Notes on ‘The Politics of Bitcoin, Software as Right-wing Extremism’, David Golumbia 

I am interested in exploring this notion of the internet becoming 'naturally', therefore inherently more democratic, which has created a type of 'financial revolution' in many senses concerning the Bitcoin industry in particular. After speaking to my tutor about these initial ideas, it became clear that this topic is so broad and topical, which means I have several different approaches I can take, however, I need to be wary of becoming an 'information messenger' if you like, rather than engaging in a new approach (instead of digesting and throwing up information off the internet). I find myself when thinking through this new project, reflecting on the great impact Zach Blas had on my understanding of the phrase 'cyber libertarianism' (referenced here from David Golumbia's text, 'The Politics of Bitcoin'). I now can relate my interests to Blas' 'neo-liberalist' approach to art-making to my fascination with the 'crypto-revolution' which was planted after my research into Ayn Rand (linked to Zach Blas) who puts forward the technique of sustaining tech infrastructures (aka technological progress with free-market economics); Rand's publication The Unknown Ideal is key to the development of the Silicon Valley. During the discussion, Blas reflects on his interest in the theorist Ayn Rand, describing his interest in general political alternatives, 'Queer Technologies' being one which breaks down former technology which was given a gender-based platform. Thus, the artist marks the important separation between 'contra-internet' users and 'technophobic', 'contra' users are purely interested in shifting the possibilities of what can be achieved to build technological programmes, shifting primarily from the internet. It is important to note the development of technologies related with the free-market, which in terms of the economic side of capitalist realism, reflects the recent interest in Bitcoin due to the networks place outside of the commerce. 

Furthermore, I would like to explore the politics of sustaining tech infrastructure, like Bitcoin and how such free-market approaches can turn formal software into extremism online. I am keen to carry on analysing David Golumbia's book concerning such topics and begin to look at Nathaniel Popper's Digital Gold, The untold story of Bitcoin to get a wider view of this new social movement, in many respects. During this process, I am interested in using my creative practice to experiment with a mixture of highly critical reflections through several different outputs. In many ways, Bitcoin currency has created a social movement on par with the development of the internet. 

Sidenote: I have just begun reading through Nathaniel Popper's Digital Gold and it is clear from the introduction the major difference between David Golumbia's approach to the industry and Popper's is Popper's literary perspective but also his belief in Bitcoin has the ability to stop governments having the financial power to pay for wars and giving individuals control over their own money. Popper takes on a less informative approach and rather gives an insight into contemporary Bitcoin dealers. 

Notes on Digital Gold, The Untold Story of Bitcoin, Nathaniel Popper

Introduction/ Chapter 2

• Figurehead Erik Voorhees placed money into the payment network and digital currency - Bitcoin, Voorhees is being investigated by the Exchange Commission for selling stock in his startups for Bitcoins (tokenizing technique). Businessmen in lake Tahoe (straddles the border of Nevada and California) were helping to bring in new money into existence. 
• Popper puts across the idea that figures like Hal Finney work on different ways to experiment with money in order to empower individuals 'against traditional sources of authority', money is in any market economy, so if programmers are able to create a new currency which reflects the intentions of the future this is seen as 'progressive'. 

Popper includes the manifesto of 'Cypherpunk', Eric Hughes, "When my identity is revealed by the underlying mechanism of the transaction, I have no privacy. I cannot here selectively reveal myself; I must always reveal myself, privacy in an open society requires anonymous transaction systems." The group of Cypherpunks reflected the ambition to empower individuals through a more private type of currency. I researched further into Eric Hughes as I found his Cypherpunk Manifesto reflective of 'crypto' reasoning. The programmer founded the 'anonymous Remailer' which allowed message transaction without revealing your identity; in the manifesto, Hughes explains the importance of collectively using code to create private programmes. Hughes wrote the manifesto in 1993 which included the group's trust in anonymous mailing systems (https://www.activism.net/cypherpunk/manifesto.html). There are several different types of remailers that were categorised in the 'anonymous remailer', one being the 'Pseudonymous remailers' meaning they take away the e-mail address of the sender and sends the message to the intended recipient whilst a 'Cypherpunk remailer' sends the message to the recipient, the message can be encrypted meaning you can not answer a message sent via a Cypherpunk remailer. 

The reason I am interested in Eric Hughes Cypherpunks is his policy of privacy online and the methods he states in his manifesto against open-source fears for the future of our privacy online; Hughes goes into detail about how you can change your relationship with digital platforms through using code to programme, like his innovation of anonymous remailer which engages with reprogramming social in-built services. Although my research is broadening out, I think investigating groups like Cypherpunks who question digital space is key to my understanding of Bitcoin and contemporary cryptosystems. Eric Hughes wrote.....

Cypherpunks don’t care if you don’t like the software they write.
Cypherpunks know that software can’t be destroyed.
Cypherpunks know that a widely dispersed system can’t be shut down.
Cypherpunks will make the networks safe for privacy.

Whilst researching Eric Hughes I came across Cypherpunks: Freedom and the future of the internet by Julian Assange which I am interested in researching further, due to Assange's involvement in Wikileaks but also to understand further the importance of groups like Cypherpunks who wish to centralise our online identity. 

Cryptocurrency - Yale insights (William Goetzmann: Is Cryptocurrency Really a New Idea)  https://insights.som.yale.edu/insights/is-cryptocurrency-really-new-idea

• Goetzmann discusses the need for 'storing value' in financial terms 
• Explains how cryptocurrency is still a start-up stage and has not yet reached an independent stage 
• What would Bitcoin need to be a credible currency....... store of value, unit of account, method of transferring value - due to the fluctuating nature of Bitcoin the currency is difficult to keep stable (volatile). 
• Cases with cryptocurrency exchanges where people are simply hacked, therefore lose their Bitcoins - another example of risks are if you lose your Bitcoin account code/key
• Some ancient money resembles cryptocurrency - an accounting transaction where your profile is the 'physical' space the bitcoin takes up (this is reflective of ancient systems where all money was through a system of accounts - no physical transfer). 

