Photos of the performance
short excerpt of the documentation of the performance, 30 min.
Holochain descibes a post-monetary system of value creation based on communal assets. As a cryptocurrency attached to a peer-to-peer community offering, can Holochain introduce a new model for data transfer that can enable any tokenless mutual-credit cryptocurrencies, which is no longer dependent on global financial players? This works proposes a Holofuel Body Contract through the value associated to the amount of fuel that is attached to the volume of relational accountabilities. One of the performance’s contexts is the hacker’s collective initiative «Hacking with Care», which seeks to liberate care, and to inspire alliances between "caregivers" of different competences including decentralized formats of value production. Accordingly, the performance Terra X performs a newly written proposal for a Holochain Body Contract for democratic community operation. More specifically, the performance tries to apply the emerging Holofuel Contract to the workers engagement of partly automated construction sides, redirecting the surplus produced by the robot tax. Could the alternative to a robot tax be a public trust created from a Holochain Contract which would generate an income stream to be paid out to all citizens? This work discusses how methods of hacking crypto finance may used to rethink of how subjectivities relate to each other. Concepts of care, affection and crypto-solidarity are central in this work.
So, according to Marina Vishmidt, "how do (such) 'protocols' refract these conditions, and how can they be integrated into a broader array of performative strategies adequate to the ubiquity of the “performative” in contemporary life and labour"?
In her text, "Scattering as Behaviour Toward Risk", Marina Vishmidt wirtes: "The inclusion of performances and ephemeral works in the acquisition policy (...) intriguingly resonates with the provision of labour which relies on contingent and inventive performances of the “self” in relation to customer “others.” These “performances” are in turn subject to assessment by performance indicators and functions within a finance-driven economy “performing” in stock markets and for shareholders. The phenomenon of the “experience economy” (Pine and Gilmore, 1999), and the corresponding reproductive labour of “consumer choice” and “self-development’ can thus be linked to Marxist, feminist and art-critical ideas about (surplus) value production in economies oriented to ‘performance’, the structural and symbolic role occupied by women in these economies, and strategies from the past several decades of women’s art production that dramatise these tendencies from the perspective of the affinity between ’women’s work’ and ‘art work’ as realms which are constituted by mutual exclusion but which come into proximity when re-imagined under the common term of ‘services’ (which is indeed how culture is described by government policy reports on the ‘creative industries’)".
Photos by Eike Walkenhorst.