, for example, a website, then the gallerist sells he or she a domain (which is unique!) and transfers in-addition, a licence contract. This is a material document. The ‘network’ remains virtual, while retaining open all of the attributes of an artwork in the source code, i.e. the artist’s signature, the title, the year in which it was produced, the technique, and information on the programmer or the collector.
The collector can enjoy the work beyond the confines of time and physical location. Simultaneously, he or she is responsible for its preservation, which is the guarantee for the continuation of its existence over time.
Internet art in general is dependant on software, but above all it relies on hardware (computer, hard-drive, interfaces, sensors, monitors, projectors, etc.). Yet for how long will the hardware remain a part of our interactive culture? Forward-looking collectors purchase, in addition to the contract, a series of devices that safeguard the work for the future.
The ability to learn about new approaches in our fast-moving culture occurs both naturally and dynamically. The art market is an extremely non-transparent market, access to the right networks and contacts. Is this likely to change any time soon?
Art history shows us that artists are ahead of their time, anticipating what is to come. One need only cast an eye around the scene, in order to open the door to new ideas and technological marketing methods in the art world.
The German artist, Stephan Vogler, has already done this and in cooperation with a law firm has unleashed intelligent synergies. The artist himself produces digital files – intangible goods, as he calls them – which should also naturally migrate to the art market over the long-term, in the best case scenario, as unique pieces which one – such is the thinking within his system – can acquire with Bitcoin.
Far more interesting than the means of purchase, is the Bitcoin technology that lies behind it.
Stephan Vogler has developed a licence together with experts on legal practice within the art world, which transforms the digital artwork into an independently tradable virtual commodity, which is limited, both in terms of its technology and its legal rights. The system is based on a license agreement under the utilization of the Bitcoin technology. All works will come with an electronic signature, which is recognized, in legal terms, as being an original signature. This also serves as proof that the files existed at a given moment in time. Their authenticity is mathematically verifiable and the right of resale is exclusive. Virtual ownership is technically and legally limited to the respective owner. The owner of the usage rights is registered in a decentralized Bitcoin Blockchain, and the rights regarding the work are assigned through a Bitcoin transaction. In this way, digital artworks become both tradable and collectable objects without the requirement of their materialisation. Purchase and transaction take place simultaneously and the function of the custodian is eliminated. The structure behind the acquisition is thereby extremely transparent.
Artists like Stephan Vogler want to revolutionize the market for digital art through new technology. But independent from this fact, the art world is not sleeping. Collectors, institutions and art market platforms are already taking note.
For example, Austria’s Museum for Modern Art (MAK) has already bought an artwork with Bitcoin.
Cointemporary.com, a curated online platform, offers ephemeral artworks at a fixed Bitcoin (BTC) price – independent from the actual exchange rate. Berlin company ascribe.io develops systems within the Blockchain technology and offers services for art experts, assisting in the professional management of their digital files, i.e. their registration, archival, transfer of ownership etc.
The Winklevoss twins are known as great advocates of the digital currency. Rumours about investments in the art form are rife.
The acquisition of artworks via Bitcoin sounds forward-looking and simple yet should be enjoyed with a good degree of care. The reason for this is that Bitcoin is not controlled by a state and its central bank, but rather is generated by Internet users by way of complicated arithmetic calculations. So what might be the advantage of a Bitcoin purchase?
Collectors of digital art, such as the Belgian, Alain Servais, or Hampus Lindwall, from Sweden, view the purchase of work via the risky Bitcoin currency with scepticism.
It is still too early to really be able to judge the effects of these developments. Ultimately, the discussion as a whole concentrates far less on the system of currency than on the technology itself, which can also be applied to other circumstances. These experiments will only truly bear fruit through the development of a high degree of know-how, the courage to take on legal consequences at the moment of purchase, and through simple decisions in a user-friendly design.
Featured image: A Tool To Deceive And Slaughter” (2009) Caleb Larsen
Accelerationism came to prominence in 2013 with Nick Srnicek and Alex Williams’s hashtag-titled manifesto. A cloud computing-era spin on the old Marxist argument that we first need to perfect capitalism in order to transcend it, its lineage is fleshed out in a new book from Urbanomic. Urbanomic claim (among others) Nick Land’s skynet midwifery, J.G. Ballard’s science fictionalization of culture, and Marx himself as precursors to Accelerationism, establishing it as a serious anti-humanistic response to the challenges that humanity faces if it is to avoid extinction. Similar to Christine Harold’s strategy of “intensification“, Accelerationism calls for us to appropriate the value of capital’s developments and transform them materially into something else rather than attempt to resist them head-on or refuse them in our hearts.