Online art market and cryptocurrencies: 

Once I watched William Goetzmann's discussion on Cryptocurrency, I wanted to research further into the art markets relationship with the general attempt to rebuild a digital currency, I am aware that Singapore is engaging with using tokenisation in art auction houses. I came across the artist Hito Steyerl's article from e-flux journal entitled, 'If you Don't Have Bread, Eat Art!: Contemporary Art and Derivative Fascisms', which explores the extent to which art is a currency. 

'If you Don't Have Bread, Eat Art!': Contemporary Art and Derivative Fascisms, Hito Steyerl (e-flux journal #74) 

I have previously read Steyerl's essays (included in e-flux journal) 'In Defense of the Poor Image' and 'The Wretched of the Screen' which explores collective political projects which the artist defined as 'Poor images are the contemporary Wretched of the Screen, the debris of audiovisual production, the trash that washes up on the digital economies' shores.' The reason why I think Steyerl's essay on the 'Poor Image' is so relevant to my project on blockchains and tokenisation is how we value quality (measured in pixels) of an image circulated online in comparison to a blurry image which directly relates to our digital decision-making online. Traditional sources of authority (referenced by Nathaniel Popper) define currency, therefore there is a wide gap for extremism online as the internet is largely not regulated, the gap leaves experimentation which introduces blockchains and encryptions. Steyerl explores alternative currency in Contemporary Art and Derivative Fascisms, 'Rather than money issued by a nation or administrated by central banks, art is a networked, decentralized, widespread system of value'. 

'As with cryptocurrencies, there is no central institution to guarantee value; instead, there is a jumble of sponsors, censors.' Whilst reflecting on this statement by Steyerl, it reiterated to me what Bettina Warburg described as the importance of blockchains when discussing current-day digital currencies. Similarly to Wikipedia, blockchains are constantly checking each other, therefore no third party needs to be involved; Warburg discussing the use of Wikipedia also relates to the book Cypherpunks, Julian Assange (2012), (I previously mentioned the impact of Eric Hughes group manifesto, Cypherpunks in terms of our understanding of encryption) who is the founder of Wikileaks and has recently been under scrutiny. Steyerl's essay discusses the independent currency of the art market which includes art insurance sources like the one presented below, which explores art trade marketing online, similarly to David Golumbia's argument Steyerl is sceptical of Bitcoin due to its nature of quickly surging in value. David Golumbia presents both sides of the argument in terms of Bitcoin being a centralised and possibly right-wing software to Bitcoin 'supporters' as cyberlibertarian whom in 2013 when there was a significant surge in Bitcoin value showed evidence of the importance of Bitcoin. Yet, Golumbia similarly to Steyerl is skeptical of the future of cryptocurrencies, 'while the surge certainly did indicate something, it was remarkable to read celebrations of the surge as if it demonstrated Bitcoin's feasibility as what it is advertised to be, a new form of money or currency' (pg. 58 The Politics of Bitcoin), Steyerl explores this idea through Bitcoin's use of 'digital scarcity', meaning value is added to digital goods when the good is correctly controlled. Moreover, the use of the phrase 'feasibility as what it is advertised to be' shows a gap between marketing and the liability of this. Steyerl explains, 'Further down the food chain, media art, like Bitcoin, tries to manage the contradictions of digital scarcity by limiting the illimitable. But for all its pretence to technological infallibility, Bitcoin is potentially just as dependent on group power as art-market values are dependent on consent, collusion, and coincidence.'  (ref. 8) Steyerl's essay explores blockchains with the currency of the online art market which also engages in Golumbia's skepticism with cyberlibertarianism that depends on a surprising extent on far-right political thought. Due to the fact that Bitcoin is distributed not localised, like government banks, Golumbia explains how such a structure could move to right-wing ideologies. 

'Its reputational economy is randomly quantified, ranked by bullshit algorithms that convert artists and academics into ranked positions, but it also includes more traditionally clannish social hierarchies.' (ref. 9) 

"The online art market has continued to grow strongly (up 24 percent to $3.27 billion) despite the global art market sowing in 2015," states the foreword of this art insurers report. 

https://www.e-flux.com/journal/76/69732/if-you-don-t-have-bread-eat-art-contemporary-art-and-derivative-fascisms/

Project Title: Tokenisation and digital currency      

Image credits:

a. ‘Abyss film’, James Richards and Leslie Thorntons 

b. Woody and Steina Vasulka              

c. Zach Blas, ‘Contra internet; jubilee 2033’                               

Project Review (approx. 150 words)

My project realisation is formally concerned with using research and online data to create an interactive piece of digital work. Studying on the Graphic Communication course has been beneficial in my interest in exploring a variety of mediums and techniques whilst being introduced to designers. I found the interactive project pushed me to be bolder and more confident with my concepts. I am interested in directing my project in an interactive manner in response to the Interact project which included a collaborative side to the project, thus I enjoyed the Guilty Pleasure project where I created a virtual environment in response to another student's guilty pleasure.

Project Concept & Description (approx. 250 words)

The concept of my project is based on my interest in the digital realm and the new age of ‘post-internet’ art, specifically the ‘crypto-revolution’ that has been established online through a system of ‘tokenization’. Thus, companies such as Nike are using tokenization along with the contemporary art market to benefit from this new type of ‘cryptocurrency’. The aim of my project is to explore the creative methods I can undertake to materialise ‘digital’ commerce, specifically Bitcoin which takes up only digital space; Yuk Hui’s, ‘On the Existence of Digital Objects’ has been greatly influential in developing my concept in terms of giving ‘material’ space to digital forms. Similarly, the artist Zach Blas’s project ‘contra internet’ which explores how free-market approaches can turn into extremism online, which people argue Bitcoin is following a right-wing approach. I am interested in exploring the culture of tokenization in relation to digital objects and the more ‘democratic’ practice of finance. Due to the virtual nature of my concept, I intend to develop my code skills in a creative manner in order to explore the digital currency online. Due to the nature of my interests, I intend the form to take up virtual space whether that results in a game-like experience or I create a new culture in response to the currency of tokenization. I think technical resources will be realised once I have a clearer idea of my intended form and audience, however, resources like the library and online archives will help support my project.

