The Ends of Freedom w/ Mark Paul

Mark Paul joins Money on the Left to discuss his new book, The Ends of Freedom: Reclaiming America’s Lost Promise of Economic Rights (University of Chicago Press, 2023). Paul is assistant professor in the Bloustein school of Planning and Public Policy at Rutgers University. In his book, Paul scours U.S. political and economic history to recover, reclaim, and adapt the rhetoric of economic rights for our current political moment. For too long, Paul demonstrates, progressives and leftists have let conservative and sometimes charismatic economists define the boundaries of our economic thinking. This even as the left has underappreciated its own rich reserves of heterodox political thinking and radical rhetorical action. Hence Paul’s outspoken advocacy–within and beyond the book–for durable and democratic policy interventions like Medicare for All, a federal jobs guarantee, and a Green New Deal. 

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Transcript

The following was transcribed by Mike Lewis and has been lightly edited for clarity.

Scott Ferguson:  Mark Paul, welcome to Money On The Left.

Mark Paul:  It’s great to be here today. Thank you so much.

Scott Ferguson:  So we’ve invited you to talk to us today about your very important new book, The Ends of Freedom, Reclaiming America’s Lost Promise of Economic Rights, which is out from University of Chicago Press this year, 2023. And we want to get into a discussion about the book. But before we do, maybe you can tell our listeners a little bit about who you are, your background, your training, you’ve certainly studied and worked with all kinds of interesting folks along the way. So maybe just give us a little bit of a flavor of where you’re coming from?

Mark Paul:  You know, when I was born, I wanted to be a PhD economist, and here I am now. No no. When I was younger, I wanted to be a chef. I love food. I grew up on DiGiorno pizza, and Dino nuggets, and it was terrible. And I thought there had to be something else to life. And thanks to public programming, good old PBS, Julia Child taught me how to cook. And so I watched Julia Child and just fell in love with food and worked in kitchens throughout high school. I ended up going to culinary school and working in kitchens more. And it was my time working in kitchens and thinking about our food system that actually got me interested in economics. I spent just years working on the line and hot, semi miserable conditions, but in fairly high end restaurants. And I’m working on the line next to often immigrants who show up for work every single day, year in and year out. And they are making marginally above minimum wage, it’s 15-20 years ago, but still, they’re making under $10 an hour in most instances. And it dawned on me that they, nor I, could ever afford to eat in the restaurants we’re sitting here cooking in, and that is just messed up, what’s going on here? And further, my love for food got me interested in gardening and farming a little bit. And so I started down that path. Next thing I know, I’m reading about climate change and the climate crisis. And I’m sitting here in my early 20s thinking, how screwed up is this world we’ve built? From there, I guess made for some people a rather large leap, but to economics. 2008 struck. All of a sudden, the economy comes crashing down, I start reading about the economy. And I realized the food system is the way it is; people are paid shitty wages and good food is expensive where Captain Crunch is essentially free because of poor economic policy. And in fact, I realized we can choose different economic policies and that set me on my path to becoming a PhD economist. It’s not what I ever thought I would do. But here we are, and it was really my passion for food and my observations in the real world that set me on this rather strange path to pursuing a degree in economics. But I came to economics not because I love studying economics, I came to economics because I wanted a decent world where everybody could afford to eat good food and people who worked on the line of kitchens didn’t have crappy jobs, dangerous jobs and low paying jobs.

Scott Ferguson:  Can I ask how did you find heterodox economics? I mean, one can have a desire for a more just, abundantly provisioned world and then think, well, this is probably a problem of economics. And then when you go to research, “well, how do I learn about economics?” The main pathways are the orthodoxy. So how did you find an alternative? I mean, what was that process like?

Billy Saas:  How did you end up not self blaming for not having access to those restaurants and being able to pay for the swordfish plate?

Mark Paul:  It’s such a good question, right? I mean, if only I had worked harder. If only I’d worked 80 hours a week instead of 60 hours a week I’d be able to afford a decent meal. No, but in all seriousness, it in part was luck, and it was in part just the books I happened to pick up. Milton Friedman’s Free to Choose first economics book I ever read, and when I finished it I thought this guy is absolutely insane. This is not the world I think we want to build here. I mean, what’s funny is I and I think most people agree with Milton Friedman: we truly want to be free to choose, but the type of policies he talked about is not like getting us to a world where we actually have meaningful and real choices in front of us. And so reading Milton Friedman left me scratching my head thinking this is crazy, what else is there? Next thing I did was I picked up a book by Keynes and read that and was like, Oh, this is pretty interesting. But the real luck happened was that I’m from Massachusetts, and the University of Massachusetts Amherst is a premier heterodox alternative Economics program in the country. And when I applied to colleges, I had gone to culinary school, and I was taking some part time classes in community college. But I didn’t have money to pay for college, I was on my own financially. And I applied for a number of schools and UMass Amherst gave me free education. I said, you can’t beat free plus, hey, they have some interesting people in their economics department that are a little wonky. And so I went to UMass Amherst to finish my undergraduate degree. And from there, I just never looked back. I was really lucky to be mentored by a host of amazing progressive economist from Nancy Folbre to Sam Bowles and Jim Boyce and others who really opened my eyes to the fact that we can build an economy that works for the people rather than just working for the 1/10 or 100th of one percenters that get rich at all the rest’s expenses. It really was a once in a lifetime opportunity to go to a place like that and study economics.

Scott Ferguson:  You’ve also done some work with Sandy Darity. Is that something that you can talk about a bit with us?

Mark Paul:  Yeah. In 2015, I was finishing my PhD, and I started doing some writing with with Sandy Darity and Darrick Hamilton, two absolutely luminaries in the field that have just done phenomenal work in advancing economics as a profession, and also bringing economics into the policy space to demonstrate how it is that we can build a more just an inclusive economy. I had the wonderful privilege to go spend two years at Duke University working with Sandy Darity as a Postdoc. And I do want to say here, I’m a K through PhD public school kid. I deeply believe in the public school system. My two years at Duke let me see how the, it’s tempting to say how the other half lives, but it’s really it’s how the 1/10 of one percenters live. It was really an amazing change in so many ways. But my time working with with Sandy just really helped further my intellectual development: my belief in stratification economics, my study of economic history, in particular, which I really bring into the book, where I look at the fact that the neoliberal order that we like to talk about so much isn’t the only way to organize the economy. More importantly, it was an incredibly radical vision that came about, and we can talk about this later, in the 40s and 50s. But my time with Sandy helped me really develop into the scholar I am today as I had the chance and freedom to just read far more wide ranging texts. Folks like Du Bois, who I had never read before, and others that helped me broaden my horizons as a political economist. I don’t just study economics, I study history, I study philosophy, I study political theory. And if we want to have a true holistic vision of the economy, we need to go beyond reading the American Economic Review, which has many important articles, don’t get me wrong, but it’s not going to help us actually shape a proper vision for where we want to go and why.

Billy Saas:  K through PhD. I like that a lot. K through PhD public school similar here.

Scott Ferguson:  Me too. Yeah.

Billy Saas:  You end up at UMass Amherst, which is just a wonderful accident, coincidence, providence heterodox school, and then you work with Sandy Darity. I guess one question is, what was your sort of interest in your dissertation? Because I imagine that anticipated your collaboration with Sandy Darity and Darrick Hamilton, as you were going into your postdoc, they must have liked what they saw or knew of your work at that point. So talk to us a little bit about that experience at Amherst and the shaping of your intellectual foundation and platform from which you sprung into this wonderful collaboration.

Mark Paul:  Yeah, it’s a great question. So The Ends of Freedom actually isn’t really that related to my dissertation. In fact, The Ends of Freedom is really new work. A lot of that work that came out of my time working with Sandy, as a matter of fact, where actually Sandy, Darrick and I co-wrote a piece for The American Prospect magazine calling for an economic bill of rights back in 2018. And that was kind of the predecessor to the book. So my relationship with Sandy really came out of actually my involvement in the 2016 Bernie Sanders campaign at the time my dissertation was essentially done. It’s three essays on sustainability where I was really focused on the climate crisis. I should say here that half of my work is really focused on causes, consequences, and potential solutions to inequality. And the other half of my work is really focused on addressing the climate crisis. Now of course, the two are inextricably linked, but they are two slightly separate buckets. And so the dissertation focused much more heavily on the climate crisis, and what to do about it. And really, through this work, I came to understand that first of all policy is climate policy. And second of all, when we address the climate crisis it’s going to be a substantial reorganization of economic activity. And we have a choice here. And that choice is that we can allow policy to continue along the current fault lines of inequality. In which case, we would most likely be deepening existing inequalities. Or we can be quite intentional about taking redistribution seriously, in which case, the climate crisis actually presents an opportunity for us to fundamentally change the structures that exist within the economy, and to address both our emissions and our inequality challenges simultaneously. So the work with Sandy and Derek, though, really came out of my involvement in the Sanders campaign where I had finished my dissertation, but I still had some time on my hands as a graduate student. And everybody’s coming out swinging against Sanders for putting out radical proposals like Medicare For All, which was going to clearly bankrupt the country and make sure everybody quit their jobs and $15 minimum wage, which would eradicate half of low income jobs in America overnight, they just disappear and all these terrible things. And people were starting to ask, are these policies truly crazy, or is there some economic rationale for them? And at the time, that bench of progressive economists was incredibly thin, of course, Stephanie Kelton was advising Senator Sanders. But there were very few economists that were out there defending, I think, these very modest proposals that Senator Sanders was putting out. And so I decided to do a little bit of work with the campaign, and to start writing both policy pieces and opinion pieces to show the economic rationale for why $15 minimum wage, or programs to invest in higher education through making college free for everybody, or programs to actually make healthcare a human right were actually economically smart. Now, it was this opportunity that really changed my work to focus on policy issues first and foremost, where I kind of became a policy economist. I still do academic work quite extensively, but what drives my academic work is the real world. It’s thinking about policy issues, and how is it that we can improve the economy and the functioning of it? Therefore, my academic work heavily ties into my policy work. It’s kind of a two way street, so to say. And it was through that work that I got to know Sandy and Darrick quite well, and Sandy was able to offer me a postdoc to come do some additional research with him for two years.

Billy Saas:  Was the dissertation then sort of incidental or coincidental to or with the Sanders campaign? Or did it inform your advocacy directly in any kind of way?

Mark Paul:  In economics dissertation, yeah, “Three Essays On Sustainability” was the title of the dissertation. Look, in economics, a dissertation is three essays that you slap together, you write a quick introduction and conclusion, you call it a day. I mean, a dissertation is really about learning how to research. And that’s what my dissertation taught me. I mean, it grounded me in economic theory, it taught me a great deal about economic and climate policy. I did a number of studies looking at kind of sustainable agricultural policy, in particular, as well as sustainable responsiveness to climate disasters. But the dissertation didn’t dig into the more pressing inequality policy issues that I ended up pivoting towards. The dissertation really taught me how to go about doing economic research? How do I develop my tools as an econometrician and as a policy researcher? I published it all in academic journals, but it didn’t necessarily go on to have a substantial policy influence the way that some of my later work luckily has, and the way that I hope that this book will moving forward.

Scott Ferguson:  So I have a question that I think you’ve probably begun to answer, but I had this written down so I am going to ask it anyway which is: why a book? When you and I, Mark, have had encounters in the past we’ve hung out at conferences, you graciously invited me down to New College where you used to be to give a talk. I remember you pondering aloud in earshot, “should I write a book? Should I write a book?” And ultimately you decided to write a book. But as I understand it, that’s not actually typical of what an economist does, right? That it’s a kind of rarity. So I’m curious to hear, as we move to talk about this book, and what it’s really about, why did you decide not to write four journal articles? Why did you go for a book? And I guess, a related question, or an integrated question would be, who’s your audience? Who do you imagine would read this? And of course I’m sure there’s not just one answer to this, like, X type of person, but I’m curious who you’re thinking about your audience and why you’re deciding to take up the genre of the book?

Mark Paul:  I’m going to take those in reverse order, because the audience question is what drove me to write the book. So look, I’ve been privileged, and I’ve written numerous journal articles, and each time I read a journal article, I think this is going to change the world in some important way. And then, you know, maybe 100 people read it, it goes out in some academic journal, where subscriptions are 1000s of dollars a year, and it kind of dies in the PDF white paper ethos of the interwebs. And you hope that these journal articles change some academic minds, and in turn, maybe 50 years down the road, when those people are advising PhD students, those students will read it, and it will change the future generation, but I’m a little bit of an impatient person. I see the economy as it operates today, and it is screwed up. And I’d like to do something about that. As Marx said, that philosophers have only henceforth interpreted the world, the point is to change it. And that is, indeed, what brought me to the discipline. I want to change the world. I want to make the economy a better place. And so my audience is policymakers as well as the American public. So the book is aimed for the New York Times to Wall Street Journal readership, ranging from hill staffers to just interested voters. And I’m trying to lay out an affirmative vision for a post neoliberal world. We’ve all read dozens of books about neoliberalism’s rise and fall, how it’s either dead or on death’s door. But what always drove me nuts about all those books was that they’d have 10 chapters about neoliberalism, and then one chapter at the end is: here’s what comes next. And they just really quickly sketch out a few ideas. But if we actually want to move past the neoliberal order, we need to start envisioning what that would look like. We need to start envisioning what is the North Star that we are working towards? And so I set out to write an affirmative book that discussed what the economy can and should look like post neoliberalism. What is it that we want? Why do we care about the economy? And what is it that we’re collectively working towards achieving? Now, why a book? With my audience in mind of changing the hearts and minds of the American public, and also in trying to change policymakers and Hill staffers, because I know we talk a lot about policymakers, but really, it’s the hill staffers that have a lot of sway, in hill offices. I decided to write a popular book in order to reach just a far broader range of people than I could with an academic article. I had already written at this point enough articles for tenure, so I was feeling rather secure. It’s a shame but in economics, they don’t really count books towards tenure. At most research universities a book might count as one article, but your chair would tell you absolutely don’t do it. Versus if you’re in kind of more open minded disciplines like sociology, political science books are completely welcome. What’s crazy about this is that when you go down the list of Nobel Prize winning economists, they all write books. Now why? Because they want to reach broader audiences with their ideas. They know that very few people are going to open up an esoteric economics journal and actually read their ideas. So household economists’ names from Paul Krugman to Joe Stiglitz, and the likes, they all primarily write books to reach broad audiences. And I thought, I want to reach broad audiences like Paul Krugman and Joe Stiglitz are now Stephanie Kelton. So I’m going to write a book. And I have to say it was an absolutely wonderful experience. Challenging, but truly wonderful to dedicate a year and a half of my time to just sit down and focus on one project, and one project only, and really to have the space to deeply articulate my thoughts and ideas to what I hope to be a very wide readership was an absolute joy. While I was writing the book, my partner was pregnant, and I thankfully finished the book prior to having our child. But I really felt like I had two babies; I had the book, and then I had my human kiddo that arrived at fairly similar times. So it was a true joy in both respects.

Billy Saas:  It’s fascinating to know, I didn’t realize that economists were disincentivized from writing books and publishing books. And that’s interesting to know, and makes it I think, even more remarkable that you’re going this direction. As you did so, did you have any models or figures in mind that you looked to as examples of effective public communicators of affirmative economic messages?

Mark Paul:  That’s a great question. So I kind of had two different sets of people that influenced me in mind when I set out to write this book. And one was just leaning on some of my favorite writers, largely out of the civil rights movement, both favorite writers and orators, people like A. Philip Randolph, Bayard Rustin, Martin Luther King, James Baldwin is just one of my all time favorite writers. So I really spend a lot of time with his texts thinking about how they are relaying ideas? Because look, we have to be storytellers to get ideas to stick. And ideas truly are one of the most powerful weapons that exist. But we need to think about how to effectively relay those ideas and embed them in people’s minds, or at least get people to contend with them, which is really what I’m aiming to do is just getting people to think about these ideas. In the economic space, I absolutely spent quite a bit of time with a host of economist books, and thinking about how it is that they laid out their arguments? And how is it that they relayed their messages to a diverse set of readers? And I have to say, folks like Milton Friedman and Frederick Hayek were great writers. I truly do admire their ability to communicate complex and radical ideas to the voting public. And so I absolutely spend a lot of time reading their works and others and thinking about how to write an effective book. But here, I have to say, I’m also deeply in debt to one of my dear friends and editors, Jed Cohen, he is an editor for Duke University Press, was one of my best friends during my two years at Duke and remains one of my closest friends and he helped me through the writing process a good bit. Behind every good book is a good editor, and I think we need to acknowledge that quite openly because books are always a collaborative process, even when they just have one author, they have a whole host of people that helped them make it to press and into your lap, hopefully, on a nice, beautiful, sunny day while sitting outside and kicking the feet up. It was really through my collaborative work with him that I was able to find my voice as a writer. Because learning how to write journal articles, earlier we were talking about the dissertation is just very different from learning how to write a book for mass consumption.

Scott Ferguson:  Here, here. So the title of the book to say it again, is The Ends of Freedom, Reclaiming America’s Lost Promise of Economic Rights. So to get us into this argument, maybe you can unpack the title, and talk a little bit about how you’ve structured the book in three parts.

Mark Paul:  Yeah. So let’s talk about freedom a little bit. I think freedom is our most powerful and salient word in our political discourse here in the United States. Everybody declares for freedom. But in declaring for freedom, unfortunately, we often all mean different things. And that’s what allows President Biden to launch his election campaign in the name of freedom. And it’s what allows Ron DeSantis to launch his also declaring he’s seeking to make America more free, although he has to do some serious twists and turns to come up with any real definition of freedom given his set of policy priorities. So The Ends of Freedom really comes from the idea that the right has very effectively weaponized the idea of freedom to simply mean negative freedom, which is freedom from government, famously articulated in the Bill of Rights, coupled with access to markets. If only we have limited government plus access to markets, which to be clear, requires government in the first place, then people will be free. But this really differs with more holistic understandings of freedom, which also incorporate what the philosopher Isaiah Berlin deemed positive freedoms. Now, by positive freedoms, I mean freedom to certain things, importantly, the freedom to the good life, Jefferson’s promised life, liberty and pursuit of happiness which is enshrined in the very ideals of this nation. And in order to actually be meaningfully free, people don’t only need negative rights, they don’t only need civil and political rights and reproductive rights, which are increasingly coming under attack, especially across conservative states. But they also need economic rights, these positive rights like things to you know, the right to an education, the right to health care, the right to a home and the like. And what I try to do in the book is lay out an argument in the first third about first how it is that we got here, but I do that quite briefly, really kind of flipping the traditional book about neoliberalism on its head, as we talked about earlier. So I can briefly talk about how we got here and where here is with 40 million Americans still in dire poverty, the same number of Americans that were in poverty when Johnson launched the war on poverty or when President Roosevelt, at the height of the Great Depression, declared 1/3 of Americans are ill clad, ill housed, and ill fed. But it’s also about the 100 million Americans that are just one emergency room visit, one layoff, one missed bill away from really severe economic hardship. And in that first third of the book, I lay up these two contending visions for freedom. On the one hand, we have the classic neoliberal vision of freedom, which is, as I mentioned earlier, limited government plus access to markets, which was championed by people like Frederick Hayek and Milton Friedman, and then brought into the political sphere by folks like Barry Goldwater and Ronald Reagan. But also adopted essentially hook line and sinker by the New Democrats, starting really effectively with Jimmy Carter, who I would argue as the first neoliberal president before Reagan, but culminating in Bill Clinton’s presidency and certainly heavily influencing Barack Obama’s. Then, I talked about what I call “America’s other freedom”, which is the fact that we’ve had this long march towards a more meaningful, robust notion of freedom, starting with the founders, folks like Thomas Paine and Alexander Hamilton, who advocated for a robust state that legislated in the public’s interest and ensured that all people had a share of the economic pie not as a matter of charity, not as a matter of welfare, but as a matter of their citizenship right. And what’s really fascinating and this is fairly well connected to Jefferson’s ideas of a landholding citizen, right now of course we need to acknowledge that in the case of Jefferson and many others of the founders, they really envisioned a white male kind of ownership class. To be a citizen was largely to be white and male and educated. But, as we increasingly expand the notion of citizenry to be far more all encompassing, we start to see that these economic rights championed by the founders and then later by people like President Abraham Lincoln, who tried to enshrine this into law with the Homestead Act, where he’s redistributing land to people as a matter of right, really becomes a centerpiece of the vision for freedom in America. Yet, it’s language we’ve just lost here today. And I think that this language really came to its most powerful height during the Civil Rights era, where you have leaders like Martin Luther King, and others fighting not only for civil rights, but also for economic rights. When we learn about King today, we forget the radical side of King. That King not only championed the Voting Rights Act and Civil Rights Act, but after the passage of those two bills, he turned his attention full time to enshrining an economic bill of rights into law. In fact, his final piece of writing, which was published after his untimely assassination, was entitled, “We Need An Economic Bill of Rights” and was centered in the Poor People’s Campaign, around the demands that I essentially outlined here in the book: the right to a job, the right to housing, the right to education, and more. So in the book of the book is when I actually dive into these various economic rights, and in each chapter, for instance, the first chapter on the right to work, I tried to do three things. First, briefly talk about the history and struggle for this, right. A lot of the time we think about the right to a job or the right to healthcare, and we say, you know, oh, this Scandinavian country does it fairly well, and that’s true and we can learn a lot from them. But I think that there’s also a lot lost in kind of pushing American history to the side. So I tried to rediscover and retell the economic history in the US where these rights, in many instances, had been fought for for well over a century. The second thing I tried to do is debunk the common economic or neoliberal wisdom around why, say, providing people universal education is a terrible idea. Because I think if we want to convince people of this idea we need to talk about the criticism and explain point by point on why it’s just deeply misguided. And then third, I make the positive case for the economic right in each given chapter. The final section of the book, which we can maybe talk about a little bit later, takes on what I like to call the trillion dollar question. And we might say a right to a job and the right to housing is wonderful. And in fact, most Americans want it. We did popular polling with Data For Progress, and we found that two thirds of Americans want an economic bill of rights, including a majority of independents and Republicans. But when the rubber hits the road, when it’s time to pay for these things, that’s when we might hit some serious speed bumps. And so I lay out a comprehensive argument of how it is that we finance an economic Bill of Rights?

