_Whitepaper is inspired by a cryptocurrency art project (Indulgence coin) that we developed in collaboration with Guido Rudolphi, presented at the last Salon Suissse in Venice (see http://indulgencecoin.com/). It was through the preparation of the ICO launch that we became fascinated with the affordances of the whitepaper as document. We came to wonder if the white paper could constitute the medium of contemporaneity? Spring boarded by innumerable ICOs, the white paper is no longer the exclusive realm of politics or marketing departments. The infamous Bitcoin whitepaper has gained cult status, a monument to financial self-determination, the only traceable materiality to its mythical author(s), Satoshi Nakamoto. Some of the more famous white papers in history are rooted in the declaration or negation of political self-determination, such as The Churchill White Paper of 1922 (regarding the situation in Palestine), the Statement of the Government of Canada in 1969 (regarding the abolishment of the Indian Act), or People’s Republic of China White Paper in 2000, "The One China Principle and the Taiwan Issue," (regarding the status of Taiwan). Though the white paper has its origins in governmental affairs, its appropriation for product marketisation and more recently for cryptocurrencies points towards the financialisation of self-determination. The logic of investment and debt that has permeated all spheres (see Maurizzio Lazzarato’s ‘The Indebted Man’), includes communication and legal declarations such as the white paper. Our proposal is to playfully hijack the use and format of the white paper to examine the affordances of the white paper with regards to the ideology of financial self-determination.


FRAUD (Francisco Gallardo + Audrey Samson) is a métis duo of critical art practitioners. Their backgrounds include computational culture, post-colonial and critical feminism, performance, disruptive design, and space system engineering. They develop art-led inquiries into the multiple scales of power and governmentality that flow through physical and cultural landscapes. The duo focuses on exploring forms of slow violence and necropolitics that are embedded in the entanglement of archiving practices and technical objects, and erasure as a disruptive technology in knowledge production.