Project Evaluation

I intend to use the contextual review section of workflow in order to constantly evaluate the progression of my project daily; furthermore, as I intend for my final outcome to be interactive online I think peer-assessment would support my project greatly. Similarly, as I intend for my work to be virtual it is important I get peer feedback as my project progresses in order to create the most successful outcome that reflects my initial concept.

 Proposed Research Resources and Bibliography

1. ‘The Key Concepts’, Debra Benita Shaw
2. ‘Mapping Cyberspace’, Martin Dodge and Rob Kitchin
3. ‘The Politics of Bitcoin; Software as Right-wing Extremism’, David Golumbia
4. ‘Digital Gold, The Untold Story of Bitcoin’, Nathaniel Popper
5. ‘The Question Concerning Technology in China’, Yuk Hui 
6. ‘On the Existence of Digital Objects’, Yuk Hui
7. ‘A Cyborg Manifesto’, Donna J. Haraway
8. ‘The Missing Crypto Queen; exploring Dr Ruja Ignatova’, Jamie Bartlett
9. ‘The Language of New Media’, Lev Manovich
10.  ‘Sorcery, or code as fetish’, Wendy Hui Kyong Chun
11.  ‘Manifesto Contrasexual, Paul Preciado

Essays:

12. ‘Clinical Cosmology: Tishan Hsu’, Hera Chan

13. ‘Contra-Internet, e-flux’, Zach Blas

Videos:

14. ‘HyperNormalisation’, Adam Curtis

Project Action Plan and Timetable:

**First draft feedback:

I think with my first project draft it is too broad in terms of my ideas and I don't think I make direct references enough to my research resources; I additionally think my project review could be a lot stronger through relating to more projects undertaken during part 2 and being more evaluative of the skills I have gained through the course. 

Tutor feedback (first draft):  17/02

Project concept: Generally good and includes contextual referring of both subject and of art and design practice, how might I incorporate primary research as the subject is quite complex (possibly use people around me to begin to research how age differs this). Outlined dangers of digital currencies, so what is the aim of the project? Challenge/educate or promote. 

Evaluation: Repetitive, no mention of tutor feedback or crit?

Bibliography: sources need to be formatted in Harvard style + group sources by type (add TED talks related to the theme, already started researching but haven't included in Bib.). 

Response - I will begin responding to this feedback and add additional references to my bibliography that I have researched more recently. 

Going through the process of creating a project proposal has been greatly beneficial to gagging a deeper understanding of my subject matter and what I intend to realise throughout the project process; similarly grouping all my research and evaluating how I will effectively critic my work has been helpful. Similarly, completing a week by week progress form is a plan I intend to carry out weekly in order to continuous achieve an outcome per week. I will need to present the project timetable in my outcome on Monday to show my first completed section of my project; completing the timetable has made me aware that designing a currency for Bitcoin and creating a virtual cryptocurrency environment using Sketchup would be a good place to start in response to my research. 

Notes on the podcast The Missing Crypto Queen exploring Dr Ruja Ignatova

https://www.bbc.co.uk/programmes/p07nkd84/episodes/downloads

Episode 1: 

• Ruja disappeared in 2017, the brother was charged with fraud in connection with OneCoin in America, Ruja in 2019 was declared a fraud. 
• OneCoin was built on shares, promising a financial revolution with millions of followers, titled herself the 'crypto queen'. 
• Barlett explores how technology changes our personality and our reactions to situations. Bitcoin 'peer to peer system', during the financial crisis (cryptocurrency) was established in 2008, described as the 'future of money'. By 2014, the price of one bitcoin was worth $1,000, driven by the growing success of Bitcoin, other cryptocurrencies began to appear. 
• OneCoin established by Ruja Ignatova was a stem from Bitcoin, targeted the 'mass' market, Ignatova described the banking system as 'rotten' due to the government's ability to take advantage. 'Banks have a monopoly, I do not believe that they treat them right'. 
• One person featured on the podcast talked about how Ignatova set up online people to discuss the benefits of OneCoin, using family orientated words, using credentials of Ignatova including being a panellist at the Economist.  

The reason why I think this fraud case of cryptocurrency is so relevant to this project is the fact that this is a major reason why people find it difficult to support an online programming system with your money. Nathaniel Popper's Digital Gold takes on the viewpoint of individuals who began supporting Bitcoin in 2008, mainly intellectuals or tech investors that were willing to gamble on the success of the newly found cryptocurrency. The shocking thing of Ruja Ignatova's case is the 'socialist' approach the entrepreneur had to OneCoin in terms of her approach to speeches and advertisement, which was greatly based around the idea that once you joined her currency you were part of a 'family'. Tech commerce is such a complex area that relies heavily on the image, which Ignatova presented to appeal to investors, therefore, new crypto businesses rely heavily on a well-built system in order for the community to grow. After reading Yuk Hui's On the Existence of Digital Objects introduction, in particular, the section titled Natural Objects: Between Substance and Subject, Hui discusses the meaning behind 'natural objects'. Yuk Hui wrote, 'A natural object here refers to the category and perspective in which every object, whether natural or fabricated, is analysed in the same natural manner.' Hui explains physical beings as "this" which holds 'both matter and form'; in terms of cryptocurrency, the subject is defined by its substance. Hui includes in this chapter his support for Hume to Husserl argument, which explains how technical and digital objects are not comprehended in the 'phenomenological' (Husserl founded this movement in the end of the 18th century which focuses on the phenomenon, conscious experience) tradition; which I think is an interesting argument for the complex narrative of digital objects and online space. 

Furthermore, Aristotle (referenced by Hui) used the word eidos instead of morphe for form, eidos refers to an artificial object whilst morphe is concerned with form and matter. The manner in which Yuk Hui explores the notion of the digital object has questioned my perspective on digital form and material, including time-based media that lives purely online. 

Plan commencing 24th Feb.-30th Feb. to support the project, next Monday (3rd March) I will need to present the first-week outcome of my project, which I intend to be a virtual environment of a Bitcoin community, along with a designed currency which I possibly will get a vinyl cut done if this is possible in the time frame. Furthermore, I need to stop spending time on my initial research and begin creating physical work, similarly, I think collecting some primary research will be profitable to my project; I have a contact who regularly mines Bitcoins, whom will be an interesting part of my project. I intend to create a virtual crypto environment as my first outcome for my Tokenisation project. 