Billy Saas:  Yeah, so okay, this is probably going to happen, if it hasn’t happened already for you, you are going to find yourself in a situation where you’re in a conference hotel, and there are some hill staffers over there. And this table is full of like Republican Hill staffers, and this table is full of like Democrat Hill staffers, I wonder how your pitch goes? Is it the same for each of those tables? Do you even bother with one or the other? What do you say this story is? And I wonder if this came up in your conversation and your collaboration with your editor? What is this book offering us? What is its main contribution? And I think, how would you pitch that to those two different audiences, which I think are probably both very interested for different reasons and in different directions in what this book is doing, what’s about what it’s about?

Mark Paul:  Yeah, it’s a great question. I mean, at its core, the book is trying to offer us an agenda to attain freedom. It’s trying to lay out a vision and a policy prescription that details, how is it that we restructure the economy to ensure that people have choices to be and do what they have reason to value rather than to be stuck in this current economy that we’ve built that really hamstrings human flourishing left and right, and really places people at the service of the economy rather than placing the economy at the service of us. When we think about what the point of the economy is, the point of the economy is to ensure that we all get to lead meaningful and dignified lives, that we all have homes and food and can go to school and get health care. Yet we’ve structured an economy that’s essentially based on the bastardized version of the game of Monopoly, which was, of course, originally a parody on capitalism, yet really, it’s all about who can grab the most property, and who can fill up their bank accounts the most. I mean, that’s kind of the game that we’ve set up for ourselves. But instead, I want to change the conversation. Instead of playing the game of Monopoly, I want us to play the game of Life; think about how we structure that economy that dictates so much of our lives, right? I mean, Americans work 47 hours a week, often 50 ish weeks a year, thanks to our limited to no vacation. And, we’re often working to 65, or well past that in order to make ends meet. How is it that we structure that economy to actually prioritize a decent life? It’s funny, we always talk about living in a democracy and how important democratic values are, but why is it that democratic values stop when it comes to the door to the economy opening? It’s like, there’s this massive gate we put up. And what I’m interested in doing is tearing down that gate between the democratic realm of politics and the private realm of the economy, where money is the only currency that matters rather than votes. And so when I talk with Hill staffers, first of all, unfortunately, I haven’t had any excited or interested calls yet from Republican staffers, although I eagerly await them. What I make the conversation about is about freedom and about realizing the American promise; the promise to life, liberty and pursuit of happiness and the promise to be a truly free nation, where people have meaningful choices as Milton Friedman put it, people are actually free to choose. If you graduate from college with $200,000 in debt, you’re not free to choose much. You’re free to choose the highest paying job to make sure you are able to meet your bills. If you have a kid and you have to send them to daycare to keep working, you’re not free to choose much. You have to stick to your current job because that daycare bill is going to come due every month, no matter what. If you’re living in an apartment and you want to downsize because your apartment is eating up half of your take home pay, unfortunately, you’re not free to choose a better paying job or a cheaper apartment, because let me tell you, they just don’t exist in most cities across the United States. So I think this notion that we’re free to choose is a farce. And the question is, how do we build an economy that actually provides people some meaningful sense of freedom? And here, you know, when I talk about freedom, it’s frustrating because I think the word that always comes into my mind is enduring freedom. I don’t know if that brings up any bells for listeners here. But that’s actually the codename for the war in Afghanistan.

Scott Ferguson:  Oh, no.

Mark Paul:  Oh, no, is right. The right is just far better at marketing, be it “freedom”, “right to work”, you name it, they have co-opted every powerful word in our political dialogue and turned it into something evil. So part of my mission here is also to not give up on freedom but to reclaim it.

Billy Saas:  I think that project of reclaiming, it’s a common rhetorical move for heterodox economists arguing along the lines that you are for embracing, reclaiming, reanimating, rediscovering the kind of progressive roots of these ideas and the progressive elements of them. And I wonder along those lines, and one of the things I like about your book and talking with you now, you do; you lean into and sort of try to pull back the idea of free to choose, we want to be free to choose. Yes, let’s do that. And by that you’re maybe offering a hand to those Republican staffers or opening up space for conversation. And then in the book, you highlight how Hayek, Friedrich Hayek, was not opposed to social welfare programs, like health care programs, and how that sort of gets left out. On that note, I wonder if you’ve thought about entitlement as maybe a rhetorical obstacle here. So I imagine that those Republican staffers might hear you say, the right to, or the freedom for and say, okay, you’re talking about entitlements, which has become a sort of a demon term over the last 40 years over the neoliberal period. Do you have any clever way to get us into recovering entitlement as a kind of affirmative positive progressive trope or direction?

Mark Paul:  Look, I’m gonna be honest, I think that most of the Republican members of Congress and staff on the Hill are largely a lost cause. I do not think that we’re going to change many hearts and minds there. Now, that is very different from Republican voters. I do think that there is a tremendous opening to convince Independent and Republican voters, as well as Democratic voters for that matter, this is the type of vision that we need to be working towards. And those are the folks that I’m trying to capture more of. I don’t focus much on entitlements. I agree that it is a challenging word. But what I like to talk about instead is what I call the “well being state”. How do we move away from this notion of entitlements, this notion of welfare, to embrace a well being state? And this is precisely why the policy prescriptions that I outlined in the book are what I call targeted Universalist policies. So they’re universal policies, things like college for all that benefits everybody. Hillary Clinton famously quipped that she wasn’t for sending Donald Trump’s kids to free college in the presidential primary back in 2016. And I explain why that’s exactly wrong. Yeah, I’m fine with paying for Donald Trump’s kids to go to college as I am with paying for low income students to go to college across the board. We have a great way to capture the income and wealth of high income earners, I’m not so sure Donald Trump is one, through something called the progressive income tax and we need to couple that, of course, with a progressive wealth tax. But rather than having these means tested gates through every program that are essentially just meant to make programs more complicated and, in return, create political divides over them. What we need to do is have simple straightforward universal programs, things like Medicare For All, things like universal free college, and then you know, tax the rich via income and wealth taxation and let the programs do their jobs. “Programs for the poor make poor programs” was this great quip by Wilbur Cohen, one of the key architects of the New Deal and Great Society, and I think he was absolutely right. If we want broad based buy into these types of programs, we need to ensure that they serve a broad swath of America, economically, racially and geographically. And that’s precisely what I aim to do in building this wellbeing state, where the state is there to ensure that we are all lifted up, that we all have a floor under our feet at all times. The vision is essentially to constrain the market, both using floors and ceilings, to ensure that everybody is taken care of at a fairly high quality of life, but also that nobody is allowed to have undue economic power. And this is one of the things I talk about a lot. When we think about taxing the rich, it’s not only to create the economic space to ensure that we can fully afford everything we need to lead to a high quality of life for all people. But it’s also because we need to effectively put an end to the oligarchy that we find ourselves in today. By actually placing ceilings in the economy, saying that, whether it be a maximum income or maximum wealth level, we’re actually able to reclaim our economy in better entrenched democratic processes into the economic realm, rather than just allowing the billionaires of the world to essentially be mini dictators.

Scott Ferguson:  So I’d like to invite you to speak to some of your particular proposals. You can speak to any of them, but I guess maybe to get us going, I’d like to hear about the chapter titled the route that excuses me. I’d like to hear about the chapter titled “The Right to Housing” and what you’re proposing policy wise for this, to secure this right to housing.

Mark Paul:  So it’s a great question, slogans matter. And in fact, slogans often are best at changing hearts and minds. It was a particular slogan that actually set the initial seed for this book in my mind, and it was when I was spending time at Occupy Wall Street as a first year PhD student where the rallying cry was an economy for the 99%. And it’s a fine slogan, but they didn’t have a 10 point plan. People love criticizing them for that. And, I don’t think that’s a fair criticism, I think it’s fine for a social movement to have a vision, but not necessarily articulate policies. I kept thinking about an economy for the 99% what does that look like? And that’s largely what I tried to articulate here in the book. A right to housing, I think, is a good example of this, because it’s a nice slogan, but what does it really mean? And I had the wonderful privilege of working with a group called the Homes Guarantee Campaign and actually fleshing this out. So it’s a group associated with the grassroots organization, People’s Action, where they brought together a whole host of housing advocates, people that were section eight voucher recipients, people who are either currently or previously unhoused, elderly people struggling to make their bills. They wanted to re envision what a right to housing looked like, and the grass tops leaders were selling them on extending section eight vouchers or this or that. And they said, no, no, no, we want a radical vision that would actually put an end to the homelessness and housing insecurity crisis here in America. And so they brought me in as the economist on that team and a number of other academic policy experts that helped through a bottom-up policy development approach to flesh out what an actual right to housing looks like. And that’s what this chapter is largely based on. What I focus on in the chapter is two key elements to this policy prescription. The first is rent control. Look, we have rent control for the vast majority of Americans already. It’s called a 30 year mortgage, where we essentially freeze rent payments for 30 years thanks to government policy which created the 30 year mortgage out of whole cloth. Almost no other country has it. The United States did not have it before the New Deal which essentially legislated it into existence. And that has led to the creation of the wealth that exists today for the middle class. It’s a beautiful, brilliant policy, but in creating that we left out rent controls for the other half of Americans who rent. And in turn, what we’ve done is we’ve created a housing market that leaves renters at the whim of landlords. And I think this was on full display during the COVID 19 crisis, where in many cities, landlords were jacking up rent prices by 15-18%, in some cases, 23-24% a year thanks to the market power that they have. And it’s not because they were investing in those apartments and making them better, it was because they simply could. What rent control does is take the fact that both landlords and tenants both have rights to the housing, and it redistributes the bundle of rights that landlords disproportionately currently enjoy, and it says that tenants have a right to stay in their house. And it limits how much landlords can increase the rent on an annual basis. And I argue for an increase in the order of magnitude of three to five percent per year as the absolute cap. Now, that will help many existing tenants stay in their homes today, but what it won’t do is help ensure that we have additional housing options given our lack of affordable housing that exists on the market in the first place. To do that, we need much more comprehensive reform. And I think one of the most crucial areas that we should be investing in today is by building millions of units of social housing. Vienna, Austria is, I think, the key example here where the majority of residents live in publicly owned social housing that serves a diverse set of stakeholders. It’s mixed income housing, high quality housing. Many of these housing units have daycares on the bottom floor, have public swimming pools on their rooftops, and have gorgeous community gardens. I mean, this is not the public housing that we think of here in America. This is truly high quality, beautiful luxuries. Beautiful temples of public luxury. And we can have that here too, if only we will it to be the case. And through building such public housing, what we would do is actually set a real floor in the marketplace for rentals, because if a private landlord wasn’t offering decent housing options, people could simply go to the public housing option and get a nice apartment at affordable rent. And so it would fundamentally rebalance the housing market away from a nexus of profit towards a nexus of home and community.

Billy Saas:  Are there any other of the proposals that you feel like are especially, I mean they’re all important, but do any standout to you as maybe… Is there a sequence that you have in mind here for these sorts of rights being afforded? These freedoms being embraced and distributed? Is there an order of operations? Or do we have a sense that we’ll take what we can get when we can get it and figure it out accordingly?

Mark Paul:  That’s a great question. I think, later this summer, we will hopefully be having a resolution calling for an Economic Bill of Rights introduced in the US Congress highlighting the fact that you can’t take any one of these things in isolation, that if you actually want to deliver on economic rights, just like if you actually want to deliver on political rights, you can’t just give one piece of the puzzle to voters and say good luck. We really, ideally, want to adopt a package together. That said, sometimes in politics, you do need to prioritize. For me the two rights that really come to the fore are the right to a job, and the right to a clean and healthy environment. And let me briefly explain why. The right to a job would fundamentally restructure the labor market, which is where the vast majority of us earn our paychecks that pay our rent and put food on our table on it on a week to week basis. And by implementing a right to a job, which I argue has three pillars: running the economy hot, permanently expanding the public workforce, and finally the almighty job guarantee to actually eradicate unemployment and poverty level wages once and for all. By implementing such a program, you would fundamentally restructure the power relations of the economy because workers would have a viable exit option. They would actually be able to tell their bosses F-U if they have a shitty boss, an abusive boss, an exploitative boss as, unfortunately, so many people do. And it would provide them with a reasonable fallback position where they can get a well paying job working for the government and contributing to improving society, to making us all better off. That fundamental restructuring of the power relationship between employees and employers will have massive ripple effects throughout the economy. It will just fundamentally shift the dynamics of capitalism in crucial ways that I think are frequently under-appreciated when we’re talking about the Job Guarantee program. The second area is addressing the climate crisis. Unfortunately, we’re dealing with this crisis in the here and now. It simply cannot wait. Look, nobody has economic security on a burning planet. And if we don’t start investing in ensuring a clean and healthy environment for current and future generations, then most of the conversation we’re having here is rather moot. So given the absolute necessity of the moment, I think that we need to do everything we can to pivot our economic activities away from extraction and fossil fuel consumption and towards a truly sustainable future that all of the evidence shows is both eminently reasonable, affordable, and is completely achievable. It’s simply political hurdles that stand in the way, it’s really how we can neutralize the power of fossil capital in order to reorganize economic activity away from the current, dirty polluted state that we live in, and towards one of green abundance.

Scott Ferguson:  Education is often thought of as being a kind of magical lever for class mobility, and we sort of reify it and extract it from the rest of our policy horizon and our policy imagination, but importantly, for you, you’re putting a right to education, right in the heart of your economic bill of positive rights. And I’d like to hear you talk about the way you conceive of education within this, let’s say, menu of policies?

Mark Paul:  Yeah, that’s a great question. The reason I prioritize the right to an education is kind of multifaceted. So in the economic realm, we often talk about how education provides people with more opportunities, and also how education has a high return on investment, and both pays off for the individual through higher future earnings. But it also pays off collectively: a more educated population means that we have a higher GDP across the board and higher living standards for the entire country. So in econ speak, there’s positive externalities from a person obtaining a higher education degree, so to say. And we frequently thought of education as a silver bullet, and really sold education to people as the key way for them to advance themselves. Well, there is one thing that education will guarantee you in America, and that is debt. That’s not because it needs to be the case, it’s because we’ve made it the case. But before I get into the debt question, let me just say, there’s a second argument for education. And sometimes I’m slightly uncomfortable with the first, though I do make it myself. And it’s because the point of an education isn’t just for economic advancement. It’s not just for money. The point of an education is also to be a fuller human, to lead a more enlightened, informed, and interested life. I mean, often that pursuit of knowledge does not come from the pursuit of money, but it comes from the pursuit of passion and interest. We are a deeply inquisitive species. And I think recognizing that there are huge benefits to us, as individuals and society from promoting education from a social standpoint is really sometimes undervalued and thought of second to the economic benefits. And I think that’s a mistake. I really do, and particularly when it comes to democracy. Why is our democracy under threat? In part, it’s because we do have a bit of an education problem, and a kind of political literacy problem. Will education solve all of these issues? Of course not. But do I think that reinvesting in our education system can help improve the very functioning of our democracy? Absolutely. And I think that that’s something that we need to think much more deeply about. So, given these multiple benefits to education, I prioritize the right to an education in the book and talk about how we can and must expand it. And right now it’s the right in the books that actually people are most familiar with. We have a right to K to 12 education enshrined in most state constitutions. But what’s fascinating here is that we didn’t always have the right say to high school. Indeed, in the early 20th century, the high school movement, a grassroots movement that pushed to expand the Right to Education passed primary school, was able to successfully get the right to high school for the American people that we so enjoy here today. And what’s funny about it is that the arguments made against free college were essentially the exact same arguments made hook line and sinker against free high school, 100-110 years ago: it’s too expensive, it’ll disproportionately benefit the rich, because the rich are the ones who are getting high school degrees in the first place. Why were the rich getting high school degrees then? And why are the rich getting college degrees now? It’s because they have access to them. Once you open it up to the masses, you see that low income people go for these degrees just as frequently as high income people do. It’s the fact that education is serving as a barrier in the first place. And by making it a right, we tear down that barrier. And so I think if we want people to be truly free, if we want them to have the opportunities truly available to them, I think that we need to provide them with a high quality education for them to think about what does it mean to be free in the first place? And for them to think about what is the life that they want to lead? What do they want to do with their life, with their time? I mean, time: we talked about valuable resources, we’re often talking about money, but really time is the most valuable resource we have. And I think an education allows people to think about how to spend their time and to what ends. Now one thing I do want to add here, is I don’t necessarily think college is the right path for everybody. I think it should be available to everybody. But by no means do I think that a college degree, a four year degree should be a prerequisite for a high quality life. And one other thing that I don’t discuss enough in the book is the role of things like trade schools and other avenues that we also need to invest much more in today. And it’s not only about investing in those avenues, things like trade schools, but it’s also changing the ethos around them. Today, we have, I think, a stigma to a degree around the trades and really prioritizing four year bachelor’s degrees. And I think that’s a little bit of a mistake. I think that, yes, college can and should be open to all, but I also think that we should recognize that not everybody needs to go to college, and that college should not be a prerequisite for leading a high quality life.

Billy Saas:  And there are a lot of problems with colleges that would surely be solved or could be solved as we’re dealing with this question of education and a freer, more democratic democracy here in the United States. You talked about education as a path to greater political literacy, which we definitely need. And I think one of the interesting things about being in the heterodox wing of political economy is the kind of stark realization that financial literacy is actually at the same time as important, I believe, right. And this relates to chapter 10. “How do we pay for it?” I’m not talking about financial literacy in terms of balancing your checkbook. I’m talking about financial literacy in terms of what is money, how does it work? Where does it come from, and that sort of thing? So let’s go back to that dimly lit DC bar where we’re at a table with five, Democrat Hill staffers have ordered, like a fifth round. They’re really into what you’re saying. And they say this all sounds really great, Dr. Paul, but how are we going to pay for it? First of all, do you expect that that will be the question? There’s been a lot of gains, I think, in kind of making that question itself questionable. Certainly, still prevails, I think, in policy circles, or in policy discussions, at least on the macro level. But in this scene, in this ideal scenario, where you’re talking to your ideal audience, A.) do you anticipate bumping into that question and B.) to kind of close out our conversation of your book, as you do close out the book. What’s the answer?

Mark Paul:  So, yes, I do anticipate the question. I think that we have made huge advances, often thanks to the work of Modern Monetary Theorists in really advancing the conversation around debt and deficits and the like. But I think as the recent debt ceiling fight that played out in Washington demonstrates, people still care a tremendous amount about debt, they still misunderstand debt to a huge degree. They still are going to bring this up at every single turn. And so we need to talk about the trillion dollar question. But when we do it, we need to break it up into two questions. When we ask how are you going to pay for it? You’re really asking two questions. The first question is where will the money come from, the dollars and cents. And the second question, and I contend the more complicated question that deserves far more attention, is where will the real resources come from? In the case of Medicare For All, where are the MRI machines, and the anesthesiologist and then nurses and the hospital staff going to actually come from? And that is the question that I think we need to be paying far more attention to today. The dollars and cents is the easy part. Let me briefly explain why. First of all, there is a tremendous amount of space for us to increase our national debt. As John Maynard Keynes famously said, anything we can actually do we can afford. Now, the first half of that question, anything we can actually do gets to my second question, that where will the real resources come from. If we can do it, we can indeed afford it. So, part one, let’s increase the national debt, and let’s do so substantially. There’s plenty of economic headroom to do so. Particularly when we’re investing in the American people themselves. Things like education, housing, health care, these all are investments that pay enduring benefits. That’s very different from, say, straight, upward redistribution that, for example, the Tax Cuts and Jobs Act (TCJA) undertook, which is a very different type of growing the national debt that doesn’t necessarily pay enduring benefits for years to come. In fact, I would argue that it makes us all worse off. The second thing is, I do think that we’re going to need broad based taxation, and I use the example of Medicare For All as one example. So I have a good job, I am a tenure track professor at a major public university. Yet here, I pay $830 a month for my health insurance. And it doesn’t even count my co-pays or deductibles. Now, under a Medicare For All type program, if I were to have to pay $500 a month more in taxes, and then have access to Medicare for All, I would normally have better insurance and one insurance for the rest of my life, I’ll add. I actually counted it up the other day, I’ve changed insurances 13 times since I’ve been an adult. But I would actually be saving money, I wouldn’t have to pay $830 a month to my insurance company any longer. Yes, my tax bill would go up a little bit. But in fact, I’d have more money in my pocket at the end of the day, and superior health insurance. So I think we need to move away from thinking of taxes exclusively as toxic and to embrace a different language that really demonstrates to the American people that there are two sides of the equation. There’s public taxation, and then there’s also public benefits that exist. And I think that’s really undervalued. The third area that we could ensure that this is fully financed is particularly high taxes on the wealthy. Now, I want to talk about this in two different ways. First of all, taxes on the rich would create additional economic space if we needed it, if the economy was running at full capacity and needed more space. But also I think that taxes on the rich have the additional very important benefit of being what economists call, and I’m going to get a little wonky here, Pigovian taxes. Pigovian taxes are taxes on social harms; often that’s thought of as taxes on pollution, taxes on cigarettes or alcohol. Well, guess what? The rich are a social harm, too. And so when we talk about taxing the rich, it’s not only to create more economic space, but it’s also about controlling the undue economic and political power that they have thanks to the wealth that they’ve accumulated through the rigged rules of the game. And so I think that is a fundamental aspect. Now, the real resources, that truly is the challenge. In many instances, this is going to take a lot more government planning than exists here today. I think that this is one of the primary challenges that we face that we have, essentially neutered the government for decades, we’ve been defunding the government we’ve been, you know, outsourcing government work to places like McKinsey. And government capacity today doesn’t exist to stand up an incredibly robust state on a dime. And so we need to reinvest in government capacity in order to ensure that, you know, our transition towards a sustainable economy that’s relying on 100% clean and renewable energy or a College For All type program runs smoothly. And I do think that that’s going to take some serious time and attention to accomplish.

