complexity

Individual versus systemic risk and the Regulator’s Dilemma

Monday, August 1st, 2011

It is deeply important to develop tools to assist in design for groups, rather than just individuals.  Group design is one of the more difficult design issues emerging, which becomes clear when considering the difficulty in determining the architecture of a robust financial system.

A new paper out of Nowak’s group from Harvard and others presents some quantifiable characteristics of a system to inform policymakers on regulation of financial markets.  Basically the measure allows the design for regulation of a system, rather than solely individual institutions as is currently done.

In their work, a toy model is constructed to illustrate the trade off between optimal strategies for individuals, and for the group as a whole.  For each individual, the incentive is to diversify.  But if everyone diversifies in the same way, market shocks can easily spread and affect the whole system.

Each bank has some allocation of investments.  In this model the assets are all independent and identical.  Modeling these asset allocations as vectors allows one to compute the distance between them for all banks. This allows for measurements of the state of the system as a whole.  One of these global quantities is D:

D [is] the average distance between the asset allocations of each pair of banks, scaled so that the distance between banks exposed to nonoverlapping assets is one.

This basically means that we look at how similar the investments are between banks.  We scale this distance so that if there are two banks that do not share any assets, they will be distance=1 apart.  The average of all of these distances gives D.

A second global quantity is G:

[G] is defined as the distance between the average allocation across banks and the individually optimum allocation.

G describes the imbalance of the allocations.  There is some individually optimal allocation that is in the self-interest of each bank (in this case to place equal investments in each asset), and G is the difference of this allocation and the average allocation.   Both of these quantities characterize the set of bank allocations: the first shows how diverse they are, the second shows how balanced they are.

Now why is this so important- why is it useful?  Check it out:

All of this information suggests that it may be possible in principle, and it could provide a useful guide in practice, to regulate expected systemic cost. For a given level of capital, regulators might set a lower bound on distance D and an upper bound on imbalance G.

A lower bound on distance D ensures that the banks are not identically diversifying, and an upper bound on imbalance G ensures that the allocations among banks are not too imbalanced.

Both these parameters can be derived by the regulator without the need for complicated calculations of systemic risk, and they can be decomposed into their contributions from individual actors. We also show that a given level of expected systemic cost can be achieved with a more efficient use of capital if the regulator is able to encourage a suitable level of diversity
between banks in the system. Thus, this framework presents a potentially useful tool for systemic regulation

In principle, this should be an effective tool. Regulation of systemic risk has been discussed previously in a more qualitative manner, and this paper presents some simple simulations to illustrate this concept in a quantitative way.  The results extend beyond financial systems, to more generally the tension that can exist in systems between individual and global optima with respect to risk.  Illustrating calculations of D and G with actual data would be great next steps.

 

Showing at the Pozen Center for Interrelated Media

Friday, April 15th, 2011

I’ll be showing a piece at  ‘PROGRESS: The Show at the End of the Universe’ at Mass Art’s Pozen Center for Interrelated Media.  The show is tonight, April 15th, at 7 pm.  There will be tech artwork as well as talks. (Event Info)

The Universe will revolve around the exploration of complex natural systems. All works in Pozen will be connected to a brain sculpture in the middle through a series of sensors and triggers. Participation is encouraged.

Each output of the system will be an interpretation of a specific process, in an attempt to compare and contrast the human mind to other natural processes. The intention is to better our understanding of the universe, while encouraging personal investigation by each individual.

[from site]

I made an LED grid with blow sensors.  I liked the idea of making an interactive LED grid that would display interesting phenomena based on the contributions of two people.  Below are a few images of the grid as I was making it.  Come out to the show and see the finished piece.

LED grid imageThe grid is made using two shift registers.  The anodes of the LEDs are connected along rows, and the cathodes along columns.  All of the columns go into one of the shift registers, and the rows go into the other shift register.

The blow sensors are two piezo’s on either side of the grid which trigger the LED particles that float across the array.  When a particle from one sensor collides with a particle from the other, a seed is placed which triggers Conway’s Game of Life.

LED grid with blow sensors from which light on Vimeo.

The video above is a clip from the grid in progress, testing out the sensors. I’ll take video/pictures of the finished piece at the show tonight.

The grid was made at Sprout with the awesome help of Sam Cormier.

‘The Show at the End of the Universe’ is part of the 2011 Eventworks Festival, titled PROGRESS.  The Pozen Center is located in North Hall at 621 Huntington Avenue, Boston, MA (Massachusetts College of Art and Design)

Relational Art and Complex Systems

Friday, April 8th, 2011

From the wikipedia post on ‘Relational Art‘:

The artwork creates a social environment in which people come together to participate in a shared activity. Bourriaud claims “the role of artworks is no longer to form imaginary and utopian realities, but to actually be ways of living and models of action within the existing real, whatever scale chosen by the artist.”[15]

In Relational art, the audience is envisaged as a community. Rather than the artwork being an encounter between a viewer and an object, relational art produces intersubjective encounters. Through these encounters, meaning is elaborated collectively, rather than in the space of individual consumption.[16]

I find ideas in relational art relate a lot with complex systems thinking.  Some of the connections I describe in the Complexity and Creativity talk for Research Club. Basically, the study of complex systems focuses on the relationships between parts, how such interdependence can affect the dynamics of the whole and how properties of the whole system can give rise to complex interactions.

