Criptic Critic Conscience and Known for it

Saturday, July 30, 2022

(UBI) Universal Basic Income is a neoliberal plot to make you poorer. By Dmytri Kleiner

Universal Basic Income is a neoliberal plot to make you poorer


Basic Income is often promoted as an idea that will solve inequality and make people less dependent on capitalist employment. However, it will instead aggravate inequality and reduce social programs that benefit the majority of people.

At its Winnipeg 2016 Biennial Convention, the Canadian Liberal Party passed a resolution in support of “Basic Income.” The resolution, called “Poverty Reduction: Minimum Income,” contains the following rationale: “The ever growing gap between the wealthy and the poor in Canada will lead to social unrest, increased crime rates and violence… Savings in health, justice, education and social welfare as well as the building of self-reliant, taxpaying citizens more than offset the investment.”

The reason many people on the left are excited about proposals such as universal basic income is that they acknowledge economic inequality and its social consequences. However, a closer look at how UBI is expected to work reveals that it is intended to provide political cover for the elimination of social programs and the privatization of social services. The Liberal Party’s resolution is no exception. Calling for “Savings in health, justice, education and social welfare as well as the building of self-reliant, taxpaying citizen,” clearly means social cuts and privatization.

UBI has been endorsed by neoliberal economists for a long time. One of its early champions was the patron saint of neoliberalism, Milton Friedman. In his book Capitalism and Freedom, Friedman argues for a “negative income tax” as a means to deliver a basic income. After arguing that private charity is the best way to alleviate poverty, and praising the “private … organizations and institutions” that delivered charity for the poor in the capitalist heyday of the nineteenth century, Friedman blames social programs for the disappearance of private charities: “One of the major costs of the extension of governmental welfare activities has been the corresponding decline in private charitable activities.”

To Friedman and his many powerful followers, the cause of poverty is not enough capitalism. Thus, their solution is to provide a “basic income” as a means to eliminate social programs and replace them with private organizations. Friedman specifically argues that “if enacted as a substitute for the present rag bag of measures directed at the same end, the total administrative burden would surely be reduced.”

Friedman goes on to list some the “rag bag” of measures he would hope to eliminate: direct welfare payments and programs of all kinds, old age assistance, social security, aid to dependent children, public housing, veterans’ benefits, minimum-wage laws, and public health programs, hospitals and mental institutions.

Friedman also spends a few paragraphs worrying whether people who depend on “Basic Income” should have the right to vote, since politically enfranchised dependents could vote for more money and services at the expense of those who do not depend on these. Using the example of pension recipients in the United Kingdom, he concludes that they “have not destroyed, at least as yet, Britain’s liberties or its predominantly capitalistic system.”

Charles Murray, another prominent libertarian promoter of UBI, shares Friedman’s views. In an interview with PBS, he said: “America’s always been very good at providing help to people in need. It hasn’t been perfect, but they’ve been very good at it. Those relationships have been undercut in recent years by a welfare state that has, in my view, denuded the civic culture.” Like Friedman, Murray blames the welfare state for the loss of apparently effective private charity.

Murray adds: “The first rule is that the basic guaranteed income has to replace everything else — it’s not an add-on. So there’s no more food stamps; there’s no more Medicaid; you just go down the whole list. None of that’s left. The government gives money; other human needs are dealt with by other human beings in the neighborhood, in the community, in the organizations. I think that’s great.”

To the Cato Institute, the elimination of social programs is a part of the meaning of Universal Income. In an article about the Finish pilot project, the Institute defines UBI as “scrapping the existing welfare system and distributing the same cash benefit to every adult citizen without additional strings or eligibility criteria”. And in fact, the options being considered by Finland are constrained to limiting the amount of the basic income to the savings from the programs it would replace.

“Basic Income” won’t alleviate poverty.

From a social welfare point of view, the substitution of social programs with market-based and charitable provision of everything from health to housing, from child support to old-age assistance, clearly creates a multi-tier system in which the poorest may be able to afford some housing and health care, but clearly much less than the rich — most importantly, with no guarantee that the income will be sufficient for their actual need for health care, child care, education, housing, and other needs, which would be available only by way of for-profit markets and private charities.