Scott Ferguson:  Well, Mark Paul, thanks so much for joining us. Everybody should run out and buy your new book, The Ends of Freedom, Reclaiming America’s Lost Promise of Economic Rights. And thanks so much for joining us.

Mark Paul:  It’s been a pleasure. Thanks for taking the time.

* Thanks to the Money on the Left production teamWilliam Saas (audio editor), Mike Lewis (transcription), & Emily Reynolds of The Buffalo Institute for Contemporary Art (graphic art)

New Deal for Higher Ed w/ Jennifer Mittelstadt

We’re joined by Jennifer Mittelstadt (@MittelstadtJen), professor of history at Rutgers University, to discuss her involvement with Scholars for a New Deal for Higher Education. We speak with Mittelstadt about how Scholars for a New Deal for Higher Education is organizing to address the most pressing threats to US public higher education today, as well as about how her own scholarship on publicly-provisioned welfare systems in the United States shapes her political organizing and advocacy. We also consider the role of Modern Monetary Theory in the struggle to democratize university finance, including Money on the Left’s controversial proposal for a federally backed university currency called the “uni.” 

Visit our Patreon page here: https://www.patreon.com/MoLsuperstructure

Music by Nahneen Kula: www.nahneenkula.com

Transcript

The following was transcribed by Mike Lewis and has been lightly edited for clarity.

Billy Saas:  Jennifer Mittelstadt welcome to Money On The Left

Jennifer Mittelstadt:  Well, thanks for having me. I’m glad to be here.

Billy Saas: We, I think, came in contact first through some mutual friends and by way of the Scholars For A New Deal For Higher Education, and have continued to stay in touch and keep abreast of the developments with a Scholars For A New Deal For Higher Education. Could you talk to us just a little bit? I mean, just to kick things off, give us a sense, or your sense, or your read of the lay of the land for higher education right now. And, you know, the biggest sort of obstacles, big question to start us off on this conversation that’s largely going to be about you and your work. But what’s the lay of the land right now for higher education, as you see it?

Jennifer Mittelstadt:  I think, as I look at higher education now and reflect back on the last three years, that the group I’m involved with, Scholars For A New Deal For Higher Education, has been actively working on it. I think that there are a lot of developments that are even scarier than I imagined, when we began our work thinking about how to make higher education a true public good in the United States three years ago. At the same time, I think there are a few rays of hope. Overall, though, if I’m to balance those two things, I’m very worried about what’s happening in higher education right now. It seems that a lot of the indicators we might look at whether it’s funding from state legislatures, whether it’s the attempts to take over governance at institutions of higher education, public institutions of higher education, whether it’s the trends in tuition, whether it’s the perhaps faltering of the movement to really forgive student debt at a meaningful amount. Like all of those indicators, I think, are suggesting that we’re entering a period of what might be I mean enormous crisis. I hate to say things like this, because there’s been a long crisis in higher ed, but it feels almost like an ending. I feel very nervous about it. That said, the only thing to do is to get up each day and keep fighting it. So we’ve got lots of work to do, is the other way to look at it.

Billy Saas:  Yeah. And it’s come to this point, and you would say you’re a co-founder, one of the founders of the Scholars For A New Deal For Higher Education. And you’ve written publicly and published about all or some of these threats over the last few years as you say it, but you’ve been an academic researcher for much longer than that. So you’ve made your career alongside this long crisis. Can you talk to us about how your professional research interests in the military and the market and the relationship between public spending and militarism and imperialism? How do you end up leading this Scholars For A New Deal For Higher Education?

Jennifer Mittelstadt:  Yeah, I was trained as a historian of politics, but like very broadly defined, I think, with really strong interests in the state, political movements, political economy, and over time, I actually have varied pretty widely in my subject matter. I began by studying actually what I would think of, I guess, as the civilian welfare state. Then, I moved on to the military and thinking about the military welfare state, and then the broader questions of the political economy of the US military. And now I’m actually working on a project on US foreign policy. But I think I have the same questions of power and governance at the heart of the analysis in all of those different projects. Questions like why some people have a different relationship to the state than other people, I guess more or less, that’s at the heart of it. How some programs might be created in the welfare state, but other programs are pushed to the side. How the military evolved certain functions and programs, particularly of social welfare, even as civilian ones were fading. I guess how some people believe they can act on or with or against the state and how they do that. So I’ve had this broad focus, I guess, on state and society with a sharp analysis of the power dynamics in those for a really long time. I will say that as I started to research my subjects of the welfare state and the military, this was happening for me in the beginning in the 90s. And so I was sort of living neoliberalism, and then asking historical questions about the mid to late 20th century that couldn’t be disentangled from the actual present day dynamics that I was in. And so it sort of felt like I was starting to embark on a history of the present that I was trying to figure out these, these questions. And so, I just bumped into them over and over again, and then began to really, particularly after I was working on the history of the military, and had to face privatization really squarely, I think, and it’s a huge… Privatization has affected the American state at the national, state level and local level, profoundly, over the past 40 years or so. And having to learn it really carefully in one sector, the military, is what I ended up doing. And so that puts this question of like, what are state functions? What is the role of the private sector? What does it mean to govern a public good? What does it mean to delegate that governance at the center of that analysis? And then, I think that really what’s happened is that that has come home to roost, and the very institution in which I have done all of this work in the institution of the public university, in the United States. And it’s no secret, of course, to anybody who works in higher education that the same political and economic trends that have affected the US State have profoundly affected higher education, largely public, but also private, I think, to very significant degrees. And so it’s like, then I was not only sort of living in the same time period as neoliberalism and asking historical questions that related to the present, but I was actually living the historical experience of it in my own institution, watching the increasing devastation that’s resulted from it. And then more or less, I think, panicked. I panicked when COVID-19 happened, and I was like: now what will happen? It will only get worse. I don’t think I would have had the wherewithal, I have to say this, to call some people together, some friends and scholars, to think about what we could do for higher education. If two things weren’t also happening, and that is that if I hadn’t been a member of a really effective union at Rutgers, and I think it’s worth thinking about the importance of the labor movement, when we think about what’s happening in higher education right now and what’s happened over the years. I think we’re seeing, as you know, resurgent organizing in higher education across a variety of different job descriptions. There’s a lot of activism and militancy among graduate students, and grad workers, grad fellows, postdocs, but also I think, for contingent faculty, and we see this in strikes that have taken place over the past year and a half in higher education across the country. But my union at Rutgers, I think, is doing something with that militance and doing organizing in a new way that is, in fact, really exciting, and allows for the opportunity to imagine really different, not just outcomes for workers in higher ed, but different formations within higher education that return it to the public good. And so if I could just say, my union at Rutgers, which is Rutgers AAUP AFT, has been organizing for about the past five years on I guess what can really be described as quasi industrial lines. It’s been uniting workers from different divisions of Rutgers. So medical faculty with faculty at the University, with many different unions. I’m gonna get this wrong. It’s somewhere between 16 and 18 different unions representing Rutgers workers from staff, all the way through students, all the way up through different kinds of faculty members. It’s called the Coalition of Unions, And they have been working very hard to build solidarity among those unions and to confront the university collectively to make them consider the power of the entire group. And I think my leaders in my union are also really strategic, really politically savvy. They think of the work that they do at Rutgers as part of a much larger, national movement, not just only the work they’re doing at Rutgers. I think they have a vision of where they would like higher education to go, which is a vision of a real, public good, restored public funding, restored public governance, and protection of worker rights. And within that framework, I think, that vision allowed me to imagine what we might talk about as scholars who are playing a very different role from a labor union. We’re not a membership organization. We are trying to change the way people imagine what’s possible for higher education in this country. Imagine what’s possible for students, for families, for staff, for faculty, for communities, when they’re part of these institutions, and connected to these institutions; that they might have a democratic say in them that they might benefit from them without going into usurious debt, that we might actually, really prioritize research and teaching and focusing on our students and producing knowledge, understanding, the things that we think are important and necessary in a complicated and changing world. And I think that drawing on the vision that comes out of this particular union was a real source of inspiration for the work that we’re doing. And then I would just say, the other place that the work came from in Scholars For A New Deal For Higher Education, for me, was as a graduate mentor. I think that is very personal. When you are at a big research university, and you have a Ph. D program, and you’re taking on graduate students, these are long term commitments that you take on to students. You get to know them and their work very well. And it is heartbreaking, and a travesty to think that these students who are smarter than me, who are fantastic, are not going to have a secure place of employment going forward. And that really, I think, is devastating. It’s devastating for them, of course, even more than me, but just, it’s heartbreaking. And so that was another real source of this desperate move to see what maybe we could do as researchers, scholars, teachers, to change the discussion on higher education.

Scott Ferguson:  So maybe we can pivot here, to hear the story of how the organization came into being. Who called who first? Where did the name come from? What actions did you pursue at first and that kind of thing?

Jennifer Mittelstadt:  Well, so it started with me panicking. And I was panicking because I was the Director of Graduate Studies. And I was watching my own university struggle with the adjustment that occurred in March of 2020, to this pandemic world. And I had a lot of hope that the university would do right by the graduate program and the graduate students. And I also had a lot of hope that maybe the federal government and the state government would do right by the university. And by early April, or mid April, I guess it was,  it looked like it might not go that way. And it looked like in fact, the university was not going to collect the statistics on the number of people who had had their field work, or their research in archives cut short, and we’re clearly going to need extra funding. The state legislature made it clear that it was cutting the budget, not increasing the budget. And it wasn’t until June that the federal government actually agreed to think about giving any funding to higher education. So I just contacted a few of my friends who, like me, were really trained in the history of the state and the welfare state. And we’d work together over the years, particularly on issues of social welfare, coming together in different formations at different times around mostly trying to advocate for programs for low income Americans and for women. And I said, Do you want to start a change.org petition that just asks Congress to give funding to higher education like they give to the airlines. We’re a much bigger industry than the airlines, actually, higher education. We do very important work and so they agreed right away. There was a collection of about six of us. And that was the start of it. And then once we got a massive number of people signing on to it, we started to think bigger, like, what could we do with some of this energy? And then we moved to professional organizations in higher ed and asked groups. In my field in history, that would be the Organization of American Historians and the American Historical Association. For people who worked in musicology, it was the National Association for Musicology, etc, and asked them, would you sign a letter in support of this? And in the course of doing that, we moved to the national AAUP and AF T. And that’s where we started to talk to them about whether or not a bigger program oriented around advocating for a new funding model for higher education could actually take place during this time of crisis. And I have to say, as historians, most of us in the group, because that’s who I knew, were historians. I guess we honestly looked back to history a little bit to try to imagine what was possible. And we landed on the New Deal, which is not a perfect historical model. But in the crisis of the 30s. I think a lot of people asked not only what had caused the crash of 1929, but more importantly, what was the depression telling them about the broader failures of economic and social systems. Why they needed to be totally overhauled in order to give people new and better security in their lives. And it wasn’t perfect, as I said, it had a lack of commitment to gender and racial equity that actually we find ourselves dealing with today, this legacy. But I think, actually, we thought that both its successes and its failures prompted us to ask, at this historic moment in this crisis, could we do better? And so we started to think of it as actually a True New Deal for higher education. And then just worked in an ad hoc, manic fashion, talking to anyone we could talk to, having meetings whenever we could, trying to pull people on board, and producing the series of partnerships. So we did end up partnering for about a year and a half with the AAUP and the AFT. And they took on a campaign for a year that was aimed at trying to get the Biden administration and Congress to consider in that period, would they provide massive support for higher education, with strings attached that protected labor, that sent money towards research and teaching, that considered lowering drastically the cost of tuition, and considered the matter of student debt and debt forgiveness. That didn’t pan out, as we all know. At the same time, we worked with the Roosevelt Institute to write a white paper on this subject. And then we began talking with labor unions. And I think also because of the really good connections that we had with with Rutgers, and being here in the Northeast, where there are a lot of active unions like PSC CUNY for it, which is the City University of New York union and the big SUNY unions, which is State University of New York. We worked with them to think about even alternative formations in higher education labor. We had a big plenary session where the idea for Higher Education Labor United was born. And Higher Education Labor United, for people who don’t know, is like a cross-union organization that brings together people in different higher education unions across the country who really want to pursue what I would call the closest model that exists right now: College For All. Their vision of protecting labor and higher education has to be embedded within College For All. So actually, then, we all pushed not only for the Biden administration to do more with things like the infrastructure bill Build Back Better, for example, but to support the Bernie Sanders and Pramila Jayapal College For All bill, again, which was reintroduced. And that was not successful either. So I think a lot of us who were involved in that mobilization in 2021 are now going back regrouping and seeing where do we go forward? I think Higher Education Labor United is really drawing in more and more people working at the local, state and national level to try to build support for this broader vision. We are doing our part, we’re writing op eds, we started a newsletter. We have toolkits that people can use to bring these questions, the fundamental questions about what is the crisis in higher ed, the fundamental questions of governance and academic freedom in higher ed, the fundamental questions of College For All and supporting a truly public good: we’ve created these toolkits that people can use if they want to bring it to one of their national conferences, if they want to bring it to their faculty senate, if they want to basically do an educational process in whatever organizations they’re in to raise awareness about it. So we’re working on a number of different fronts to change the horizon on what’s imaginable, I think, in higher education, along with a collective of allied groups who come from different spaces, to see what we can do and how we can sort of keep planning and strategizing for what’s coming down the road.

Billy Saas:  So glad you have mentioned twice now that those initial moments early in the COVID pandemic. I remember them very vividly, it was such an intense time. And I think I wonder if we have higher ed workers to reckon with at that moment. Or even culturally, broadly, I’ve thought this a lot and just in general terms, it’s like, oh, that happened. Yeah, we’re moved on now. Like, COVID is definitely not over. But do you sense that moment, that energy that accumulated in March, April, May, June, July, around higher education, or I mean, we at Money on the Left, were very busy with the Uni currency project. And that was that moment. There were just a lot of ideas and energy flowing. Do you see that still today? Is that continuous? Has it diminished as it naturally would?

Jennifer Mittelstadt:  A really good question, I think, I think it’s taking new forms is I think what’s happening. I mean, one can’t operate at a level of panic and manic organizing, at the same level, for a continuous period. If you look at the history of social movements, there are these peak moments where everyone can come together and put in what you might think of as a double time, you know, they can put in double time, double resources. But it’s unsustainable for a long period of time. So then you sort of see periods of consolidation of the knowledge and gains that have been made. A repositioning, a gathering of energy and deciding, again, what your strategy is, and the tactics that go with that strategy for a new period. And that’s if you’re lucky, right? Because sometimes these things are so exhausting for the people who are involved that it’s very hard to sustain, period, right. So I think a lot of people are who’ve I’ve worked with here, so both in the scholars group, and in some of the other formations, were able to make real gains in getting the messaging out, or in organizing in the labor movement and enforcing contracts in the labor movement, or in really putting a new possibility, like forgiveness of student debt on the table. And then there’s this pushback, and then you stop and you think, Okay, what do I do with the gains that were made? Because those were real. And how do I continue to fight the barriers that are coming up? And I mean, I can really only speak for myself and our group. And in some ways, I think our group is better organized, with a clearer understanding of what we might think of as we’ve done a full power analysis of the lay of the land, I guess, in higher education is what I would, I would say. We’ve learned a lot in the past three years about what we can do, where our relative strengths are, where our weaknesses are, where someone else is better suited to do the work. We’ve learned a lot about strategic possibilities of partnerships. We’ve started to learn more. I mean, you think that people who study politics and the state would be savvier about governance and trying to influence elected officials, but we’re, I think we’re still maybe I don’t want to say we’re naive. I would just say it’s a more complicated terrain than we would have known. So we’re learning a lot of that, and are really committed to keep going. I mean, I have to tell you with all of the sadness, and I guess, pessimism that accompanies doing this work, I feel like the only way you can go to bed at night and get up in the morning, is if you try to do something about it. And so I wouldn’t say so much that I have optimism as I just feel like a necessity to keep trying, to keep throwing things at it. And I think that’s the way a lot of people in our group feel. What we’ve learned is, it can get worse. So even stopping it from getting worse is important. And so the things that we can do, to mobilize and throw obstacles in the way of worse, are worthwhile, as well. So, you know, that’s my take on it. It’s interesting, I wonder if you talk to somebody in labor, they might feel a little more excited, because of the particular gains, sort of, in particular realms in that sector. But what’s so complicated is that they’re occurring on almost separate tracks. So like, here in the Northeast, and in California, I think labor unions are making big gains in places where labor unions have sway in state politics, and with people who are in politics of the state who have national ambitions and who have declared themselves on the side of labor, and some gains have been made. I see what’s happening in Florida, for example, or in North Carolina, for example. It just looks like not only can labor not make any gains, but the legislature is on fire in their attacks on higher education. That looks like it’s growing stronger, those attacks. They are more emboldened in what they’re doing. And that’s, you know, half the country, more than half the country. Those are essential institutions in the states where they operate, employing hundreds of 1000s of people overall, educating millions of students, and that I find sort of terrifying. So like in certain parts of the higher education world, I think there are these reasons for hope. And then there are other reasons I think, for I mean, maybe not despair, but terror?

Scott Ferguson:  Absolutely terror. I mean, I can speak to the Florida situation a little bit since that’s where I live and work. And hope and terror comes from strange, strange sources. So the faculty senate at my university really was a sleepy body for a long time, but I think it really stepped up when it came to the financial politics of the university around COVID austerity in ways that were really helpful and impressive. Obviously, the moves of this hard right Governor and legislature are terrifying. And then what’s so interesting is that just in the last couple of weeks since at least the recording of this who knows what’s going to happen by the time this comes out, but they are so out over their skis with radical right wing authoritarian, if not fascist legislation, that they are testing the bounds of administrative workability. So they want to make all of these drastic changes. They want to abolish DEI funding and discourse. They want to abolish, not just Critical Race Theory, but Critical Theory and anything that can be associated with it. They’ve wanted to dissolve women and gender studies programs, Africana Studies programs. And just in the last couple of weeks, the reconciling of the two bills in the House and the Senate have led to people in the legislature realizing that the Florida US state education system is going to lose its accreditation. And they actually can’t do this even if they want to. Obviously, they’ve taken over New College, which is a public small liberal arts college, which is a bastion of left wing and LGBTQ+ culture. And that remains terrifying there. They’ve denied tenure to a handful of hardworking scholars. So it’s an ongoing situation. But I will say I breathe a sigh of relief, whenever it was a week or two ago, when I learned that, actually, these bills going through the legislature were being really, really rolled back or tempered down from what their original plans were. But I guess I remain rattled, terrified, and I know that they think they have a mandate, and they’re going to keep going and going and going.

Jennifer Mittelstadt:  I think we’re seeing that in other places. I mean, that’s just what happened a couple of days ago, in North Carolina. There’s been a progressive attack there as well, but the breadth of the budget cuts, and the breadth of the takeover of academic governance, decisions about hiring, firing, tenure, you know, promotion, things like that is now becoming clear. And, of course, the things are tied, right? So I mean, the right is really emboldened by these portrayals of people in higher education and pedagogy curricula, right, that it’s radical, and that it’s, you know, filled with ideas that they find terrifying regarding sexual and gender rights and understandings about racism and inequality. And those serve as a cudgel, really, to attack higher education that makes possible the actual administrative and budgetary gutting of it at the same time. The two are not disconnected, they’re of a piece, and if you look at the longer history, of course, the right has been railing against higher education for a very long time. It just so happens, I’m in the archives on a project now on the right and US foreign policy. And although I’m mostly looking at foreign policy, every folder I look in, in the correspondence has something about the corruption, subversion and perfidy of professors in higher education, whether it’s in the 50s, 60s, or 70s. It really took form, I think, in the 1980s, with David Horowitz and some others who were really going after Women’s Studies programs, and African American Studies programs, and I think, in some ways, never went away. It became a hallmark of thinking on the right, that universities were these hopelessly left as places where people on the right were discriminated against. But as other things were, I think, vivified by the election of Trump and the transformation of the Republican Party in that period, so too was this long term argument reignited. And now it’s on steroids, I think. And it’s no coincidence, though, that the other thing that has been happening over that period, and more so in Republican dominated states than democratic ones, is the diminution of funding, the cutting of state funding for higher education. So where the states spend far less in general, per student proportionally than they spent 30 years ago, and the portion of the state budget that goes to higher education is much lower. There are some complicated reasons for that. There are a lot of health care costs that states didn’t have before that they have now. But mostly, it’s been a decision to defund and privatize, to some degree, well, to a significant degree, public higher education. And those two things I think, are now both reignited with this idea that there is a budget crisis because of COVID. Right, that there’s an overall lack of funding in the United States now. That we all have to return to austerity, whether it’s a national government, the state government, or individual institutions. It coincides with the ramping up of the attack that is ideological in nature, on higher education and its self reinforcing. Your point though, about whether they sort of — what was that phrase you used? They’ve gotten out in front of their skis?

