<div dir="ltr"><div class="gmail_default" style="font-family:verdana,sans-serif;font-size:small">Anna, Turbulence files have been taken over by ELO.<br></div><div class="gmail_default" style="font-family:verdana,sans-serif;font-size:small">The hope is to have them available by December.<br></div></div><div class="gmail_extra"><br clear="all"><div><div class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><span style="color:rgb(192,192,192)"><br><br><br></span></div><span style="color:rgb(192,192,192)"><span style="font-family:verdana,sans-serif">Stephanie</span> <br></span></div><div dir="ltr"><div><span style="color:rgb(192,192,192)"><br><span style="font-family:verdana,sans-serif">Stephanie Stricklan</span></span><span style="font-family:verdana,sans-serif"><span style="color:rgb(192,192,192)">d<br><br>1175 York Avenue 16B<br>New York NY 10065<br>212-759-5175<br></span><span style="color:rgb(192,192,192)"><a href="http://stephaniestrickland.com" target="_blank">http://stephaniestrickland.com</a><br></span>.. .. .. .. <br></span><div><span style="font-family:verdana,sans-serif">Hours of the Night <br><a href="http://hoursofthenight.com" target="_blank">http://hoursofthenight.com</a><br></span></div><div><span style="font-family:verdana,sans-serif">House of Trust <br><a href="http://www.house-of-trust.org/" target="_blank">http://www.house-of-trust.org/</a></span></div><span style="font-family:verdana,sans-serif"><i>Dragon Logic, </i>Ahsahta Press<i> </i><br style="background-color:rgb(192,192,192)"><i>Vniverse </i>iPad app<br></span></div><br></div></div></div></div></div></div></div></div></div></div></div></div></div>
<br><div class="gmail_quote">On Thu, Sep 15, 2016 at 5:14 PM, Anna Munster <span dir="ltr"><<a href="mailto:a.munster@unsw.edu.au" target="_blank">a.munster@unsw.edu.au</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br>
Ah I knew there would be lotsa dirty money lurking on this list ;-)<br>
Thanks RYBN for chiming in - you’d remember I’ve also written about your work in both my ‘Data_undermining…’ piece (about to go under due to Turbulence.org’s demise ;-( and in An Aesthesia…<br>
<br>
I was wondering if you would include Shu Lea Chang’s ‘Garlic=Rich Air' '<a href="http://garlic02.worldofprojects.info/" rel="noreferrer" target="_blank">http://garlic02.<wbr>worldofprojects.info/</a> 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 that’s not a bad lifecycle for either an art or trading project!<br>
<br>
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 that’s also what you were perhaps dealing with in FLASHCRASH SONIFICATION<br>
<br>
…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 explored…Anna<br>
<span class="im HOEnZb"><br>
Anna Munster<br>
Associate Professor,<br>
Faculty of Art and Design<br>
UNSW<br>
P.O Box 259<br>
Paddington<br>
NSW 2021<br>
Australia<br>
<a href="mailto:a.munster@unsw.edu.au">a.munster@unsw.edu.au</a><br>
<a href="http://sensesofperception.info" rel="noreferrer" target="_blank">http://sensesofperception.info</a><br>
<br>
<br>
</span><div class="HOEnZb"><div class="h5">> On 16 Sep 2016, at 12:15 AM, ~rybn <<a href="mailto:info@rybn.org">info@rybn.org</a>> wrote:<br>
><br>
> ----------empyre- soft-skinned space----------------------<br>
> dear Anna,<br>
><br>
> can also ping towards various other projects related to trading, financial networks and so on,<br>
> some already were mentioned<br>
><br>
> the list isn't totally complete, and quite personal. divided in two categoris,<br>
