Join us in London at the DAOWO ‘Blockchain & Art Knowledge Sharing Summit’
DAOWO (Distributed Autonomous Organisations With Others) Summit UK facilitates cross-sector engagement with leading researchers and key artworld actors to discuss the current state of play and opportunities available for working with blockchain technologies in the arts. Whilst bitcoin continues to be the overarching manifestation of blockchain technology in the public eye, artists and designers have been using the technology to explore new representations of social and cultural economies, and to redesign the art world as we see it today.
Discussion will focus on potential impacts, technical affordances and opportunities for developing new blockchain technologies for fairer, more dynamic and connected cultural ecologies and economies.
9.30 Welcome and Scene Setting
State of the Arts: Blockchain’s Impact in 2019 and Beyond | A comprehensive overview of developments from critical artistic practices and emergent blockchain business models in the arts. DAOWO Arts and Blockchain pdf download (Catlow & Vickers 2019).
Presentation and hosted discussion with Ruth Catlow and Ben Vickers
10.45 Protecting the Rights of Indigenous Australian Artists. What part can Blockchain technologies play?
The Copyright Agency, Australia in conversation with Mark Waugh, DACS UK
11.30 Towards a Decentralised Arts Economy
The launch of Zien, the new dApp for artists will be followed by a presentation and panel discussion with Peter Holsgrove, and artists of A*NA around the implications of tokenising artistic practices.
12.15 Digital Catapult panel
12.45 Wrap up, takeaways and final discussion
Ruth Catlow, Ben Vickers & Mark Waugh
Ruth Catlow Co-founder of Furtherfield & DECAL Decentralised Arts Lab
Peter Holsgrove, Founder of A*NA
Ben Vickers, CTO Serpentine Galleries, Co-founder unMonastery
Mark Waugh, Business Development Director DACS
Through two UK summits, the DAOWO programme is forging a transnational network of arts and blockchain cooperation between cross-sector stakeholders, ensuring new ecologies for the arts can emerge and thrive.
DAOWO Summit UK is a DECAL Decentralised Arts Lab initiative – co-produced by Furtherfield and Serpentine Galleries in collaboration with the Goethe-Institut London. This event is realised in partnership DACS, UK.
Furtherfield has worked with decentralised arts and technology practices since 1996 inspired by free and open source cultures, and before the great centralisation of the web.
10 years ago, blockchain technologies blew apart the idea of money and value as resources to be determined from the centre. This came with a promise, yet to be realised, to empower self-organised collectives of people through more distributed forms of governance and infrastructure. Now the distributed web movement is focusing on peer-to-peer connectivity and coordination with the aim of freeing us from the great commercial behemoths of the web.
There is an awkward relationship between the felt value of the arts to the majority and the financial value of arts to a minority. The arts garner great wealth, while it is harder than ever to sustain arts practice in even the world’s richest cities.
In 2015 we launched the Art Data Money programme of labs, exhibitions and debates to explore how blockchain technologies and new uses of data might enable a new commons for the arts in the age of networks. This was followed by a range of critical art and blockchain research programming:
Working with leading visionary artists and thinkers, DECAL opens up new channels between artworld stakeholders, blockchain and web3.0 businesses. Through the lab we will mobilise research and development by leading artists, using blockchain and web 3.0 technologies to experiment in transnational cooperative infrastructures, decentralised artforms and practices, and improved systems literacy for arts and technology spaces. Our goal is to develop fairer, more dynamic and connected cultural ecologies and economies.
For more see our Art and Blockchain resource page.
Artists Organise (on the blockchain) was the fourth event in the DAOWO blockchain laboratory and debate series for reinventing the arts, in collaboration with Goethe Institut London.
In this special event, hosted by Drugo more in Rijeka we learned from the Croatian cultural context before envisioning, devising and testing alternative forms of blockchain-based cultural production systems, for application at Furtherfield in London.