Scott Ferguson:  Yeah, out over their skies.

Jennifer Mittelstadt:  Out over their skis, right. One wonders, maybe not only in terms of accreditation, but I think that people who are attacking higher education right now underestimate the degree to which actually a lot of Americans have a lot of trust in higher education. These are major employers in their towns, they’re proud of the schools that they went to. They want their kids to get an education that allows them to get a job and be, in their view, a productive member of society. It might be that the University is one of the few that supports the arts in their town, and they have a kid or a spouse who loves drama, or something like that, right? It might be the only museum within a 150 mile radius. The related spin offs that come from higher education to produce new firms doing work and the research that I don’t do, but so many colleagues do in the sciences and engineering, computer science and things like that. Yeah, keeping up the ability of your state to educate its own young people and not have a tremendous out migration of people to other states spending their tuition dollars in other places, right? I think that there’s a real possibility that I’m hoping that they will hit the limits of this, and that the people who, for very practical terms, have always relied on higher education will speak up and say: enough is enough. I mean, one of the things that I think is really interesting to think about is whether or not you will indeed see students in shorthand, what we might call red states, where more of the attacks on higher education are happening, make the decision to go to school in blue states. Now, for most kids who are going to school at a public institution, that might not be an option for them, because the in-state tuition is vital for their ability to attend a school of higher education. For those where there’s some reciprocity between states, and I know like Wisconsin and Minnesota have reciprocity. So you can use an in-state tuition voucher to go to school in Minnesota, if you live in Wisconsin. You could see the state of Wisconsin losing people to the University of Minnesota, because the state of higher education in Wisconsin is significantly poorer compared to the state of higher education in Minnesota. But I’m curious to see what are some of the outcomes of doing this? I mean, I’m not curious in a way, like, Oh, that’ll be interesting. I’m actually terrified and curious about it. Right? But I do wonder about how this is a long term trend, it’s very powerful. It’s just damaging higher education terribly right now. But your point about the overextension, your point about going too far, I think that’s real, too. And I’m hoping that the more we talk about it, the more we make our voices heard, the more we partner with communities and families and students, maybe we can get people to stop and say something about this, rather than just shake their heads at it in the paper.

Scott Ferguson:  To pivot from here, I would like to hear you talk a little bit about the educational challenges when you’re writing op eds, when you’re putting together workshops, when you’re putting together resources. I know when we first joined up with you all and had a Zoom, meet and greet, some of your colleagues in the organization were stressing over and over again how surprisingly little, let’s say faculty members at the universities in our country are aware of the budgetary politics. So maybe you can speak to that.

Jennifer Mittelstadt:  I can and when I when I think about this I feel like I have to be careful and diplomatic in a way because I think the lack of awareness among faculty members, particularly tenured faculty members, and maybe it particularly at institutions, which have a little bit more in the way of budgetary or political protection from attacks on higher education are unaware of it because some things haven’t changed that much in their own everyday lives. And I think it’s true for almost all of us, right? That the way that we become involved in a social movement or a political movement is when a problem comes to our door, our doorstep, and it affects us. And when it’s affecting you, and you can no longer do the things that you wish to do in the way that you wish to do them, you are forced into some action. And so that’s a shorthand to say that I think for some people, they feel that the problem hasn’t appeared on their doorstep in a form that can’t be ignored. And it, of course, is in their university, right? Any number of what we might call these bogus accounting systems that universities have adopted in order to shift the money around in ways that they want surely are affecting their lives. Any number of the privatized contracts that they’ve purchased, either for assigning rooms or class periods, poorly I might add in most cases, and they’re spending too much on them. That does affect their life. There are graduate students being unable to find jobs, those who teach at programs where they have PhD programs. That has affected their life, but maybe not dramatically. I think more and more people are now being affected dramatically. And the move by state legislatures in conservative states, affect even the flagship universities, public universities and their states. And so I think there is a growing awareness of the problems. That said, the very system that we are all operating in, in higher education, mitigates against this recognition because it has created this two tier system of, at least if we’re speaking of faculty of faculty members, where there’s actually not much interaction between tenure line faculty and non tenure line faculty and contingent faculty. And I don’t think that tenured faculty have fully appreciated the conditions under which non tenured faculty are working. And the penury and lack of dignity that is associated with that work. Not for all people who do that work. There’s some people who really just want to teach one class who are financially secure, who really enjoy it. But for a lot of other people, it’s really, incredibly difficult. And they haven’t realized that. So it is strange to take on the role of talking to your colleagues about the things that you think are really self evident, and have been happening for a long time in the very institutions where they’re working and saying, even if it’s not affecting you at this moment, it’s more than you think. It’s affecting you more than you think. And it’s affecting a lot of people around you who you’re relying on to have this university function, and we really have to do something about it. So yeah, I think it’s difficult. Another way to look at this, I will say, I use that metaphor of like a problem coming to your door, and you being unable to ignore it anymore. I think the other way that people become mobilized to act is when they can sit back and tell themselves a story, a coherent story about what they think is happening. And I think a lot of people don’t have the time to either learn about and then tell themselves the story, or they don’t even know where to go to get the full story. They’re just sort of living it bit by bit. I sort of imagine it as like, you’re driving down the road, and there’s this windshield, and one thing is coming at you after another but you haven’t risen up to, you know, 1000 feet to look and see Oh, there’s more stuff coming. And there was a lot of stuff behind me and what do I say about this perilous road I’m driving on? And I think that’s true, too. I have found that in my discussions, so one of the things that we do in Scholars For New Deal For Higher Education, is we get invited to go talk to faculty senates, or like the State Association of faculty. And it’s really interesting, there are people who feel like they’re hearing the story of the crisis in higher education for the first time, even though they say, oh, yeah, I remember that. And I saw that and I don’t like that. But it’s as though no one ever framed it as a really important historical narrative in which they were an actor, and there was sort of something happening to them, and there was something they could do about it. And, you know, I think, in large part, it could be because many of us who are in higher education are there, because we love our teaching, we love our research, we get really involved in day to day classroom issues, we get really involved in our day to day labs, we get really involved in our research, you know, moment by moment. And it’s hard to make the time to sort of come up when you’re taking all that really seriously. And we all know that that just has its own inherent challenges, to sort of look up and take on even more. So, you know, I think there are a variety of different reasons for why there isn’t just a massive outcry of the, whatever it is, over a million faculty members or something that people who work in higher education all at once. And there’s also, let’s face it, drastically different experiences. The experience of somebody who is teaching at Harvard is really different than the experience of someone who’s teaching at a community college in Louisiana, and sort of making the alliances between that we’re kidding ourselves if we think that there’s not a gap there and a difficulty. So there’s plenty of room for work, I guess that’s what I would say. There’s plenty of room for talking to people and hearing from them, and having them find a way to articulate their own stories, telling them stories about what’s happening and sort of seeing what can happen. For what it’s worth, I don’t think we, as a group of people who care about higher education, are much aided by the national media. And this, I think, is a great disappointment. I do think if there were more local news, unfortunately, journalism has been gutted by Neoliberalism over the past 40 years, as well. If there were more local news, I think really local journalism would be all over this. These are really important institutions in towns, cities and states, colleges and universities, right. But at the national level, really, the interest seems to be only about, oh, trigger warnings, excessive use of trigger warnings. Are basically college students delicate flowers who can’t hear things anymore? Is there a scandal at Harvard about somebody who was fired for saying something that was perceived to be insensitive? I mean, this seems to be the level of interest, certainly of the New York Times. But I think other national publications in the media as well. And I think they just believe, like they don’t believe issues about labor and inequality and poverty are very interesting, in general and don’t believe they’re interested in higher education either. And so it does make it very difficult to educate the broader public about what’s happening when these stories aren’t covered. I have to say as I am incredibly worried about the attacks on diversity, equity and inclusion and the intrusion into research and teaching about gender and race, all of my courses hinge on these historical subjects. They hinge on the analysis that comes out of people who take those historical subjects seriously. But at the same time, It troubles me that often those stories are reported without the discussion on the takeover of tenure, promotion, hiring, budget. Because those are really existential questions, as well, for higher education. And we could be protesting about freedom of speech. And if we don’t also bring to light and have a light on these questions of governance and budget, we’ll all just not have jobs. We won’t be able to teach period, full stop. And so I think the media is really not doing us any favors. And if I could crack the code, I mean, we’re just trying to–the scholars group–we do a lot of joint writing in the group. There’s individual writing, too, but we do a lot of joint writing. And right now, we’re trying to put out an op ed about what’s going to happen when COVID funding ends May 31. So that’s the end of COVID relief funding. Three successive laws have been passed that have put about $76B into higher education. What’s going to happen when that funding disappears? Well, it looks like state legislators and governors, even in blue states, are using that opportunity to confer with our Board of Governors to institute greater cuts. And they actually are sort of pointing at institutions of higher education and saying, Well, you got all this extra money for three years, like, now it’s time to pay the piper. Now, there’ll be budget cuts, because you spent that money. But of course, they were supposed to spend that money. That was the point, right? And they’re using this as an occasion to enact yet more of the same types of policies of poor choices in a corporate style governance, that de-emphasize research, teaching and the services that students need in favor of spending on other things. We can’t get anyone to take that op ed. We’ve gone to three different places, and they just say, that’s not really on our agenda. And you think, Okay, this is an industry that educates 19.7 million students every year. It’s in every single state, every, many different cities and towns. We thought Ed’s and meds, we were told, were supposed to be the source of economic growth in the United States, but isn’t it an interesting story that they’re being cut to the bone? So it’s difficult, it’s difficult to do the work and, and get the word out. And I really wish people who worked in the national media would understand higher education is more than an opportunity, basically, for clickbait by bringing up sensitive subjects.

Billy Saas:  I’ll go ahead and bring up my own sensitive subject. You mentioned a couple of times, tenure, which also, in the last couple of years, Georgia has put tenure under threat. We just talked to Liz Anker for a previous episode, and she’s at Cornell studying paradox and looking at the importance of the logical framework of paradox and like critical theoretical work over the last, you know, 30-40 years in the humanities. I feel like tenure is one of those paradoxes where it is critical, critically important, in that it guarantees academic freedom. Guarantees are in quotation marks, right? It’s never really 100% certain, but it’s this important thing, right? We need to defend it, and we have come out and the AAUP and other organizations do a lot of work to make this case. On the other hand, to get there as a junior faculty member, which a lot of those folks who I think would like to be vibrantly participating in and spending their time in addition to teaching, in addition to research, fighting for higher education. The instruction broadly, and not everybody does this, but the mandate on the tenure track is keep your head down, do your work, spend your time wisely so you can get tenure, and you can get that prized security, and be a better advocate. But you go through that process of six, seven years, eight years of keeping your head down, and it’s hard to recalibrate. And so the paradox of tenure as a thing to be prized, but also maybe in its current structure, as it’s been developed over the century plus that it’s been around as problematic, but also, I think, as importantly, emblematic of a deeper rooted problem of faculty culpability for the situation that we find ourselves in now. I think tenure is good. In one of our Uni papers, we talk about Tenure For All. We want those basic rights and job security for everybody. Is there space in this conversation, or maybe it’s a conversation best reserved for later or for offline about not just say, Hey, this is happening. But hey, this is happening, and here’s your part in it, and here’s how here’s what we need to do differently beginning yesterday.

Jennifer Mittelstadt:  Let me just give you an example. I mean, those are excellent questions, I just want to say, and I like the opportunity to think about it and to think about how it’s operating in the work right now that we’re doing and Scholars For a New Deal for Higher Education. It’s exciting, sort of think about this. Let me give you a really specific example. So I told you that we’re just trying to get this op-ed placed. So I’m co authoring it with a colleague of mine in North Carolina. And we’ve been writing together for many years, and we’re very good friends, and we hit an impasse Monday. We had the weekend to think about what we were looking at, and very understandably what she said is this op ed contains a criticism of the administrations and leadership in higher education in the use of COVID funds that I as a faculty member in North Carolina, where the state legislature is so vicious, and so heartless and loath to air, publicly in a way, right now, when mostly what I need is to attack the legislature. That is where the greatest danger is right now. I don’t disagree that people in the administration have made and continue to make terrible decisions, the austerity of 1000 cuts type decisions. But I can’t make that an equal partner in this critique that we have right now about what’s going to happen to higher education. And I, coming from New Jersey, in a state where there was more funding for higher education where I have a powerful union. And where, really, I think one of the real problems we have at Rutgers is terrible administration. Literally horrible administration. It has made budgetary decisions that are illegal, we were sanctioned for the way that the accounting department did its accounting, taking I want to say, I’m gonna get the number wrong, many, many, many, many, many millions in the 10s of millions of dollars out of the education budget, putting it in the athletic budget, and calling it revenue for the athletic budget. That got hearings in the state legislature. So we have a terrible administration. And I felt like that’s something that I can talk about, that needs to be talked about. But I think in different places, in different settings, the question of where, how much we bring to light, elucidate and discuss critical University matters is a question of real politics that I think has to be taken seriously. I don’t fault my colleague for wanting to shift the op-ed so that readers that she felt in North Carolina and the South could sort of take clear aim at the state legislators. It’s complicated to tell the story of higher education in a way that does justice to the numerous sources that are undermining it without undermining overall support for higher education. So I mean, a way that we might put it as just if we take a look at the COVID funds, right. So if you do a deep dive into the way that the COVID funds were used, half of the COVID funds went directly to students who are in need. The other half went to institutions. The funding that went to institutions was allowed to be used for a wide variety of reasons. I think one of the things that’s most remarkable is that there’s actually been very little detailed reporting on what institutions have used that funding for. A shocking level of opacity, really I think, surrounding it. Whether it’s on purpose, or whether it’s because everybody’s moving quickly, whether it’s because the federal government hasn’t demanded the detailed accounting that one might want. I don’t actually know. And I’m not an expert in that. However, there is self reporting that they did at a very general level. And it really looks like, except for HBCUs, about only 60% of institutions used their funding to maintain critical programs and to maintain faculty and staff. So that means they’ve pocketed the money and used it for other things. They might have used it to pay down private debt, for example. They might have used it just to compensate themselves for certain losses in revenue. What they didn’t do is draw on their rainy day funds, and many big research universities, even public ones, have them, and a fraction of a percent would have allowed them to keep a lot of the programming that they wanted. Or to put the COVID funds back in the rainy day fund, but spend some of it out. I mean, there were many, many options, and that didn’t happen. And it leads us to conclude when we think about the end of COVID funding that because so many schools basically doubled down, school leadership doubled down on their ongoing long term plans to build revenue through high tuition and attracting students. Meanwhile, cutting academic teaching and research and support budgets in order to fund the bells and whistles that need to attract those students. Right? They doubled down on that during COVID, using the COVID funds. It seems like they’re going to triple down on it when the COVID funds end. That’s a complicated story to tell people who live in communities where a university operates. It’s a complicated story to tell parents who may have taken out a loan for their child to be able to get a higher education, right? It runs the risk of making people who won’t differentiate between the university and its leadership, it runs the risk of portraying the institution as sort of feckless or disorganized, or untrustworthy or something. Part of the difficulty is carving out, in these critical discussions of higher education, the nuances of the different groups that we know exist within the orbit of higher education. Thinking about who they are, how they evolved institutionally, what their particular role is, and then communicating why some of those roles are more detrimental than others. It’s really complicated. So I think tenure is one of those things, right? Talking about tenure is one of those hard nuts to crack. And it’s difficult because in fall 2021, I saw an interview with trustee McMillan Cotton. And she talked about tenure. And it was one of the best discussions I’d seen about tenure ever. And what she pointed out was that it’s really hard to defend tenure right now. Because job insecurity is endemic across every sector, not just higher education. And it looks more and more like an outlier and a period where people don’t have steady careers and steady jobs, where unions overall have declined. The whole changing nature of the economy that you all know very well, right. It’s very hard to do that. And also, when we want to defend it on the grounds of academic freedom and expression, that’s something most people in their day to day lives don’t have a lot of familiarity with, and contact with. And it doesn’t really move them, I think. And what she said, and I think this is true, is that really the only way to defend tenure is to think about it as the best expression we can imagine of what it means to have secure, stable employment. And that it should be, as you said, Billy, for all. That some version of stable, secure employment should exist in this country for people. Tenure is one expression of that. And if we let it go because it looks slightly better than the work situation in other fields, we let go like one of the bulwarks that we can have for envisioning, for protecting and I think envisioning what stable, secure employment could look like. What you’re pointing to, I think, is this paradox, because you started with the word paradox, that tenure can also function counter to the very political processes that we would like to foster and ignite. Of course. It asks faculty members to do precisely the thing that we as activists don’t want them to do, which is to put their head down to do nothing but their work to close their vision on the things that distract them from that. And if you’re one of the lucky people who basically got your hands on the golden ring as it’s evaporating, you’re loath to let go. Right? That’s real for those people to be one of the last quarter of people in the United States who have access to tenure. Right now 75% of people who work in higher education work in contingent positions. That’s not nothing. And that person may have a tremendous amount of student debt. They may have obligations for care in their community or in their family, and it makes a difference that they get this. And so to sort of admonish them that they can’t do what I, for example, did, which was keep my head down for seven years and get tenure. I wasn’t ignorant of other things. It was also another period of time long ago. But I did have that privilege to be able to do it. And it’s now that I do have a secure position that I am able to actually say really hard things about my university, about my university president, about the board, in general. I have the space to be able to do that. So yeah, I think it really is a paradox. And I don’t know if I have a solution to it. In general, I think that the –how would I put it– that the limiting and inaction that it might produce among a small number of people who are actually going through the tenure process, it’s not the most important thing that is standing in the way of success in this movement. It is one element. And so making it a target, for me, doesn’t make sense.

Scott Ferguson:  Speaking of difficult nuts to crack and other metaphors like that. So we came to you because obviously, we’re we’re dedicated to Modern Monetary Theory and other theories of what’s sometimes called endogenous money creation, which sees money as a governance project, a creature of law, and essentially, as a credit relation or a credit-debt relation that does not behave like a finite thing that must be transferred from one entity to another. Evacuating the coffers of one space to fill up the coffers of the other. And we’re very dedicated to critiquing the kinds of zero-sum logics that come with Orthodox and even a lot of critical political economy. We were so grateful that our historian colleague, David Freund put us together, and that you were willing to hear us out. And I think especially when one is trying to make the case, often in places of power on the national stage, or the stage of the state or wherever, this organization of yours is working and trying to convince people. Modern Monetary Theory, and this whole other perspective, can feel, I’m sure, like a lot. Like, yes, I understand. But, people already think I’m crazy. So why would I add more crazy to my crazy, and I respect that. I respect it, and I am, again, so grateful that you’ve invited us to collaborate and to publish alongside you all. And it’s been really wonderful. And I look forward to more workshops, more collaboration, more publishing. But I’m wondering, do you have any thoughts about this? And you can be honest, I mean, I’m trying to open up the door to honesty. Yeah, so the floor is yours.

