Response to Anna: Nick Knouf, MAICgregator
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Timothy Conway Murray
PostPosted: Wed Sep 14, 2016 5:32 pm    Post subject: Response to Anna: Nick Knouf, MAICgregator

Thanks so much for joining us, Anna, and for focusing our attention on net.art focusing on the finances of the web. While not directly in with Heath Bunting's piece, which I'm very pleased to see recalled, you have me thinking fondly of Nick Knouf's MAICgregator (http://maicgregator.org (http://maicgregator.org)) that is a Firefox extension that aggregated information about the embeddedness of colleges and universities (I seem to recall that he focused on US institutions) in the military-academic-industrial contex. The software provided an overlay on university homepages of the data culled from government funding databases and news sources, etc., as well as information about university trustees.


I recall Nick's being aggressed quite harshly by one of my colleagues for the "terrorism" of his project (whose aim was to reveal the disguistes of terrorism of a different sort). I'm hoping that Nick will see this post and perhaps comment in more detail on this fascinating and innovative piece (which seems to be no longer active). I seem to recall that Anna might have written something about this piece in her last book as well?


Cheers,


Tim




Timothy Murray
Professor of Comparative Literature and English
Taylor Family Director, Society for the Humanities
http://www.arts.cornell.edu/sochum/
Curator, Rose Goldsen Archive of New Media Art
http://goldsen.library.cornell.edu
A D White House
Cornell University,
Ithaca, New York 14853
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Anna Munster
PostPosted: Wed Sep 14, 2016 11:51 pm    Post subject: Response to Anna: Nick Knouf, MAICgregator

Yes MAICgregator is a great example of how the question of finance totally subtends all kinds of relations across the net, especially pedagogical/knowledge ones! I also think this work was way ahead of the game in that it perhaps signalled how an activism might arise around ‘outing’ all kinds of knowledge-based institutions’ ‘investments’ in dirty monies. Recently this has upscaled to demands that universities and colleges divest from dirty financial networks.

If Nick’s around I’d love to hear from him about where he’s going with the finance-knowledge-network relationship and why he deactivated MAICgregator…is finance too touchy a subject for art?

cheers
Anna

Anna Munster
Associate Professor,
Faculty of Art and Design
UNSW
P.O Box 259
Paddington
NSW 2021
Australia
a.munster@unsw.edu.au
http://sensesofperception.info
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Davin Heckman
PostPosted: Thu Sep 15, 2016 8:15 am    Post subject: Response to Anna: Nick Knouf, MAICgregator

MAICgregator is a brilliant project and I am very happy to see I am not the only one who is grateful for this kind of work.  

I have often wondered if some version of it will be developed for politicians.

Davin
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Nicholas Knouf
PostPosted: Thu Sep 15, 2016 8:15 am    Post subject: Response to Anna: Nick Knouf, MAICgregator

Hi Anna and Tim, and others on the list,

Thanks for mentioning MAICgregator! And thanks again Anna for writing about it in your recent book. Indeed, MAICgregator is no longer actively updated, not because of some of the issues that Tim and Anna have raised, but rather for more mundane ones, namely the difficulties of keeping net.art active. MAICgregator functioned by screen-scraping websites (that is, using code to "read" and collect data from other institutions' websites), and to keep that code current would nearly be a full-time job. I kept up with it for a number of years, but once I finished my PhD I realized I simply did not have time to do this anymore. There is code deep in MAICgregator that was specific to the design and layout of tens of different websites, and keeping track of changes in each of those websites would itself be nearly a full-time job. There's the additional issue that browsers themselves, such as Firefox, are developing at such a rapid pace as to make it nearly impossible for a single developer to keep up. Further restrictions by browser manufacturers on what extensions (like MAICgregator) can do also makes the net.artist's life difficult. So it has to do with obsolescence and speed rather than the challenges of working with finance-as-topic within the art world.

But there is a separate challenge for any artist---not just a net.artist---in working with financial data, and it is something I touch on a bit in my recent book _How Noise Matters to Finance_. There I write about the work of the French collective rybn and their FLASHCRASH SONIFICATION, which is one of the few pieces that I know of that directly addresses contemporary high-frequency trading. Their piece sonifies the activity of a number of stock exchanges on May 6, 2010---the date of what is now called the "flash crash"---in order to provide an affective account of that day where the stock exchanges had tremendous swings both down _and_ up. While the blame for these swings cannot be placed squarely on the actions of high frequency trading programs, these algorithms did contribute to the volatility. Nevertheless, the piece enables one to experience the noisy activity of the markets through sound, attuning one to the activity of the machinic.