><br>
> A. projects that implies a direct interaction with markets, trading, manipulating money or architecture of finance, simulations of algorithms or active algorithms.<br>
><br>
> 1 CATCHING A FALLING KNIFE (MICHAEL GOLDBERG, 2002)<br>
> 2 GWEI (UBERMORGEN, CIRIO, LUDOVICO, 2005)<br>
> 3 OTC (Société Réaliste, 2007)<br>
> 4 RATTRADERS (MICHAEL MARCOVICI, 2009)<br>
> 5 ADM8 (<a href="http://RYBN.ORG" rel="noreferrer" target="_blank">RYBN.ORG</a> 2011)<br>
> 6 COMMUNICATION VÉGÉTALE (HORIA COSMIN SAMOÏLA, 2011)<br>
> 7 A SUPERSTITIOUS FUND (SHING TAT CHUNG, 2012)<br>
> 8 ADMX / THE ALGORITHMIC TRADING FREAKSHOW (<a href="http://RYBN.ORG" rel="noreferrer" target="_blank">RYBN.ORG</a> 2013)<br>
> 9 M&A (GOLDIN+SENNEBY, 2013)<br>
> 10 ROBIN HOOD ASSET MANAGEMENT COOPERATIVE (AKSELI VIRTANEN & COLLECTIVE, 2013)<br>
> 11 (W)ORLD CURRENCY (PAOLO CIRIO, 2014)<br>
> 12 EQUITY BOT (SCOTT KILDALL, 2014)<br>
> 13 VOLATILITY STORMS (FEMKE HERREGRAVEN, 2014)<br>
> 14 Ami Clarke, Low Animal Spirits (2014)<br>
> 15 ADMXI (<a href="http://RYBN.ORG" rel="noreferrer" target="_blank">RYBN.ORG</a>, 2015)<br>
><br>
> the latter contains trading algorithms prototypes from : Horia Cosmin Samoila, b01, Marc Swynghedaw, Suzanne Treister, Brendan Howell, Nicolas Montgermont, Antoine Schmitt<br>
><br>
> B. Other projects, implying only data viz and/or aesthetics<br>
><br>
> 1 Lynn Hershmann, Synthia (2000)<br>
> 2 Aernout Mik, Middlemen (2001)<br>
> 3 Joshua Portway & Lise Autogena, BLACK SHOALS STOCK MARKET PLANETARIUM (2004)<br>
> 4 Mathieu Bernard-Reymond, Monuments (2005)<br>
> 5 Mathieu Saladin, Stock Exchange Piece (2007)<br>
> 6 Michael Najjar, High Altitude (2008/2009)<br>
> 7 Samuel Bianchini, ALL OVER (2009)<br>
> 8 Genevieve Hoffman, Financial Landscapes (2012)<br>
> 9 Geraldine Juarez, WEALTH TRANSFER (2013)<br>
> 10 Fabio Lattanzi Antinori, Flashcrash Unlimited (2014)<br>
><br>
> and some online references on the topic<br>
><br>
> ART & ARGENT<br>
> <a href="http://www.multimedialab.be/doc/images/index.php?album=argent" rel="noreferrer" target="_blank">http://www.multimedialab.be/<wbr>doc/images/index.php?album=<wbr>argent</a><br>
><br>
> ART IN A TIME OF RECESSION<br>
> <a href="http://www.dazeddigital.com/artsandculture/article/17248/1/hacked-burned-economic-recession-art" rel="noreferrer" target="_blank">http://www.dazeddigital.com/<wbr>artsandculture/article/17248/<wbr>1/hacked-burned-economic-<wbr>recession-art</a><br>
><br>
> MON3Y AS AN 3RRROR<br>
> <a href="http://www.mon3y.us/" rel="noreferrer" target="_blank">http://www.mon3y.us/</a><br>
><br>
> /<br>
><br>
> quite interested in the thread for completing our own data on the topic,<br>
><br>
> x<br>
><br>
> rybn<br>
><br>
><br>
><br>
><br>
> Le 15/09/2016 à 08:06, Nicholas Knouf a écrit :<br>
</div></div><div class="HOEnZb"><div class="h5">>> ----------empyre- soft-skinned space----------------------<br>
>><br>
>><br>
>> Hi Anna and Tim, and others on the list,<br>
>><br>
>> 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.<br>
>><br>
>> 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.<br>
>><br>
>> 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.<br>
>><br>
>> 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.<br>
>><br>
>> Best,<br>
>><br>
>> Nick<br>
>><br>
>><br>
>><br>
>> On 9/14/2016 11:43 PM, Anna Munster wrote:<br>
>>> ----------empyre- soft-skinned space----------------------<br>