Jennifer Mittelstadt:  So David Freund and I went to graduate school together. And I was down in DC for something in I think 2008-2009. He told me he was starting on a new project. And the way David works is really exciting. I think he’s one of the most exciting historians who does 20th century US history. And what he tends to do is take on a subject matter and then question the knowledge creation that is behind that subject matter and historicize it right. So he did that with property in his first book, and now he’s doing it with money. And I’m sure he’d be the first to say, the learning curve on money was steep for him. And I remember he gave me a really early draft, I want to say somewhere around 2010-2011 that I don’t even know what it was, if it was an article or piece of a chapter or just some thoughts he had. And I remember where I was when I was reading it, which took like two and a half hours, because every sentence I had to say to myself — Okay, so he was basically explaining going back to the history of heterodox money, right? Like heterodox money theories. And then recapitulating what the orthodox view is and and what the heterodox view is, and where it made its way into certain policies in the US. And I mean, I was pausing like every sentence to sort of say: OK, now say this out loud to yourself. Now put it in your own words to see if you can understand it.  And it was so hard, though, is my point. I can learn other things more easily than I learned this. What was hilarious about it is I went back to the memo I wrote, because I think I wrote him something on it. And I forgot all of it. Like, I don’t even remember it now. And so when David said to me I think you should meet these people on Monday on the Left, who are talking about this Uni considering what you’re working on now in higher education, I thought, Okay, well, I have to learn it all again. So I’m just going to just say from the outset, that I have not learned it all again, but I’m going to tell you the bit that I’ve learned, that I think is really compelling, as somebody who has studied the history of the state and Governance and politics broadly construed. I have to make an analogy, really, with the ways that the subjects that I’ve looked at, in order to understand it. And the way I understand it, and it may be imperfect, is that many government functions have been performed through delegated governance outside of the government, or inside the state by state actors. And can be considered public, in some sense, in either framework. But in fact, the balance of power shifts, the control over whatever the function is can shift if it’s delegated governance to the private sector. It depends on which institution and in the private sector that might be, but it might become associated with things that are decidedly non-public, whether it be religion, or whether it be profit making and corporations or what have you. And for me, the way I understood what David and what you all are sort of saying about money is not just this question of the finite that you pointed out, and not just understanding money as credit, but for me, what’s most compelling is understanding money and credit as public functions that have, in fact, for reasons that I don’t know, because I still don’t know the history, I’m waiting for David. Why they have been, in fact, turned over largely to the private sector and are treated in a way that does not allow them to be marshaled for public democratic governance or good. And that is what I think lies at the heart of what the problem is in higher education. It’s deciding that so much of it will not, in fact, operate as a public good or for the public good. But deciding that higher education is a site for revenue generation, or deciding that it’s a market that firms can feast on and grow their own profits on. Deciding to operate it using logics within the institution itself that come from the private sector. That is creating terrible problems of effectiveness and inequity. Basically what happened to me is, I thought hey, anyone who wants to bring some tool in this battle to reimagine higher education as a public good is an ally. And I’m going to really try to wrap my head around it, and I’m going to really try to think about it. And this is a particular value because it, like no other theory out there, I think, like no other understanding questions the total logic of finite resources, full stop. Right? That, I think, is a really powerful tool. And if what we in Scholars For a New Deal For Higher Education want to do is provide opportunities to change the horizon of what’s possible. This seems like a pretty astounding horizon. One undervalued underappreciated, and I will not lie more than one person said. Oh, they’re crazy.

Scott Ferguson:  Yeah, that’s learning!

Jennifer Mittelstadt:  Yeah, I’m not surprised at all. We feel crazy. We feel crazy, but also we can’t unsee it.

Billy Saas:  I feel perfectly sane, Scott.

Scott Ferguson:  Well, my sane colleague will speak.

Billy Saas:  Yeah. I think, in terms of heuristics or keywords or shortcuts to understanding MMT and how this transition that it sounds like David’s describing, for me that’s been helpful, and Scott and I have had conversations about this before, to read the ascendance and maintenance of Orthodox money theory as a fundamentally demophobic, like it’s informed by a deep fear of democracy. Yes, it positively also serves private interests and profit seeking for all the fun that that can be for people. But I do think we can point back to, there’s a great quote from Paul Samuelson that we love to talk about where Paul Samuelson wrote like the most influential economics textbooks of the 20th century. He’s on camera for a documentary about Keynes and he’s asked about the importance of the balanced budget. And he says something along the lines of, I might play the clip here for people who haven’t heard it enough, saying that it’s important that the idea we must balance the budget remain in place because if it didn’t, anarchistic, chaos and inefficiency would prevail., Those are his exact words. So you have this authoritative, probably the most widely recognized, at least in academic circles, economist saying: Yeah, it’s not true effectively, but it serves important social, cultural, political functions, and so we ought to keep it in place. And I think that that bears out when we look at, and maybe I’m not locating demophibia in critics of MMT so much as I am saying there’s a discomfort, potentially, that I think comes with it. I think, maybe full stop, unmitigated democracy isn’t the best way to go. But then that’s a conversation we can have, I think, but I do think that there is something fundamentally, there’s more faith in democracy in the heterodox money theory of MMT, than you can find in others.

Jennifer Mittelstadt:  There’s more faith in public institutions, also. Like the way I read the Uni, there’s a way to read that, and wonder what it is about the leadership of public universities, that makes them actually decline to take a power that they might have. Decline to gain greater autonomy than they might otherwise have. You talk about demophobia, and I’m not sure if that’s right, but there is a fear, I think, of relinquishing the discipline and authority of the private sector and banks. And there’s a fear of moving outside of that world. I don’t think it’s only an intellectual question. I think it’s a real question of power and people and material interests. I mean, there’s absolutely no question that the people who run universities, whether they’re presidents of universities or whether they’re the boards, have real material ties to private sector firms, and banks. Some of them come from that world in order to sit on the boards. Others expect that when they finish up their positions, they will be able to take those positions. The idea of declaring themselves able to issue credit, and to take on that power and authority would make them anathema among the very institutions that they currently rely on in order to make their institutions run and that they rely on for a material and political status or legitimacy. Because when I looked at it, I said it was fantastic. I’m a desperate Provost or university president. And I need some ways to be able to keep my programs running to fund my amazing staff, you know, and faculty, to benefit people who live in my community. Let me see if I can give this a try by exercising my power to really think about credit and what it could do. And I feel okay, so that’s what we would do. Maybe, I don’t know. If I do, I’d need a consultation on that. I don’t really know how it worked or anything like that, despite having read the article multiple times. I mean, what is it? I mean, it brings you back, I think, to these questions of learning a power analysis of the situation, the disincentives that there are for people to acknowledge the multiple ways in which we all might more have have more control over the resources and functioning of the institutions we’re a part of than we think we do.

Scott Ferguson:  One of the things that I often point out is that the MMT and endogenous money framework is actually far more straightforward and dare I say simple than the neoclassical framework, the Marxist framework because it simply says that money is a function of government, loosely defined. It doesn’t have to be the modern nation state of governance. And it is a legal structure that is designed and that can be allocated and designed in any number of ways. So then, you just hit the ground running from there. So you ask, well, how is my society of money designed? How is it set up? Is the power to issue money delegated, principally, to private banks and private financial institutions? Is it organized to fuel a profit motive? Or is it designed in another way, and maybe it’s a mix design, and usually it isn’t a mix design. Where things get really complicated is when you have to work through the thorny forest of the dominant ideology to pull back all of its obscuring assumptions to see what’s actually going on. Where the authority, where the power structures are, and how they’re being delegated. And to me, that’s the ultimate lesson of the Uni. Look, we are 110% behind this project, and we’ll continue to advocate for it and theorize it and write about it. We want to see it manifested in one way or another. But on the other hand, it also is a rhetorical tool, right? It’s designed to open up the question of wait, hey, hey, hey, hey, hey, how are we delegating financial powers in this country, in general and then specifically around higher ed. So whether or not this leads anywhere that we’re projecting or imagining or wanting it to go is less important for us than cracking open the conversation such that we stop talking about, as we say, finding this finite money that’s circulating in private coffers, but instead going to the source and asking, how might we structure that source in a different way that’s serving people and communities and environments rather than private profit and corporate capital?

Jennifer Mittelstadt:  So when you say that it raises a question that I have for you two, and I’ve had from the start. I think, for me, the answer was very simple about why, after reading the Uni, I would want to hear more from you to bring you on board and to say, hey, you know, what can we talk about here, and that is because I want resources and I want democratic accountability in higher education, and this is one way to get it. However, there are a million other things and let’s just face it, College For All doesn’t take into account at all what you are thinking about, right? It is funded on a completely different model that we know, as is literally everything in the United States. Like all legislation. So I can see why I would just say, Hey, let a million flowers bloom, right? Like anyone who’s got an idea, let’s bring it. It seems to me, you can do two things at the same time, like we can try out Unis while we still live within a universe that still operates on a Keynesian or Neoclassical model. These two things can happen, right? But for you, I’m wondering what it’s like for you to imagine, as part of your larger project to also, I think, changing the horizon on what we can imagine about money. What it is, what it does, how it functions, what does it mean, for you all to collaborate on specific projects, where things get really down in the weeds with real people, real institutions? I mean, you are living in states where there’s real attacks on higher education, where you’re just gonna have to say, no, please don’t cut the budget. Not: actually, you can cut the budget, because I’m still going to just work on the Uni here. Right? Like, how does that feel for you all?

Scott Ferguson:  Yeah, Billy do you want to take it?

Billy Saas:  I’m gonna see where you go.

Scott Ferguson:  Yeah, I mean, the answer is complex. And it depends on what time it is. Right? Yeah, we all make strategic decisions to open our mouths and articulate certain things at different times. Okay, so one of your questions in there was about what does it mean to be thinking about — The broader project is reimagining money in its political horizon. I think the university system in the United States, but also elsewhere, but the university system in the United States is such an important case study. Not only because it’s in crisis, and we live in that crisis, and it’s a way of doing the organic intellectual work that Gramsci would appreciate. But it’s also an important case study because it develops and even problematizes some of the Modern Monetary Theory discourse. Some of the Modern Monetary Theory discourse, especially when it in its popularizing forms, will draw this very clean distinction between the state as a sovereign issuer of the currency and cast off everyone else off that sub federal government, all private entities, all nonprofits, any kind of economic organization as mere users of this currency. So the sovereign issuer can decide as sovereign when to spend, what not to spend, when to delegate currency-issuing power, or when not to delegate currency-issuing power. And everyone else is a user. And for us at Money on the Left, we’ve, for a long time been keen on complicating that, and nuancing that what to us is too severe of a binary opposition that actually is disempowering for local politics for sub federal politics. The state university systems are critically situated, I think, in the midst of this problematic as tremendously powerful public, often public, institutions that actually do have credit creation power, but instead we call it a bond issuance, and we say they produce credits for student credit hours, right? It’s already engaged, in a massive way, in credit creation, but pretends that it’s not. We all pretend that these institutions are weak and running out of money, and they’re on their heels, and whoa, what are they going to do? Well, we have to cut the budget. So I think one of the central points of significance about taking on the Uni and taking on university spending has to do with problematizing that anti democratic distinction between the issuer and the user. So that’s one thing I can say. When it comes to trying to collaborate, I mean, it also happens at different scales. So some of us, especially those of us who come out of heterodox economics and come out of the PhD Program at the University of Missouri Kansas City, they have learned and participated in and now continue to practice in their own classrooms, these very small scale community service based class currency projects that might last a semester at a time. Maybe they carry on beyond the semester, maybe they begin to grow ties with the surrounding community in a more ongoing way. And certainly, the work of our colleague Benjamin Wilson at SUNY Cortland is a premier example of that kind of work. And no one really thinks that’s crazy. That just seems like good community service learning out of a classroom. And our point is that well, yeah but what if you bring in the United States Treasury, and you scale this up to the entire University System across the country, and it would essentially be doing the same thing. But that’s when people start using words like nuts, right? Like, what are you even talking about? How could that even possibly work?

Billy Saas:  On that note, the ‘nuts how could that even possibly work’, I feel like it’s been illuminating over the years to come into that and, and get it said in different ways with sort of different implicit meanings. And I think most often the implicit ‘you’re crazy’ comes from a lack of faith that it’s politically feasible, right? Not that it’s wrong, right? Or that you’re fundamentally nuts. It’s that, yeah, because of all the entanglements that exist in place, and the lack of willingness of administrators at the university level to put themselves out on the line and risk their relationships with the private sector. That’s what’s crazy about it, it’s not that the thing itself is not. I think, for me, that’s heartening, because it’s good to not feel crazy. On the classroom currency thing, too, in the class that we just ended, or are ending now. Students designed, following the models of UMKC and other places that have done the classroom currency project, which is all about teaching money. But then also, you learn that teaching money is teaching collectivity, and living in common. What is this thing for and what social purposes does it serve? Rather than do the sovereign, I’ve developed this currency, you are now going out into the community to earn it and pay a tax at the end of the semester, which is roughly what those experiences have been so far as like, okay, you’ll design your own currencies, identify a social purpose or problem around this area that we’re in, in New Orleans, that can be solved by the creation of a complementary currency. They all came up with their own ideas, some of them were really great. And it’s clear, I guess, Scott. For me, it’s clearest, and it’s sort of a localist expression, and then the politics of the thing get impossible the further and further you get out from that classroom, that’s like a controlled thing. And that’s where I think that the skepticism, the critique is often coming from not on the logical analytical level, but the, you can’t do that level.

Scott Ferguson:  Yeah, and we’ve worked with folks. Some Deans at a major university system that we will not name.

Billy Saas:  We had an article spiked in the Chronicle.

Scott Ferguson:  Oh, yeah. That’s something else. I guess we’re going on record saying that

Billy Saas:  No, I think cut out. Between you and us.

Scott Ferguson:  Yeah, we finally got into The Chronicle of Higher Ed. And we wrote a piece and then they got cold feet, and they paid us not to run it. They paid us off.

Jennifer Mittelstadt:  Wow. Wow.

Scott Ferguson:  Talk about entrenched.

Jennifer Mittelstadt:  I will just add one last thing that it sounds like the way for this to go. I mean, y’all have to build up from the bottom right, you’re just gonna have to find a university you can take over and then see.

Billy Saas:  Or system! CUNY maybe.

Jennifer Mitelstadt: Exactly, and see how that goes. I just want to say it’s a really rare thing. One of the great things about Scholars For New Deal for Higher Education is meeting all the people and having fun. Honestly, one of the true gifts of having gone down this road is just meeting other super engaged people who are smart and fun and want to solve things and yeah. I’ve really enjoyed it. I’m really enjoying it. I plan to enjoy it in the future.

Scott Ferguson:  Well, let’s keep working together. So thank you so much for joining us and yeah, come back. Let’s keep talking.

Jennifer Mittelstadt:  Sounds good.

* Thanks to the Money on the Left production teamWilliam Saas (audio editor), Mike Lewis (transcription), & Emily Reynolds of The Buffalo Institute for Contemporary Art (graphic art)

On Paradox with Elizabeth S. Anker

Elizabeth S. Anker joins Money on the Left to discuss her provocative new book, On Paradox: The Claims of Theory (Duke University Press, 2022). Anker is Associate Professor of English at Cornell University and Professor of Law in the Cornell Law School. In On Paradox, Anker contends that faith in the logic of paradox has been the cornerstone of left intellectualism since the second half of the twentieth century. She attributes the ubiquity of paradox in the humanities to its appeal as an incisive tool for exposing and dismantling hierarchies. Anker, however, suggests that paradox not only generates the very exclusions it critiques but also creates a disempowering haze of indecision. 

Tracing the ascent of paradox in theories of modernity, in rights discourse, in the history of literary criticism and the linguistic turn, and in the transformation of the liberal arts in higher education, Anker shows that reasoning through paradox has become deeply problematic: it engrains a startling homogeneity of thought while undercutting the commitment to social justice that remains a guiding imperative of theory. Rather than calling for a wholesale abandonment of such reasoning, Anker argues for an expanded, diversified theory toolkit that can help theorists escape the seductions and traps of paradox. In our conversation, we explore strong parallels between Anker’s call for a reparative “integrative criticism” and our own constructive hermeneutics of provision. 

Visit our Patreon page here: https://www.patreon.com/MoLsuperstructure

Music by Nahneen Kula: www.nahneenkula.com

Transcript

The following was transcribed by Mike Lewis and has been lightly edited for clarity.

Billy Saas:  Elizabeth Anker, welcome to Money On The Left.

Elizabeth Anker:  Thank you so much for having me. It’s great to be here. Wonderful to meet you guys.

Billy Saas:  It’s great to meet you, too. We were just talking about coming into contact with your book and some of the reasons we’re excited about it. That book is On Paradox: The Claims of Theory out with Duke University Press in 2022. Before we get into and I think to help us contextualize our discussion, could you share a little bit about your personal and professional background and kind of the academic fields and concerns that have driven your scholarship and, and your teaching up to the point of like the publication of On Paradox?

Elizabeth Anker:  Yeah, absolutely. I have an unusual background, and that I have both a JD, and a PhD in Literary Studies, and a joint appointment between the law school at Cornell and the English department. So I’ve spent lots of time thinking about both the stakes of interdisciplinarity and some of the challenges of doing interdisciplinary work and kind of speaking across audiences. So I’m incredibly sensitive to the difficulty of certain humanities fields that they experience in addressing wider audiences. But in a way, this book really stemmed from two different projects that I spent a lot of time working on, both of which were edited collections. The first was a big edited collection on law and literature, which is actually an interesting field because it was one of the first interdisciplinary junctures, so to speak. So scholars already back in the early 80s, were bringing literature to bear to think about legal questions, and vice versa. So a few years ago, I edited this collection with my friend and colleague at Stanford Law School, Bernie Meyler. And in the process of doing that, we really tried to make sense out of the dominant shape and orientation of scholarship that thinks about law and literature together. And in that effort to taxonomize and dissect these main approaches to that particular interdisciplinary field, we seized on a series of problems. And there’s a way in which those problems also inform some of the arguments that I make in this book. For instance, literature scholars tend to almost scapegoat law, precisely so that they can make the argument that literature comes along to save the day. So a lot of humanistic work on legal questions turns law, this big monolithic thing, into almost a kind of straw man. It’s really easy to be torn down, but through a series of super reductive critiques that actually ended up falsifying the legal process, and its real world operations in certain ways. One of the arguments in On Paradox has to do with this ongoing tendency to explain law in ways that are just plain inaccurate, and reductive and simplifying, I’m sure I’ll get to talk a little bit more about that in a minute. But the other big project that I spent years working on that very much sowed the seeds for this book, was another edited collection with my former mentor, Rita Felski on critique and post critique. Rita has written a lot about the limits of critique. And in a way, that’s a big project trying to weigh in on what people refer to as the method wars within theory. So this book On Paradox is kind of my own foray into the method wars to account for where theory has gone wrong, so to speak, and for the ways in which it needs to reinvent itself. So, just to sum up, a lot of the book stems from the fact that I’m somebody who has one foot in law and one foot in literary studies, and have therefore been able to assume something of an outsider’s vantage point, asking about the crisis in the humanities, and these larger trends that are overtaking humanistic inquiry. But with all of that in mind, there’s a way in which the book is also kind of my take on the crisis in the humanities. People have probably seen the recent article about “The Death of the English Major”. And these outcries about the end of the liberal arts or the corporatization of the university, have been on everybody’s mind of late. And in a way the book is also its own account of where that crisis came from. That’s in part an account taken from an outsider’s viewpoint and there’s a way in which I take an unpopular view, which is that humanists are in part responsible for their own growing obsolescence. Obviously, there are all sorts of other big factors tied to neoliberalism, and so on. But some of that responsibility that humanists carry themselves has to do with what I call paradox, or this idea that some other primary methodological approaches have either backfired or gone astray or simply haven’t delivered on their promise. So there is a way in which the book is a plea for humanists’ own self reckoning.

Scott Ferguson:  Thanks for that. So maybe we can focus a little bit more about the specific origins of On Paradox. It’s a pretty wide ranging book in terms of the topics and the issues that it covers. So what are the origins of this specific project? What questions did it emerge from? Did its arguments spring from a core inquiry or focus, we know from communicating with you that you were going to write a modest, small book about one little thing, and then it kind of blossomed into what it’s become?

Elizabeth Anker:  Yeah, the book initially was going to be a mere fraction of its current length and scope. And it was initially an attempt to wrestle with what people have referred to as the human rights turn in the humanities, about 10 to 15 years ago. A whole series of humanistic fields: history, anthropology, even gender studies, literary studies, were all abuzz with excitement talking about human rights, and what rights were their limits and their promise, and I decided I was gonna write a short book that attempted to make sense out of that growing preoccupation. Given the skepticism about law that prevails within a lot of these fields, to me, it seemed perplexing that suddenly a bunch of literary critics thought human rights were so important, and were kind of rah rah jumping on the human rights bandwagon. In the process of accumulating, trying to digest, trying to make sense out of what on earth people thought they were talking about, when they started talking about human rights. I was struck by a series of things. The big thing being almost everybody either began or concluded by observing just how paradoxical rights were. So as a diagnosis of rights, paradox was held out and arrived at by almost everybody. And often people did so in a way that also presented paradox as some kind of epiphanic recognition. So I was struck by the kind of rote predictability of paradox as a way of talking about rights discourse and human rights. And in a way that’s absolutely true. There’s no question that rights have proven deeply paradoxical. They’ve been kind of impaled by their paradoxes, again and again, whether in practice, or as a philosophical construct, or even as a discourse. Rights are deeply contradictory. There’s no question about that. But I was nevertheless troubled by the uniformity of the ways that theorists were talking about rights. And in the process, I was also struck by the fact that paradox tended to stand in for deeply polar things. On the one hand, paradox was a way of talking about the fatalities of rights, the failures, the limits, the disappointments, the spent promise, so everything wrong with rights, it was almost a way of critiquing rights by saying they’re too paradoxical to be valuable. But at the same time, all sorts of other theorists and literary critics were citing paradox as the very locus of rights’ ongoing promise. The fact that rights were paradoxical was what made them fertile, fecund, open ended this valuable source of justice for the future. I was trying to make sense out of the fact that paradox meant two totally different things. And it often would even do so in the same study. Somebody would blame rights for being willfully paradoxical and therefore complicit with power. But then say, well, their paradoxes is also what makes them democratic and ethical, and just, so I was initially trying to wrestle with all of this and suddenly realized that this framework, these tendencies for making sense out of rights, were showing up in all sorts of other areas: debates about democracy, debates about the humanities, debates about modernity. And so I came to recognize that I was really attempting to map and contend with a whole kind of worldview or mentality, or even epistemology or way of knowing, we could say that really has been definitive of theory. So I felt the need to really broaden the focus of this initially narrow study on right, to make sense out of and grapple with the genetics of theory, so to speak, or some of the dominant assumptions that inform critical theory as this really far reaching intellectual formation and intellectual tradition. So it became, as one of my friends would tell me, a book about everything.

