economics

Content type
Author
Year
Language
Platform/Software
License
CC Attribution
Record Status
Description (in English)

Ruczaj - cyberżulerska gra ekonomiczna (Ruczaj - cyber hobo economic game) is a web-based experience simulating living in Polish suburbs with access to fast internet connection. There are only three things that player can alter. First, writing social media posts that generate „likes”. When you have enough likes, you can „code corvee” which provides beer. With beer, you go out where farming some weed is possible, weed can be exchanged for a social media post and so on. Every action is fulfilled with one mouse click. Gathering likes, beers and weed is creating mutually dependent loop that quickly becomes insufficient to generate income. Especially when your debt to Social Insurance Company is growing with every second.

Game is constructed of three columns where on the left are listed actions that player can make, in the middle is news feed with e-mails and messages from other people and companies and on the right are debts that need to be payed. There are no objections in the game to finish it nor ways to lose or win. Boring, repetitive and frustrating gameplay is very much intended. There is nothing to do, no perspectives to progress and no prize – only dry and absurd sense of humour.

Ruczaj is available online for free and can be accessed with any computer or mobile phone. Used medium is central to the nature of the game – it is almost fully randomly generated, but always tells the same story of slow, jaded neighbourhood where nothing happens anymore. Player quickly catches that feeling of bitter internet experience and probably leaves unsatisfied.

Cyber hobo (or cyber junkie) is a person that has given up on the state of today's internet – he knows that only junk and scraps are left in cyberspace of graphomaniac and corporate cliches. Cyber hobos are actually trying to find and distil something extraordinary and original from banal sea of repetetive aesthetics.

Description in original language
Screen shots
Image
Ruczaj game opening page
Image
Ruczaj gameplay example
Description (in English)

We generate money by serving Google text advertisments on a network of hidden Websites. With this money we automatically buy Google shares. We buy Google via their own advertisment! Google eats itself - but in the end "we" own it!

By establishing this autocannibalistic model we deconstruct the new global advertisment mechanisms by rendering them into a surreal click-based economic model.

After this process we hand over the common ownership of "our" Google Shares to the GTTP Ltd. [Google To The People Public Company] which distributes them back to the users (clickers) / public.

Screen shots
Image
By Audun Andreassen, 10 April, 2013
Language
Year
Record Status
Abstract (in English)

This paper will discuss the work of Los Angeles-based writer and digital artist William Poundstone. Poundstone, who makes his living writing books for a popular audience on subjects such as cryptography, philosophical and mathematical conundrums, economics and even a biography of Carl Sagan, has a growing, but still quite small, reputation as one of the most intellectually challenging, playful, and artistically distinctive web artists. His ““New Digital Emblems”” is probably his most ambitious work, and operates somewhere between a documentary about the history of visual and ludic writing——ranging across centuries and focusing most profoundly on the Renaissance emblem books——and an original artistic creation, as it includes several of his own ““digital emblems.”” Other works, such as ““Project for Tachistoscope,”” challenge our ways of reading as this narrative is presented as a mix of basic ““Wing Dings””-style iconography and text, presented in synch one image/word combination at a time. Smaller works, such as ““3 Proposals for Bottle Imps,”” suggest most strongly Poundstone’’s relationship to the Los Angeles text artist community——he’’s had a few modest showings of his provocative digital photography in the city——Ed Rusche and Barbara Kruger most specifically. My paper will attempt to describe Poundstone as he exists at the nexus of these various communities, citing his work as both a profound extension and critique of digital writing aesthetics and digital culture in general (his provocative dealings with sexuality and public image in our age of Photoshopped realities, for example), and an important bridge between digital art and the Los Angeles visual arts community.

Description (in English)

If, as Henri Lefebvre asserted, "spatial thinking" involves several different ways of conceptualizing space-as idea, as lived, as imagined-then perhaps an open system of examples can generate new ideas about "home" in the future. This is an experiment in reading; the CD-ROM is organized in an associative manner, since the subject radiates in so many different directions. There is obviously a "direction" here, that is no hidden-but the user may peruse and reconnect the fabric of the piece in many different ways. And, if our habitat may be located within a given social order, defined by economics, culture, and history, these forces must be viewed as interacting, rather than fixed.

"Home" is a core around which radiate issues of neighborhood, economics, safety, and environment. Where and how we live is undergoing tremendous change as the century draws to a close. As social services and government oversight are curtailed, innovative solutions to problems concerning shelter and land use are of great importance. Southern California, a place "invented by real estate developers," with massive infusions of imported water, seems to offer the prime model of the politics of space. There are also links outward. The piece allows users to consider and contribute text about various growth/land use issues, to print text from the CD and/or their files, and to mark return to points on their exploration.

(Source: ELO 2002 State of the Arts gallery)

Technical notes

Additional video effects: Morph, Strata Media Paint

Language
Year
Record Status
Abstract (in English)

A collection of interlinked materials for studying digital culture assembled primarily from George P. Landow's courses on Hypertext and Literary Theory and Cyberspace, Virtual Reality, and Critical Theory at Brown University. Course syllabi are available, and because the majority of materials collected there were created students in these courses visitors can glean ideas about how to design and/or participate in long-running courses, led by a permanent faculty member, in which students play an active and essential role in developing effective course materials updated each time the class is offered.