Looking specifically at the question of whether Friedman’s proposal would actually improve the conditions of the poor, Hyman A. Minsky, himself a renowned and highly regarded economist, wrote the “The Macroeconomics of a Negative Income Tax.” Minsky looks at the outcome of a “social dividend,” which “transfers to every person alive, rich or poor, working or unemployed, young or old, a designated money income by right.” Minsky conclusively shows that such a program would “be inflationary even if budgets are balanced” and that the “rise in prices will erode the real value of benefits to the poor … and may impose unintended real costs upon families with modest incomes.”  This means that any improved spending power afforded to citizens through an instrument such as UBI will be completely absorbed by higher prices for necessities.

Rather than alleviating poverty, UBI will most likely exacerbate it. The core reasoning is quite simple: the prices that people pay for housing and other necessities are derived from how much they can afford to pay in the first place. If you imagine they way housing is distributed in a modern capitalist society, the poorest get the worst housing, and the richest get the best. Giving everyone in the community, rich and poor alike, more money, would not allow the poorest to get better housing, it would just raise the price of housing.

If UBI came at the expense of other social programs, such as health care or child care, as Friedman intended, then the rising cost of housing would draw money away from other previously socially provisioned services, forcing families with modest incomes to improve their substandard housing by accepting worse or less childcare or healthcare, or vice versa. A disabled person whose mobility needs requires additional expenditure on accessible housing may not have enough of the basic income left for any additional health care they also require. Yet replacing means testing and special programs that address specific needs is the big idea of UBI.

The notion that we can solve inequality within capitalism by indiscriminately giving people money and leaving the provisioning of all social needs to corporations is extremely dubious. While this view is to be expected among those, like Murray and Friedman, who promote capitalism, it is not compatible with anticapitalism. UBI will end up in the hands of capitalists. We will be dependent on these same capitalists for everything we need. But to truly alleviate poverty, productive capacity must be directed toward creating real value for society and not toward “maximizing shareholder value” of profit-seeking investors.

There is no possibility of another kind of ‘Basic Income’.

Many people don’t dispute the fact that establishment promoters of UBI are only doing it in order to eliminate social programs, but they imagine that another kind of basic income is possible. They call for a basic income that disregards the “deal” that Charles Murray advocates, but want UBI in addition to other social program, including means-tested benefits, protections for housing, guarantees of education and child care, and so on. This view ignores the political dimension of the question. Proposing UBI in addition to existing program mistakes, a general consensus for replacing social programs with a guaranteed income for a broad base of support for increasing social programs. But, no such broad base exists.

Writing in 1943, with the wartime policies of “full employment” enjoying wide support, Michal Kalecki wrote a remarkable essay entitled “The Political Aspects of Full Employment.” Kalecki opens by writing, “a solid majority of economists is now of the opinion that, even in a capitalist system, full employment may be secured by a government spending programme.” Though he is talking about full employment, which means an “adequate plan to employ all existing labour power,” the same is true of UBI. The majority of economists would agree that a plan to guarantee an income for all is possible.

However, Kalecki ultimately argues that full employment policies will be abandoned: “The maintenance of full employment would cause social and political changes which would give a new impetus to the opposition of the business leaders. Indeed, under a regime of permanent full employment, ‘the sack’ would cease to play its role as a disciplinary measure. The social position of the boss would be undermined, and the self-assurance and class-consciousness of the working class would grow.”

The conflict between the worker and the capitalist, or between the rich and the poor, can not be sidestepped simply by giving people money, if capitalists are allowed to continue to monopolize the supply of goods. Such a notion ignores the political struggle between the workers to maintain (or extend) the “basic income” and the capitalists to lower or eliminate it in order to strengthen their social position over the worker and to protect the power of “the sack.”

Business leaders fight tooth and nail against any increase of social benefits for workers. Under their dominion, only one kind of UBI is possible: the one supported by Friedman and Murray, the Canadian Liberal Party, and all others who want to subject workers to bosses. The UBI will be under constant attack, and unlike established social programs with planned outcomes that are socially entrenched and difficult to eliminate, UBI is just a number, one that can be reduced, eliminated, or simply allowed to fall behind inflation.