An artist who works in relational aesthetics considers similar systemic properties in designing a piece of art.  In thinking of the audience as a community (producing meaning collectively), an artist explores how the audience may interact with one another, and how the environment can cultivate particular interactions.  Instead of designing an individual experience, the artist designs that collective experience. Such a design can both empower the audience members by giving them some creative control, and also produce unique and personal experiences for each member.

In Portland I used relational aesthetics to inform a couple projects.  pdx i love you was a collaborative public performance piece, a platform to encourage individual creativity as well as collaboration. hexagon followed a structure of composition to encourage the process of discovery in the composition, exploring how simple rules could produce complex behavior.  The performance sought to decentralize a musical experience, by surrounding the audience.

Currently the relational aesthetics approach informs soup night and whirl.  People’s interpersonal interactions can be used as a medium of art, and as a way for an artist to produce meaning.

Cybersecurity, Decentralized Diversity, and Complexity

Wednesday, March 23rd, 2011

The CEO of the leading cybersecurity firm HBGary threatened to uncover the identity of the most active members in Anonymous, who in turn responded by hacking the HBGary website, posting thousands of company emails, and taking over the CEOs Twitter and Linked In accounts.  Looking at the structure of both of the organizations reveals one of the reasons for the success of Anonymous.

Anonymous is a diverse bunch: though they tend to be younger rather than older, their age group spans decades. Some may still be in school, but many others are gainfully employed office-workers, software developers, or IT support technicians, among other things. With that diversity in age and experience comes a diversity of expertise and ability.

The technology in this case is immensely complex, to navigate and unearth software holes is a huge, growing task, which requires a complex organization, borne from diversity and decentralization.

It is also interesting to note the incentive structures of both groups. Anonymous does not operate on monetary incentives, whereas HBGary commercialized the products they developed, using government funding, at a hefty price.

Hoglund’s emails claim that his current products were built with “about 2 million in Uncle Sam’s money”, but this alone is no shocker. Governments fund technology research all the time, and HBGary were also building a commercial product.

The Adjacent Possible and Unpredictable Future

Sunday, February 27th, 2011

Stuart Kauffman spoke remotely at the NECSI 2011 Winter School. He has made significant contributions to the field of complexity – in particular with his work on self-organization and Boolean networks.  I found the talk most interesting because it took issues commonly discussed, of determinism and evolution, and approached them at a different angle.  How did determinism affect our culture?  How did it affect the way in which we view nature (hinting to the crisis we are in at present)?  The talk itself presents nature as a powerful ‘problem’ solver, from something we tried to harness, to something that will survive whether or not we do.

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Complexity and Meaning

Monday, January 17th, 2011

As an artist and designer, I find meaning an essential concept to understand- you must understand the implications of what you make and how they measure up to your actual intentions.

I had the pleasure of giving the Patterns and Meaning lecture at the 2011 NECSI winter school.  It was my favorite lecture when I took the course, so preparing a talk on the subject was an exciting opportunity.  I’ll begin with the contents of the lecture, in particular how they unify many important ideas regarding meaning, and then describe how these ideas can be applied to designing experiences for groups and individuals.  I will follow that with a summary of my own explorations on meaning.  The lecture was originally developed as an exploration of complex systems as applied to art.

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Good Idea! Complexity and Innovation at the Boston Bookfest

Tuesday, October 26th, 2010


Boston Bookfest felt fantastic- a pretty good turnout resulting long lines to the talks. I was lucky enough to find a pass to skip the line and check out the ‘Good Idea!’ panel.

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Emergence: Fireflies

Saturday, July 17th, 2010

One of the most intriguing phenomena within complexity science is that of emergence.  It is a salient feature of complex systems, so much so that definitions of complex systems include the quality of exhibiting emergence.  Many exciting solutions to the world’s bigger problems can be understood through collective dynamics and emergence.

Google’s search algorithm, to a heavy extent, depends on the nature of linking between websites.  On the scale of the website and what links to it, Google is able to provide an answer the global problem of findability on the internet.

Muhammad Yunus developed a micro loan system that re-frames loans to take into account collective dynamics of a group.  Through challenging the assumption of who one can give a successful loan to, and by tapping into group trust, he has created an effective method of alleviating poverty.

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A Generative Method for Infrastructure Emergence

Thursday, April 1st, 2010

Social systems are becoming more complex from technological advancements and increased connectivity. Individuals are further empowered with the capability to augment their memory and communication through computers, the internet, and cell phones. Every society has structures which influence collective behavior, and with all of the possible configurations of people in a population, the question emerges for designers of how to implement a method to use the collective information and create a successful design solution [1].

Cities have been shown to have fractal geometry. In this paper we show how the fractal shape can emerge from a generative process that takes information on the scale of individuals or groups, and uses it to design a permanent infrastructure on the scale of a city. In this sense, we grow cities consisting of individuals and roads, starting from just individuals. [from introduction of paper, see PDF for rest]

A Generative Method for Infrastructure Emergence from Kawandeep Virdee on Vimeo.

Complexity and Creativity

Tuesday, March 2nd, 2010

A talk I gave at the December 2009 Research Club brunch at Tribute Gallery on applying ideas of complexity to creative projects.  Applications of complex systems ideas in the projects HEXAGON and PDX I Love You are described in the presentation.  The talks were limited to five minutes each, and a transcript is included below.

Brunch #1 / Lecture #3 / Kawandeep Virdee Talks About Complexity from Research Club on Vimeo.