Bitcoin is an example of an accelerationist technology. It uses Internet-scale computing resources to rebuild social bonds by destroying the requirement for them in monetary exchange. You don’t have to know me or trust me or any third parties to receive money from me in the form of Bitcoins. You just have to trust the algorithms that very publicly operate the Bitcoin network. The new Ethereum project takes the blockchain technology behind Bitcoin and generalizes to contracts for purposes other than just the transfer of money, although of course those contracts can involve payments. Ethereum contracts exist as a distributed database of small programs and their state that resembles nothing so much as an economic LambdaMOO. There’s a good guide to their promise and potential pitfalls in the talk “Ethereum: Freenet or Skynet ?” by Berkman Center Fellow Primavera Di Filippi.
Smart contracts and smart property, which uses smart contracts to identify and control ownership of physical resources, were first described by Nick Szabo in the 1990s. Smart contracts are “smart” because they are implemented as computer code rather than as legal documents. Real world examples include vending machines, in which a contract to purchase goods is encoded into the simple software that dispenses carbonated drinks when you insert the correct money, Boris Bikes, RFID card payments for photocopies, and car hire schemes that unlock vehicles and track their use with QR codes. Would-be rentiers who try to launder their ambitions with the warm fuzziness of “sharing” are salivating at the prospect, as are the incorrigible snake oil merchants of DRM, but that is not what concerns us here.
Smart contracts and smart property for art already exist. The artwork “A Tool To Deceive And Slaughter” constantly re-sells itself on eBay. The GIF ownership service “Monegraph” uses the NameCoin system to track notional ownership of instances of infinitely reproducible digital art. These are extensions of pre-digital art contracts such as certificates of authenticity or ownership for conceptual and immaterial artworks. They show a way for art to continue producing a useful critique of property and social relations under technoculture, and for new technology to feed art’s ongoing critique of its own production and nature. I wrote about this in “Artworld Ethereum – Identity, Ownership and Authenticity“, which provides code examples demonstrating how simple it is to implement some of these examples with technology dedicated to smart contracts.
Like Bitcoin, smart contracts and smart property do not require social trust to build social value, just running code. They have very limited functionality, being unable to check RSS feeds on the Internet for information for example as that information might be tampered with. This raises the question of how individuals can be encouraged to provide valid real-world information to smart contracts rather than just entering the values that will immediately profit them the most. Capitalist economics answers this with the concept of incentives. Value, and values, can be determined by the behaviour of individuals in markets in response to economic incentives. And smart contracts are intended to make markets more efficient.
I would like to apply this agoric approach to truth to the crisis of art criticism in the face of aggregation that I identified in “The Proletarianization Of Art Criticism“. Individuals can be motivated to publish defensible aesthetic and art critical opinion in novel ways via smart contracts. I am not proposing an automated or purely algorithmic art criticism here: human activity is the core of this approach. Nor am I proposing an Amazon Mechanical Turk-style exploitation of affective labour. Rather I am proposing an Accelerationist approach, using the technology of digital capitalism to rebuild the social flows that it has destroyed.
Art is no stranger to the idea of markets, the artworld consists of one of the least regulated and therefore in theory one of the purest markets. But even ignoring the opacity and corruption of the art market, there is a problem with taking a direct approach to the art market as an arbiter of artistic value. As David Galenson‘s 2008 study of aesthetic value and market price showed there is a problem in using pure market mechanisms to establish the value of art: many “great works” have either never been auctioned or have not been to market in decades or even centuries.
I therefore propose three different approaches to art criticism via smart contracts. For work exposed to the market, the mechanisms used to price shares and other financial assets can be used. For work with less exposure, SchellingCoins and prediction markets can work alongside these mechanisms via proxies.
The prices of financial assets, stocks and shares or contracts for commodities for example, are set using a system of derivatives. Financial derivatives gained a bad reputation following their role in the global financial crash of 2008. By 2011 the notional value of the derivatives being traded was almost ten times the total GDP of planet Earth. And their automation by algorithmic high frequency trading is being increasingly scrutinized by regulators.