But their piece is only made possible through the free release of a large amount of financial data from a company called Nanex, a firm that has been highly critical of the move towards high frequency trading. Access to financial data is big business, and without Nanex's release of this data rybn's project would not have been possible. Indeed, when I was looking at working with stock market data a number of years ago, I discovered that it would be financially infeasible. To get access to the amount of data I would need would cost me thousands of dollars a month in access fees, thousands of dollars a month for computing resources, and likely thousands of dollars a month to hire a specialized programmer. Needless to say I did not, and do not, have those kinds of resources. Older projects, like the famous _Black Shoals Stock Market Planetarium_, required agreements with major stock exchanges for access to their data feeds. It's an open question as to what sorts of things those exchanges would allow an artist to do with their data.

I speak only for myself, but the challenges in working with financial data as an artist are thus not concerns or fear about the subject matter itself, but rather more mundane questions of access and resources. And I think it's in the more mundane issues that we find the crux of the matter, and the difficulty I personally have with making net.art (or computational art in general) today, and that is uninteresting complexity. Paradoxically, when we now have access to things like arduinos or easy-to-program-in environments like Processing, I find it more difficult to make work I find interesting, especially if it falls outside of the confines of what these environments provide for by default. Building a website that wants to do something other than what WordPress or tumblr allows now requires the use of HTML frameworks, Javascript, and a large amount of backend code. Keeping up with all of the changes in these libraries is itself a full-time job. (Something interesting to consider is whether or not the proliferation of internet art on platforms like tumblr or Instagram is due in part to the uninteresting complexity of building websites from scratch today.)  If I step away from my iOS code for a few months I find that most of it won't compile anymore, there are new APIs to use, and Apple has changed the process for uploading apps to the AppStore, yet again. While it was complex to write code a decade, two decades, three decades ago, I feel as if surmounting that complexity through a kind of understanding was possible. Today the parts are so integrated, so often changing, that it takes a team of people working full-time to understand the full stack. Perhaps that means the net.artist needs to collaborate more, to hire people who devote their entire time to keeping up with these changes. To me these constant changes are uninteresting complexity. I'd rather learn and work with other things, other complex systems, things that change at a time scale or rhythm more suited to my body and my way of knowing and being, instead of a temporality dictated by trends, capital, or CPUs. I'm working out what those things and systems are, for me personally, over the coming year.

Best,

Nick
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~rybn
PostPosted: Thu Sep 15, 2016 9:48 am    Post subject: Response to Anna: Nick Knouf, MAICgregator

dear Anna,

can also ping towards various other projects related to trading, financial networks and so on,
some already were mentioned
the list isn't totally complete, and quite personal. divided in two categoris,

A. projects that implies a direct interaction with markets, trading, manipulating money or architecture of finance, simulations of algorithms or active algorithms.

1 CATCHING A FALLING KNIFE (MICHAEL GOLDBERG, 2002)
2 GWEI (UBERMORGEN, CIRIO, LUDOVICO, 2005)
3 OTC (Socit Raliste, 2007)
4 RATTRADERS (MICHAEL MARCOVICI, 2009)
5 ADM8 (RYBN.ORG 2011)
6 COMMUNICATION VGTALE (HORIA COSMIN SAMOLA, 2011)
7 A SUPERSTITIOUS FUND (SHING TAT CHUNG, 2012)
8 ADMX / THE ALGORITHMIC TRADING FREAKSHOW (RYBN.ORG 2013)
9 M&A (GOLDIN+SENNEBY, 2013)
10 ROBIN HOOD ASSET MANAGEMENT COOPERATIVE (AKSELI VIRTANEN & COLLECTIVE, 2013)
11 (W)ORLD CURRENCY (PAOLO CIRIO, 2014)
12 EQUITY BOT (SCOTT KILDALL, 2014)
13 VOLATILITY STORMS (FEMKE HERREGRAVEN, 2014)
14 Ami Clarke, Low Animal Spirits (2014)
15 ADMXI (RYBN.ORG, 2015)

the latter contains trading algorithms prototypes from : Horia Cosmin Samoila, b01, Marc Swynghedaw, Suzanne Treister, Brendan Howell, Nicolas Montgermont, Antoine Schmitt