We talked with Davor Miskovic about Clubture, the non-profit initiative that has distributed national cultural funding between a network of peers in Croatia since 2002 according to decentralised, participatory principles.
Workshop participants then took Julian Oliver’s Harvest, in which “wind energy is used to mine cryptocurrency to fund climate research”, as their focus for new proposals for blockchain-based projects to connect park-based arts venues with their local communities. Then they took turns to perform the role of a select committee of skeptical park stakeholders who wanted to know how park users would benefit from the scheme in a time of cuts to public funding and climate change.
Read the semi-fictional Minutes of the Bunsfury Park Stakeholders Group Select Committee
This special event, devised by Ruth Catlow and Max Dovey, and hosted by Drugo more formed part of a wider programme events in Rijeka to accompany the opening at Filodrammatica Gallery of the touring exhibition New World Order.
Thanks to all participants!
We are delighted to share with you our Spring season of art and blockchain essays, interviews and events, offering a wide spread of exploration and critique.
The blockchain is an evocative concept, but progress in ideas of cryptographic decentralisation didn’t stop in 2008. It’s helpful for artists to get a sense of the plasticity of new technical media. So first we are pleased to share with you Blockchain Geometries a guide by Rob Myers to the proliferation of blockchain forms, ideas and their practical and imaginative implications.
In Moods of Identification Emily Rosamond writes her response to our second DAOWO workshop, Identity Trouble (on the blockchain). She reflects on both ongoing attempts to reliably verify identity, and continuing counter-efforts to evade such verifications.
Mat Dryhurst and Holly Herndon speak here with Marc Garrett in an interview republished from our book with Torque Editions Artists Re:Thinking the Blockchain (2017). Mat and Holly convey a sense of excitement about developments and opportunities for new forms of decentralised collaboration in music.
Finally you can book your place on future events at the DAOWO blockchain laboratory and debate series for reinventing the arts.1 Download the DAOWO Resource #1 for key learnings, summaries of presentations, quotes, photographs, visualisations, stories and links to videos, audio recordings and much more from our first two events about developments in the arts and the trouble with Identity.
The blockchain is 10 years old and is surrounded with a hype hardly seen since the arrival of the Web. We’d like to see more variety in the imaginaries that underpin blockchains and the backgrounds of the people involved because technologies develop to reflect the values, outlooks and interests of those that build them.
Artists have worked with digital communication infrastructures for as long as they have been in existence, consciously crafting particular social relations with their platforms or artwares. They are also now widely at work in the creation of blockchain-native critical artworks like Clickmine by Sarah Friend2 and Breath (BRH) by Max Dovey, Julian Oliver’s cryptocurrency climate-change artwork, Harvest (see featured image) and 2CE6… by Lars Holdhus3, to name but a few.
By making connections that need not be either utilitarian nor profitable, artists explore potential for diverse human interest and experience. Also, unlike on blockchains, where time moves inexorably forward (and only forward) – fixing the record of every transaction made by its users, into its time slot, in a steady pulse, one block at a time – human imaginative curiosity can scoot, meander and cycle through time, inventing and testing, intuiting and conjuring, possible scenarios and complex future worlds. They allow us to inhabit, in our imaginations, new paradigms without unleashing actual untested havoc upon our bodies and societies.
Back in 2008 the global banking system was bailed out by governments with tax payers’ money. Meanwhile a 15 year explosion of web-inspired, decentralised, mutualist-anarchist DIWO (Do It With Others)-style cultural actions and practices ebbed (though its roots remain and go deep). The global network of human attention and resources were, by this time, well and truly re-centralised. The “big five” now owned, and often determined, our communication and expression. Post-Internet artists rejected platform-building as a social artform and instead, took as their materials, lives mediated through social media and corporate owned platforms. Some dived into the marketing vortex, to revel and participate in the heightened commodification of art.