Billy Saas:  It really is a book about everything. And it got me thinking a lot about the evolution of my relationship with critical theory from the experience of graduate school, this sort of initial excitement of encounters with paradox. And then the eventual kind of malaise, melancholy and inertia that comes from paradox, ultimately realizing while on the job market, and then in my first job, that humanities scholars have been talking about these things for a long time, and our work conditions, our workplaces have not gotten the same kind of critical attention or critical self reflection, and that the paradox of that is, is very difficult to live with. And so I think part of what we’re up to here at Money On The Left, and our collective more broadly, is the kind of constructive, let’s build something, in place of this void of paradox. Let’s improve our workplaces. Let’s take that inventory and get to the business of making a better world which is why your work and Rita Felski’s work resonated for me, especially, but I know that her work and your work are also having broader and deeper impact. So we’re super excited to have you and to talk more about this.

Elizabeth Anker:  That comment very much captured the trajectory or history of this style of thought, or sort of intellectual mindset that I’m trying to track and make sense out of, which is that you’re absolutely right, that paradoxes are thrilling, and a particular style of thought, grounded in reasoning through paradox or the discovery of these, again, revelatory eye opening capacities of paradox was this exhilarating, new, highly creative thing when theory came of age in the Academy right. So with the advent of theory 50 years ago, or what have you, 40-50 years ago, paradox was new. But over the last 40 years, it’s become routinized. This particular style of thought that once carried all this promise has become too predictable, too much of what we do, and really fails to speak to our kind of lived conditions, and ongoing, most urgent political realities. So some of the book’s arguments are, first, that this style of thought needs to be updated. It’s become passe, right? Ideas that made sense 40 years ago, don’t necessarily make sense in the present. And one of the big reasons, secondly, that it needs updating is that it’s failed to translate into what we could call a practice, or an applied theory, or a set of tools for building better worlds. And I think one of my arguments is that it’s not only that it’s failed to translate, that this style of thought that I call paradox can actually short circuit or impede forms of real world action, because of the various sort of hang ups that come with it.

Billy Saas:  When you start to encounter administration, within the context of the university, you start to wonder to what extent that paradox, that style of thought, actually serves the system as it exists, the de facto administrative apparatus, and, of course, folks who end up in administration have been around for a long time, and they weren’t in those theory wars at the beginning or theory development at the beginning.

Elizabeth Anker:  Yeah, just piggyback on that, we theorists have tended to presume that this method of reasoning that again, I call paradox, equals a particular politics, that to be attuned to paradox is to be a good lefty, to be a good radical to be social justice oriented. And that’s just not the case. This style of thought is highly susceptible to being co opted or hijacked. And in fact, I really think that’s what we’re witnessing at this moment in history, whether by administrators who might not actually have the best interests of English departments or other humanities fields in mind, or, frankly, by really powerful political actors who are kind of ruining democracy right now. I hope we get to talk a little bit about my next project at some point. But the thing I’m working on right now is precisely to try to track how this style of thought is being actively misappropriated to undermine and sabotage a left social justice progressive political agenda.

Billy Saas:  You can sort of see it in your teaching. And I wonder if this is something that you may have experienced, too, where the same kind of surprise and delight that I got from paradox as a student, maybe it’s my own failings as a teacher, but I struggle to reproduce that for students today because it feels so de rigueur, and not surprising, and not delightful, right? In fact, it’s all over everywhere. So where does pedagogy figure into your kind of view of the situation of paradoxes effects?

Elizabeth Anker:  You know, to be totally honest, pedagogy is where it gets hardest for me. On the one hand, it is absolutely true that paradox has become second nature to our current generation of college students, kids in their 20s. All you have to do is a quick search of Amazon for books with “paradox” in the title. That language actively works to trivialize and dumb things down and, again, applies to everything from food crises. So if anything, it’s become its own sort of neoliberal mantra, or self help recipe to talk about paradox and there’s a self-indulgent-wallowing-in-paradox-feel-good-self-discovery element that gets capitalized on in a lot of bestsellers, popular culture or what have you. So students, there’s nothing new about paradox to students. But I find that it’s tricky because I myself in the classroom sometimes do, nevertheless, praise the virtues of things like indeterminacy, inconclusivity, indecision, irresolution as values for awakening, or eliciting a particular kind of moral and ethical engagement. So pedagogy and the experience of teaching very much helped to crystallize and motivate some of the book’s arguments but, to be honest, it’s also where I find myself still championing and celebrating the powers of paradox and insisting that we still need some paradox, and there are still lots of things that we can learn from it. I’m by no means arguing that we need to do away with this style of thought, the book’s main take is that it’s simply become far too much of what we do. And if anything, the only thing that theorists have learned to do, and that’s the problem with it, not that it doesn’t contain value in certain contexts, but that we’ve lost sight of the specificity of context and deploy this reasoning everywhere, whereas it should be confined to much narrower types of debates and inquiries.

Scott Ferguson:  So across your first five chapters, and a brief interlude, your book traces paradox’s surprisingly consistent importance and centrality for a wide range of critical disciplines, fields, discourses, and even social movements. Would you mind walking us through some of your key arguments in the specific chapters and maybe we can start with chapter one where you take on the grand conception of modernity as a periodizing term. And you make the case that our very theorisation and conception of modernity is, to the bones, thoroughly paradoxical.

Elizabeth Anker:  Yeah, again, one of the book’s goals is to really show that this reasoning shows up absolutely everywhere. Basically, any issue that has been deemed worthy of serious intellectual attention, or theorisation, ends up being found to be paradoxical. And one of the prime sites where that occurs, and I would wager even one of the earliest sites where that occurs, if you think about intellectual history, is debates about modernity. And if you do one of those Google ngrams it’s even right when people started using the language of modernity, late 18th century you see a spike in the use of the term paradox. Once again, that diagnosis makes total sense: of course, to be modern is to be steeped in paradox. Basically everything about modern life, selfhood, individuality, politics, you name it is no doubt paradoxical. But one of the things I tried to trace in that chapter is, again, the routinization of that diagnosis, and how it came to be a kind of intellectual second nature, so that it became impossible to talk about something like modernity, without citing to its paradoxes. But I kind of use modernity and debates about modernity in that chapter as an example also to show the very ambidextrous and multifaceted intellectual labor that that citation to paradox carries out. This is true within most theory that performs a particular kind of reasoning. So paradox basically oversees all stages and all aspects of the reasoning process. So for instance, it’s a diagnosis. Right? Modernity is paradoxical, of course it is. But that diagnosis usually embeds a critique of certain aspects of modernity, we can think about classic Marxist critiques of capitalism as a distinctly modern bequest, right. Capitalism is obviously a bad thing. It’s by way of citing to or excavating its many paradoxes and contradictions, that it’s revealed to be so lethal, and predatory, and all of those things. So paradox is a diagnosis, it’s a critique, it comes to basically oversee method or become the backbone of method. Again, it’s almost impossible to find theory that doesn’t operate or proceed by way of the identification and mining of success of paradoxes. So it becomes hardwired into a method. One of the things I try to wrestle with in the book is how this diagnosis of paradox which most immediately encodes all of the bad things and liabilities is something like modernity, with the emergence and arrival of post structuralism, and all of the intellectual ferment that happens in the 1980s and 1990s with the rise of identity politics, the revolution in the humanities, etc, also leads to a change in the way people started thinking and talking about paradox. So that this very notion of equality, that sums up all of the perils of something like modernity, simultaneously comes to be redemptive or salvific, much in the way I was talking about with rights. So the fact that modernity is paradoxical, also comes to be something to be celebrated as the source of modernity’s untapped promise. And I develop an account for the confluence of factors and intellectual developments that allow this diagnosis of paradox to suddenly also become a salvific one. What happens is that paradox also emerges as a kind of destination or cure, or remedy or antidote to all of these liabilities. And that’s in part because paradox does something else too. And that is that it becomes deeply autobiographical for theory. It becomes its own kind of self-referential way of talking about what it means to be an intellectual to inhabit paradox. And paradox almost comes to be transposed onto the persona or character of the great thinker, or the harbinger of modernity, or the great intellectual stage. And there, too, everybody from Max Weber to you name it. These great thinkers are almost always deemed embodiments of paradox and what makes them great is because their own personas metabolize all of these different paradoxes. So it also becomes, again, deeply autobiographical or about the identity of what it means to do theory. And just really quickly, we can see how that would play out. Even in terms of the way people have defined theory over the years to be Paradoxa: as to be contrary to Orthodoxy, to be a dissident, to be a gadfly, to be anti-authoritarian, all of those things. And so it makes complete sense that we as theorists would cathect onto that logic of paradox, or see within it mirrors of our own understanding of our job as leftist, critically-minded intellectuals. Paradoxes are also deeply anti normative. So we can see just thinking about the sheer etymology of the word paradox, why it would be part of the genetics of theory.

Scott Ferguson:  Could you talk a little bit more about the Cold War context in which you trace the rise of post structuralism, especially in the states and why paradox becomes so newly enticing given that context?

Elizabeth Anker:  Yeah, absolutely. Basically, my argument about what happens in the 70s is that there are a whole series of intellectual development and a particular historical milieu, that come together in ways that really reinforce paradox as a way of knowing or an epistemology, but all provide separate kind of intellectual warrants for intellectual reasons that paradox becomes so incredibly powerful as an explanatory framework. One of those is absolutely the Cold War context. And a particular definition or account of totalitarianism that begins to take hold, and that everybody agrees on and totalitarianism is increasingly defined as a political system that is hostile to pluralism, plural vocality, paradox. And so totalitarianism is misunderstood as the sort of unifying force that’s going to, by definition, devour multiplicity and paradox and dissent, and all of that. Democracy and everything anti totalitarian, is increasingly explained in terms of its paradoxes. This sort of thinking is, I think, generally in the air at that moment in history, the kind of anti totalitarianism of paradox, but also explain why deconstruction would continue, would be one of the most influential progenitors of this kind of reasoning, perhaps, within the academy. So there’s something about that cold war environment and a celebration of speech for speech’s sake, that lends this logic of paradox incredible currency. That cold war environment, one of my arguments, also colluded with these lingering residues of the 1960s and 68, which also endowed the dissidents of paradox and the anti authoritarianism of paradox with a particular kind of purchase. We can think about the sort of magical psychedelic thinking of 68 as its own appetite for paradox, and for those mind altering discoveries that we can associate with that thinking, but a series of other things come along in sort of intellectual developments within the academy, perhaps the biggest is the linguistic turn. And the rise of Saussurean theories of language and representation provide a separate warrant for why paradox is so powerful and all meaning is going to stem from or inhere within paradox. I also talk about the rise of literary study. The 80s are sort of the heyday of aesthetic theory. I talked a little bit about how these thinkers are also drawing from theology. But the point is that all of these things kind of come together in the perfect intellectual storm that all separately reinforce and incite this sense that to be paradoxical is to be alive and energetic and attuned as a thinker.

Scott Ferguson:  Would you mind discussing one particular example of one of the supposed paradoxes of modernity, whether it’s in reference to Baudrillard or any other of the thinkers that you cite.

Elizabeth Anker:  I guess I would come back to something like democracy. And I’ll use that as an example simply because I think this mode of thought, this modality, is particularly rampant still today within a lot of political theory, and especially radical democratic theory. We can see why democracy would be paradoxical, right? It’s a perennially failed project. Democracy depends on this artificial construction of ‘the people’. But we know that nation states are woefully exclusionary, and are never going to have perfect representation. The paradoxes that extend from modern practice of democracy are countless and incurable in many respects. So again, no doubt that democracy as an institution is fatally flawed, and fatally flawed because of these paradoxes of incomplete representation. But what occurs in a lot of political theory is that that very incompleteness comes to be celebrated, because it’s seen as paradoxical. So the fact that ‘the people’ is forever and complete, gets read as a positive thing. And the source of the very fluidity and indeterminacy and open-endedness of that category of ‘the people’. If ‘the people’ was closed, then it wouldn’t be paradoxical. So there’s a sort of embrace of the very properties that one might, and simultaneously in the same breath, is despairing of. So one of my arguments about what this logic of paradox that again, starts to take hold in the 1980s, does is that it performs a kind of alchemy or almost a transient substantiation. There’s almost kind of something theological about it where it works to redeem legitimacy deficits, or justificatory deficits. The fact that ‘the people’ is fatally flawed, going back to Rousseau, it’s clearly a problem for the legitimacy of democracy. One of the reasons democracy is paradoxical is because it confronts this irresolvable legitimacy, crisis and deficit of legitimacy. But by describing that legitimacy deficit is paradoxical, that very failure comes to be rescued and, lo and behold, fully celebrated or extolled as the very wellspring of democracy’s promise. And this is a move that comes very, very clearly from the long history of aesthetic criticism and theology. Let’s think about The Odyssey and attempt to reckon with the limits of a deity, right? We’ve all had to study this stuff once upon a time. The fact that God is omnipresent and omniscient, yet nevertheless allows evil in the world, that’s a paradox. But that, unknowability of God, and unfathomability of God within theology comes to be embraced and exalted as the very essence of what makes God God. Again, this logic of paradox performs a kind of conversion that takes what looks at first blush like a liability into the very locus of the just and ethical promise of something, whether it’s God or the humanities.

Scott Ferguson:  I’d like to try to paraphrase some of the argumentation you’ve been working through in order to tease out some of the resonances that I’m hearing, which is: part of the problem with this mode of paradoxical thinking that, maybe there’s other paradoxical modes of thinking, but this particular mode that’s so widespread that you’re tracing. Part of its major problem is that it weirdly wants to unsettle the master signifier, the law of the Father. Yeah, in order to unsettle these dominant, hegemonic terms, ‘the people’, democracy, right? It has to perform the failure of its univocity. The failure of its single or array of clustered, singular meanings and say, “no, no, it actually does the opposite. You think it does inclusion? It does exclusion. You think it brings people together? No, it brings people apart!” Right? And I think one of the ways in which what you’re up to resonates with what we’re up to, I think, is you don’t have to take those hegemonic understandings for granted. You don’t have to give away the game to a particular enlightenment understanding of “the people”. For us, especially, you don’t have to take the liberal understanding of money and its ontology and its topology. You don’t have to take it for granted and just do immanent critique and show how it’s internally contradictory. You can say: Well, wait a minute, what if you start from different premises? What if you don’t start from the premise that money is a private barter relationship that ends up in this massive system of mutual exploitation? What if you start with it as a public utility or a legal design question, what opens up instead? So to me what’s so illuminating about your book is it gives us this language and so many historical analyses of this problem of giving over to the master term that you’re supposedly trying to undermine.

Elizabeth Anker:  Yeah, I love that point. And I have to confess that I haven’t thought about one of the things I’m after along those lines, and that’s why I love it so much. But I think you’re absolutely right, that some of the problems with this style of thought is that it ends up reinforcing the authority of the very thing ostensibly being critiqued. So it ends up almost like reifying, or ceding the game, to the explanatory power of liberal accounts of capitalism, or liberal accounts of rights, because it’s so dependent on that, again, almost kind of reductive notion of what’s being critiqued. I think you’re absolutely right. And for me, another extension of that is that it can contribute to this kind of romance of failure and romance of impossibility, because part of the logic of paradox is to be adamantly resistant to ever lodging itself, or installing itself as a new dominant or a new normativity. So the moment you win, you have to immediately undercut what you just want. So they’re almost like tripwires installed in this logic. The moment what’s excluded comes to be included: Oh, that very thing becomes bad, right? Because it’s the new dominant, but that becomes an endless game that leads us nowhere. So yeah, I love that way of framing it. Yes. Another paradox. Yeah.

Billy Saas:  Is there something about paradox, inherently, that we could say is atomizing or alienating, and maybe affectively discouraging? It’s exciting, but there’s a sort of flat affect afterwards where there needs to be a kind of supplement. And that might be what you’re after or suggesting here?

Elizabeth Anker:  Yeah, and again, I’m perhaps most critical of the modes of thought that we can associate with post-structuralism that took hold in the 80s. First I very much agree that there’s nothing about this reasoning on its own that’s inherently problematic. The idea is that this logic that’s been so dominant, and, if anything, the exclusive way people think in certain fields really needs to be supplemented or complemented with other styles of thought. We’ve been doing half of what we need to do, and we need to do and the other half. But just kind of is one further example of where this perhaps comes from, to sort of explain how it takes hold and why it has placed a stranglehold on more affirmative, constructive modes of thought. Again, I think so much of this style of thought can actually be attributed to post-Saussurean linguistics and the theories of meaning that emerge. If we think about Jacques Derrida in his account of a text or writing, meaning inheres with the slippages, the deferrals, the gaps between words, the impossibilities of clear presence, the fact that you’re never going to have a transparent understanding. Meaning is going to kind of emerge through those impossibilities, through those delays, through those foreclosures and limits to what we can know. Meaning, action, agency, everything has been imagined to inhere within those kinds of slippages and deferrals. And I think what’s taken hold within a lot of theory is anytime there’s an effort to account for meaning, or agency, or action, that’s not displaced along such lines, it’s dismissed as simply wrong or selling out or “liberal”, or again, just plain mistaken. And one of the challenges in writing the book has been recognizing just how thoroughgoing this mode of thought is, while really trying to push back against a tradition that’s hardwired to dismiss an effort to be affirmative, concrete, constructive, etc, as point blank mistaken, or point blank wrong or missing the picture.

Scott Ferguson:  So this is a great pivot, I think, to our question about your second and third chapters. And that’s where you uncover what you reveal to be this deep anti-legalism that subtends, paradoxically, both a positive discourse of rights, but also the critique of rights. We’ve been kind of referring to it, but can you delve into this problem, and how are dismissals and recuperation of rights both rooted in paradox? And then what, for you, does this have to do with aesthetic theory?

Elizabeth Anker:  Yeah, absolutely. It’s a big question. One of the things I tried to do throughout the book is to think about how reasoning that lends precedence to paradox can lead to polar impulses. One of them that I think we were touching on or you brought up when you talked about how this logic can end up reinforcing the power of the very thing being critiqued is that when something like capitalism, and this is where I, would have a fight to pick with at least some Marxist theory, capitalism, for instance, is seen as fundamentally contradictory in ways that basically ontologize or reify that property. And I’m sorry, right? Paradox is something that my brain is a quality in my head that I’m reading onto something to help me make sense out of it. It is not a material property of reality. I would dispute that it is, but when it is deemed thus, or fatally part of something’s architecture or gene pool, that ends up rendering paradox a foregone conclusion. I worry about that tendency, in terms of how it can tie our hands in resisting a given structure or cause the problem to seem so fatally incurable that it can lead to forms of defeatism and inertia in the face of this structure that’s deemed paradoxical. I think that plays out with particular vividness in the skepticism about law that has prevailed within and basically across the humanities, and even within a lot of critical legal studies circles. My favorite example, Wendy Brown and Janet Halley have edited a collection called Left Legalism/Left Critique, and their introduction basically says, submitting any otherwise principally minded left project to the law is going to contaminate it in certain ways. So making recourse to the legal system is going to, by definition, dilute a particular left progressive justice-oriented agenda and is inevitably going to involve a form of self betrayal. And I think that’s just wrong. But that mindset that law is fundamentally bankrupt prevents all sorts of political action that might be really, really successful. I think that mindset is incredibly widespread, and really gets us in trouble as theorists, because it rationalizes and can lead to an excuse for forms of opting out, or not trying in the first place. And that suspicion of law is so pervasive in a lot of theory. The other example I like to bring to mind is a text like Judith Butler’s Gender Trouble, probably one of the most influential theoretical texts, and rightly so, right? It revolutionized our ways of talking about gender, in ways that have trickled down into the popular consciousness, amazingly important and successful text. Nevertheless, within this otherwise fantastic book, the rhetoric of the juridical circulates throughout in ways that basically are shorthand for power and oppression. So to describe something as juridical is basically to mean that it’s oppressive. And again, that just erases and obscures and it’s just plain wrong about all of these really important social, political advances that over the centuries, the law has facilitated. So this kind of suspicion of law is really problematic in terms of how it can basically sanction inaction and discourage inaction. Like I’m sure some of my humanities colleagues kind of looked down their noses at me even having a joint appointment in the law school as its own form of selling out. So, I’m really trying to push back against that legal skepticism as one of the reasons that so much theory has really failed to actualize itself in a viable practice, or why so many humanities fields have remained cloistered and refuse to get their hands dirty by actually tangling with real world forms of action.

Scott Ferguson:  And then what about the school that embraces rights as a framework, and yet in your reading, always predicated on the anti legalistic failure arguments that the straight up anti law scholars embraced?

Elizabeth Anker:  Yeah, yeah, the school of post-structuralism, deconstruction, somebody like Jacques Rancière is this very hot figure these days, I think subscribes to its own kind of anti legalism or legal skepticism, but it plays out in a somewhat different way there in that justice is seen as fundamentally uncodifiable. So the minute you can actually codify or consecrate something in a legal decision or law code, that is seen to be the betrayal of these otherwise just ideas. And again, this comes directly from a particular theological tradition that is antinomian. So antinomianism is perhaps the better way to describe that impulse.