B. Other projects, implying only data viz and/or aesthetics

1 Lynn Hershmann, Synthia (2000)
2 Aernout Mik, Middlemen (2001)
3 Joshua Portway & Lise Autogena, BLACK SHOALS STOCK MARKET PLANETARIUM (2004)
4 Mathieu Bernard-Reymond, Monuments (2005)
5 Mathieu Saladin, Stock Exchange Piece (2007)
6 Michael Najjar, High Altitude (2008/2009)
7 Samuel Bianchini, ALL OVER (2009)
8 Genevieve Hoffman, Financial Landscapes (2012)
9 Geraldine Juarez, WEALTH TRANSFER (2013)
10 Fabio Lattanzi Antinori, Flashcrash Unlimited (2014)

and some online references on the topic

ART & ARGENT
http://www.multimedialab.be/doc/images/index.php?album=argent (http://www.multimedialab.be/doc/images/index.php?album=argent)

ART IN A TIME OF RECESSION
http://www.dazeddigital.com/artsandculture/article/17248/1/hacked-burned-economic-recession-art (http://www.dazeddigital.com/artsandculture/article/17248/1/hacked-burned-economic-recession-art)

MON3Y AS AN 3RRROR
http://www.mon3y.us/ (http://www.mon3y.us/)

/

quite interested in the thread for completing our own data on the topic,

x

rybn




Le 15/09/2016 08:06, Nicholas Knouf a crit:

----------empyre- soft-skinned space----------------------

Hi Anna and Tim, and others on the list,

Thanks for mentioning MAICgregator! And thanks again Anna for writing about it in your recent book. Indeed, MAICgregator is no longer actively updated, not because of some of the issues that Tim and Anna have raised, but rather for more mundane ones, namely the difficulties of keeping net.art active. MAICgregator functioned by screen-scraping websites (that is, using code to "read" and collect data from other institutions' websites), and to keep that code current would nearly be a full-time job. I kept up with it for a number of years, but once I finished my PhD I realized I simply did not have time to do this anymore. There is code deep in MAICgregator that was specific to the design and layout of tens of different websites, and keeping track of changes in each of those websites would itself be nearly a full-time job. There's the additional issue that browsers themselves, such as Firefox, are developing at such a rapid pace as to make it nearly impossible for a single developer to keep up. Further restrictions by browser manufacturers on what extensions (like MAICgregator) can do also makes the net.artist's life difficult. So it has to do with obsolescence and speed rather than the challenges of working with finance-as-topic within the art world.

But there is a separate challenge for any artist---not just a net.artist---in working with financial data, and it is something I touch on a bit in my recent book _How Noise Matters to Finance_. There I write about the work of the French collective rybn and their FLASHCRASH SONIFICATION, which is one of the few pieces that I know of that directly addresses contemporary high-frequency trading. Their piece sonifies the activity of a number of stock exchanges on May 6, 2010---the date of what is now called the "flash crash"---in order to provide an affective account of that day where the stock exchanges had tremendous swings both down _and_ up. While the blame for these swings cannot be placed squarely on the actions of high frequency trading programs, these algorithms did contribute to the volatility. Nevertheless, the piece enables one to experience the noisy activity of the markets through sound, attuning one to the activity of the machinic.

But their piece is only made possible through the free release of a large amount of financial data from a company called Nanex, a firm that has been highly critical of the move towards high frequency trading. Access to financial data is big business, and without Nanex's release of this data rybn's project would not have been possible. Indeed, when I was looking at working with stock market data a number of years ago, I discovered that it would be financially infeasible. To get access to the amount of data I would need would cost me thousands of dollars a month in access fees, thousands of dollars a month for computing resources, and likely thousands of dollars a month to hire a specialized programmer. Needless to say I did not, and do not, have those kinds of resources. Older projects, like the famous _Black Shoals Stock Market Planetarium_, required agreements with major stock exchanges for access to their data feeds. It's an open question as to what sorts of things those exchanges would allow an artist to do with their data.