With the introduction of the blockchain protocol on the Internet we see a reversed direction of travel in the artworld, with major developments coming more quickly from the businesses of art, which reassert art’s primary status as an asset class, than from those artists experimenting with new forms of experience and expression enabled by its affordances. Now intermediaries of art world business are moving into blockchains (also sometimes called the “Internet of money”) with a focus on provenance, authentication, digital arts made scarce again with IP tracking, fractional ownership, securitisation and auction4. It is blockchains for art, any art, as long as that art can be owned and commodified. This may be seen as a good thing, generating and distributing increased revenues to ‘starving artists’. Also perhaps inevitable, as that which cannot be owned is hard to represent on a blockchain ledger.
In his new book Reinventing democracy for the digital condition, (2018) Felix Stalder notes that people are increasingly actively (voluntarily and/or compulsorily) participating in the negotiation of social meaning through the “referentiality, communality, and algorithmicity, […] characteristic cultural forms of the digital condition”. In 2015 the Ethereum blockchain launched with a new layer that could run “smart contracts”, pieces of code which act as autonomous agents, performing the function of a legal agreement without the interference of a corruptible or fallible human5. These can be combined to perform as blockchain-based companies called Distributed Autonomous Organizations (DAOs) and there are a plethora of blockchain implementations and political agendas now developing. How these unfurl will affect our ability to relate to each other, to deliberate, decide and cooperate with each other as individuals, organisations and societies.
So for us the promise lies in platform-building: by-and-for communities of experimental artists (in the expanded sense of the word), participants and audiences who want to create not just saleable or tradeable art objects6 but artworks that critique the relationship between art and money, and expand the contexts in which art is made and valued.
‘AltCoins, cryptotokens, smart contracts and DAOs [Digital Autonomous Organisations] are tools that artists can use to explore new ways of social organisation and artistic production. The ideology and technology of the blockchain and the materials of art history (especially the history of conceptual art) can provide useful resources for mutual experiment and critique’ – Rob Myers7
While FairCoin (being rolled out by FairCoop with the Catalan Integral Cooperative) puts new forms of decentralised social organisation into practice on the ground, blockchain based art projects such as Terra0 and Plantoid by O’khaos offer examples of governance systems and invite us to critically “imagine a world in which responsibility for many aspects of life (reproduction, decision-making, organisation, nurture, stewardship) are mechanised and automated.”8 Both artworks demonstrate functioning systems and help us to think through how we might determine and distribute artistic (and other) resources, their value, and the rules for their co-governance for the kinds of freedoms, commonalities and affiliations that are important for the arts.
It may take a while. What to value and how to value it is a particularly tangled question. The technical infrastructure of the blockchain is at the stage of development that the Web was at in the early 90s (blockchain technologies are less forgiving, require deeper programming knowledge and are therefore more expensive to build than web pages or platforms) which, along with the get-rich-quick vibe of non-community-platform projects, might be why there are still so few community platforms actually in operation. Resonate.is the cooperatively owned music streaming service is an inspiration in this regard. It is a platform for musicians – creators and listeners – that opens up the governance of its resources to everyone who has ever created or listened to its music. It demonstrates one way in which a DIWO ethos might work.
Helen Kaplinsky is exploring how to bootstrap to the blockchain, Maurice Carlin’s Temporary Custodians project which realises an alternative system of peer2peer art ownership and stewardship at Islington Mill9.
Three preoccupations dominate 2018 New Year blogs and commentary that mark the blockchain’s 10th anniversary: blockchains as cash cults; doubts about the actual utility of blockchains and; the environmental impact of Bitcoin (still, erroneously interchangeable with the blockchain in the minds of lots of people). We add to these our concern about the intensification of control enabled by these infrastructures, AND the simultaneous conviction (shaped by deep collaborations and hard criticisms over the last years) that blockchains have the potential to enable and stimulate new forms of social organisation, resource distribution and collaboration in the arts.