Scott Ferguson:  Can you describe what that means for you?

Elizabeth Anker:  Antinomianism simply means that it’s tied in more Protestant traditions to a conception of grace that is very individualistic. It basically means that law in the books is going to be fundamentally incomplete and flawed. It’s almost more of a Pauline Conception of divine inspiration.

Scott Ferguson:  Yeah, the term that we often use at Money On The Left is anti-medial or anti-mediation, right? There’s a sense that mediation is necessarily extrinsic and imposed. And it’s something that we may be all fallen into in a biblical and Lacanian sense, or a Heideggerian sense. We’re all fallen into it, but it is still nevertheless an imposition that we sort of wish that we could be outside of, and we try to conceive of and imagine a just world with that critical leverage of not being fallen into language or not being fallen into the juridical. Yeah, so that’s how we make sense of it.

Elizabeth Anker:  Yeah, and thinking about the antinomian a bit further,  the big prophet of paradox that, again, everybody was reading in the 80s, is Søren Kierkegaard. Fear and Trembling, this meditation on Abraham’s willingness to sacrifice Isaac, and the language of paradox is everywhere in a text like that, and it’s the incommunicability, the un-translatability, the fact that nobody would understand that willingness that it would see mad and, frankly, evil to everybody except Abraham is its own version of antinomianism. Kierkegaard was also a big conduit for the thrill of paradox, right? You probably remember reading Kierkegaard for the first time, and I’ve had people over the years when I tell them about the book say: that sounds like the first time I read Kierkegaard!

Billy Saas:  You mentioned a couple of times the phrase “selling out”, which resonated with me for a couple of reasons. One, we’re talking about, actually, Scott’s book in class yesterday, Money, Culture, Media with students, we were talking about critical theory, so this is very pertinent to what we’re talking about now. The concept of, through discussion, how selling out was more of a concern, it seems like in the heyday of the logic of paradox. I’m making this connection myself. It’s sort of an early rise. And I think today, there’s a romance of selling out now, as opposed to… So it’s the rise and grind. There’s the culture of hustle as a completion of that rejection of selling out as an abject thing that you don’t want to do as a participant in the economy. And it’s part of this idea that money is bad, whereas now it’s like, yeah you gotta get your hustle on, you gotta get your stuff. And selling out is probably a good thing. So you probably have some colleagues who are like, get the bag. Do your thing. Scott, I know that you wanted to get us into the aesthetic question.

Scott Ferguson:  Right. Well in your interlude, Liz, you wrote this anti legalism into an argument about the “aesthetic” as an intellectual project, as an institutional project.

Elizabeth Anker:  Yeah, I think one of the big sources of this style of reasoning is aesthetic theory or literary and poetic criticism, frankly, going all the way back to Plato. There are brief interludes in this long history of literary criticism where people are doing something different in the 18th century for a couple of decades. But there’s been a remarkable centrality attributed to paradox when talking about the power of art, I think to be able to see the symmetries are parallels between what that work does in theology. A lot of these early theorists were also doing literary studies, and as theory kind of migrated through the Anglo American University, it stopped first in English departments. So English departments were the big proponents of it. So I think it picked up a lot of these tendencies there. But already the early moderns, Renaissance thinkers, were obsessed with a paradox that you get from Plato, which was referred to as the liar’s paradox. Everybody loves this paradox, right? If I say I’m about to lie to you, it’s raining outside. Am I telling the truth? Or am I lying? It’s actually like 90 in Ithaca. If you tell someone you’re telling a lie, is that telling the truth, or is it lying? But that’s what fiction does. That’s what all art does. All of art says, I’m a fiction, this is imaginary. And so it’s different, it’s a paradoxical form of truth telling. For Plato, that was one of the reasons to expel the poets from the Republic, because they were fiction tellers, they were lie tellers. And basically, since the early modern period, someone like Sir Philip Sidney is a great example. The logic of paradox, they’ve recuperated that epithet and said: actually, no, what was the problem for Plato, we tell lies, is the very power of art that we tell lies. So this kind of spirit of paradox has defined accounts of what art is, and what the value of art is, you know, basically for hundreds of years. And I think that the endurance and longevity of that tradition is one thing that people picked up on. One of the reasons that this style of thought that I’m saying took hold in the 1980s was so readily internalized, because it capitalized on intellectual traditions that have been around for a very, very long time. There, too, there’s a particular relationship to truth telling, or meaning, that needs to be routed through forms of deferral, and delay, and that it can’t be present and actualizable. It’s something that can’t be codified in any kind of positivistic regime. Does that speak to your question or not?

Billy Saas:  No, I think that answers our questions. Probably better to segue to the selling out bad versus selling out good.

Elizabeth Anker:  But do you mean like an embrace of the fact that everybody’s complicit? And so why not just —

Billy Saas:  Yeah, maybe the headline is: there is no ethical living under capitalism, right, as a kind of catchphrase for millennial Gen Z online life.

Elizabeth Anker:  Yeah. So, I think that’s showing up and, again, the stuff that I’m kind of working on is a spin off of this project. I don’t see that kind of embrace of selling out so much in my colleagues, or among my English majors. I wonder if that’s kind of the mindset of the New Right or the Alt Right. There’s a lot being written and kind of in process on the extent to which the New Right NatCon youth are kind of embracing a certain bastardized version of Marxism. But some of the animating creeds of that kind of crowd are, I think, precisely this real politic where everything is deemed coercive. There’s a generalized view among the right, increasingly, that all actions are coercive, all power is dispersed. So we might as well just engage in some power play, unabashedly. I think this reasoning is kind of in the air in some of these Alt Right circles, but increasingly in institutions of power that are pretty mainstream.

Billy Saas:  I think I see it in left cultural spaces, maybe not among left academics, maybe so much. I do think that there is a kind of well what are you going to do, give people a hard time for working and trying to make money so that they can take care of themselves. And then that being sort of like the baseline, but then we should be happy for so and so that they have gotten this big deal or this big outcome, and, if if nothing else, that abject state of sellout is no longer a category, I feel like so much today in the way that it was.

Elizabeth Anker:  I think the kind of internal, the going small, is very much among the left. This kind of downsizing of ambitions, and your comments also making me think about Anna Kornbluh’s forthcoming book, and her accounts of the rise of auto fiction and first person narration. All we can do is think about this very narrow sphere of influence. Everything is so sullied and suspect, so there’s something deeply … kind of retreat or withdrawal, that I think license or sanction by this, like, “everybody’s selling out.”

Scott Ferguson:  I’d like to pivot to your fourth chapter, fourth and fifth. To me, in these chapters, you really drill down into very specific paradoxes or specific fields. And I think that they’re maybe among the most likely to offend, to put it mildly.

Elizabeth Anker:  Yeah. You’re the first person who has said that so directly.

Scott Ferguson:  Oh well, you’re welcome. And I think they are, another way of putting this is that, because they really touch a sensitive nerve of, I think, what the left Intelligencia takes for granted. Just to start with your Chapter Four topic, The Paradox of Exclusion. The paradox of exclusion is that dominant forms exclude. This is bad, it’s unjust, it’s painful, it’s harmful. There’s so many things, negative things, that you can communicate about exclusion. And then the response is often, in this modality, to give voice to the excluded or in an Adornoian parlance, to give voice to suffering. And that becomes the injunction of the paradox of exclusion. And just re-articulating this paradox, it’s really hard to think otherwise, it’s really hard to think: Wait a minute, so what are you saying — exclusion is okay? And are you saying we shouldn’t give voice to the subaltern? What are you saying? So, I want to give you a chance to kind of nuance your critique, and put your most persuasive case forward?

Elizabeth Anker:  Yeah, my critiques have less to do with the power of that mode of consciousness raising, because this really emerges with the consciousness raising campaigns of the 70s and 80s. Right with, you know, it shows up in Catharine MacKinnon’s early work trying to awaken women to their own oppression. But that logic, or that project of forever uncovering new sites of exclusion epitomizes the way in which this style of thought can backfire. On the one hand, it’s limitless or insatiable, there’s no end or stopping points to uncovering yet new sites of exclusion. Because once something gains recognition, or is included, it’s no longer excluded, and so becomes part of the problem. And in my own account, a lot of this has contributed to some of the infighting in a lot of humanities fields. A lot of humanities departments, literary studies, perhaps in particular, have become really internally self divided, even though everybody is on the same team, so to speak. And that’s because we’ve identified with that plight of the excluded. Humanists perceive themselves as being paradoxical or, contrary to doxa, themselves excluded. So if our primary mission is to speak to terms of exclusion, there needs to be exclusion somewhere. So we’re going to find them or create them even if they don’t really exist. I think that this project of giving voice to exclusion has really consumed certain humanities fields in ways that have become really counterproductive, and, again, led to forms of internal infighting and rivalries that prevent those fields from taking up other challenges. We only have so much energy and can only fight so many fights. When we’re incessantly fighting with our colleagues, we’re not going to take on other battles. The kind of internal self reference has become a real problem in certain disciplines. It’s one of the reasons for the crisis in the humanities. And I tried to argue that this political consciousness raising project that, again, has governed some of these fields has ironically, led to a form of navel gazing in certain ways. I know that’s a harsh condemnation, I have two other big complaints that I’ll highlight for now about why this project of consciousness raising by giving voice to exclusion became self limiting. One, the problem with this reasoning is that it gets applied to everything in a self reproducing structure. So regardless of what’s being analyzed, there’s a particular methodology that gets brought to bear. And that does a couple of things that lead to the exact same conclusions when you’re applying the same methodology, regardless of whether the object of exclusion is racial oppression, or misogyny. You’re going to reach the same conclusions. But what that does is that also works to obscure or minimize differences between different sites of exclusion. And that can lead to its own forms of inertia, because I’m sorry, to act in the real world, we need to make decisions about which problem is more grave, or more severe, and which is less severe. And there’s a real reluctance to undertake any sort of judgment, that hierarchizes in a lot of these humanities fields. I’m not saying we should do this, but I’m just using this as an example. So if I were to walk into my faculty meeting later today, and say: I think that abortion access issues are more important than the fight against police violence right now. And I think that that’s where I should direct my energies, I would be exiled from the department within the next half hour. But real world political action requires that we differentiate and draw distinctions. Again, because this particular methodology of analysis has tended to operate on autopilot, it prevents normative analysis that actually tries to differentiate between the magnitude of injuries and their severity suffered in diverse sites of exclusion. So in a way, one of my arguments is that we haven’t been critical enough. And that’s because in critiquing everything, by way of the same methodological apparatus, we actually end up preventing ourselves from making critical judgments about where to direct our limited resources. And this logic of exclusion tends to do that. The third real problem with it is just how easily it’s appropriated. All of the men’s rights stuff buys into and reproduces this exact same formula for talking about exclusion. I’ve mentioned a couple of times, I’m starting to work on what’s going on in the US Supreme Court. I have a reading of Dobbs, the decision that overruled or did away with the right to abortion, and I’m sorry, Samuel Alito deploys this logic of giving voice to exclusion, to talk about the rights of the fetus, and to start to pave a pathway for recognizing fetal personhood. And so this thinking is, again, by no means tied to a particular left progressive agenda. It’s super easily plundered and misappropriated. So I’m not sure that it’s the recipe for all of the good things we expect it’s invariably going to be a recipe for.

Scott Ferguson:  So in your fifth chapter, you take up the role of paradox in what’s called trauma theory. Maybe to get us into that argument, you can tell our listeners a little bit about what trauma theory is, how it arose, and how it’s been on your view, overridingly positive, but that it, too, has limitations and blind spots that we need to be thinking about otherwise and especially when it comes to pedagogical cultures in classrooms where trauma theory is taught?

Elizabeth Anker:  Yeah. Over the course of the book, I look at a series of innovations that demand to be attributed to theory, or this revolution in the humanities, and just how much they’ve really revolutionized popular discourse. Ideas about gender would be one wherein theory won, right? We’ve changed the game, talk of structural oppression. Even five years ago, discussing structural oppression would not be in common parlance. It’s become a kind of dinner table fair. My students arrive in college knowing what structural oppression is. And that’s amazing. Another way in which everything we’ve been doing in the humanities has, in fact, changed things. Trauma theory is another enormous site of influence. Before Vietnam, trauma was not a recognized medical diagnosis. And trauma theory arose in the academy in the 70s, 80s, 90s, and gained enormous popularity. It initially thought specifically about trauma stemming from the Holocaust, and it was heavily influenced in its earliest incarnations by both psychoanalysis, specifically psychoanalysis in the vein of Jacques Lacan, and by deconstruction, so thinkers like Jacques Derrida, Paul de Man. It’s changed a lot and departed in many ways from its roots and what is often thought of as Yale school, because it happened at Yale. Yale School of Trauma Theory. But trauma theory has also been widely critiqued as colonizing our available vocabularies for talking about victimization and injury. So all sorts of people have complained about… there’s an influential book called The Empire of Trauma, have complained about the ways trauma has become, not that trauma theory is wrong or bad on its own, but it’s become our dominant and often only framework for thinking about forms of abuse, injury, victimization, and all of that. So the perfect example of a theoretical innovation that’s reverberated throughout the real world instituted all sorts of enormously positive change, yet, nevertheless, needs to be rethought precisely because it’s dominated our explanatory framework so much. The book actually concludes by thinking about the ways it has proven limiting. And some of those limits have to do with this recurring theme of just how easy it is to be hijacked. It’s easy to deploy these dominant definitions of what trauma looks like, and to kind of weaponize them in ways that discredit particular injuries. And I’m also concerned about the ways that it draws from an understanding of representation and linguistic meaning that can work to strangely deem trauma ethical. So in a way, it buys into a line of thought that’s really commonplace, and again, enormously productive in many instances, that asks us to think about pain and suffering as endowing the victim with privileged insight and understanding. This is the kind of reasoning that shows up in one of the most influential texts from the African American literary canon W.E.B Du Bois’ The Souls of Black Folk, where he coins the notion of “Double Consciousness”, which is this idea that to be the victim of protracted racial and other persecution endows one with an elevated way of knowing, or a double and multiple consciousness that allows more sophisticated grasp of not only the forces that lead to oppression, but of one’s own relationship in the world. Du Bois actually called Double Consciousness a paradox, believe it or not. And that thinking is super positive and super empowering, but what it does is it nevertheless takes pain and finds something redemptive within it. Again, this is valuable thinking for all sorts of reasons. But I tried to reckon with the ways it’s maybe gone a little bit too far. And trauma theory draws on a similar type of understanding, but supplement it with a model of the psyche that understands trauma as fundamentally elusive, repressed, fragmentary, that kind of resides within these gaps of consciousness. Trauma is something we can never actually localize, all the brain does and cycles around it kind of questing for its origin or cure. Hence, this repressed nature. But there’s something about that mode of thought that can take repression, and treat it as restorative and even ethical. So some of this early trauma theory actively describes trauma as the ethical connective tissue that will provide a link across cultures. You can see why I may be skeptical of that kind of move. I do try to wrestle with how that kind of thinking can be problematic, among other reasons, and that it can disqualify certain kinds of injuries from counting as trauma, lots of people have made that argument about it. Early trauma theory has been widely critiqued for being beholden to a very Eurocentric conception of the subject along these lines, but I’m interested in how especially that model needs to be updated due to historical factors. But how that model for understanding injury can again be turned on its head, or exploited and manipulated, to discount historical forms of oppression to actually undermine the victim, to gaslight, or ghost particular kinds of injuries. So for me, some of these ways of talking about trauma, again, kind of epitomize the ways all of these really great innovations that come from theory can nevertheless be misappropriated and misused by hostile forces.

Scott Ferguson:  So I want to try to use some legalese. And you can tell me if I’m not using it correctly, but it seems to me that when trauma theory reaches its limit, it sort of edits worse. In the realm of law, it’s like turning everything into torts. It’s like everything is an injury, and from the point of view of what do we do going forward? How do we construct and fight for a just world? Well, let’s tally up the injuries and then remedy the injuries, which we should do. But that’s only one place to start. And I worry that we foreclose posing questions about the right thing to do for people, the right thing to fight for individuals, for collectives, for groups, for the globe, that aren’t necessarily predicated upon intelligible injuries.

Elizabeth Anker:  Yeah, that’s a critique of trauma that others have also raised, that I absolutely agree with because trauma assumes that there was some clearly-isolatable injury that happened at one discrete moment in time. It actually writes off more systemic forms of injustice and injuries that can’t be pinpointed in such a precise fashion. So it can actually do a real disservice to thinking about generalized conditions of harm, or low grade forms of violence and Injury that are woven into the day to day. Trauma is often thought about as exceptional. For most people, a decent percentage of people in the world, trauma is written into their most ordinary, mundane, non-exceptional interactions and realities. And I would also say that one of the things I tried to reckon with in the book is how this particular methodology of reasoning, that I call this Logic of Paradox, tends to be reproduced quite formulaically again and again and again, everywhere, everywhere, everywhere. And trauma theory exemplifies the way in which all sorts of wildly divergent and very, very different injuries nevertheless come to be digested and deciphered, by way of this recurring formal logic. So all traumas end up looking the same or being defined in the same way. And there, too, it works to actually level or erase differences between different traumas that are profoundly meaningful, and that I think we as theorists should be setting out to measure and to wrestle with and to document. A lot of trauma theory precedes from the notion that there’s something fundamentally unverifiable about trauma that can’t be documented, and that can’t lend itself or that will elude legalistic regimes of evidence. And maybe, yes, that clearly is true for certain traumas. But it can actually obscure our ability to engage in forms of documentary labor, or to undertake the kind of normative differentiation that I think the humanities have really forfeited, but that seems essential,

Scott Ferguson:  You have an analysis of the trauma theory classroom that I’d like to give you a chance to elaborate. The classroom in which the pedagogue is encouraging students to confess, I have to say that I don’t think I’ve been in one of those classrooms. But I don’t think I ever took a strictly trauma theory class, either.

Elizabeth Anker:  Yeah, you’re totally right. And I think this plays out within a lot of these really foundational theory texts from the 80s and 90s where, in fact, witnessing one’s own trauma is heralded as its own form of pedagogy. And so the sort of confessional mode has overtaken a lot of humanity’s classrooms. It’s perhaps different now than it was back in the day, but I can absolutely remember classrooms wherein you authorize your own voice as a speaker by first confessing to the forms of injury that had been inflicted on you. I’ve even taken exams back in the day where that confessional mode was how … I won’t name any names … how one was guaranteed an A or not. But what that does is that also deauthorizes certain voices. Again, it risks trivializing the injuries at hand. So I do think that part of the consciousness raising aspect of pedagogy has been about broadcasting one’s own sites of victimization, and that that kind of exercise has become compulsory in a lot of different spaces. I think the other reason we should be a little worried about that model of pedagogy, that’s oriented around consciousness raising in the classroom, is that it presumes that symbolic change in these elite institutions of higher education is going to trickle down or translate into action on the streets. I’m not so confident the symbolic awareness when one’s in college is actually going to meaningfully activate an electorate. I mean, it’d be nice to think it does. But the seamlessness of that trickle down effect, I think, has been overstated, or over-wagered, in a lot of humanities scholarship.

Billy Saas:  I think that there’s some interesting overlap potentially, between what you’re kind of calling for which seems to me like a little bit more specification about trauma like a reconceptualizing, that is about expanding and becoming more specific and not, not just sort of identifying all trauma as co-equal. With some of the histories of money that we interact with, as opposed to the kind of original, primordial barter situation where we’re all just autonomous actors, hopping around trading with each other, and then some genius person or group invents money to make it more efficient. There’s a anthropological history that’s much more feasible or tenable, that locates it in Medieval Period Weregild, which is trying to identify specifically, quantitatively forms of recompense that are adequate for trauma that one inflicts on someone else. And in this case, it’s like, how much is a nose worth? If you took somebody’s nose off, what is that worth in terms of livestock, and gold and money and things like that? And it’s a gruesome origin story. And it’s not the whole story. I want to ask you to maybe specify or differentiate how your theory of integrative criticism, which you have identified toward the end of your book in the second interlude, and then the final chapter is a potential path forward for left theory? How is it not in the field of trauma or in the logic of paradox and trauma studies? How is it different or more than, better than, different from, distinct from? You know, one ear is worth 10 pieces of gold?