Furthermore, I need to keep weekly plans as these will be handed in at the end of the project and the evaluation will also be completed beside this as a useful way of documenting my process. Following on from my tutorial, it is important that I see each week plan as smaller outcomes to support my portfolio, whereby I do not aim for a final outcome and instead see each exploration as part of the project.

Week 1 outcomes 

References

A. Rose Finn-Kelcey

B. Matt Mullican 

C. Alighiero Boetti

https://www.moma.org/calendar/exhibitions/1221

D. 'On the Existence of Digital Objects', Yuk Hui 

The first week of exploration did not follow my initial aim in terms of creating a factual manual, however, I experimented with how I could create a simulation in response to Yuk Hui's book 'On the Existence of Digital objects' which analyses the digital and metaphysical object; I directed my first week designing a 'Bitcoin community' to generate a system behind virtual currency like Bitcoin. In response to directing my commune group to play monopoly and visit several money exchanges in London, I began creating IPEVO scans of several different currencies to examine their material quality, Bitcoin is largely similar to a board game. Thus, I researched the work of Italian artist Alighiero Boetti, in particular, his project Game Plan which explores dualities, multiplicity and imaging distant places through mapping and categorising; I find his embroideries which he created during this period particularly engaging in relation to exploring mapping and thinking through cryptocurrencies which are made up of mapped networks. In light of this, I began creating simulations, entitled 'Digital tapestries' using SketchUp to draw on sewing and handmade craft in relation to blockchains. 

EDITS: 

A.https://documentcloud.adobe.com/link/review?uri=urn%3Aaaid%3Ascds%3AUS%3A39db7fc3-eb2c-44ad-8987-0c6dc5f417dc

B.https://documentcloud.adobe.com/link/review?uri=urn%3Aaaid%3Ascds%3AUS%3Ad91d2f58-a166-40e1-ba03-35295f63fe6e

In response to the IPEVO images, I created last week, I aimed to create a virtual space that explored digital materiality in light of Bitcoin filling digital 'abstract' space; I began collecting the research along with the day I directed during Commune where I got my group to play a game of Monopoly which explores currency and exchange. Thus, I began researching tapestries, specifically Gee's Bend Quilts (which are referenced in my research page), similarly to cryptocurrencies, these quits explore the material quality and have similar features to a board game. Similarly, Alighiero Boetti's embroideries appear almost like blockchains or QR patterns, each quilt follows a pattern; collecting these initial research points, I began with the title 'Digital Tapestries' as my second outcome for my project, which stood as a realization for my experimentation of digital objects and how they can take up physical space away from mere code.

Similarly to a board game or a processor, I used the program Sketchup to create a virtual board game including 3D models I created from the board game monopoly. Equivalent to physical tapestries, I used a virtual space to digitally knit my Bitcoin environment together, attempting to give Bitcoin physical 'virtual' space where a viewer could interact with the board game. Similarly to how a majority of systems and digital networks are built of natural objects and shapes, I found going through this process of realizing space for an abstract idea like cryptocurrencies a beneficial experiment for my project. I am keen to go over my outcome this week as I am aware I could add things to the game in order to reflect more of the original monopoly game.

Evaluation in response to progress tutorial:

In response to my progress tutorial this week, I am keen to build on merging my theoretical, technical and practical process further for my second outcome, I will realize this through several different ways, one being annotating and showing the process of creating a virtual board game more clearly, as my sketchbook and workflow pages are too dense to follow my method. Thus, reflecting on my tutorial, I have not made the connection between tapestries and hand-made processes like embroidery in relation to my exploration of digital objects (Bitcoin) clear enough; this could be supported by analyzing research further and binding together my visit to the Gee Bend's Quilts at the Turner Contemporary with my decision to use the program Sketchup to create a virtual board game. Thus, through my discussion with my tutor, it is clear I need to put the 'digital tapestry' in context with a specific environment, as this will help communicate the aim of the work and further the intended discussion with my audience; this will further communicate the problem solving I underwent to create the virtual narrative. Thus, the nature of virtual artwork demands further explanation due to the purpose of virtual platforms and the material outcome of the realization; I have previously experienced the work of Ed Atkins, Lawrence Lek, and Jon Rafman who explore ways of presenting digital and audio work which responses largely to integrating context in virtual artwork. I scanned a book about Jon Rafman's previous show at the library, along with several other books exploring digital objects, which I will use this week to support my ongoing investigation into digital objects and cryptocurrencies. 

Furthermore, this week I aim to add to my digital tapestries and cooperate the monopoly aspects into the virtual artwork further, along with realizing the third outcome in response to the virtual game I built last week. Thus, the IPEVO images I created through the scanning programme was an interesting way of engaging both practical and theoretical skills into my practice, I intend to further this method when realizing my next outcome. 

Reflecting on my recent progress tutorial, I responded to my tutor's comments and renegotiated the Bitcoin community I formed in response to the IPEVO images I created from investigating into tokenization and cryptocurrencies; through the discussion, I was made aware of the fact I had moved quite significantly away from the formula of boardgames. Thus, I intended to establish a virtual board game that played with the idea of tokenization in the form of Bitcoin, which takes on this method of value and exchange, however, due to the nature of Sketchup (virtual 3D modelling program), I found it challenging to communicate the connections between research I carried out into tapestries and the significance of creating these 'digital tapestries' that followed suit with the act of playing board games. I integrated the 3D models I created from scanning the monopoly pieces and marked a type of code into the virtual game through imputing QR  and binary codes. Reflecting on this further, I began looking at a previous show of Jon Rafman at the Zabludowicz gallery whom I have previously seen studies the audience's experience with virtual artwork thoroughly, in order to have a heightened experience; through this, it was made apparent that I needed to begin to put my virtual boardgame into context, to further my outcome. This relates to all projects and processes I have previously undertaken, where due to the nature of my work, it becomes harder for the viewer to respond and build a relationship with what they are experiencing.

**Jon Rafman, Zabludowicz Gallery (2015)       https://www.zabludowiczcollection.com/exhibitions/view/jon-rafman

Whilst I have been studying Martin Dodge's, 'Mapping Cyberspace' this week, I came across images of 3D designs of the New York Stock Exchange trading floors, which initiated the idea of placing my virtual Bitcoin community into a stock exchange environment; this reflects tokenization and exchange in an in-built environment appropriately.

