<html><head><meta http-equiv="Content-Type" content="text/html; charset=utf-8"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;" class=""><div class="" style="margin: 0cm 0cm 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif;"><strong class=""><span class="" style="font-family: Colibri; color: rgb(32, 32, 32);">MoneyLab #8</span></strong><b class=""><span class="" style="font-family: Colibri; color: rgb(32, 32, 32);"><br class=""><strong class="">Minting a Fair Society</strong></span></b><strong class=""><span class="" style="font-family: Colibri;"><o:p class=""></o:p></span></strong></div><div class="" style="margin: 0cm 0cm 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif;"><span class="" style="font-family: Colibri; color: rgb(29, 33, 41); background-color: white;">LIVE STREAMING SERIES</span><span class="" style="background-color: white;"><o:p class=""></o:p></span></div><div class="" style="margin: 0cm 0cm 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif;">11 May – 29 June 2020<o:p class=""></o:p></div><div class="" style="margin: 0cm 0cm 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif;"><span class="" style="font-family: Colibri;"><a href="https://aksioma.org/moneylab8" class="" style="color: rgb(5, 99, 193);">https://aksioma.org/moneylab8</a><o:p class=""></o:p></span></div><div class="" style="margin: 0cm 0cm 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif;"><o:p class=""> </o:p></div><div class="" style="margin: 0cm 0cm 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif;">STREAM #8 / <b class="">Monday, 29 June 2020 at 5 pm CET<o:p class=""></o:p></b></div><div class="" style="margin: 0cm 0cm 0.0001pt;"><font face="Calibri, sans-serif" class=""><span style="font-size: 14.666666984558105px;" class=""><b class=""><i class="">Value extraction and the workforce of the cryptoscene</i></b></span></font></div><div class="" style="margin: 0cm 0cm 0.0001pt;"><font face="Calibri, sans-serif" class=""><span style="font-size: 11pt;" class="">With <o:p class=""></o:p></span><span style="font-size: 14.666666984558105px;" class="">Martín Nadal, César Escudero Andaluz, Telekommunisten, Sašo Sedlaček, Nascent</span></font></div><div class="" style="margin: 0cm 0cm 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif;">Moderated by Aude Launay<o:p class=""></o:p></div><div class="" style="margin: 0cm 0cm 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif;">+ <strong class=""><span class="" style="font-family: Colibri; font-weight: normal;">You are kindly invited to share your comments and questions trough the live chat!</span></strong><o:p class=""></o:p></div><div class="" style="margin: 0cm 0cm 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif;"><o:p class=""> </o:p></div><div class="" style="margin: 0cm 0cm 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif;"><p class="">Value is classically said to stem
from human labor, and money to represent this value. Although those
theories have been made obsolete by, among other things, the
subjectivization of value which opened the door to the narratives of
financialization, the idea that value should be objectively linked to
the steps of its production endures in our economic imaginaries. Whether
‘labor was the first price, the original purchase-money that was paid
for all things’ or whether its value was indexed to the profit derived
from it—the consequences of which we can see now more clearly than ever
when it comes to the wages of ‘essential workers’—the production of
value with regards to labor still stands as one of the most pressing
issues of the digital evolution.</p><p class="">It
is interesting to bear in mind that, in the Western European region,
work doesn’t seem to have been socially valued until relatively
late—around the 18th century—but has then been largely glorified by the
nascent modern education system of the 19th century. An activity
traditionally devalued, or even at times condemned, since antiquity,
work was then opposed to the spiritual meaning of life (and actually, to
military activites too). Human beings were to find self-fulfillment
with <i class="">otium</i> (meditation, reflection, poetry and politics…)—or war—, and not with its negation, <i class="">negotium</i> (trade, business…).</p><p class="">After centuries of direct workers exploitation, the late 20th century saw <i class="">otium</i> and <i class="">negotium </i>merge in
a new knowledge economy that extracted value from intellectual and
cultural work. What some view as a path towards a sort of ‘dotCommunism’
unfortunately mostly led to a ‘data is the new oil’ state of mind. The
situation and the history that produced it are of course more complex
and it’s an attempt at mapping them through the lense of the
massification of interest in cryptography that <b class="">Martín Nadal and Cesar Escudero Andaluz</b> propose with <i class="">Economy, Knowledge and Surveillance in the Age of the Cryptocene.</i></p><p class="">Not only did data extraction turn each and every internet user into an unwitting worker<i class=""> by </i>turning<i class=""> otium </i>into <i class="">negotium</i>,
but it is also heavily damaging everyone’s attention capacity to the
point of seriously reducing our critical thinking ability. This is the
question addressed by <i class="">Ishtar Gate</i>, a blockchain-based micro-economy-in-the-arts platform devised by the writer and visual theorist Penny Rafferty together with <b class="">Nascent</b>,
designed to reward the reading of critical content and its comment with
tokens exchangeable in real life. One step further in this return to
valuing <i class="">otium</i>, <b class="">Sašo Sedlaček</b> turns some data extraction technologies—such as real-time pose estimation—against themselves, and allows the users of its <i class="">Oblomo</i>
platform to mine cryptocurrencies while standing still, and to exchange
the product of those physically inactive moments for the workforce of
other people willing to, for instance, mow your lawn or wash your car.