The first two preoccupations match exactly the commentary surrounding the early days of the Web and we know how that turned out. The remaining concerns are grist to the mill of our ongoing programme of publications, films, exhibitions and events. The technologies are only now stabilising to allow more grass-roots infrastructural developments.
We invite you to bring your own lens of constructive critique, gather a crowd to debate and explore how we might pull blockchains into art, on the arts’ own terms, and to gain an understanding of why it is worthwhile.
If you’re interested in Furtherfields critical art and blockchain programmes with various individuals, groups and partners since 2015. You could check out how it all started, watch our short film, read this book, visit this exhibition, or archives and documents of previous exhibitions10, 11, read reviews and debate, and join us at our ongoing DAOWO blockchain lab series, devised with Ben Vickers (Serpentine Galleries) in collaboration with the Goethe-Institut London, and the State Machines programme12
This essay is a response to Identity Trouble (on the blockchain), the second in the DAOWO lab series for blockchain and the arts. Rosamond reflects on both ongoing attempts to reliably verify identity, and continuing counter-efforts to evade such verifications.
Online transactions take place in a strange space: one that blurs the distinctions between the immediate and the remote, the intimate and the abstract. Credit card numbers, passing from fingers to keyboards to Amazon payment pages, manage complex relations between personal identity and financial capital that have been shifting for centuries. Flirtations on online dating platforms – loosely tied to embodied selves with a pic or two and a profile – constitute zones of indistinction between the intimate spheres of the super-personal, and hyper-distributed transnational circuits of surveillance-capital. Twitter-bot invectives mix with human tweets, swapping styles – while all the while bot-sniffing Twitter bots try to distinguish the “real” from the “fake” voices1. Questions of verification – Who is speaking? Who transacts? – proliferate in such spaces, take on a new shape and a shifted urgency.
How does personal identity interface with the complex and ever-changing technical infrastructures of verification? How is it possible to capture the texture of “identity trouble” in online contexts today? The second in the DAOWO event series, “Identity Trouble (on the blockchain),” addressed these questions, bringing together a range of artists, developers and theorists to address the problems and potentials of identification, using technical apparatuses ranging from blockchain, to online metrics, to ID cards and legal name changes. The day included reflections on both ongoing attempts to reliably verify identity, and continuing counter-efforts to evade such verifications.
Before going into the day in any detail (and at the risk of going over some already well-trodden ground), I want to try to piece together something which might – however partially – address the deeper histories of the problems we discussed. Of course, identity was an elusive concept long before the internet; and the philosophical search to understand it has run parallel to a slow evolution in the technical and semiotic procedures involved in its verification. In fact, seen from one angle, the period from the late nineteenth century to present can be understood as one in which an increasing drive to identify subjects (using photo ID cards, fingerprints, signatures, credit scores, passwords, and, now, algorithmic/psychometric analysis based on remote analysis of IP address activity) has been coupled with a deep questioning of the very concept of identity itself.
On the one hand, as John Tagg describes, in the second half of the nineteenth century, the restructuring of the nation-state and its disciplinary institutions (“police, prisons, asylums, hospitals, departments of public health, schools and even the modern factory system itself”2), depended on creating new procedures for identifying people. This involved, among other things, yoking photography to the evidentiary needs of the state – for instance, through Alphonse Bertillon’s anthropometric identity card system, invented in 1879 and adopted by French police in the 1880s. The identity cards, filed by police, included suspects’ photographs and measurements, and helped them spot repeat offenders.
This impulse to identify, it seems, has only expanded in recent times, given the proliferation of biometric and psychometric techniques designed to pin down persons. On the biometric end of this spectrum, retinal scans, biometric residence permits and gait recognition technologies manage people’s varying levels of freedom of movement, based on relatively immutable bodily identifiers (the retina; the photographic likeness; the fingerprint; the minute particularities of the gait). On the psychometric end of the spectrum, private companies calculate highly speculative characteristics in their customers by analysing their habits – such as “pain points.” The American casino chain Harrah’s, for instance, pioneered in analysing data from loyalty cards in real time, to calculate the hypothetical amount of losses a particular gambler would need to incur in order to leave the casino. The pain point – a hypothetical amount of losses calculated by the company, which may be unknown to the customer herself – then provided the basis for Harrah’s’ real-time micro-management of customer emotion, enabling them to send “luck ambassadors” out onto the floor in real time to boost the spirits of those who had a bad day 3.
