Jett Strauss
jettstrauss@gmail.com
New York / New Jersey
Lake of Like
Estimated Prophet
      (computers are the new LSD)

Lust for Coherence
Atlanta Ladies Monument Association
Alpine Lounge
Consolation from Paradise
We'll All Be Money Market Managers
Adaptation and Critique
Ribbon in the Sky
Home of the 99 Percenters
Wish Slow

Info

monoscopic vr video

watch in 8k

2020

narration
sedrick chisom

music
anonymous and jett strauss

bibl.
edward lipuma and benjamin lee
wendy hyu kyong
bifo
kittler
virilio
flaubert

There is a probably infinite network of images, with seemingly no pattern, completely disparate and aleatory. I can only see an very small fraction of it on my screen at any given moment. While contemplating the history of imaging technology in comparison and in conjunction with major financial market events and financial tools one might notice similar graphs and trajectories.

We think of trading— retail trading, algo-trading, the development of derivative instrument—and in these practices, the use of visualization of abstraction and complexity as a tool for success. Developers of derivatives actually analyze the physics and imagery of particle accelerators and particle collisions to help quantify abstract risk.

As our digital imagery becomes more and more real, so too are we more and more convinced in the ‘realness’ of virtual capital. This is to say that reality is never simply given and is always generated by the technologies and modes of development of a society at any given moment of its history. One refers to reality (that which is produced by the spectacle) instead of the real.

As we trace the seam of the joining of symbol and the referent in various historical art -ism’s, we see the stitches begin to fray and become fraught with detachment. This is the same with financial instruments and their assets. The asset-backed security has been 'liberated' from the burden of the actual value of the asset via the connective wagering on many moving parts. The result was an enormously complex and opaque instrument, the derivative.

There is a kind of telescopic process in which the electronic media reduce extremely complex local realities to encapsulating images that become instantaneously global — violence initiated by ISIS in Turkey, marches by workers in Thailand and South Korea protesting against the government's labor policies, the uncontrolled spread of AIDS in the Kwa Zulu Natal province of South Africa, revolutionary activity throughout rural Colombia. The culture of the financial markets, animated by Western ideology, turns each of the circulated images into a universal icon of a certain species of locality.

The markets then affix specific and different sets of summary images to each locality in an effort to quantify the counter party risk inherent in its politics…And in this respect, speed is an element of representation: it serves functions of vision and not of forward motion. A particle accelerator is thus the equivalent of a telescope— the better the telescopes become the more stars there will be. One could also say that the speed with which images succeed one another in our present universe doesn't at all serve the purpose of helping us to see, and helps us in face to avoid it. it is an insipid ruse in understanding driven by a deep lust for coherence.

Imaging technology, particularly that pertaining to the dissemination of images over the internet (visual tropes and stereotypes, memes), directly influences the development of derivative and agreements and markets by simplifying the risk assessment and quantification process through image association to particular localities, and social and cultural events. In a sense, these financial markets become augmented manifestations of our visual economies as they adhere to trends of visual representation and image circulation. And it is that which these derivative instrument experts, like all practitioners of expertise, strive for: to turn the complex, the ephemeral, the transient, the abstract, into the computational.

Experts yearn to harness the immaterial—computing and visualization techniques must convert the complex (the ambiguous, layers and layers of meaning and animation) into the complicated: Looking towards a PowerPoint slide of a massive diagram— almost a hundred nodes representing military forces, institutions, their relations and abstract influences, color-coated with winding arrows, type varying in size—General McChrystal pointing, dryly remarks, “When we understand that slide, we’ll have won the war”. Here, he offers us an impossible causality, but a causality none-the-less.

Similar to the flowchart mentioned above, the derivative agreement can be dependent on hundreds of market, cultural, and social events (assets). By wagering on so many moving parts, they hope to harness and disentangle the complex.

Since the beginning of modernity, Our image-viewing interface becomes more and more clunky and opaque, yet Cinema was once transparent and magical. Now, wires spill everywhere, shoved into the walls and the ground. The weight of clunky V/R headset wears on the neck, projector ceiling-mounts protrude, televisions. Visually and financially, we are in an awkward phase of bleeding-edge pubescence. It is through the mastery of these technologies that we liberate ourselves from the effects of finance on our minds and bodies.