Shared for the purposes of Art, Education, History, Community, Social Awareness and Microeconomics in such regard; Week 4 Discussion Microeconomics 1002 Donald A. Lucki, Jr. Market Structure You will also examine decision making in situations in which the results depend not only on the person or firm undertaking an action but also on how the same actor relates to the actions of others. This week, you will explore how economics relates this game theory to strategic decision making. The Prisoners Dilemma Prisoners dilemma is a game that has been and continues to be studied by people from a variety of disciplines, from biology to sociology to public policy. Prisoners dilemma is believed to be one of the most powerful metaphors in all of human behavioral science. In prisoners dilemma, each player chooses a dominant strategy with an outcome that is unattractive to the players as a whole. What should two prisoners, both guilty of committing a serious crime, do to avoid imprisonment? Should both prisoners confess, or should both remain silent? Based on your reading for this week: How would your incentive to defect in a prisoners dilemma be altered if you learned that you will play the game not once but indefinitely, several times with the same partner? Relate this game to the competition in the marketplace,.. Welcome to the Prisoners Dilemma, as applied by me, as both prisoners...in the real world marketplace. I would like to use a source of personal reference for this study, as it applies both to the theory of the Prisoners Dilemma, as well as to my professional, economic applications as both an artist and art dealer. This document is really about art and the pricing of art, which is a somewhat monopolistic market, in terms of a specific type of art style; which if no one else is producing, by its very nature is considered “monopolistic” (Page 272) as such. If no one else is painting Andy Warhol pictures, except for Andy Warhol...this is what I am referring to. The art side is fun, historical and engaging. There is another side to this, that I must forewarn you of, and that is on the side of the actual. I will spare many of the details, but to tell the tale without certain of them would not be in alignment with the focus as value of not only the art, but also of education, community, society and culture. I sometimes give myself pause when thinking about these things, realizing however, that we are here to relate, recall, compare and contrast our personal experiences with what we are learning here at Walden; so as to make formative, constructive future applications combining such elements. I always remember that, so as not to be boastful or braggardly. With that in mind... The subject prisoner in this case, is a real world (not fictional) character by the name of Rolando Cruz. Similar to the theory of our Prisoners Dilemma, which; “...is believed to be one of the most powerful metaphors in all of human behavioral science.” where “...each player chooses a dominant strategy with an outcome that is unattractive to the players as a whole.” (Microeconomics 1002) Perhaps this is why what I am about to share with you has been the educational focus of the Center for Wrongful Convictions under the direction of Professor Rob Warden at Northwestern University. (Retrieved from: law.northwestern.edu/cwc/aboutus/staff/WardenR.html) Summarizing things to the most finite level; would leave most with the strategic decisions being either life or death, as well as any and all economics strategies thereof. “The taxpayers’ tab for the wrongful imprisonment of the 51 innocent men and women (three of the latter) is well in excess of $150 million — which pales beside the social costs of lives and careers destroyed and families devastated. Not to mention the death and destruction that resulted from leaving violent criminals on the street. “ Retrieved from: law.northwestern.edu/wrongfulconvictions/aboutus/ Rolando Cruz was wrongly convicted and spent 13 years on Death Row. After many years of trial, it was discovered that he did not do it. (What was done was the rape and murder of two young girls. Because he didnt do it and was imprisoned, the actual wrongdoer was out and free to cause such demise...sadly. May they rest in peace.) The decision to exonerate him (along with 13 others) resulted in the reversal of the Death Penalty in Illinois, and helped earn then Governor George Ryan, a Nobel Peace prize. Retrieved from: thenobelpeaceprizetoryan.blogspot/ Just so you can see the rolling effect such actions had, in real life, with untold economic ramifications. I will try to keep this as simple as I can. I am focusing on this, also in response to the school in which we attend, that has just merited another ten years of accreditation for being a institute of positive social change. I have chosen this topic to both document and to apply specifically to this assignment, drawing from memory. It is indeed lengthier, but actually easier to apply as such. Also, my going beyond the book in all of these instances, allows me the benefit of being with the book in my mind. This is why I go so far with these writings. Not to be proud or showcasing through these writings...rather to go through the motions; so that they remain in my memory, on