There are many different kinds of derivatives: short and long options, futures and exotics for example. But in theory at least their function is simple and beneficial. They enable individuals to profit by expressing whether they think a financial asset is over- or under-priced. This incentivizes them to act on this information. The resulting sharing of information and correction of prices benefits society.
Non-physical ownership, sponsorship, crowdfunding, dedications and more exotic value relationships to physical works and, crucially, to works that have not or will not be sold and to unownable digital art can be represented by smart contracts. These can then be treated as the underlying assets of derivatives, also represented as smart contracts, in whole or again crucially in fractional parts or shares. Buying and selling derivatives of shares in digital artworks, and particularly going short or long on them, represents a critical position on their worth. Where the underlying asset does not represent actual ownership of the artwork, we are closer to a prediction market than a financial market. But if the assets themselves attract prestige or value regardless of their proxy status they may become art objects in themselves.
Art criticism in such a market is a matter of financial investment and returns. Critics express their opinion of art, artists and artistic trends by buying and selling different kinds of derivatives at different times. If they are shown to be correct over time, the market will reward them. Derivatives are a prime candidate for implementation as smart contracts, there is already a project to create a standard language of (non-aesthetic) derivative smart contracts.
Since Ethereum contracts have no direct access to the outside world (or the Web), contracts that require information about the outside world must access it through intermediaries. This means that contracts must trust those intermediaries, and if it is more profitable for them to lie to the contracts that creates a problem. To remove this requirement of trust we can use a system that rewards people for independently supplying information that accurately reflects the true (or most likely) state of the world.
A SchellingCoin is an Ethereum contract that allows people to send it messages registering their opinion about (for example) the current temperature in Berlin or exchange rate between dollars and yen. Those that set the majority view are rewarded for doing so, similarly to the operation of a prediction market. But how do they know which value to choose? The game theory concept of a focal point, or Schelling point, is an answer to a question that people who cannot communicate will give independently because it seems natural, appropriate or special. SchellingCoins reward people who give the consensus answer to a question, and people can determine the right answer by converging on a Schelling point. For real world phenomena, such as temperature or exchange rates, the Schelling point is likely to be the correct answer. SchellingCoins can be implemented as smart contracts, removing the need for a trusted entity to run them.
Schellingcoins are designed to address external, quantitative phenomena. Opinions regarding cultural works are personal and qualitative, and spontaneous reactions to cultural works are even more so. This is different from the commonly expressed quantitative values that the SchellingCoin proposal requires. To adapt SchellingCoins to cultural criticism we must adopt the methods of collective intelligence and the digital humanities and use some tricks to turn personal opinion into cultural appraisal.
Collective intelligence algorithms work well with star rating systems and tags. These are popular methods for rating books, films and music on ecommerce and review sites. They can be represeented, aggregated and extrapolated from easily by software, which makes them ideal for representing opinion in SchellingCoins. There are risks in using such systems, as the low rating of the film “Gunday” on IMDB shows, but they are easy and accessible to use.
Digital Humanities approaches often involve counting the frequency of words in texts or other unstructured phenomena. The results of binary checks or of counts can be applied to Schelling coins. For example, whether an artwork appears on CAD or Rhizome or not, or whether the words “blue” or “postbinary” appear the most in reviews about it on major review sites can be reported via further SchellingCoins or via trusted feeds or oracles.
To turn these approaches into a SchellingCoin, we do not ask what people think of an artwork. We ask them what they think the average reviewer will think of the artwork (or to protect against gaming, we ask them to predict the curve for all the star ratings for the work). Given the theory of focal points, the most likely answer is the one that people suspect will be true.
Cultural SchellingCoins can therefore function as aggregators of opinion-about-opinion-about artworks, producing qualitative but consensual evaluations and critiques of works of art that contain more information than purely price-based mechanisms. Using SchellingCoins to aggregate opinion about other schellingcoins, Meta-SchellingCoings, can provide more general cultural critique.
To turn reviews into art criticism with a longer or broader perspective we can ask people not what the current state of reviews of the artwork but about what they will be in a year’s time, five years’ time, etc. How highly starred will they be and what tags/words will be used to describe them? Will the work (or the artist) be used as a point of comparison in reviews and articles? Will it (or they) still be being exhibited or purchased, and in what kind of galleries? How much will the work sell for, or in the absence of sales how many people will visit it at exhibitions? Will the artist still be working in that style, or how will their work have changed?
