Efficiency: news sources, or rather, news aggregators, must make decisions about which pieces of news to present to the consumer. In addition, they must figure out how to present this news. Objectivity and the editorial role play in to this by removing distractions and providing a relevance function to the possible set of news items. Opinion - that is to say - removing either or both of these filters - may well lead to a lack of efficiency on the side of the consumer.

Homophily: consumers, being human, are subject to homophily. Thus, the more human/emotional an information source is, the more it will strengthen reading behaviours that are driven by this seeking of like minded writers. With ideal information distribution goals in mind (allowing information consumers to be more efficient and better informed) this will do a disservice to readers.

I think the bigger picture here is to do with trust. If we could trust our news sources, then objectivity and editorial control would be fine. However, the forces that determine what a news source reports work directly against trust as they are financial. Bringing in the emotional element - the personality of the writer - into the picture provides a powerful connection with the reader, thus replacing trust with a personal relationship.

Just back from the OFFF festival which this year had the very good taste to move to Lisbon. Offf gathers designers, programmers, illustrators and visual artists whose creativity explores and fashions digital aesthetics and software language.

I'll leave aside all the digital animation and pretty flash websites presentations and go straight to the keynote of the first evening which was performed more than given by web designer and artist Joshua Davis. I've always liked his works, they have something very girly in sharp contrast with his tattooed soft-punk image.

Davis likes Jackson Pollock, not so much for his paintings, more for his approach to gesture. Pollock regarded the process of its creation as art and not so much the final product. Like Pollack, Davis' art is based on gestures, but he relies on technology to create. He designs programs which follow randomly what he draws. He sets the rules and the program takes from there, surprising the artist each time.

Soundwires, 2007

Davis never liked mathematics. He went to art school and had to teach himself math and programming. At art school he was mostly into painting and became obsessed with the idea of creating his own drawing tools and experimenting with his materials. He would put his paintings in the freezer but the outcome was disappointing: the paintings were cold, nothing else happened. More interesting things occurred when Davis baked his paintings in the oven: the varnish on top would dry faster than the oil of the painting. As a result the painting would shatter. But the lesson he learned was that he enjoyed the idea that he didn't have total control over the final artwork.

According to Davis, computational design is divided in two clans: the purists and the hybrids. The purists are Ben Fry, Casey Reas, John Maeda, Golan Levin, etc. They only use code. The hybrid, like himself, Niko Stumpo, Geoff Lillemon and others blend the code with art works. The artwork is thrown into the swarm system and emerges as a series of art/design works which are all different from the other. The artists defines some parameters such as speed, rotation, indecision and the system maps the drawing according to these lines.

He was commisioned by BMW a series of limited edition prints that would "capture the essence" of the company' s Z4 Coupé. The artist translated a number of views of the coupé and its components into an algorithm that served as the basis for prints. Davis also selected geographic notes and scales from a German school atlas to act as a symbol of mobility in the prints. Video documenting the process.

Despite his reliance on programs and codes, Davis still sees his work as being one of an artist: he creates the programs, sets the rules, chooses the colours to use, feeds the program with his own handmade drawings and ideas and at the end of the process he takes the role of the critics by selecting which of the pieces made by the program will be kept or deleted.

Kimono Blue, 2007

For example, to realize his Kimono series, he gathered the assets and forms found in his collection of books on Kimonos, drew them and fed them to the generative system.

Adobe CS3, the Snow Owl, 2007

He selected only 250 of the resulting drawings. His limited edition prints are all different from each other. But instead of numbering them 1/1, he numbers them 1/250, 2/250, etc. The reason for that is that what matters is the program, not the visual output.

Yellow Tiger

After some crazy hotel carpet stories Davis ran us through some of his latest works and exhibitions:
- His collaboration with Chuck Anderson for AMP Energy drink.
- The cover of the CD Yellow Tiger by Ming Dynasty,
- Solo exhibition at Maxalot Gallery in Barcelona.

Drawing outside the Maxalot gallery in Barcelona

- projection on a building facade for the 4th edition of the TodaysArt Festival in The Hague.
- Davis commented on Random Assistant which was exhibited at OFFF too. Random Assistant is a long stripe of lack and white prints accompanied by transparent watercolors and brushes for the public to colour the print.

As usual, Davis used a generative system to create the artwork, leaving the decision making of the compositions to the programs. This time though, one of the components of the system which governs the way the work is colored and painted was removed from the software. Instead, the public will fulfill this functionality by using the brushes and watercolors at their disposal. Davis did a first version of the project in Rovereto (Italy) for the festival Futuro Presente. The OFFF version was incredibly successful.

Random Assistant, OFFF, Lisbon, Day 1

Random Assistant, OFFF, Lisbon, Day 2

For Tropism in New York he worked on new organic forms to create a "super nature." For the first time his generative graphics were turned into 3D-printed objects: a series of vases in porcelain.

Tropism vase, 2007

- To celebrate the launch of his first line of housewares (trash cans and pillows) at the Umbra Concept Store in Toronto, Davis used the Tropism Engine to generate huge panels (like he did at the OFFF Festival in New York.), he had them printed and pasted on the window of the shop.

Image blogto

The artist then listed his sources of inspiration: there's Basquiat, Cy Twombly, the indeed awesome 18th century painter Ito Jakuchu, the Batu Cave in Malaysia, etc.

Ito Jakuchu, Rooster and Hen with Hydrangeas

Davis ended the presentation with a list of (not very original) tips for the audience:
Look for what you don't see in your immediate environment, you don't have to fly to the other end of the globe to find some source of inspiration, make work for love, not for awards or acceptance, complacency is your enemy, find your own voice, if you are using someone else's you run out of conversation pretty quickly. And work like hell.