I speak only for myself, but the challenges in working with financial data as an artist are thus not concerns or fear about the subject matter itself, but rather more mundane questions of access and resources. And I think it's in the more mundane issues that we find the crux of the matter, and the difficulty I personally have with making net.art (or computational art in general) today, and that is uninteresting complexity. Paradoxically, when we now have access to things like arduinos or easy-to-program-in environments like Processing, I find it more difficult to make work I find interesting, especially if it falls outside of the confines of what these environments provide for by default. Building a website that wants to do something other than what WordPress or tumblr allows now requires the use of HTML frameworks, Javascript, and a large amount of backend code. Keeping up with all of the changes in these libraries is itself a full-time job. (Something interesting to consider is whether or not the proliferation of internet art on platforms like tumblr or Instagram is due in part to the uninteresting complexity of building websites from scratch today.) If I step away from my iOS code for a few months I find that most of it won't compile anymore, there are new APIs to use, and Apple has changed the process for uploading apps to the AppStore, yet again. While it was complex to write code a decade, two decades, three decades ago, I feel as if surmounting that complexity through a kind of understanding was possible. Today the parts are so integrated, so often changing, that it takes a team of people working full-time to understand the full stack. Perhaps that means the net.artist needs to collaborate more, to hire people who devote their entire time to keeping up with these changes. To me these constant changes are uninteresting complexity. I'd rather learn and work with other things, other complex systems, things that change at a time scale or rhythm more suited to my body and my way of knowing and being, instead of a temporality dictated by trends, capital, or CPUs. I'm working out what those things and systems are, for me personally, over the coming year.

Best,

Nick
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Stephanie Rothenberg
PostPosted: Thu Sep 15, 2016 11:22 am    Post subject: Response to Anna: Nick Knouf, MAICgregator

Dear Anna et al,

To add to rybn's great list of finance related projects I want to mention the MoneyLab initiative of the Institute of Network Cultures directed by Geert Lovink
http://networkcultures.org/moneylab/ (http://networkcultures.org/moneylab/)


For over the past 3 years INC has been facilitating a blog, digital publishing booklets and organizing events and a yearly conference all around critical artistic engagements with global finance. It's a great resource of varied participants ranging from artists to economists.


I participated in last year's conference with my robotic garden project that visualizes the inequities of micro finance called "Reversal of Fortune"

http://www.pan-o-matic.com/projects/reversal-of-fortune-the-garden-of-virtual-kinship (http://www.pan-o-matic.com/projects/reversal-of-fortune-the-garden-of-virtual-kinship)


Another project I find interesting and related to the topic is "Jennifer Lyn Morone™ Inc." in which the artist becomes the corporation and puts all of her own data up for sale: https://www.theguardian.com/artanddesign/2016/feb/09/jennifer-lyn-morone-neoliberal-lulz-data-surveillance (https://www.theguardian.com/artanddesign/2016/feb/09/jennifer-lyn-morone-neoliberal-lulz-data-surveillance)


Definitely interested in more discussion around this!



Best,
Stephanie


-- 
Stephanie Rothenberg
Associate Professor
Director of Graduate Studies
Head of Graphic Design Concentration
Department of Art | University at Buffalo | SUNY 
rothenberg.stephanie@gmail.com (mailto:rothenberg.stephanie@gmail.com)
www.stephanierothenberg.com (http://www.stephanierothenberg.com/)
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Anna Munster
PostPosted: Thu Sep 15, 2016 3:54 pm    Post subject: Response to Anna: Nick Knouf, MAICgregator

Nick, thanks for the update on the problems of working with financial data, which as you so succinctly put it is ‘financially unfeasible’ to work with for net artists!

What I think is also pretty interesting – implicit in your description of working with interesting complexity – is that the personal finances and effort of working with code, versioning and so forth make it impossible to ‘keep up with the market’ so to speak. What your post also says to me very clearly is that the living labour that it takes to keep up with both finance and networks (I mean here the time and effort that you would have to expend on creating interesting complexity), is precisely what finance/networks require but this is what is NOT invested in (I’m leaning here on Christian Marazzi’s reading of living labour as the new ‘general intellect’ of financialisation. This is a larger argument but a shortened version of this can be found in his article: ‘Measure and Finance’. 2007, http://www.generation-online.org/c/fc_measure.htm)

Not invested in, in the sense that the areas that nurture living labour – health, education, culture – are disinvested in under financial capitalism…thanks for alerting me to your book - looks great!
Anna