*Martin Dodge and Rob Kitchin, Mapping Cyberspace (2000)

Notes:

- Unhappy with the use of process methods, for example, used lots of comfortable processes (like typeface etc.), reevaluate the processes I undertake. Use of IPEVO was interesting, however again I need to show the process of using IPEVO in my work otherwise to a viewer its confusing; similarly, I think naturally I find my research section bulky and end up trying to find ways to respond to Bitcoin as an abstract construct instead of using the idea as a formula and using it as a stepping stone. I think the models I created from using corners of perspex was interesting however this needs to be in the description of prints, the typeface doesn't communicate the materiality of money rather the models I made to create 'cash clothes' are more successful in recent responses to the coronavirus which condemns using physical cash rather than cards to stop the spreading of germs. 

References: 

https://edition.cnn.com/2020/03/07/tech/mobile-payments-coronavirus/index.html

https://www.wsj.com/articles/as-coronavirus-spreads-should-you-have-more-cashor-less-11583946881

https://i-d.vice.com/en_uk/article/jgeb4b/paul-b-preciado-one-day-well-see-assigning-gender-at-birth-as-brutal?utm_medium=Social&utm_source=Facebook&Echobox=1584095327&fbclid=IwAR2JLaxqEtrWDcUWG5-RuTJ-vZ3w1g4kancJxixu7uErb0GjxoY1cSXMtFc#fbclid=Echobox

https://cointelegraph.com/news/crypto-traders-explain-what-caused-the-bitcoin-price-plunge-to-3-000

Feedback on studio practice: 

- I need to add scans of my sketchbook to show the process of digital outcomes along with material support, upload images of sketchbooks onto WF to show this. 

- Feedback was the scale workshop was successful but the visual language needs to be developed to support the work further, this could experiment further. 

IPEVO and processing techniques are quite complicated platforms to be materialising work, therefore I need to visually communicate better.

Explore the design of my own virtual coin further, money has several design features that could be explored further. 

Analysis of scale workshop needs to be confined further and focus on one idea rather than having lots of different concepts. 

Feedback on contextual practice: 

- Reorganize the contextual practice page, reserve writing for CP page.

Feedback on research on workflow: 

- Add an analysis of the missing research sources. 

Response: I am aware of the fact that some of this feedback was brought up in my recent progress tutorial, therefore I am conscious that I need to make these changes in order to correlate my studio practice with my project analysis on workflow. Thus, I agree that the workshop I carried out a few days ago was successful in terms of reproaching an idea of my project, however visually it is difficult for the viewer to tap into, which I am very aware of. In terms of moving forward, I intend to fix several issues in relation to my workflow layout and rethink how I could take the previous workshop in a different manner, in order to communicate my designs clearer. In the next couple of days, I intend to add an analysis of my research in my research section of workflow and photograph each page of my sketchbook to communicate my studio practice alongside my research-led practice. Furthermore, in response to this current climate, I think using this structure of a workshop to explore iterations of the visual language I am building for my project, would be impactful for the strength of my creative outputs. I intend to create several smaller responses and concepts over several days of workshops to build on this project. As follows with the scale workshop, simply using a noun to reapproach my process, I can conceive as being beneficial.  I previously mentioned my frustration of repeating the same methods and materials of working, which I am a lot wearier of in this self-driven project. 

In response to recent tutor feedback, I have begun formulating a method to communicating my project outcomes in a clearer manner, this includes the recent scale workshop I completed and the virtual Bitcoin community I built using a visual program. Thus, I am going over possible methods to communicate my method in my sketchbook clearly, as my most recent work has been concerned with exploring different programs and digital methods to create work, which to a viewer is difficult to communicate without having visuals to see how these designs were completed. In light of the current situation with the Bitcoin value dropping in parallel with the stock market, I have been following the value of one Bitcoin, which could be used as material to explore digital currency in the form of one-day workshops. The gaps in communicating my process in my sketchbook have similarly been reflected in my documentation of my recent scale workshop, which needed refining in terms of the virtual coin designs, although I was pleased with the relationship between the jean pocket and design projection, in exploring digital objects. 

Following on from this feedback, I intend to renegotiate my system concerning my sketchbook in terms of how I document my process (which is increasingly important when using digital software), this will be reflected in how I conceive concepts and materialise ideas through workflow and physical outcomes. For example, my initial IPEVO images go through a process to create each image, however without the viewer's prior knowledge of how the program works, this naturally is difficult to follow, therefore does an injustice to the images. Over the last week, I have become increasingly wary of my comfort methods of creating work, for example, I began creating a typeface in response to 'cash sculptures' I created using the program TRNIO to create 3D models of physical cash notes in my pocket, yet the process and completed typeface didn't reflect the physical or metaphorical qualities of cash; similarly to my use of TRNIO and Sketchup, which I have previous knowledge of using. I intend to step out of my typical way of producing work in both my method and collection of work in my sketchbook and I think this current climate is an important time to reflect on this. Additionally, as the rest of the foundation course will be remote, it is important I am able to communicate my thinking and decision making both through using workflow and my sketchbook.

In response to recent explorations of my project, I am more cautious of having a more focused intention when exploring Bitcoin, rather than attempting to tie quite in-depth research with an abstract, virtual community. Researching Ed Atkins, Jon Rafman and scanning the work of Boetti supported my knowledge of virtual work being placed in public environments, similarly, I found the 'QR' like tapestries of the work of Boetti significant to building my board-game floors using Sketchup. Similarly to the use of data-mining algorithms, or crypto-chains, Bitcoin currency is made up of natural shapes to visually communicate the inner structure of digital currencies; I wanted to explore these contemporary digital landscapes using a program that reflected this new structure of finance. I think Sketchup is naturally quite a complex platform to communicate my research findings, therefore I intend to collect this work in the form of a manual, for example, to connect all this work together. Reflecting on my initial research points, Zach Blas' 'Contra-Aesthetic' artwork was greatly influential to my decision to create a language through using virtual reality to explore the possibilities of representing abstract forms like digital objects. Rose Finn-Kelceys, 'Bureau De Change', which explores the currency of the art market and surveillance, similarly, responds to constructing landscapes and forming patterns in the artist's installations; I created a virtual board game using 3D models from monopoly and QR codes that responded to 'digital tapestries', computational graphs. 

