The Internet is changing the economics of creative work – or, to put it more broadly, the economics of culture – and it’s doing it in a way that may well restrict rather than expand our choices. Wikipedia might be a pale shadow of the Britannica, but because it’s created by amateurs rather than professionals, it’s free. And free trumps quality all the time.
Different from the typical website whose URLs act as persistent indexes to a page and its contents, Tokenize This destroys each work right after its creation. While the unique digital object remains viewable by the original visitor for as long as they leave their browser tab open, any subsequent attempt to copy, share, or view that URL in another tab, browser, or system, leads to a “404 Not Found” error. In other words, Tokenize This generates countless digital artifacts that can only be viewed or accessed once.
There’s a movement called the circular economy which is about designing services that don’t include throwing things away. There is no “away.”
A non-extractive economy is going to look very different to today’s economy. These points feel opposed somehow but they are part of the same movement:
With CupClub, it’s all about infrastructure.
With the battery-free Game Boy, it’s untethered from infrastructure: once manufactured, no nationwide electricity grid is required to play.
We’ll need better tools to track and measure. There will be new patterns for new types of services. New technologies to build new products. New language. So it’s fascinating seeing the pieces gradually come together.
Both a book and a MoMA exhibition of the same name by Bernard Rudofsky originally published in 1964. It provides a demonstration of the artistic, functional, and cultural richness of vernacular architecture.
In 200 enlarged black-and-white-photographs, he showed various kinds of architectures, landscapes, and people living with or within architectures. Shown without texts or explanations, the visitors were just confronted with imagery that showed indigenous building traditions, which were very much at odds with the ideas of architectural modernism which had been promoted through NYC MoMA's Philip Johnson in his famous 1932 exhibition "Modern Architecture. International Exhibition".