On the one hand, then, identification apparatuses have become ever more pervasively intertwined with the practices of daily life in industrialized societies since the latter half of the nineteenth century; this produced new forms of inclusion and exclusion of “exceptional” subjects within various institutional regimes. On the other hand, just as the technical and semiotic procedures associated with verifying identity were proliferating and becoming ever harder to evade, modern and postmodern thinkers were deeply questioning what, exactly, could possibly be identified by such procedures – and why identity had become such a prominent limiting condition in disciplinary societies. James Joyce’s character Stephen Dedalus marvels at the lack of cellular consistency in the body over a lifetime. While an identifying trait, such as a mole on the right breast, persists, the cells of which it is made regenerate repeatedly. (“Five months. Molecules all change. I am other I now.” 4) How, then, can debts and deeds persist, if the identificatory traits to which they are indexed are intangibly inscribed in an ever-changing substrate of cellular material?
In the mid-twentieth century, Foucault and Barthes deeply questioned the limitations identity imposed on reading and interpretation. Why, for instance, need authorship play such a prominent role in limiting the possible interpretations of a text? “What difference does it make who is speaking?” 5
In ’nineties identity discourse, theories of difference became particularly pronounced. Cultural theorists such as Stuart Hall radically questioned essentialist notions of cultural identity, while nonetheless acknowledging the political and discursive efficacy of how identities come to be narrated and understood. Hall and others advocated for a critical understanding of identity that emphasized “not ‘who we are’ or ‘where we came from’, so much as what we might become, how we have been represented and how that bears on how we might represent ourselves. Identities are… constituted within, not outside representation.” 6
On the one hand – so I have said – myriad technical apparatuses have aimed to ever more reliably capture and verify identity. On the other hand, myriad critical texts have questioned identity’s essentialist underpinnings. But today, these lines have become blurred. The anti-identitarian mood permeates technical landscapes, too – not just theoretical ones. Fake IDs, identity theft, and other obfuscations have grown ever more complex alongside apparatuses for identification; indeed, such fakeries have both emerged in response to, and driven yet further developments in technologies for identity verification. The frontiers of identification are ever-changing; each attempt to improve technologies for verifying identity, it seems, eventually provokes the invention of new techniques for evading those verifications.
At the inherently uncertain point of contact between person and online platform, new forms of anti-identifications are practiced – invented or adapted from previous stories. In one bizarre example from 2008, a Craigslist advert posted in Monroe, Washington requested 15-20 men for a bit of well-paid maintenance work. The men were to turn up at 11:15 am in front of the Bank of America, wearing dark blue shirts, a yellow vest, safety goggles and surgical masks. As it turned out, there was no work to be had; instead, the men had been summoned to acts as decoys for a robbery – a squid-ink trail of similarity to help the thief escape. The idea, though inventive, wasn’t entirely original; it was described by police as a possible copycat of the plot in the film The Thomas Crown Affair (1999) 7.
Today, the anti-identitarian mood has spread far beyond small-scale manoeuvers like this. Multiple large-scale data breaches – such as the recent Equifax breach, which compromised the data of over 145 million customers 8 – have put a cloud over the veracity of millions of people’s online identities. The anti-identitarian mood becomes broad, pervasive, and generalized in data-rich, security-compromised environments. It becomes a kind of weather – a storm of mistrust that gathers and subsides on the level of infrastructures and populations.