Each prediction can be represented as a security in a prediction market, and the current price of that security can be interpreted as the probability of that prediction. For example, a prediction market security might reward a hundred Satoshis or ten points if a particular artist has a headline show at Tate Modern. If you think there’s an 80% chance of that happening, you can pay up to 80 Satoshis or 8 points for the security representing that prediction. If you’re right you gain in return for improving the market, if you’re wrong you lose instead. There is evidence that prediction markets are successful, although they have been banned as a form of gambling in the US and the Pentagon’s 2003 attempt at a political prediction market was quickly labelled a “terrorism futures market” by the press and taken offline.
There is already a successful cultural predicton market, Hollywood Stock Exchange, where the price of “shares” in actors, directors and movies function as a prediction of their performance at the box office. The art market itself can be considered a kind of hybrid prediction market, but separating out that predictive function into a pure prediction market concentrating on critical evaluation can remove distortions that result from manipulation of the secondary market and solve the problem of representing critically valuable artworks that aren’t part of the art market.
It’s also possible, as with Hollywood Stock Exchange’s use of directors and actors as well as movies, to have prediction markets for other artworld entities. Not just artists and galleries, but movements, styles, genres, subject matter, even formal and aesthetic properties such as colours can be represented as securities in a prediction market. Buying and selling them can help set a shared understanding of their potential and impact.
Prediction markets can be represented as Distributed Autonomous Organizations (DAOs) on Ethereum’s blockchain, free from central control. DAOs present an opportunity to re-think and re-implement organizations on the blockchain. As well as markets they can be used to manage events, publications, co-operatives and educational or artworld institutions on various organizational models in a public and transparent way.
Cultural SchellingCoins, Artistic Prediction Markets and Aesthetic Derivatives are Accelerationist technologies for art criticism. Not necessarily for art criticism of the kind that survives online after being exiled from print media. Rather a functional equivalent to it that recaptures its lost authority in the form of a relationship between individuals and artistic production that exerts a guiding hand on its reception and direction. As they represent an emergent ontology of art and aesthetics manipulating these technologies, whether through technical or social means, is itself art and art criticism.
The text of this essay is licenced under the Creative Commons BY-SA 4.0 Licence.
Bitcoin is the leading cryptographic digital currency. Created in 2009 by the now possibly unmasked hacker Satoshi Nakamoto, it polarizes opinion. Some people promote it as the technical embodiment of a libertarian attack on the iniquity of “fiat currency” and the power of the state and big banks, an embodiment of a pure market of value untainted by regulation where everything really is worth only what people will pay for it. Others criticise Bitcoin, often savagely, for the same reasons and for what they perceive as its technical and social failings. But Bitcoin is interesting in ways that go beyond the concerns of its most vocal proponents and detractors.
Rather than paper money backed by gold or electronic money held on a bank’s central mainframe, Bitcoin exists as records of transactions in a public record called the blockchain, which is added to and authenticated by computers on the Internet running the Bitcoin software. Transactions in Bitcoin use cryptographic signatures rather than names or emails as the identities of the sender and receiver. Computers on the network that process and validate groups (or “blocks”) of transactions are asserting the existence of particular pieces of data at the time they are validated, a process rewarded by the production of new Bitcoins. To discourage malicious or false validations, each mining computer must perform a computationally and therefore resource expensive task known as a “proof of work”, which can be checked and confirmed by other computers on the network.
All of this means that Bitcoin is a massively distributed system for asserting identity, existence, and truth, for values of those concepts that are outsourced to a community of mathematical proxies. The blockchain is essentially a time-stamped record of information that anyone can add to in order to prove that a particular piece of data existed at a particular time. This has applications beyond finance, with examples of new systems for blogging, contracts, corporations and Internet Domain Name services all being based on the block chain system. In many ways it is the blockchain and these applications of it that is the most exciting part of Bitcoin.
Money, cryptography (the making and breaking of codes) and alternative currencies all have long and often intertwined histories. Renaissance banks used secret codes to secure messages sent between city-states. Alternative savings or currency systems such as Green Shield Stamps, LETS or Air Miles were all popular at different times in the Twentieth Century. The first cryptographic digital currency was Digicash, from 1990. And Bitcoin isn’t the first multimillion dollar electronic currency. Linden Dollars, the virtual currency used in the Second Life online virtual reality environment, were used in USD567,000,000 of economic activity in 2009. Bitcoin solved the problems that prevented previous digital currencies from becoming decentralised, and although newer digital currencies have improved on its design it is Bitcoin that has captured people’s imagination.