reserve for future and current applications. What should two prisoners, both guilty of committing a serious crime, do to avoid imprisonment? Should both prisoners confess, or should both remain silent? On the topic of silence, and with the reference of two prisoners; Rolando Cruz stayed silent, even though he knew he didnt do it. Brian Dugan and others (staying simple) knew that the wrong person was in prison, and on Death Row. Please note: These others included police and government officials. I am not polarizing or taking sides, rather simply describing events. Comparatively to our theory, we now have silence on the behalf of two prisoners, as well as those mentioned, the wrong person in prison, the actual wrongdoer on the outside. “In the aftermath of the exonerations, a special DuPage County grand jury indicted four sheriffs deputies and three former prosecutors for their roles in the case. Charges included perjury and obstruction of justice. A DuPage County jury acquitted the deputies and prosecutors, but the DuPage County Board later agreed to pay $3.5 million to settle the civil rights claims that Cruz, Hernandez, and Stephen Buckley (a third defendant who had been charged in the crime) had filed in federal court. In December 2002, Cruz received a pardon based on innocence from Illinois Governor George H. Ryan. “ Retrieved from: law.northwestern.edu/wrongfulconvictions/exonerations/ilCruzSummary.html Lets switch to the art side. In collusion with aiding authorities as a data/media expert, I restored certain found videotape footage, that was formerly deemed unusable, even though subpoenaed by the Supreme Court from the F.B.I. A variety of tricks (very clever, I might add) later...I restored footage that was previously unusable. It went to court, and assisted with Rolandos exoneration. Because of the level of trust that was associated with this and previous efforts, years after his release, I was to videotape Rolandos first public statement at that time. This was at done at the Northwestern Center for Wrongful Convictions which I also videotaped. (please also note that this is difficult for me to recant in its entirety and is being done so again, to both fulfill the course assignment, and to further psychologically remove this from my mind so as to further mental healing in this regard) I am getting to the art. After a key moment at the end of his near one hour lecture, I used one of the stills from Rolandos lecture, promising both he and Professor Warden that I would embed and sustain this for history by making a painting that I would give to the Center. It was such a powerful moment, that I was forever moved. Every form of movement and cognition that begets society and individual comes into play; along with the matrix-like economics of such. It is truly mind boggling. With authors intent as I later named the exhibit including this piece, Burden of Truth in a play on words after the book Burden of Proof by the famed Scott Turow; who wrote of this (retrieved from: amazon/Scott-Turow/e/B000APGVI0 ) along with an an artists passion. (a Broadway play was even made about this; Retrieved from: amazon/The-Exonerated-Susan-Sarandon/dp/B000BYW6RA) I used social media to document and preserve my painting of this over Ustream, as follows; My Picture with no Frame was painted on line over social media for 13 hours to represent both the 13 years and 13 prisoners who where wrongfully accused, convicted and on death row. “This USTREAM Channel has been specifically created for the sole purpose of broadcasting Truth as Intent for the creation of a live video event to catalog an artist painting for 13 hours a piece entitled Picture With No Frame to be on exhibit at the Northwestern University Center for Wrongful Convictions under the direction of Rob Warden. The piece and this channel will also follow continuation of the piece, along with artists reflections, live from the center along with the presentation of the work. “ Retrieved from: ustream.tv/recorded/24682852 The piece has two portions, which by design have a polarized black half and white half, with the subject of the piece transposed against both to show the two sides of the truth, as applied to subject. There is so much to this piece. I will share a quick secret, as BEHIND the front of piece (normally paintings are viewed from the front mostly) that with intent aforethought; I painted and mixed-media created elements BEHIND this as well, so as to illustrate the myriad combinations of truth. Each element of course having hidden or deeper meanings. The truth folds upon itself. So do lies. This is parallel to the notion of the dilemma in that it is repeated, “ not once, but indefinitely, several times with the same partner.” Back to art. Just as these manifest meanings have a base in reality, so too does the value of this art. You see, my teacher, friend, mentor and person who I am both continuing the style of, as well as expanding is that of the late Ed Paschke. (retrieved from: edpaschke/ ) He was my great uncle. He carried on and expanded the work of Andy Warhol. I suppose that as I am writing this I am also seeking for this document to serve purposes beyond the assigned course. Oh well...yes I am. Retrieved from: edpaschke/gallery/1980/ Economically, please