** Stills of a QR code and BTC cryptocurrency graph

**Still from my 'Bitcoin community; digital tapestry' artwork (Sketchup)

Along with my research into the work of Alighiero Boetti, I am interested in repetitive forms of craft and finding contradictions in the digital environment; particularly finding ways of creating digital habits and location-based crafts. Following on from this idea of using blockchains to prevent third-party infrastructures, this reflects a notion of organic and natural users/effects online, instead of allowing sources of information to create 'filtering' effects on the information, which blockchains appear to stop. 

Reflecting on the recent developments of my project, I found creating an iteration of my recent outcomes in the scale workshop, an interesting tool for developing my practice. Similarly, researching into interactive and virtual work has pushed my understanding of the importance of creating an environment for my bitcoin community. I began looking at archival images of stock markets and exchanges that have these really bizarre, almost other-worldly locations that simulate virtual stock shares; this environment is what I would imagine a Bitcoin competitive trading platform would look like. reflecting back on the recent workshop, I would like to create a large-scale virtual coin, which is part of my Bitcoin community simulation and place this into a built environment, in order to explore further my coin iteration. Thus, keeping my tutor feedback in mind, the projections of my virtual coin didn't communicate the IPEVO scans of money clearly, although the process of reflecting these designs on jeans was effective. In terms of the worlds current situation with the pandemic, I think exploring virtual work and technological communication during this new landscape, is an important path to undertake for my practice. I have been reading Philip E. Agre and Marc Rotenberg's, Technology and Privacy: The New Landscape, which discusses our 'negotiated relationships' with technology, specifically human mobilisation with virtual and networked-communication; although Agre wrote this collaborative piece of essays in the late '90s, the content of debate surrounding how we negotiate privacy and create whilst simultaneously feeding our 'digital persona' is as significant to this period of time as ever before.

In relation to this week's experimentations, I would like to further my interpretations of the digital coin specifically, carrying on from the scale workshop; Agre wrote, 'computerised meditations of personal identity have become so extensive that some authors speak of the emergence of a "digital persona" that is integral to the construction of the social individual (Clarke 1994)'. Our 'digital persona' has been built by communication outlets like the internet and structured the economy through digital finance, I intend to use this quote to negotiate identities in relation to virtual coins, money material in the Bitcoin community. The disposition of digital currency in this contemporary age is the focus for my project, which I intend to carry out thorough explorations of the infrastructure of the Bitcoin community and our understanding of digital objects. 

Today, I intend to develop my sketchbook in terms of communicating process and developing methods to combine my research with my process decision-making. Similarly, I think I need to add to gaps communicating the connection between my digital tapestries and the work of Boetti, as the debate I am intending to address is very complex; additionally, I need to add evidence of sketchbook work during remote learning and add analysis to research references. I think analysing my visit to see Gee's Blend Quilts at the Turner Contemporary, in relation to crypto chain graphs will reflect my decision to create a virtual Bitcoin community clearer. 

Moving forward, as my project is concerned with informing an audience, I have begun collecting work I formulated in my virtual Bitcoin community to adjust to designing a manual in order to connect research and visuals of my project so far. 

Reflecting on the last couple of days, I spent the day reviewing the work I have produced over the last couple of weeks, specifically how I have been using my sketchbook to communicate my intentions and iterations of exploring tokenisation and cryptocurrencies; which has taken a different turn due to the outbreak of Covid-19. The pandemic has impacted handling physical cash and the value of cryptocurrencies, especially Bitcoin. In response to this reflection, there were certain gaps in my sketchbook which lacked clarity, in particular prior to this review I hadn't grasped the influence Zach Blas, 'Contra-Aesthetic' had on creating work, in terms of questioning analogue currency. I intend to follow Zach Blas research by analysing a specific image still from his artwork, as this is a reoccurring motif in the development of my project; specifically the use of blue in solarisation (which is present in my Ipevo series). Considering the motif of the hand and its symbols of labour and giving, I intend to reiterate the importance of this symbol in my practice. Giving myself space to go over current and completed outcomes has been of value, as it allowed me to be more objective of my work. Thus, I found the work of Olivia Hernaiz, a contemporary artist who uses the structure of boardgames to question female artistic identity, I found the set up of Hernaiz's game influential in terms of her citing of the artwork. 

Furthermore, over the next couple of days I intend to push the outcomes of the 'digital pockets' I created which questioned analogue currency, which united current debates on the role of crypto blocks for the financial market in an environment of a pandemic. Following on from this, I have begun seeing patterns of weaving and stitching in my work, which is presented in the image printed onto a woollen jumper, the stitching of a digital coin and the pattern of veins across a hand. This again, leads back to my initial research of Zach Blas's virtual exploration of 'contra-aesthetics' and 'contra-sexuality'.

Developing digital weaving in addressing crypto blockchains and currency: 

Moving on from my discussion of readdressing the use of my sketchbook as a tool, I am continuously coming back to this idea of digital weaving and woollen objects that relate to my reading of Yuk Hui's, 'On the Existence of Digital Objects', in terms of exploring the abstract notion of digital interfaces and chains. I began using watercolour paper which picked up the texture of woollen accurately and began zooming in on the importance of the symbol of the hand. Relating back to a previous iteration, the 'digital tapestries' which began my visualisation of a Bitcoin community, a reoccurring address of material texture and using technology to explore 'craft' is at the forefront of my exploration. 

How can I use a manual format along with 3D digital renders to question the role and responsibility of digital currencies and give digital objects a meaningful 'material' role?