Bitcoin has encouraged a debate about what money is, what money is for, and how money should work, indeed its production, use, and successors have embodied that debate. It’s created a sense of possibility and a range of production comparable to the early World Wide Web. And it’s launched parodies such as the Buttcoin site and the meme-based cryptocurrency DogeCoin, and the epithet “Dunning-Krugerands”. Bitcoin’s mining system rewards existing capital, and its transaction costs reward intermediaries in much the same way as existing banks and credit cards. But these are implementation details, and newer cryptocurrencies and national cryptocurrencies address them. Post financial crisis, cryptocurrency with all its possibilities and contradictions is a lightning rod for the social imagination. And this includes art.
Coinfest 2014 in Vancouver featured examples of artists using Bitcoin. Buskers performing at the event could be tipped in Bitcoins, graffitti and mixed-media art being exhibited could be bought with Bitcoins. And in the computer lab at the venue each desktop PC displayed a piece of net art with a Bitcoin theme. This was the show “Computers and Capital”, curated by Erik H Rzepka and Wesley Yuen, also viewable online at http://x-o-x-o-x.com/press/computersandcapital/. It includes art depicting bitcoins, art visualizing wealth in terms of bitcoins, and work that evokes the operation of Bitcoin-like cryptocurrency.
thereisaprobleminaustralia’s “Bitcoin Garden” is an html5 alife pond populated by shoals of rippled and faded Bitcoin logos. It’s reminiscent of 90s Director alife, and might benefit from more of that algorithmicity. But as a post-internet tumblr assemblage it’s irresistibly calming and ironic. Bitcoin’s promise of a financial artificial paradise rendered organic, or hydraulic models of the economy leaking into the network.
Jon Cates’s “817C01N” is a stark monochrome Floyd–Steinberg dither (an algorithm used on early Macintosh computers to convert colour or greyscale images to binary) animation of a broken iPhone spinning in front of a glitching animation “bitcrushed” from Manuel Fernandez’s “Broken Phone Gradients”. Networked art for a networked currency, it’s a clean, minimalist look afforded by a historical best-of-breed algorithm, an aesthetically and conceptually satisfying digital classicism. And it’s for sale in exchange for Bitcoins.
Ellectra Radikal’s “E.Rad Coin” is a Vasarely-meets-Twister undulating grid of distorted and colour gradient coin shapes. It’s the aesthetic equivalent of Bitcoin’s ethics: the market economic view of society as Conway’s Life with pennies given a post-digital twist.
FELT’s “Bitcoin Digibank Visualization” is a financial hyperspace of cubes showing the value of the world’s rich quantified in Bitcoins floating in an endless whiteness. This shows both Bitcoin’s status as a separate economic plane and the ability of existing capital to colonize any resource-based attempt to escape its reach.
Giselle Zatonyl’s “Pop Coinfalls” is a video loop of analogue noise and digital compression glitched falling and stacking coins with a PowerPoint-hell upward graph line animated over them. Blink and you’ll miss it but there are faces on or reflected in the gold of the (Bit)coins as they pile up ever higher. The economy is like that.
Matt Tecson’s “lel buttcoin” is a tumblr blog zoom (an impressive subversion of the vertical scroll bar) of found imagery mostly on the theme of “buttcoins”, a common pejorative for Bitcoins. Coiyes, Bartcoins, and Radeon graphics cards intrude, presumably as they matched the search used to find buttcoin images.
Roger Grandlapin’s “Danaë” is a Flash animation of Bitcoins dripping like honey over animated negative-space text, a porny neoclassical nude of the title and other imagery that I’m not fast enough to make out. Bitcoin’s origin story is related to those of older mythology as a shower of golden rain from Satoshi Nakamoto.
Kutay Cengil’s “Untitled” is a slightly glitched, default material rendered bust of a webcam-foreheaded, PayPal security-badged, melting financial mandarin. This is what Bitcoin is here to save us from, although in a recent interview the CEO of PayPal had more faith in Boitcoin than in NFC.