>>> 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.<br>
>>><br>
>>> 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?<br>
>>><br>
>>> cheers<br>
>>> Anna<br>
>>><br>
>>> Anna Munster<br>
>>> Associate Professor,<br>
>>> Faculty of Art and Design<br>
>>> UNSW<br>
>>> P.O Box 259<br>
>>> Paddington<br>
>>> NSW 2021<br>
>>> Australia<br>
>>><br>
>>> <a href="mailto:a.munster@unsw.edu.au">a.munster@unsw.edu.au</a><br>
>>> <a href="http://sensesofperception.info" rel="noreferrer" target="_blank">http://sensesofperception.info</a><br>
>>><br>
>>><br>
>>><br>
>>><br>
>>>> On 15 Sep 2016, at 7:52 AM, Timothy Conway Murray <<a href="mailto:tcm1@cornell.edu">tcm1@cornell.edu</a>><br>
>>>> wrote:<br>
>>>><br>
>>>> ----------empyre- soft-skinned space----------------------<br>
>>>> 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 (<br>
>>>> <a href="http://maicgregator.org" rel="noreferrer" target="_blank">http://maicgregator.org</a><br>
>>>> ) 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.<br>
>>>><br>
>>>> 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?<br>
>>>><br>
>>>> Cheers,<br>
>>>><br>
>>>> Tim<br>
>>>><br>
>>>><br>
>>>> Timothy Murray<br>
>>>> Professor of Comparative Literature and English<br>
>>>> Taylor Family Director, Society for the Humanities<br>
>>>><br>
>>>> <a href="http://www.arts.cornell.edu/sochum/" rel="noreferrer" target="_blank">http://www.arts.cornell.edu/<wbr>sochum/</a><br>
>>>><br>
>>>> Curator, Rose Goldsen Archive of New Media Art<br>
>>>><br>
>>>> <a href="http://goldsen.library.cornell.edu" rel="noreferrer" target="_blank">http://goldsen.library.<wbr>cornell.edu</a><br>
>>>><br>
>>>> A D White House<br>
>>>> Cornell University,<br>
>>>> Ithaca, New York 14853<br>
>>>><br>
>>>> ______________________________<wbr>_________________<br>
>>>> empyre forum<br>
>>>><br>
>>>> <a href="mailto:empyre@lists.artdesign.unsw.edu.au">empyre@lists.artdesign.unsw.<wbr>edu.au</a><br>
>>>> <a href="http://empyre.library.cornell.edu" rel="noreferrer" target="_blank">http://empyre.library.cornell.<wbr>edu</a><br>
>>> ______________________________<wbr>_________________<br>
>>> empyre forum<br>
>>><br>
>>> <a href="mailto:empyre@lists.artdesign.unsw.edu.au">empyre@lists.artdesign.unsw.<wbr>edu.au</a><br>
>>> <a href="http://empyre.library.cornell.edu" rel="noreferrer" target="_blank">http://empyre.library.cornell.<wbr>edu</a><br>
>><br>
>> --<br>
>> Nicholas Knouf<br>
>> Assistant Professor, Cinema and Media Studies Program<br>
>> Wellesley College, 106 Central Street, Wellesley, MA 02481<br>
>> Office: Clapp 306 (2016–2017 academic year) Office Phone: <a href="tel:781.283.2105" value="+17812832105">781.283.2105</a> Fax: <a href="tel:781.283.3647" value="+17812833647">781.283.3647</a><br>
>> PGP: 0xAB50A0D9<br>
>> How Noise Matters to Finance available now!<br>
>><br>
>><br>
>> ______________________________<wbr>_________________<br>
>> empyre forum<br>
>><br>
>> <a href="mailto:empyre@lists.artdesign.unsw.edu.au">empyre@lists.artdesign.unsw.<wbr>edu.au</a><br>
>> <a href="http://empyre.library.cornell.edu" rel="noreferrer" target="_blank">http://empyre.library.cornell.<wbr>edu</a><br>
><br>
> ______________________________<wbr>_________________<br>
> empyre forum<br>
> <a href="mailto:empyre@lists.artdesign.unsw.edu.au">empyre@lists.artdesign.unsw.<wbr>edu.au</a><br>
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<br>
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</div></div></blockquote></div><br></div>