UBI does not alleviate poverty and turns social necessities into products for profit. To truly address inequality we need adequate social provisioning. If we want to reduce means testing and dependency on capitalist employment, we can do so with capacity planning. Our political demands should mandate sufficient housing, healthcare, education, childcare and all basic human necessities for all. Rather than a basic income, we need to demand and fight for a basic outcome — for the right to life and justice, not just the right to spend.

Fushitsusha 不失者 - Gold Blood (1998) [FULL ALBUM]

Monday, July 25, 2022

The Terrible Secret of Mulholland Drive/ Casting couch

Tao Wells Historical Works Catalog - PDF file - 2022

 Tao Wells Catalog PDF 2022



Chris Kraus: Social Practices By Gretchen Coombs - The Brooklyn Rail

 

Art Books

Chris Kraus: Social Practices

If the last decade or so of social practice art has presented artists with different ways of working in the world—not unaffected by history, not without compromise or complicity with the art world, not without material—then Social Practices by Chris Kraus, published by Semiotext(e), takes a different position. Kraus's book is not about social practice art, necessarily, but her selection of essays and interviews unfolds social practice projects and some of the persistent debates that come to occupy its discursive and critical sites. The collection is composed of previously published essays and interviews written over thirteen years (although some of the events take place in the 1990s). It is cut through with tensions of art world success, premature death, and the social and economic issues confronting artists and culture at large—displacement, gentrification, debt—along with questions of how artists are to live and work within these conditions. Kraus exposes the visible cracks of social practice and the institutional structures on which they hinge. Her writing is conversational yet critical, engaged yet incisive, with elements of chance, memory, and travel animating each entry. Instead of chronicling each essay, I follow some of the patterns of social practice she forms throughout the collection, as well as her writing about Los Angeles and environs, highlighting successes and failures of the genre.

The term "social practice" itself has its roots in psychology and refers to how one's practice engages with social contexts through activities and critical inquiries: it's a methodology, a way of doing things. Coupled with "art," social practice takes the "social" as its medium, in form and content (engaging with societal, economic, and political issues) and involves finding new ways to work with communities, audiences, and publics on short- and long-term projects. As historian Grant Kester has pointed out, it has become the institutionalized version of socially and politically engaged artwork and arguably also the community arts tradition. It stems from a desire to create art that makes a difference, to be relevant as an artist, to form alternative economies, and to find a way out of the highly commercialized art world.

Social practices constitute an aggregation of methods, and Kraus argues this is partially due to a professionalizing of art and the dissolution of the humanities. As a consequence, these orphaned disciplines migrated to the fine arts, distinctive from community arts, but more relevant than the "social utopias" and gallery-based work of Nicholas Bourriaud's relational aesthetics. And so, in 2005, California College of the Arts' Art & Social Practice MFA was born filled with well-intended students—artists, activists, and designers clamoring on about participation, social justice, intervention, community, publics, and aesthetics. As social practices gained popularity, projects that sometimes do nothing more than create temporary situations, often rather convivial, and which have been absorbed into participatory culture, have become the face of this genre. This shift, for Kraus, has led to a lack of credibility, causing many artists to distance themselves from its nomenclature while still benefiting from the commercial and educational structures supporting the discipline. Thus the term "socially engaged art" is used more often, which mandates a social or political engagement (though all social practices need not be political); it's not political art, but doing art politically.

Kraus's case studies unfold against the mysterious geography of Los Angeles, so vast and filled with promise and lost dreams. She excavates LA's 1990's art scene as it transformed from artistic outpost to the global city it has become. "A Walk around the Neighborhood" takes readers through Mt. Washington (an artist enclave northeast of Los Angeles) to stand on the balcony of a Craftsman Bungalow and encounter artist Delia Brown and her Pastorale—a rumative film about youth and privilege—as we bask in the California sun. In Highland Park, we meet artist Daniel Mendal-Black as he details the changing nature of his gentrifying neighborhood. Down through Chinatown and Bunker Hill we pass through Joel Mesler's gallery Pruess Press and learn about how, in the early 2000s, musicians and artists gathered and recorded on their own terms, in defiance of the music industry during a time before the area's redevelopment. Her journey chronicles the way artists witness, document, and respond to these shifts in their neighborhoods. The performative, collective, or communal artwork finds its roots in cultural traditions tethered to the local.