In addressing my initial research into the 'Anti-Web', in this current climate as a nation, we have reprogrammed ourselves to use our digital citizenship to find normality in such times. Thus, I am keen to be more meditative with my ideas in exploring counter programmes, through addressing the writing of Eric Hughes and Julian Assange. Prior from stepping back from my sketchbook and concepts, I was failing to show the importance of 'Contra-Aesthetics' in my work, particularly due to the fact that I found it difficult to give my ideas context (previously explored the stock-exchange as a possible location); moreover, the image (shown below) complies and epitomises my exploration of the digital object and the philosophy of cryptography. Besides, as my environment has changed, the Cypherpunks play a dominant role in questioning the role of the Anti-Web and the role of digital (abstract) and physical stock. Simply put by Byung Chul-Han, 'Now numbers and data are not just being absolutised - they are becoming sexualised and fetishised'. Chul-Han discusses the role of 'Dataism' in a previously referenced book 'PsychoPolitics' which refers to the new established role of fetishism concerning data mining and frequently digital objects (previously discussed in research section). Chul-Han continues, 'This amounts to nothing other than libidinal energy flowing into today's 'Quantified Self'. On the whole, dadaism is displaying libidinous - indeed, pornographic - traits. Dataists mate with their data.' This passage concerning Dataism deemed appropriate when discussing Blas's project 'Contra-aesthetics and 'Contra-Sexuality', particularly whilst I configure the recent shocking drop in Bitcoin value due to the pandemic, which probes the role of mass digital (data storing) and singular data objects (cryptocurrency) and the role of fetishism online. 

How do you navigate digital objects, in relation to commerce and cryptocurrencies, in the context of a pandemic which develops and remoulds our relationship with the 'abstract' notion of digital entities?

Developing  'currency isolation' virtual rooms using a program and designing a manual to inform the role of cryptocurrencies for my generation. 

Evaluating past work and designing a virtual 'sims' environment: 

Reflecting on the past couple of days, I have been focusing on repositioning my work into the correct, arrange contexts, for example I placed my 'Digital Tapestry' work into the context of video art, as that is the given media of the work. Due to the flat nature of using Sketchup, particularly digitally rendered work, it is important that I provide context for such work. The rendered 'Digital Tapestry' series is based off the action of performing the 'gamer', entertaining board games, which I placed specifically in a gallery space used for presenting moving image artwork. Thus, I found experimenting with the role of jeans, denim pockets, and using items of clothing to project my virtual crypto designs, success in experimenting with medias that inhabit other spaces, not just virtual areas (not that this is lacking in any way). Furthermore, after creating my 'Sims, Virtual Isolation Room', I played around with using different possible locations to perform as  a virtual architectural model, which after researching, several GIF images of business-type people evaluating models were surfaced. 

Maintaining this, I began designing a manual that would inform the future role of blockchains, specifically cryptocurrencies and how crypto trading has been effected by the current pandemic; my initial goal was to create work that informed the recent exercises of cryptocurrencies in the stock market, which is widely relevant to recent developments in handling physical cash in relation to the pandemic. Hence, going through the process of designing the manual, I found I was creating a portfolio of recent work, rather than processing the experimentations I had undertaken and using the domesticated narrative of currency in modelling the use of a manual. To such a degree, I found myself sticking to 'familiar' ways and methods of working and researching for this project, which I have been attempting to lean away from; an example of this is deciding to create a typeface from exploring the 'pocket' as an area of interest for receiving cash, however the final design didn't reflect the physical or metaphysical notion of currency. Similarly, I have previously struggled to push designs I initiate on Sketchup, although I am able to export the work as a model, a majority of the work is conceived and viewed virtually. 

Response:

**'Computer/Hand-Generated Exchange Hands'

In consideration of tying together my explorations, I have begun going through 3D generated models I 'netted' at the beginning of the project, the symbol of the hand gesturing giving and receiving has been imperative to combining my research whilst exploring the category of 'contra'. Hence, after looking through the Contextual practice presentation on provocation, predictive and proposal art making, I am keen to build an environment responding to the future of exchange using 3D emblems, specifically how exchange will be reassessed after this pandemic. 

Working title: 'Blockchains and cryptocurrencies; How virtual financial exchanges are altering our social interactions.'

(Virtual) Tutorial feedback: 

During my tutorial, we discussed the crucial area of using the next couple of weeks to engage with all material created during this project, constructing a manual in the form of an animation or video was discussed at length as an appropriate way of communicating this in-depth and at times very abstract project. Reflecting on researching the work of Olivia Hernaiz and Frederik Heyman, this reiterated my interest in creating 'virtual embalms' as a provocation to the future of cryptocurrencies and the expansive use of blockchains. In particular, I found whilst analysing Frederick Heyman, a term describing his work, '...digitally crafted memorial are curated by their subject'; an exciting way of describing a new form of 'sculptural' work that engages with model rendering and 3D landscapes to create interesting iterations. Thus, this artist analysis gave me a focus for the intention of my final work, in terms of provoking the future of contact-free exchange using the method of rendering to do so. I began selecting several environments that, as models, would represent this provocation of such major social change. Thus, this led me to think about certain methods of communicating (in finance terms) that has developed over the last decade, I focused in particular on a new system of 'voice passwords', the use of the phrase, 'My voice is my password', in order to enter your bank account. Thinking through these modifications, I intend to curate a virtual landscape that provokes the future of Bitcoin and generally cryptocurrencies. 

Furthermore, yesterday I began using a variety of landscapes to reconsider the use of certain environments to place my work, using the statue of the Bank of England in the city of London to place the virtual 'Bitcoin purse' I rendered using 3D software; thus, during my tutorial we discussed the use of a 'statue', emblem of representation, to place work in a constructed environment. In response to this, we discussed the three major factors which would support this summative artwork, included considering how the work performs and informs, how we can use them and consider the role of the 'provocation' terminology behind the work. Reiterating on the structure of the statue outside the Bank of England, this monument could possibly be the focal, virtual point of a video with one clear focus to explore the variety of physical and virtual space. Furthermore, I recently began using stock imagery to create distinction between the work I was constructing using model rendering, again, this concept could be used for a short video following the technique of animation. In order to realise these ideas completely, it's vital I use techniques tied and relating to the process and action of exchange. Thus, it would now be profitable to resolve all imagery as the nature of this project is both dense and abstract at times, therefore I intend to curate this digital space in order to provoke and experiment with this summative work. 