Image courtesy of Ge Jin

Gold Farmers are young people who earn their living by playing MMORPG games. They acquire ("farm") items of value within a game, usually by carrying out in-game actions repeatedly to maximize gains, sometimes by using a program such as a bot or automatic clicker.

They sell the artificial gold coins and other virtual goods they've harvested to players and/or farming organizations and get "real" money in return. Players from around the world will then use the golden coins to buy better armor, magic spells and other equipments to climb to higher levels or create more powerful characters.

World of Warcraft, image gameslander

Many companies have attempted to block the use of gold-farming services by specifically stating in their End User License Agreements and Terms of Service that any and all game assets (from the player's characters themselves, to any items that they may be carrying) remain the sole property of the company itself, and taking aggressive action to close the accounts of any that are found to be using gold-farming (or similar) services.

Although there are gold farmers or gold farms in countries like the Philippines, Indonesia, and Mexico, Chinese are by far the most dynamic. There, young players typically work twelve hour shifts, with just a lunch break somewhere in the middle.

There are gold farmers or gold farms in other countries as well, such as the Philippines, Indonesia, and Mexico. However, they do not approach the scope and scale of the Chinese farm industry.

Image courtesy of Ge Jin

Ge Jin, a 30-year-old Shanghai native and a Ph.D. candidate at the University of California, San Diego, has shot a Gold Farmers, a documentary that delve into the background and lives of Chinese gold farmers.

Gold farming puts down the mechanisms that govern a universe in which everyone starts at the same level, no matter how rich their parents are, no matter how many degrees they've collected at the university. Players trying to work their way up according to the rules and in all fairness are the ones who get hit hardest by the practice of gold farming.

Watching the documentary, you can't help but feel some compassion for the gold farmers: they have very little free time, they are paid quite poorly to feed the whims of the Western consumer, they have to deal with the ire of a family who doesn't approve of what they do for a living, they must face the hostility of other players as soon as these realize that gold farmers are on their turf, their english is not good enough to enable them to communicate with other players, and they work hard. Don't be fooled, they don't sit there for hours just for the fun, most of their activity is extremely repetitive. In fact they would sometimes end their day at the "factory" by playing a real game in WoW. Just for the fun.

Chinese Gold Farmers Preview video (Ge Jin has uploaded more video previews):

I asked Ge Jin to discuss his documentary for the blog:

First of all, is the video on show at laboral only part of the documentary you are making or is it the full version of it?

I have another 40 min. long version, but this one is complete in itself as a short version.

Gold farmers have the challenging task of constantly navigating between clandestinity and the need to advertise their service. i suspect that finding and getting the "gold farmers" to talk must have been difficult. how did you locate the players and how did you gain their trust?

It is indeed difficult to get into the exclusive "gold farming" circle. But I was lucky to have an old friend in Shanghai who was running gold farms from 2003 to 2005. This friend introduced me to some gold farm owners. But the reason that the gaming workers/gold farmers trusted me was mainly because I treated them with respect. They face discriminations from non-gamers who see them as game addicts who are losers in real life as well as discriminations from gamers who think they care about more about money than gaming itself. I tried to be a good listener for them and they can see I didn't approach them with many assumptions.

Image courtesy of Ge Jin

How much has the phenomenon evolved since you started working on this documentary in 2005 (it think)?

Yes I started following this phenomenon since 2005. I think the market become much more competitive and the profit margin for gold farmers are much smaller now. Meanwhile, more sophisticated services like power-leveling have become the mainstream of real money trade. Also, the domestic demand for in-game goods in China has risen so much that Chinese gold farmers no longer just work in foreign games.

In your documentary, you are neither pointing the fingers to gold farmers and saying "look this is evil!", neither are you saying that this is kind of labor embodied in play is the best thing that happened to the gaming scene. I had the feeling that you are not taking a stand. Am i right?

You are right that I'm not taking a stand. And I try to let the people involved in real money trade to tell their own stories in my documentary. But I think some of my "biases" do make their way into the documentary. For example, I don't really care if real money trade changes the regular gaming experience, I'm more concerned with how people's virtual life and real life affect each other, so you don't hardly hear the game industry's point of view in my documentary.

Image courtesy of Ge Jin

Is gold farming regarded differently in China than it is in the USA, Europe or Japan for example? Is the practice seen as more acceptable by the public and the government? How much does China try to tax and regulate the business?

Culturally, real money trade is indeed more accepted in China than in other countries. For example, the successful game Legend from Giant. Ltc thrives on incorporating real money trade in game design. Western game companies dare not do so blatantly because many gamers may think the game is not a level playing ground that way. But the Chinese gamers seem to accept this inherent unfairness, as if they see so much injustice in real life that they don't expect the virtual world to be better. The government doesn't seem to have any problem with the gold farming business. It has not figure out a good way to tax virtual trade yet, in some rare cases, some gold farms pay a fixed amount of tax based on very rough estimation of trade volume. There is currently no policy directly regulating this industry. Though there are regulations generally aiming to purify content of games and limit how long people can play online games.

Did your research on gold farming sparkle the interest of Western commercial gaming companies? Asking your help to crack down on farmers? Or asking for your opinion on how to make the most of this new form of economy?

To my surprise, I was contacted by gold selling websites who want to use my website to advertise themselves, by gold buyers who are looking for a steady supplier, and by market researchers who want to measure the supply and demand of gold trade. I wish I could seize such opportunities to make some money for myself. But unfortunately I was occupied by exploring the social implications of this economy.

Thanks Ge Jin!

Another documentary part of Homo Ludens Ludens is the fantastic 8 bit movie.

More WoW stories: The Avatar Machine, Joichi Ito on WoW, Life at the gamers' farm.