Such are some of the complexities that the DAOWO speakers had to contend with. At the Goethe Institute, we thought through some of the ways in which identities are being newly constituted within representation – ways that might, indeed, answer to the technical and philosophical problems associated with identification. Backend developer Thor Karlsson led us through his company Authenteq’s quest to provide more reliable online identity verification. Citing the ease with which online credit card transactions can be hacked, and with which fake accounts proliferate, Karlsson described Authenteq’s improved ID verification process – a digital biometric passport, using blockchain as its technical basis. Users upload a selfie, which is then analysed to ensure that it is a live image – not a photograph of a photograph, for instance. They also upload their passport. Authenteq record their verification, and return proof of identity to users, on the BigChainDB blockchain.
A hashing algorithm ensures that users can be reliably identified, without a company having to store any personal information about them. Authenteq aims to support both identity claim verifications and KYC (Know Your Customer) implementations, allowing sites to get the information they need about their users (for instance, that they are over 18 for adults-only sites) without collecting or storing any other information about them. Given how much the spate of recent large-scale data breaches has brought the storage of personal data into question, Authenteq’s use of blockchain to circumvent the need to store personal data promises a more secure route to verification without revealing too much of personal identity.
Nonetheless, while Karlsson and Authenteq were optimistic that they can make meaningful improvements in online identification processes, other provocations focused on the potential problems associated with such attempts at identification – on the protological level, on the level of valuation, and on the level of behaviour-as-protocol. Ramon Amaro delivered an insightful critique of blockchain and the problem of protological control. There is no such thing as raw data – inputs are always inflected by social processes. Further, the blockchain protocol relies heavily on consensus (with more focus on consensus than on what, exactly, is being agreed upon) – which reflects a need to protect assets (including identity) and oust enemies that is, ultimately, a capitalist one. Given this, how can identity manoeuver within the blockchain protocol, without always already being part of a system that is based on producing inclusions and exclusions – drawing lines between those who can and cannot participate?
My own contribution focused on systemic uncertainty in the spheres of personal valuation, looking at online reputation. In a world in which online rankings and ratings pervade, it seems that there is a positivist drive to quantify online users’ reputations. Yet such apparent certainty can have unexpected effects, producing overall systemic volatility. At the forefront of what I call “reputation warfare,” strategists such as Steve Bannon invent new ways to see systemic reputational volatility as a source of value itself, producing options for the politicians they represent to capitalize on the reputational violence produced on sites like 4chan and 8chan.
While these contributions reflected on some of the critical problems associated with pinning down identity’s value, some of the artists’ contributions for the day focused on the ludic aspects of identity play. Ed Fornieles’ contribution focused on the importance of role play as a practice of assuming alternate identities. In his work, this involves thinking of identity as systemic, not individual – and considering how it might be hacked. In many of Fornieles’ works, this involves focusing attention on the relation between identity and the platforms on which they are played out. Behaviour becomes a kind of protocol; role play becomes a reflection on strands of behaviour as protocol.
We ended the day with a screening and discussion of My Name is Janez Janša (2012), a film by three artists who, in 2007, collectively changed their names to Janez Janša, to match that of the current president of Slovenia. The film, an extended meditation on the erosion of the proper name as an identifier, catalogued many instances of ambiguity in proper names – from the unintended (an area of Venice in which huge numbers of families share the same last name) to the intentional (Vaginal Davis on the power of changing names). It also charted reactions to the three artists’ act of changing their name to Janez Janša. What seemed to confound people was not so much that their names had been changed, but rather that the intention of the act remained unclear. In the midst of today’s moods of identification, there are high stakes – and many clear motives – for either obscuring or attempting to pinpoint identity. Given this, the lack of clear motive for identity play seems significant; by not signifying, it holds open a space to rethink the limits of today’s moods of identification.
The DAOWO programme is devised by Ruth Catlow and Ben Vickers in collaboration with the Goethe-Institut London, and the State Machines programme. Its title is inspired by a paper written by artist, hacker and writer Rob Myers called DAOWO – Decentralised Autonomous Organisation With Others