Systaime’s “Bitcoin Abundance” is a highly compressed YouTube video loop of the dross of 90s PC video clips surrounding a rain of bitcoins. It’s the opposite of Jon Cates’ piece. Visual Vaporwave, the kind of transubstantiation of kitsch that art is meant to do. It’s a formally rich composition, amusing and affecting. But even when I remove my cybercultural and net art historical horses from this race I’m left with the problem that it’s not clear how this aesthetic can fail.
Devon Hatto’s “letsnetworth” is another tumblr, this time of animated GIFs of compositions of that symbol of knowledge (and fashionable digital design), the apple. Digitisation, sustenance and symbolism combine here much as they do in Bitcoin. The net wealth of wealth on the net.
Adam Braffman’s “$$ULOGY” is a YouTube video of Dogecoins (the inflationary, Meme-mascoted rival to Bitcoins), Super Mario Bros gameplay, burning dollars and other found video imagery, with a brief visit from MST3K and a cheesy industrial and soft rock soundtrack interleaved with an echoing apocalyptic economic lecture. Its an impressionistic take on cryptocurrency and the environment in which it exists.
Nicolas Koroloff’s “Green Impact” is an image of a pile of Eurocent coins with a single transparent green bead or BB pellet in the middle. This is a reference to Bitcoin’s of-touted environmental impact due to the electricity expended in mining. The comparison between this energy footprint and that of fiat currency ATMs, chip and pin readers, and other elements of the global banking system probably compares to the relationship depicted here.
Dominik Podsiadly’s “I’ll eat any amount of EU subsidies” is a video performance of the artist smoking, drinking, and doing just that with some large edible 500 Euro notes. The Euro is a political instrument as much as a financial one, and its crisis has been another factor driving interest in alternative currencies, including Bitcoin.
Chimerik’s “Chimerikcoin” is a packed square graph puzzle that rearranges itself to fit as you drag rectangular fragments of an old gold coin around to reveal brief peaks of paper money. It’s the economy as a zero-sum game and Bitcoin as a digital return to the gold standard.
Miyö Van Stenis’s “Bitcoin Dreams” is an interactive html5 animation of settling Bitcoins in front of a cloudy sky and animated curtain. It’s an unusual and effective combination of tightly looped animation and interaction with a vaporwave aesthetic.
ASS Rain’s “Trees” is a collage of translucent green blocks dropped spillikins-style. I found it aesthetically and conceptually opaque, although a very effective composition.
Robert B. Lisek’s “Quantum Enigma” uses a geiger counter to generate an encryption key for communication, ironically realising the promise of quantum crytography. It’s a historically and technically literate project that communicates a strong political stance while remaining technically and aesthetically interesting.
The ability to curate such a show online and present it as part of a wider cultural event marks a moment where the widespread availability of Internet access, Web 2.0 publication platforms, and computer labs at event and community spaces has transformed the possibilities for curating and contextualising digital art. “Computers and Capital” exploits these affordances very effectively. The recurrent themes, of pennies from heaven, ironic digital kitsch, glitchy compression artefacts, and potlatch, feel both appropriate and effective in visually communicating and critiquing the technical and social complexities of cryptocurrency in the age of austerity.
Bitcoin has caught the attention of the public, government, criminals, and artists. It is both an expression of the economic imaginary and a genuinely novel means of networked communication. This makes an unusual subject for art, whether celebratory or critical. Even the most ironic celebrations of Bitcoin in art are depictions of a network protocol, or a deflationary electronic currency. Whether visually and conceptually preparing us for a brave new world of cryptocurrencies or creating the illusory realm in which they will achieve their only lasting victory, Bitcoin art is very different from a Warhol dollar sign, a Hirst diamond skull, or the other symbolic band-aids for the ideological aporia of capital’s hollow victory. It is the art of a heresy rather than a hegemony, of a moment of technological, social and aesthetic possibility.
“Computers and Capital” very successfully captures this moment in art and makes it accessible in ways that thousands of words on the subject cannot. A thought-provoking, illuminating and often fun collection of work of a uniformly high standard that is nonetheless technically and aesthetically diverse can be presented online and off as part of a wider cultural event. “Computers and Capital” shows how network-enabled digital art can function as a bridge between complex and important ideas and the public imagination.
The text of this review is licenced under the Creative Commons BY-SA 4.0 Licence.
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