And what if, in this age of ever-expanding automation, we could evaluate
the machinic workforce and
transmit it through a currency? Embedding the classical labor value
theory in a rational digital cryptocurrency, the <i class="">Haket </i>designed by <b class="">Telekommunisten</b> is intended as a criticism of the Bitcoin architecture and as way to rethink it as a stable currency thus usable as a currency.</p></div><div class="" style="margin: 0cm 0cm 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif;"><o:p class=""> </o:p></div><div class="" style="margin: 0cm 0cm 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif;"><span lang="IT" class="" style="font-family: Colibri;">----------------------------------------------------------------------------------------------------------------------------------------<o:p class=""></o:p></span></div><div class="" style="margin: 0cm 0cm 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif;"><b class=""><span class="" style="font-family: Colibri;">Follow the programme here:<o:p class=""></o:p></span></b></div><div class="" style="margin: 0cm 0cm 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif;"><span class="" style="font-family: Colibri;">FB event > <a href="https://www.facebook.com/events/527075734629065/" class="" style="color: rgb(5, 99, 193);">https://www.facebook.com/events/527075734629065/</a><o:p class=""></o:p></span></div><div class="" style="margin: 0cm 0cm 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif;"><span lang="IT" class="" style="font-family: Colibri;">Telegram > <a href="https://t.me/aksiomaorg" class="" style="color: rgb(5, 99, 193);">https://t.me/aksiomaorg</a><o:p class=""></o:p></span></div><div class="" style="margin: 0cm 0cm 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif;"><span lang="IT" class="" style="font-family: Colibri;">----------------------------------------------------------------------------------------------------------------------------------------<o:p class=""></o:p></span></div><div class="" style="margin: 0cm 0cm 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif;"><span lang="IT" class="" style="font-family: Colibri;"> </span></div><div class="" style="margin: 0cm 0cm 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif;"><strong class=""><span class="" style="font-family: Colibri; color: rgb(32, 32, 32); font-weight: normal;">Organised and produced by:</span></strong><b class=""><span class="" style="font-family: Colibri; color: rgb(32, 32, 32);"> </span></b><span class="" style="font-family: Colibri; color: rgb(32, 32, 32);">Aksioma – Institute for Contemporary Art, Ljubljana, 2020<br class=""><strong class=""><span class="" style="font-weight: normal;">For the series:</span></strong><strong class=""> </strong><a href="https://aksioma.org/tactics.practice/" target="_blank" class="" style="color: rgb(5, 99, 193);"><em class=""><span class="" style="color: rgb(0, 124, 137);">Tactics & Practice</span></em></a><br class=""><strong class=""><span class="" style="font-weight: normal;">In the frame of:</span></strong><strong class=""> </strong><a href="https://kons-platforma.org/" target="_blank" class="" style="color: rgb(5, 99, 193);"><em class=""><span class="" style="color: rgb(0, 124, 137);">konS</span></em></a> – Platform for Contemporary Investigative Art<br class=""><strong class=""><span class="" style="font-weight: normal;">In collaboration with:</span></strong><strong class=""> </strong><a href="https://www.kinosiska.si/en/" target="_blank" class="" style="color: rgb(5, 99, 193);"><span class="" style="color: rgb(0, 124, 137);">Kino Šiška – Centre for Urban Culture</span></a> and <a href="https://www.kinosiska.si/en/" target="_blank" class="" style="color: rgb(5, 99, 193);"><span class="" style="color: rgb(0, 124, 137);">Institute of Network Cultures</span></a> / Amsterdam University of Applied Sciences<br class=""><strong class=""><span class="" style="font-weight: normal;">In partnership with:</span></strong><a href="https://rijeka2020.eu/en/" target="_blank" class="" style="color: rgb(5, 99, 193);"><span class="" style="color: rgb(0, 124, 137);"> Rijeka ECoC 2020</span></a> and <a href="https://www.ufg.at/Master-Programme.1594+M52087573ab0.0.html" target="_blank" class="" style="color: rgb(5, 99, 193);"><span class="" style="color: rgb(0, 124, 137);">Interface Cultures Department</span></a> / Kunstuniversität Linz<br class=""><strong class=""><span class="" style="font-weight: normal;">Media partners:</span></strong> Neural magazine, We Make Money Not Art, TAM-TAM, Radio Študent</span><o:p class=""></o:p></div><div class="" style="margin: 0cm 0cm 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif;"><strong class=""> </strong></div><div class="" style="margin: 0cm 0cm 0.0001pt; font-size: 11pt; font-family: Calibri, sans-serif;"><span class="" style="font-family: Colibri; color: rgb(32, 32, 32);">The project <em class="">konS</em> – Platform for Contemporary Investigative Art was chosen on the public call for the selection of the operations “Network of Investigative Art and Culture Centres”. </span><o:p class=""></o:p></div><p class="MsoNormal" style="margin: 0cm 0cm 12pt; font-size: 11pt; font-family: Calibri, sans-serif;"><span class="" style="font-family: Colibri; color: rgb(32, 32, 32);">The investment is co-financed by the Republic of Slovenia and by the European Regional Development Fund of the European Union.</span></p></body></html>