recall my example of a monopolistic competitive market. Mr. Warhol is no longer of this plane, nor is my dear, respected great uncle. I am. This piece, and the specific, deliberate intent to broadcast my painting of it, was in direct response to the fact the former pieces I produced and presented to Paschkes dealer, which were welcomed...except that...they needed to be painted; as all/most of his former pieces were painted. Therefore to have value in this monopoly, or to compete as an oligopoly, would also have to be painted, even though it was an unparalleled continuation of style. The picture I am referring to is the one that I used for my most recent musical CD, Souldier. Retrieved from: amazon/Souldier/dp/B002B4NXNY This was not my media method. I protested, and his dealer heard and understood me. But, to maintain the value of the previous pieces; which ranged from 10,000 to over 100,000, had to maintain the same formative media elements. I saw it differently, and continue to do so. This is one persons perspective, although that one person is the sole dealer for the person who carried on the work of Andy Warhol. There is much artistic discussion that I will spare you; however the case in point is specific to market and this course topic. She was willing to buy the painting, if it was actually painted. My style is digital piece construction first, then print that onto a canvas using a paint process called Giclee; finally painting and texturing on top of that. You can view the video playlist of this process here; [Burden of Truth Video Playlist:] youtube/playlist?list=PL08B8392886A519F4 This still did not satisfy her. So to amend the style process of the Paschke pieces; which by the way he is no longer making due to his demise (may he rest in peace) I began the painting process with a number of pieces over Ustream, including the Picture With No frame piece, as well as the Maya Novo piece painted publicly and over social media so as to approach the market view and values; Retrieved from: youtube/watch?v=JHm9xL-VCAY&feature=share&list=PL9F1D31C794B90710 Just as a market maker in the stock exchange makes their own market; I am aware that in order to be an artist, if even a monopolistic one in the sense of style...I must be prolific. As there is no denial that my style continues Ed Paschkes, who continued Andy Warhols, I must be aware that this cost of doing business must have some basis in fact, as well as finance. This was my dilemma, but I am prisoner no more; for as part of One Road Many Paths will be an art gallery, where I will sell my own pieces as well as act as a dealer for others and their works. This way, the continuation of the style, my way will be allowed, thus bypassing and continuing the previous market by developing a new one. The competition does not exist, although it does. If any of the previous buyers wish to purchase one of my paintings in the exact style of Warhol (who really used a silk screen process, as well as often times directed others to do his work) or of Paschke; who taught numerous classes at the Art Institute of Chicago, as well as spent countless hours developing his personal trademark painting style; they will have to purchase one of the works already in existence. I am not changing my style, and I dont need to. If I at one point have a desire to do a similar piece entirely from blank canvas and paint again, I will. Another piece that was done like this is Maya Novo which was donated for community purposes. What price Art, Community or engagement? I dont know. I havent sent any one a bill for that one, and doubt that I will. My Maya Novo remains in the community where it was made, for many reasons, and with much subtext and remembrance. Therefore in conclusion, I am both prisoners. Captive to the continued style of my predecessor, as well as the somewhat “oligopolistic” (page 273) market prices for those pieces. But to answer the question in my mind, I am silent no more, rather salient, and solvent. Artists must be both adaptive and prolific in order to survive and sustain. My decisions are rooted in Math, Science, Art, Education and Social Responsibility. If I can contain and further develop the style, by making more pieces quicker, this will add to the continuation as well as the sustainability of them. If I have to accommodate pricing to realize that, then by doing so, will expand the curve as suggested. “If a single firm controls an input essential to the production of a given product, that firm will have market power.” (Page 275) To me, true art preserves history, and in my estimation, only that which is art survives. Just as there is a picture with no frame. There are now two, rather three prisoners with no dilemma....Me, myself and my art... References Frank, R. H., & Bernanke, B. S. (2008). Economics: Microeconomics 1002 (Laureate Education, Inc., custom ed.). New York: McGraw-Hill/Irwin. ISBN: 0697785513. Retrieved from: law.northwestern.edu/cwc/aboutus/staff/WardenR.html amazon/Scott-Turow/e/B000APGVI0 law.northwestern.edu/wrongfulconvictions/aboutus/ law.northwestern.edu/wrongfulconvictions/exonerations/ilCruzSummary.html and as cited above in context
Posted on: Wed, 26 Feb 2014 05:51:43 +0000
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