17/04 - All things considered, today I have been using the program 3D coat to experiment with the physical object of a single coin, in a bid to improve my knowledge of using modelling generating programs and seeking ways to explore textures like metallic silver and gold to represent the typical physical coin. I experimented with using human body parts, adapting the widths in order to represent either a gold or silver 'coin'; thus, in quite a cynical sense, body parts were physically becoming a commodity, in the form of 'change'. This one-day experiment has supported my intention with creating a digital craft. 

Using 3D Coat to generate silver and gold models emulating coins, in response to research into the remaining 8% of physical money in the world, not automated or stored on a hard drive, in comparison to the 92% of 'electronic banks'.

Creating a simulation in response to mass digitalisation, turning my work into a spinning coin. 

Process, explaining the physical action of the video: 

TEXT

VIDEO LINK: https://vimeo.com/user65420217

Collecting several renders together has been a great way to explore possible ways of visualization in terms of placing and locating my practice, in a wider sense. 

1. Richard Turley 

2. Ruohan Wang

It's Nice That organised an evening of artist talks, which was greatly useful during this period of tying together my iterations into a visualisation. Ruohan Wang was particularly engaging, in terms of her thorough inquiry into process, which was reflected in its complex form. Similarly, Richard Turley discussed at length how he was using social isolation in order to readdress his method of producing work, which I found particularly useful during this period of time. 

**Still of drawing part of 3D Sketchup Render, 'Bitcoin Isolation Room' 

Reflecting on my recent tutorial, I have begun labelling and evaluating recent renders to highlight the symbolism of each object, placed into the 'Isolation' space; recycling the IPEVO images exploring the method and physical process of playing monopoly is significant to this project. Projecting from this has reiterated the key role the 3D rendered dice plays in my work, in terms of symbolising chance and matter.

LINK             https://www.youtube.com/watch?v=5vaSbgzjBCI                                        

(audio is important)

(More imagery on 'Final Outcome' page)

'Digitalisation; The Future of Cryptocurrencies'

The four-minute digital manifesto takes the viewer around a cyclical space that ties together this research-led project; reflecting on the process of creating the manifesto, being presented with this pandemic has made me rethink my understanding of space and how my creative practice finds space within that inquiry. Thus, the audio supporting the video became very important to building the character of the renders, as I included several different audios of people either dropping, placing or carrying cash. Similarly, when constructing an appropriate sequence, similarly to a Google Maps navigation tool, I want the viewer to mentally remember the video in circular forms; the use of Google Maps to locate the Wellington statue allowed me to link these features with the exploration of the symbolism of statues and the concept of seeking a 'grounding' for digital objects. I find when reflecting on my practice, I find this area of 'unimagined' space for digital objects or the process of 'digitalisation' the most compelling due to its uncertain and undefined nature. Thus, Yuk Hui writing has been greatly influential to my interest in the 'contra' sexual and aesthetic, which were presented at the start of this project; similarly, with Richard Hughes, 'Cypherpunks' and Wikileaks, my understanding of the system and navigation of blockchains includes the major role of the third-party narrative, which is inherently empty in blockchains, unlike the tech infrastructure of the internet. 

Furthermore, reflecting on this understanding, as I began to tie these references together, I began to realise the concept of navigating and exploring cryptocurrencies (and blockchains) wasn't necessary to do with defining this system but rather locate and construct an environment that located these explorations. Last week, I created several spinning models on 3D Coat, including videos of several rendered spaces I modelled previously, and similarly to my final outcome, used the motion of circling an object to communicate the abstract form and structure blockchains take. Once I reflected on this work in my tutorial, I began creating an edited version of the original video and began using the Wellington statue in the financial district, as a method of locating my practice. 

https://www.youtube.com/watch?v=5vaSbgzjBCI 

Websites: 

https://www.artmarket.guru/le-journal/blockchain/blockchain-companies/

https://cointelegraph.com/bitcoin-for-beginners/how-can-i-buy-bitcoins

https://www.forbes.com/sites/cbovaird/2020/02/11/is-the-bitcoin-market-becoming-more-stable/#1a3753b220fc

https://www.activism.net/cypherpunk/manifesto.html

https://www.moma.org/calendar/exhibitions/1221

https://turnercontemporary.org/whats-on/we-will-walk/

https://edition.cnn.com/2020/03/07/tech/mobile-payments-coronavirus/index.html

https://www.wsj.com/articles/as-coronavirus-spreads-should-you-have-more-cashor-less-11583946881

https://i-d.vice.com/en_uk/article/jgeb4b/paul-b-preciado-one-day-well-see-assigning-gender-at-birth-as-brutal?utm_medium=Social&utm_source=Facebook&Echobox=1584095327&fbclid=IwAR2JLaxqEtrWDcUWG5-RuTJ-vZ3w1g4kancJxixu7uErb0GjxoY1cSXMtFc#fbclid=Echobox

https://cointelegraph.com/news/crypto-traders-explain-what-caused-the-bitcoin-price-plunge-to-3-000

https://www.forbes.com/sites/cryptoconfidential/2020/03/15/bitcoins-coronavirus-crash-blockchain-in-a-pandemic/#504356732a5b

https://rammuseum.org.uk/about-ramm/ramms-150th-anniversary/bedwyr-williams-phizogs/

Essays:

http://moussemagazine.it/zach-blas-contra-internet-art-general-new-york-2018/

http://moussemagazine.it/tishan-hsu-hera-chan-2020/

https://www.e-flux.com/journal/76/69732/if-you-don-t-have-bread-eat-art-contemporary-art-and-derivative-fascisms/

http://users.uoa.gr/~cdokou/HarawayCyborgManifesto.pdf

http://worker01.e-flux.com/pdf/article_69732.pdf

https://www.e-flux.com/journal/76/69732/if-you-don-t-have-bread-eat-art-contemporary-art-and-derivative-fascisms/

videos/interviews:

https://www.eff.org/speaking-freely/evan-greer

https://www.bbc.co.uk/programmes/p07nkd84/episodes/downloads

 https://insights.som.yale.edu/insights/is-cryptocurrency-really-new-idea

https://www.youtube.com/watch?v=5ePYVM7ygUc

https://www.youtube.com/watch?v=CNsIror9iRI

https://www.youtube.com/watch?v=QCRIcrja-Zs

https://goldsmithscca.art/channel/cca-streams-bedwyr-williams/