Anna Munster
Associate Professor,
Faculty of Art and Design
UNSW
P.O Box 259
Paddington
NSW 2021
Australia
a.munster@unsw.edu.au
http://sensesofperception.info
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Stephanie Strickland
PostPosted: Thu Sep 15, 2016 3:59 pm    Post subject: Response to Anna: Nick Knouf, MAICgregator

Also of interest:   Speculation, an alternate reality

game that explores the intersection of digital media

and finance capital, discussed on LeMieux's blog

and collected in the Electronic Literature Collection 3:



http://patrick-lemieux.com/projects/Speculation/ (http://patrick-lemieux.com/projects/Speculation/)
http://collection.eliterature.org/3/work.html?work=speculation (http://collection.eliterature.org/3/work.html?work=speculation)






Stephanie


Stephanie Strickland

1175 York Avenue 16B
New York NY 10065
212-759-5175
http://stephaniestrickland.com (http://stephaniestrickland.com)
..  ..  ..  .. 
Hours of the Night
http://hoursofthenight.com (http://hoursofthenight.com)

House of Trust
http://www.house-of-trust.org/ (http://www.house-of-trust.org/)
Dragon Logic, Ahsahta Press Vniverse iPad app
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Anna Munster
PostPosted: Thu Sep 15, 2016 4:15 pm    Post subject: Response to Anna: Nick Knouf, MAICgregator

----------empyre- soft-skinned space----------------------
Ah I knew there would be lotsa dirty money lurking on this list ;-)
Thanks RYBN for chiming in - youd remember Ive also written about your work in both my Data_undermining piece (about to go under due to Turbulence.orgs demise ;-( and in An Aesthesia

I was wondering if you would include Shu Lea Changs Garlic=Rich Air' 'http://garlic02.worldofprojects.info/ on your list? This was an early attempt (2002) to create a kind of alt currency via planting, harvesting and then trading organic garlic for access to URLs, storage space and so on. I think it finished in about 2008 but thats not a bad lifecycle for either an art or trading project!

Something I like about this project is that it so obviously pits different timescales against and across networks, trade and agriculture (as well as labour of course!). It enacts something that Nick was getting at in his post about the problem of relationalities at incompossible (as Tim would say) scales.and their (in)capacities to affect each other. .But I think thats also what you were perhaps dealing with in FLASHCRASH SONIFICATION

ultimately, this problem of the relations of different speeds between network movement (and of the compounding logarithmic nature of this rather than simply being a question of relative speeds) and living labour is what I think net artists dealing with financialisation have most affectively/effectively exploredAnna

Anna Munster
Associate Professor,
Faculty of Art and Design
UNSW
P.O Box 259
Paddington
NSW 2021
Australia
a.munster@unsw.edu.au
http://sensesofperception.info
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Stephanie Strickland
PostPosted: Fri Sep 16, 2016 8:05 am    Post subject: Response to Anna: Nick Knouf, MAICgregator

Anna, Turbulence files have been taken over by ELO.

The hope is to have them available by December.






Stephanie


Stephanie Strickland

1175 York Avenue 16B
New York NY 10065
212-759-5175
http://stephaniestrickland.com (http://stephaniestrickland.com)
..  ..  ..  .. 
Hours of the Night
http://hoursofthenight.com (http://hoursofthenight.com)

House of Trust
http://www.house-of-trust.org/ (http://www.house-of-trust.org/)
Dragon Logic, Ahsahta Press Vniverse iPad app
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Timothy Conway Murray
PostPosted: Fri Sep 16, 2016 8:09 am    Post subject: Response to Anna: Nick Knouf, MAICgregator

----------empyre- soft-skinned space----------------------
Regarding Turbulence, Anna, it's looking good that ELO will host online
access to the files while the Rose Goldsen Archive of New Media Art at
Cornell, also -empyre-'s co-host with UNSW, will continue to archive
Turbulence pieces off-line (a project Goldsen started with Turbulence
about five years ago and which we hope to continue so that the files will
be archive if the artworks go off-line at some point). Of course these
kinds of archival challenges typify the challenges of Net Art Then and Now.