"Kelly Lake Store" describes a project (ultimately rejected by the Guggenheim Foundation) in Minnesota where Kraus proposed making a country store into an artwork. The store would highlight the depopulation and dereliction of small towns across the U.S. and include an operating business on the vacant lot, bringing students in to participate and local residents to work the shop. Her Guggenheim proposal resonates with many artists whose practices draw attention to and hope to ameliorate pressing issues confronting urban and rural communities. Kraus's essay suggests students enter MFA programs to become teachers, archivists, and small business owners because these types of community-centered activities are no longer valued, but find visibility in contemporary art's elastic discourse and definition.

"Radical Localism" confronts the specific challenges facing border towns. Kraus presents a portrait of Marco Vera's Mexicali Rose, a neighborhood center with long time ties to the area. The center programmed video classes, art exhibitions, and a film club in Pueblo Nuevo near the Mexicali border. Mexicali Rose lasted five years, and during that time, it "strengthened existing ties amongst residents of the Pueblo Nuevo community and created a larger one of its own." These aren't artists coming in to do work (the proverbial "fly in fly out" kind); they are from the area, invested in maintaining what is quickly disappearing.

Understanding if and how a given social practice project evolves and has impact over time with local populations has been a persistent question for artists working in this capacity. Lost Properties explores debt with the Rolling Jubilee, a group of activists and artists who help eliminate student and medical debt, raising money to buy debt for a fraction of the actual value, and then abolishing it. Kraus follows Thomas Gokey, a founding member of Rolling Jubilee, from his early career at LibraryFarm with partner Meg Backus, to his time with Occupy Wall Street, to his founding of Rolling Jubilee. Elsewhere in the essay, Kraus's details Felicia von Zweigbergk's Lost Property, located in a low income primarily immigrant neighborhood in Amsterdam. The artist-run space functioned as a conceptual bar and for Kraus, defied the do-gooder model where artists come from outside and try to fix a neighborhood. Now defunct, the space did not attempt to change its surroundings; there was no community outreach nor did they feature neighborhood art. "The project makes no spectacular claims and remains free of embarrassing zeal about nonexistent communities." Instead it acknowledges the only true common ground shared by immigrant tenants and artists: "all would prefer to be elsewhere."

An essay from 2018, "The Happy Beneficiary," lands us in Wellington New Zealand, and it is here where I found her critique of social practice the most explicit. For The Beneficiary's Office, Tao Wells set up a public relations company called The Wells Group, which asserted that the average unemployed person has a smaller carbon footprint and consumes less, therefore causing less harm to the planet. This argument ignited debate, and many in the local community did not see or understand it as an artistic provocation. Summarizing Tao Wells's work, she writes, "his community conceptualism has little in common with the intention contemporary art genre knows as 'social practice.' He won't be moving on to the next international site of misery… Like Mexicali Rose, and artists who've exhibited at Mexicali Rose, Wells is a permanent member of the community he interacts with." This may be a fair assessment, but I'd argue there are powerful short term works (for example, in 2006 Paul Chan staged four outdoor performances of Samuel Beckett's Waiting for Godot in the New Orleans neighborhoods worst hit by Hurricane Katrina). Public responses to the work give focus to the challenges faced when audiences experience a social practice project but are unaware of it as art. For Kraus, Wells's work illustrates how bound activism and art have become, doing what traditional activists' tactics alone could not. More explicit activist work is common motivation for artists working in this genre, and I would suggest the creative forms of activism occupy one end of the spectrum of social practice art.

Another aspect of social practices is the presentation of the bohemian counterculture artist, which Kraus explores in the work of Ryan McGinley in "Pseudofiction, Myth and Contingency." In the late 1990s, McGinley, while himself in his early-twenties, photographed his friends, capturing youth from New York's Lower East Side. His decidedly bohemian, sometimes naked, but expressively free images define his work through the 2000s (described by the artist as "pseudofiction"). They form, for Kraus, "the haphazard elements of everyday life to create an incandescent illusion of freedom and beauty." Many of these pseudofictions harken back to a 1970's lifestyle, a time when artists were "unburdened by debt or career, countless young people simply traveled, and an 'artistic life' could be lived without being professionalized." Kraus draws on Roland Barthes's Mythologies to understand how such imagery can "convey a sense of the real" and subsequently hold up false constructions about how artists can and should be able to live.

