Indeed, the central conceit of what is still the most popular and influential financier autobiography/testimonial, Michael Lewis's (2001) Liar's Poker, takes the popular card game and its culture of high-stakes, hyper-masculine competition and duplicity as a metaphor for the culture of Wall Street in the 1980s (see also Bjerg 2011; on the genre of financier confessional, see Hayward 2014). As outlined in Chapter 2, little has changed culturally since that time, though the advances of financial technology have accelerated, exacerbated and broadened the volatility such a culture creates. Indeed, as Ho (2009), Zaloom (2006), Preda (2009) and other anthropologists illustrate, the level of technological and mathematical detachment that characterizes today's financial sector allows traders and other financial actors an even greater level of detachment and renders finance even more game-like. Michel Callon (2007), Donald MacKenzie (2005), Karin Knorr Cetina (2005) and others have likewise illustrated the ways that, in an age of incredible computing power, when the sublime movements of the "market" must be represented through computer models and when some of the most important work in finance is done by digital engineers, the game-like qualities of finance become even more acute (see also Hutton 2014).

Max Haiven, Cultures of Financialization, loc. 331