money

By Alvaro Seica, 3 February, 2015
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Abstract (in English)

In his essay ‘Ego’ (2013), Frank Schirrmacher describes how, by means of a digitalized global marketing strategy, a virtual double of the human subject is installed: the subject as agent or player in the market, represented in data collections and rendered predictable in game-theoretical data analysis. Game theory has failed to predict the behavior of real-world people; yet, in their virtual second existence, the subject is forced into a game-theoretical predictability. In recent big data technology, the subject’s double (or “number two”, as Schirrmacher calls it) is becoming more and more powerful, with nearly every action of a person immediately becoming an action embedded in the big game of the virtual market – a market that in turn becomes more and more game-theoretical in its ways of functioning.
In my talk, I will use Schirrmacher’s radical view as a heuristic starting point for examining the temporal dimension of both digitalization and financialization in the early 21st century. The timing of the markets has changed drastically – as much an effect of the digital revolution as of the shift from revenue to shareholder value, and from stock exchange to derivatives trading. When Benjamin Franklin posited that “Time is Money”, capitalism was still focused on both the productive labor of workers and the future outcomes of human planning (the logic of investments); today’s economy, defined by both financialization and digitalization, instead focuses on acts of decision making – acts on which game theory focuses as well. Indeed, what in entrepreneurial investment is about future opportunities, is decided upon in the present in a financialized market. The future is thereby left in the aggregate state of its mere virtuality. Meanwhile, as Schirrmacher describes, big data economy reduces human agents into the game-theoretical homo oeconomicus, technology reduces the time employed in the act of decision making at the stock and bond markets to the millisecond of a transaction. In short: Time is no longer money – timing is.
At the same time, the market turns away from human invention to embrace machinic prediction. The temporality produced by capitalism – which once held the utopian dimension of investment (modeling a future, then trying to build it) – morphs into a financialized temporality of mere decision making (predicting risks and trying to handle them). The ‘humanist’ dimension of capitalism is thereby lost, with capitalist markets eliminating human inventiveness from the scene in favor of the ‘developers’ of ever-more sophisticated data machines. Ultimately, the future ceases to be something to be built by humans; it instead becoming something whose eventualities have to be predicted by machines. Financialization therefore is perhaps the most important (albeit less considered) of the numerous agents propelling a post-humanist future.

(Source: Author's Abstract)

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Description (in English)

Rush is a hyper-narrative consisting of text, image and animation. The text moves across the screen slowly. At certain intervals the reader has to make a choice that has consequences for the story that follows. The hypertext and the reader's choices are also visualised for the read in a map. The hypertextual narrative demonstrates the seriousness in the reader's choices. And as the reader will understand, there is never a "second chance".

Description (in original language)

Rush er en hyperfortelling bestående av skrift, bilde og animasjon. Skriften beveger seg over skjermen i et rolig tempo. Ved visse intervaller må leseren ta et valg som får konsekvenser for det videre handlingsforløpet. Samtidig er hyperteksten og de ulike veivalgene som leseren må ta, visualisert for leseren gjennom et kart. Hyperfortellingen viser fram det alvorlige og forpliktende ved de valgene leseren må ta. Og som leseren vil forstå, er det aldri noen ”second chance”

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Programming: Novelty/Hege Vadsten, Paul Brady

Description (in English)

Poet Arnoud Van Adrichem and graphic designers Cox & Grusenmeyer developed under this creed a mobile browser "Money", in which hard-working taxpayers can reimburse their money by reading poems. How does it exactly work? All banks in Amsterdam are equiped by highly recognizable stickers which can be scanned with a smartphone or a tablet. These poems, who gain their visibility through the use of present-day technology, recoup about 0,11 euro each; an amount which almost accords to the taxes that someone with an average yearly income, daily loses on cultural purposes. "Money is a kind of poetry", according to Wallace Stevens. This application proves once again its purpose.

Description (in original language)

Onder dat credo ontwikkelden dichter Arnoud van Adrichem en grafisch ontwerpers Cox & Grusenmeyer de mobiele browser 'Geld', waarmee hardwerkende belastingbetalers hun belastingcenten kunnen terugverdienen door gedichten te lezen. Hoe werkt het? Alle banken in Amsterdam zijn voorzien van duidelijk herkenbare stickers die kunnen worden gescand met een smartphone of tablet. De gedichten die dan zichtbaar worden leveren elk 0,11 euro op; een bedrag dat ongeveer overeenkomt met het belastinggeld dat iemand met een gemiddeld jaarkomen dagelijks kwijt is aan cultuur. 'Money is a kind of poetry', stelde Wallace Stevens ooit. Deze applicatie bewijst eens te meer zijn gelijk.

(Source: www.poezieloont.nl)

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