"It's Very Sad, Really," a conversation with poet and critic Quinn Latimer considers how, as a genre, social practices (along with other wayward disciplines) appropriates, subverts, and borrows from other professions and disciplines by using critical theory to trespass into other disciplines, finding refuge in an institutionalized art structure that is willing to embrace "reduced and simplified" strays of the humanities. For Kraus, the "art world" now stands in for any remnants of a counterculture since the former needs a welcoming home and the latter has been commodified, now requiring art's ability to offer counternarratives. The limitations of art-based research and the post-MFA impulse to excavate some sort of meaning in well-intended projects is made explicit as she reflects on her experience with the Concord Collective. As Kraus points out, artists whose projects "pass" in the art world, yet remain on the fringe, may well be the only remaining counterculture, where activism can flourish and reinvigorate political and socially engaged art; both protected by and complicit with the structures that define them.

Kraus's portrait of Los Angeles is in some ways analogous to my understanding of social practices—the inability to grasp it fully, only ever glimpses, whether it be the art project itself, its effect, or the people for whom it's designed. The vastness, the promise Los Angeles's artistic culture had before it faded is akin to the promise the social practices genre had; both are now at risk of being swallowed by marketable residencies, MFAs, grants, and of fading away when the next genre steals the spotlight.

With such a heavy suspicion for what the genre now includes, Social Practices as a title didn't make sense for this collection, unless we see it as her social practice, made explicit in the last line of the book, where Kraus proclaims, "Write when you can. Your letters are welcome." So I did, to ask about the title. In her response, she claims the title is, "sort of a joke, and also a statement: that art always involves a 'social practice' of some sort . . . trying to redeem those two words from the prissy genre it's come to connote." The educational structures that support social practice engender critical thinking, ethical acts, and formalized processes. Released from institutional bounds, artists go into the world and try and change it. While some are misguided and "prissy," I'd contend that many find their professionalized degrees better position them to function in a neoliberal economy and able to link up with the remaining counterculture.

Sunday, July 10, 2022

Dave Chappele on Norm Macdonald's Coronavirus Bit

Joe Rogan: Comedy, Controversy, Aliens, UFOs, Putin, CIA, and Freedom | ...

Has Google Created Sentient AI?

When do we the people get to be angry about having our lives fucked with by USA Chemical warfare covid makers. Oh a trillion dollars to NZ already wealthy, 400 mil more debt to NZ poor. It's back to usual, nice to know who to blame again, way easier target. Applause

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    When do we the people get to be angry about having our lives fucked with by USA Chemical warfare covid makers. Oh a trillion dollars to NZ already wealthy, 400 mil more debt to NZ poor. It's back to usual, nice to know who to blame again, way easier target. Applause

    4 Comments


    Darcy Gladwin
    Clapping madly can u feel it?


    Wells Tao
    Darcy Gladwin like a broom handle








  • Wells Tao
    What I like most is how the poor self identify as so clearly the losers, the example of where all evil is produced. I'm so full sucking boss's ego, I wonder what it feels like. Oh it's the envy I imagine driving my 4x4 pelting my windows with their pathetic hopeless love bombs. Winner. Your either with me or against me.


  • Wells Tao
    The power of the people is greater than the people in power. Which is why woke left anti fascists protesting against anti rape by the state mandates and violation of body sovereignty protestors; having their image controlled by disenfranchised cross class rednecks, is the cutting edge of mass media manipulation.

 

Twitter REVERSES BAN Over Vaccine Tweets By Journalist

Rockers Put Music Back On Spotify!

Thursday, July 7, 2022

Cigarettes After Sex - Crush



I wanna line the walls with photographs you sent
Of you lying in your sweatsuit on the bed Can't live without your love inside me now I'll find a way to slip into your skin somehow I wanna fuck your love slow Catch my heart, go swim Feel your lips crush Hold you here my loveliest friend I love to watch you when you're trying on your clothes And now you're all I think about when I'm alone Can't wait to feel your love inside me now We'll have a drink or two and we'll go to your house Repeat 3x  I wanna fuck your love slow Catch my heart, go swim Feel your lips crush Hold you here my loveliest friend