Tim

Timothy Murray
Professor of Comparative Literature and English
Taylor Family Director, Society for the Humanities
http://www.arts.cornell.edu/sochum/
Curator, Rose Goldsen Archive of New Media Art
http://goldsen.library.cornell.edu
A D White House
Cornell University,
Ithaca, New York 14853
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Christiane Paul, Curat...
PostPosted: Fri Sep 16, 2016 12:43 pm    Post subject: Response to Anna: Nick Knouf, MAICgregator

----------empyre- soft-skinned space----------------------
It depends on how you want to define and delineate network and finance -- the ToyWar ultimately was a project very related to finance / the stock market, and eToy of course early on used a revenue model based on shares.
GWEI (https://www.paolocirio.net/work/gwei/) and Paolo Cirio's Loophole for all (https://paolocirio.net/work/loophole-for-all/) also are networked finance projects....


________________________________________
From: empyre-bounces@lists.artdesign.unsw.edu.au [empyre-bounces@lists.artdesign.unsw.edu.au] on behalf of Stephanie Rothenberg [rothenberg.stephanie@gmail.com]
Sent: Thursday, September 15, 2016 11:34 AM
To: soft_skinned_space
Subject: Re: [-empyre-] Response to Anna: Nick Knouf, MAICgregator

----------empyre- soft-skinned space----------------------
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empyre forum
empyre@lists.artdesign.unsw.edu.au
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Craig Saper
PostPosted: Fri Sep 16, 2016 1:08 pm    Post subject: Response to Anna: Nick Knouf, MAICgregator

Could we push the delineation a bit more and ask about the distinction between finance net-art-works and management-art net-art projects? Is anyone involved in critical-management net-art? Or, has lists like those applied in previous answers to Anna’s queries about finance net-art?
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Anna Munster
PostPosted: Fri Sep 16, 2016 5:17 pm    Post subject: Response to Anna: Nick Knouf, MAICgregator

Yes I agree Christiane, it does depend on how you define ‘finance’…and this is perhaps the interesting thing and one reason I thought it would be a great place to begin a discussion on ‘now’ and ‘then’ in net.art….
I’m referring more to the idea of ‘financialisation’ as descriptive of contemporary capitalism. This goes further than the idea that it is the finance sector that both creates both capital (wealth) and crisis in contemporary capitalism - this is pretty much standard economic theory. Rather I am thinking off the back of theorists such as Christian Marazzi who tie financialisation directly to new ‘models’ of production and consumption or ‘the Google Model’. To quote Marazzi: 'The creation of networks, or, as they are called in the internet world, communities of consumers, who coproduce innovation, diversification, and identification with the brand, on the basis of open source’ (from the Violence of Financial Capitalism, p. 56).

Marazzi takes this further to suggest that it is ‘living-labour’ (by which he means work covering all forms of life including working as and in leisure, sleep time, life administration etc AND all the services required to keep this living labour alive such as the health and education industries) that sustains the ‘innovation’ necessary for financial capital to deliver value for its shareholders. (this is a very reduced version of a complex argument!). Financialisation creates value (since it has no other mode of productivity) by parasitising on the creativity of living labour (which it also co-produces)

This then places ‘net. art’ in a very precarious and paradoxical position. Many of the early ‘nettime’ discussions from around 1997 were about the ways in which ‘net.art’ superseded and subverted an art market or ‘art on the net’ (the use of the web to promote art by the GLAM sector). Net art cut out middle people, bypassed curators, blurred the distinction between artist and audience/participant/artwork etc. BUT this is exactly the same mode of production Marazzi is talking about as ‘the Google model’….to what extent, then, is net art not simply an extension of financialisation (and of course at the other end, Nick’s post precisely shows the extent to which living labour is required to maintain net art).

So, then, yes… I think eToy is a really interesting example because it has since 1994 pushed this relation of the network to living labour to an extreme by, as they say, ‘twisting values’….a very clever ‘corporate’ logo!

cheers
Anna




Anna Munster
Associate Professor,
Faculty of Art and Design
UNSW
P.O Box 259
Paddington
NSW 2021
Australia
a.munster@unsw.edu.au
http://sensesofperception.info
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Anna Munster
PostPosted: Fri Sep 16, 2016 9:43 pm    Post subject: Response to Anna: Nick Knouf, MAICgregator

Hi Craig,
Can you say a bit more about ‘management net.art’ - do you mean, for example, eToy. corporation type projects?
cheers Anna


Anna Munster
Associate Professor,
Faculty of Art and Design
UNSW
P.O Box 259
Paddington
NSW 2021
Australia
a.munster@unsw.edu.au
http://sensesofperception.info
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