Elizabeth Anker:  Yeah, a great question. I think, first, why is an integrative approach to theorizing things different from the way trauma is often accounted for? I mean, one of the staples of a lot of especially early trauma theory is that it’s resistant to healing or defiance of the cure precisely because it’s kernel, that traumatic kernel is going to remain fundamentally elusive. So what that means is, if you’re a trauma victim, whose trauma is no longer repressed, whose trauma is self present, who maybe thinks that they’re cured, you’re not properly traumatized. And that’s not really trauma that you’re suffering from. So if trauma can be integrated into the psyche, it ceases to be trauma. We can see why we have this really narrow definition and super normative lens for dismissing or discounting certain traumas. In thinking about those types of issues, types of debates that have been left off the table, or kind of prohibited by what I tried to describe as an epistemology of paradox, or paradox as a way of knowing, are a lot of things that are vital ingredients of a livable and effective politics. And so by thinking about the integrative in a way that’s my framework for trying to put my finger on a series of things that it’s been impermissible to talk about, not to mention analyzed, in a lot of critical theory, or lefty circles. And those are things such as when things succeed or work relatively well. I mean, how often have you read a book written in the humanities that takes the relative success story in the history of politics or law and says, I’m gonna write a book about why this worked? Never! Right? So we’re just allergic to taking stock of, not to mention celebrating, our limited accomplishment. Even here, I’m like mincing my words. I’m scared to say success. Right? I certainly can’t say progress, right? Not to mention, I would call something a victory. Ah, right. But come on. There are political accomplishments that have been successful, that have proven lasting and effective, that we should take seriously and take stock of and ask why they worked, so that we can emulate them and replicate them. We should also ask those types of questions about forms of community, day to day practices that prove sustaining and effective. When I appeal to the integrative it’s a call to train our attention to all of these things that have been off the radar screen of theory and actually deemed impermissible. So I think about the integrative as also a matter of when things hold together as sort of something different from the logic of paradox. Paradox has worked to fracture, break apart, fragment established truths, break down orthodoxies. But sometimes it’s important to examine the kind of glue or connective tissue that isn’t about when things fall apart, but is what renders things sustainable, livable, habitable, again, are when things kind of come in hold together in ways that we want to applaud. So it’s really a plea to turn our theoretical attention to those things that prove non contradictory, or we might experience as non contradictory. Not that they’re going to be permanently thus, but even just episodically so…

Scott Ferguson:  One of the things I really appreciate the style of your theorizing, the stylistic turn, that your theorizing takes in the late interlude in the last chapter, is you really stage for us, not in like a “woe is me”, but I think as an important intellectual project. How difficult and challenging this has been for you and has been part of your pedagogy? And how do I get out of those rote forms of the paradoxical with students? And what do they think? And what am I even saying? And what language am I going to use, and what kind of stylization or aesthetics are going to matter for this one potential of many alternatives to the paradoxical? So I just want to say, I really appreciate that bringing us into the problem, that’s a stylistic choice that you make. And I was wondering if you can speak to that, but also tell us a little bit about Virginia Woolf and A Room of One’s Own, which is a bit of a touchstone in the Money On The Left community, just because precisely I think we’re picking up on similar things. She’s making normative demands, a room of one’s and this much money. You want to solve the women in fiction problem, people? Well start paying women to, and furnishing their lives to be able to write fiction. So your response?

Elizabeth Anker:  Yeah, no, thank you. And thank you for saying nice things. I mean, this last chapter of my book where I put forward a kind of alternative or supplement to paradox: single-handedly the hardest thing I have ever written or will ever try to write. I can’t tell you how many different iterations of that I went through. Initially, I had settled on the rhetoric of the prescriptive, or the need to be prescriptive. Getting at normativity without fully going normative, a tentative way. So, to me, that was really a lesson in just how stifling this intellectual tradition had become, and also just how hard it was to escape, again, what increasingly felt like a stranglehold or its own sort of internal policing mechanism. So, to me, it was just an unbelievably both fascinating and kind of arduous and painful experiment to try to think differently. I do feel like I put forward the integrative as one way to think about a supplement to paradox. I do want to emphasize that I’m not saying it’s the only way or the right way, it was the best I could come up with. But to me, what matters most is that we do something different. And we kind of add something to the mix, and that we don’t walk away from every conversation, throwing our hands up in the air and citing paradox. For me, what matters most is that we try to undertake so much more constructive, affirmative, and practically oriented labor. I think there’s a way in which theory has lost sight of all of these aspects of lived experience, and the very pragmatic, practical realities of day to day decisions about how we guide our lives, necessary decisions that factor into any political decision making process, right or any legal judgment for that matter, since I think about law a lot. For me, the integrative was one way of focusing our attention on certain elements of those practical choices that get elided, or written off, and a lot of our intellectual labors. By deploying the term integrative, I am also, of course, trying to think about how we might better integrate our intellectual activities into our lived routines. In directing us to the day to day, you probably also have picked up on the extent to which the day to day is written off as some kind of debased sphere of intervention. There’s an incredible utopian future oriented impulse and a lot of theory that any politics needs to be utopian in its fundamental ambitions. I’m pretty skeptical of that, too. So looking at the integrative is an effort to counteract that impulse that shows up in a lot of places. That’s cool you’re also Woolf people, too. I didn’t realize that everyone’s own …

Scott Ferguson:  Yeah, I’ve taught a class on essayistic writing across text, and photo essay, and video essay, and film essay, and I always do A Room of One’s Own. So I have a really intimate relationship.

Elizabeth Anker:  Yeah, I’ve actually never taught it.

Scott Ferguson:  Oh, god, it’s so great. Yeah.

Elizabeth Anker:  But I’m also in literary studies, right? There are so many of these canonical or widely celebrated texts that tend to be read in through a particular framework. That’s why I’m so, even having written about Claudia Rankine’s Citizen, and I’m still kind of fixated on it because it on the one hand rightly tends to elicit these interpretations that think about it as a meditation on structural oppression, and the tenacity of this kind of monolithic edifice of racism. And that’s right, that’s in there, that absolutely lends itself to those interpretations. But there are all of these other moments in the text that just get neglected or overlooked, that are actually gesturing towards something a lot more complicated, a lot more affirmative. And that’s one of the reasons I’m also so interested in Woolf right, as she’s often one of the great spokespersons for a particular kind of queer consciousness. And that’s true, that’s there. But she’s also doing this really normative project.

Scott Ferguson:  Yeah, while being a radical critic of British Empire,

Elizabeth Anker:  Yeah, yeah. And those two things can go hand in hand. Right? And for all sorts of reasons, again, hence, the book, we’ve just been utterly resistant to thinking about those things as going arm in arm or being part and parcel of the same intellectual fabric, and they can be and they are, and they should be, and they need to be.

Scott Ferguson:  It’s interesting, there’s a certain kind of contemporary defeatist utopianism that I think you’re speaking to, which is like: well, we must overcome capitalism, right? And if we don’t overcome capitalism, which, by the way, on this show, we actually find the word capitalism to be highly reifying. But that’s another conversation. But if we don’t over time,

Elizabeth Anker:  I’m going to be the new regular listener.

Scott Ferguson:  You’re welcome to! So if we don’t fully overcome capitalism, then you can’t ultimately have legitimate justice, right? One of the normative political projects that our heterodox world of econ and law and US humanities folks are committed to is a federal job guarantee, a right to work. This goes way back to Louis Blanc in the 19 century, throughout the Reconstruction period, the Black struggle for freedom. There’s a long, long tradition to point to. And there’s a lot of other leftists we’re in critical conversation with who will say: no, that won’t work under capitalism, capitalism won’t allow that to happen. Our point is not to say, “No, utopia is coming tomorrow. A right to work is arriving. Let’s all start celebrating joyously that utopia is tomorrow.” Nevertheless, we think there’s a difference between standing by principles, and of critically evaluating the world with those normative claims on the table and in mind, and being put into the conversation as the values that were weighing this reality against, that I think we see in Woolf and I also think that we see in your project.

Elizabeth Anker:  Just to echo your observations about how the insistence on a revolutionary overthrow of capitalism is the only way to go, it also blinds us to some of these more complicated histories that exist within a particular intellectual formation. My most recent version of that is four years ago, I started teaching 1L contract law. Which is great fun, but had you talked to me before then, or talked to any of my colleagues in the humanities, they would say: contracts are tools of oppression, they’re individualistic, they’re at the root of capitalism. And so I’m teaching contract law and discover within that history that, lo and behold, there have been all of these very progressive reforms, many of the efforts to codify and systematize contract law, were informed by people influenced by German socialism. So, lo and behold, the sort of real story of the evolution of contract law, especially in the early 20th century, is so much more complicated and nuanced and deeply collectivist, and in a spirit we would actually want to get behind. There’s a way in which this either or thinking leads to these blinkered responses that actually shut down or blind us to avenues for instituting change. I tend to be a bit more willing to accept incrementalist arguments for change, too. But, you know, you don’t want to tell anyone that.

Scott Ferguson:  Well, I think here we’re but we’re open to increments, and we’re open to leaps and everything in between, I guess that’s what I would say.

Elizabeth Anker:  I love your account of capitalism. And yeah, I tend less to run in, I tend to do less of the economic stuff and I’m less steeped in Marxist theory and those debates, just because they sometimes tend to be more, I want to say, inside baseball, but you know that. I don’t know about baseball. But yeah, we need to be coming up with viable approaches and strategies and solutions that don’t depend on the end of capitalism, or what have you.

Billy Saas:  There’s one particular source that I think often gets read by our interlocutors as support for that idea that a job guarantee couldn’t happen under capitalism, because capitalism is a piece by Michał Kalecki, called the political aspects of unemployment, where he argues, basically outlines here are the reasons that capitalists will object to a full employment economy. Here are the reasons that they’re going to do this. And he gives three, the specifics don’t matter so much. They take that as supporting evidence that it will not work. I sort of understand it, anyway, as yeah, these are things to watch out for as you build.

Scott Ferguson:  This is why we fight!

Billy Saas:  Right. This is why you fight and show up and like to propose and repeatedly iterate and build upon experiments and positive affirmative projects. And so I think the language that you’ve provided in the book is really, really awesome. I mean, the language, the argumentation. What are you doing next? You mentioned a next project, are you developing in that project, some of the integrative criticism methodology or what can you tell us?

Elizabeth Anker:  Yeah, I’m still a little bit in between projects, but the one thing I’ve just started avidly working on is precisely to think about the propensity of some of these standard moves and standard left argumentative strategies, and frankly, ideological positions and critiques to be appropriated. So I’m increasingly haunted by how some of that reasoning is getting hijacked by more right wing jurisprudence, and in the court system. Just to give a few examples, one of the things I track in my book is just how hardwired a skepticism of law is among the left. Well, that kind of legal skepticism was a Breitbart platform. And so, skepticism about incrementalist visions of law is becoming rampant among the New Right. I’m very interested in how certain critiques of liberalism, for instance, that we’ve long thought of as kind of the bread and butter of more left progressive theory are being irrigated among the left. I’m sorry, among the right, increasingly on the right in the judiciary, kind of an anti liberalism. And this isn’t just in fringe circles. Like Adrian Vermeule, I don’t know if that’s a name that rings a bell, has this blog called The Post-Liberal Order, and about a year ago published this book called Common Good Constitutionalism, which basically does Carl Schmitt in order to argue for a return of vitalism to politics by way of a strong leader. So it’s this weird apologetics for Trump. He teaches at Harvard Law School, this book is getting taken seriously by all sorts of academics. It is leading to positioning on the right as a result. If we had a half hour, I would catalog the number of sort of staples of theory that are alive and well and flourishing in the right, and I’m simply focusing on legal stuff as a discrete point of entry. I’m trying to sort of prove the extent to which both our ideological positions and our critiques and our methodological tactics are all being actively hijacked. And a lot of these really recent, really controversial Supreme Court cases. It’s precisely in that light, I’d finished the book well before the Dobbs decision was handed down, but that, for me, exemplifies the ways in which a whole series of classically leftist moves are being deployed to justify overturning the right to abortion. But there’s a way in which that decision also gives me new fuel for thinking about the value of integrity as something we need to theorize in affirmative terms because when all of these kinds of modes of critique are being deployed against us, we the critics, how do we react to them? I’m not sure that throwing more indeterminacy into the mix is the answer when somebody like Alito, Samuel Alito says, well, all legal rules are constructs. We don’t respond to that by evoking a constructivist thesis of truth, right? We need to have something that we can independently build or take as a foundation. And I think integrity is one of those values that we maybe need to be adapting, endorsing, not without cognizance of the many dangers that would come with integrity. I mean, integrity carries with it all sorts of problematic associations. I can enumerate, but nevertheless thinking about the integrity of women’s decision making, women’s bodily integrity, all of this stuff might be a helpful counterpoint to such a ruling.

Scott Ferguson:  I was just kind of free associating. I was thinking about, if you thought about these spectacular melodramatic performances, crying, breaking down on the witness stand before a panel like Kyle Rittenhouse or Brett Kavanaugh. The way that there’s a kind of performance of trauma and victimhood on the right that may or may not be playing into the legibility that trauma studies has brought to bear. Not to blame trauma studies for those manipulations, but I’m curious if you’ve thought about that?

Elizabeth Anker:  Oh, yeah, absolutely. I actually have one of my graduate students, Christina Fogarasi, has this brilliant analysis of how the efforts to invalidate the testimony of Christine Blasey Ford in Kavanaugh’s confirmation hearing, actively enlisted the conventions of trauma theory but turned them on their head as this pretty savvy tactic for discrediting her testimony, and undermining her authority as a witness. So trauma theory, itself, is a sword that can be weaponized to poke holes or discount particular manifestations of trauma. Her argument is, that’s exactly what happened. I think that would have to go hand in hand with the performance of the traumatized male victim, which just goes to show that all of these bequests of theory have been so valuable, but they’ve been too often presumed to equal a left progressive politics. And these are all examples of how that’s just not true. They don’t necessarily feed into a particular political position or agenda.

Billy Saas:  So not discrediting trauma theory but more crediting or identifying the cynicism, opportunism, appropriation of trauma theory’s strongest aspects by some of its worst opponents.

Elizabeth Anker:  Yeah, yeah, exactly.

Scott Ferguson:  Well this has been a great discussion. Thank you so much, Elizabeth Anker for joining us on Money On The Left.

Elizabeth Anker:  Thank you again for having me. This has been so rewarding. I’ve learned new things about my book, because of so many of your really brilliant interventions and spins on its argument. So I am hugely grateful for the chance to talk to the two of you

* Thanks to the Money on the Left production teamWilliam Saas (audio editor), Mike Lewis (transcription), & Emily Reynolds of The Buffalo Institute for Contemporary Art (graphic art)

Stayed on Freedom w/ Dan Berger

Money on the Left presents a public conversation with Dan Berger about his important new book, Stayed on Freedom: The Long History of Black Power through One Family’s Journey (Basic Books, 2023). 

Berger’s Stayed on Freedom tells a new history of Black Liberation through the intertwined narratives of two grassroots organizers. The Black Power movement, often associated with its iconic spokesmen, derived much of its energy from the work of people whose stories have never been told. Stayed On Freedom brings into focus two unheralded Black Power activists who dedicated their lives to the fight for freedom. Zoharah Simmons and Michael Simmons fell in love while organizing tenants and workers in the South. Their commitment to each other and to social change took them on a decades-long journey that traversed first the country and then the world. In centering their lives, Berger shows how Black Power united the local and the global across organizations and generations. Based on hundreds of hours of interviews, Stayed On Freedom is a moving and intimate portrait of two people trying to make a life while working to make a better world.  

This public dialog took place on February 24, 2023 at the University of South Florida. It was graciously moderated by Tangela Serls (Professor of Instruction in the Department of Women’s and Gender Studies and Special Advisor to the USF College of Arts and Sciences Dean on Diversity, Equity, and Inclusion) and K. Stephen Prince (Professor in the USF History Department).

Visit our Patreon page here: https://www.patreon.com/MoLsuperstructure

Music by Nahneen Kula: www.nahneenkula.com

Transcript

The following was transcribed by Mike Lewis and has been lightly edited for clarity.

Steve Prince:  Well, Dan, thank you so much for joining us. This is wonderful, and I really appreciate the opportunity to do this as a discussion, as opposed to simply a book talk would be wonderful. But hopefully bringing it to a more discussion-based format will be really productive. It is a truly wonderful book. I will echo what Scott said: absolutely beautifully written, engaging all the way through, and powerful and so, so important. So I guess we’ll start with a couple of softballs, and then we’ll save the hard stuff for later. You open the book with a couple passages about the way that you first became engaged with Michael and Zoharah Simmons, so I hope you could start with that. Just how did this book come to be? Who are Michael and Zoharah Simmons? How did you become engaged with them? And why did you decide to tell their story?

Dan Berger:  Yeah, thank you for that, and thank you all for coming. Thanks to everyone who helped organize this. Thanks, also, everyone who organized and participated in the protests yesterday, which I was with you in spirit. I’m very excited to be here even though I was promised it would not be this hot. In a lot of ways, this book began 23 years ago when I started at the University of Florida, the same year that Zoharah Simmons started there. When I started there as a student, the same year that Zoharah Simmons started there as a professor. She had gone back to school late in life to finish first her undergrad, and then ended up getting a PhD. And she was invited to speak to a history class I was in about her experience in the civil rights movement. I was 18, I guess, at the time, and I was just a young activist, trying to figure out some things about the world. I was just really blown away by her presentation about her experiences. She talked about growing up in Memphis, Tennessee, raised by her grandmother, who had been raised by her grandmother who had been an enslaved person. And I’ll just say that I was very close to my grandmother, who was a Holocaust survivor. So I think I recognize something about that kind of connection to a traumatic history that inspired activism in the younger generation really spoke to me in a particular kind of way. She talks about employment in the civil rights movement, where she joined the Student Nonviolent Coordinating Committee, and then also played a key role in SNCC’s turn to Black Power and the rise of Black Power out of the civil rights movement. That was really interesting to me, because at the time, people didn’t really talk a lot about Black Power. It wasn’t in a lot of certainly the kind of mainstream history that I had encountered in high school. So I wanted to learn more about it, and it inspired me on a personal level but it also inspired me intellectually. I went to the library to check out a lot of books, and everything I could to read on, on civil rights and Black Power, and was really struck at the time by how different her experience was from what I was reading in the scholarship and in the literature. Even though we know a lot more about Black Power, we know a lot more about civil rights and the connection between them now than we did then, that experience really stuck with me. After I graduated, I moved to Philadelphia, I met her ex-husband, Michael Simmons, and it was the same thing all over again. They were always kind of on my shoulder, or in the back of my mind as I read other people’s work, and they talked about, “no one in the movement did this” or “everyone in the movement did this” and I would always be like “no one did that?” Because Zoharah did that thing.” Or “everyone did that? Well, Michael did something else.” Just to give two examples, and then I’ll stop for this question. Both Michael and Zoharah were part of something called the Atlanta Project of SNCC, which was the first time that SNCC had an urban project. Most of SNCC’s work was in rural places throughout the South. Most of the literature on the Atlanta Project to this day, in fact, says that this was a group of northerners who had no basis in SNCC who tried to take over the organization. And Zoharah from Memphis was the co-director of the project and became the co-director after three years in the organization and had no desire to be the leader and was never trying to take over SNCC…etc, etc. Alright, so there was already something that was off to me. Likewise, I’ve written a lot and studied a lot of the 60’s era, broadly, and a lot of the work on the anti-war movement of that era sees it as synonymous with the white left. But Michael is someone who spent two and a half years in prison for refusing induction into the military during the Vietnam War and was organizing for Black draft resistance. So there are just all of these ways that their stories expand the scope of that time period, but also of the Black Power movement beyond that time period that I think really kept me honest, as a scholar, reading other people’s work and writing my own. After a while, I asked them if they wanted to collaborate on this book because it seemed like something that could make a difference more broadly.

Tangela Serls:  I love that. And I want to just reiterate what Steve and Scott both said: beautiful work. I felt, at the end, that I knew Michael and Zoharah personally. It was that compelling. Thank you for your work.

Dan Berger:  Thank you.

Tangela Serls:  To that point, the notion of family is a powerful thing throughout the world. So obviously Michael and Zoharah are family, literally, metaphorically. We recently listened to a podcast where the three of you did, and I was struck to learn about the conflict that happened with Zoharah leaving to go to Spelman and her grandmother warning her not to get involved with all of the protests and all of that. And when she finally split and decided not to return, it was a big falling out and all of that. So when she went to join SNCC in Mississippi, straw Lynn (spell check) told her after he sent the money and it got intercepted that “we’re your family now”, because her family had told her not to return. Especially her grandmother was really upset. There really seems to be different conceptions of family throughout the novel. There’s familial love and familial betrayal. And I know that just the idea of family, in general, can sometimes be contested. Family is not always a safe space for folks, so I get that. I’m just wondering if you could speak a little bit more about the meaning of family and all that senses as it relates in general and more specifically, as it relates to Stayed On Freedom?

Dan Berger: Yeah, it’s a great question, and I will try to be concise. I think there’s a lot there to talk about. It was important for me to call this — the subtitle says, “it’s one family’s journey” — I think there’s a lot about the journey there. There’s a lot of travel that happens, criss-crossing the country, and then criss-crossing the world. But it’s also that it’s family, and in the way that you articulated in the question. Part of it, for me, is that sense that family brings together a lot of contentious, contradictory dynamics, right? Where there’s a lot of love, but also, it’s a cliche, but about the basis of Freudian psychology. The wounds between parents and children. This is a biography as well as a movement history, but there’s always pieces of the author in any story. So I thought a lot about the struggles that I’ve had with my own family, and my own activism. When Zoharah talked about choosing the movement over her family’s wishes and some of those breaks that happen there was more intense than anything that I have experienced, and she sacrificed way more and put herself in the line of danger far more than I ever have, and probably ever could. But that sense of a break, and a kind of coming into one’s own required in that moment, or demonstrated in that moment felt familiar to me. And I think that’s something that a lot of people have to go through, whether it’s about their politics or their identity with a fundamental clash that happens with family. So the movement does become family in both the kind of chosen family and the biological family. There’s a lot of pain and even betrayal that happens in this story. Zoharah recounts an experience in the training for Freedom Summer being almost sexually assaulted by someone who was a prominent activist within SNCC. When she tried to report it, other members of SNCC were like, “We don’t have time to deal with this. We’re going to Mississippi. Why don’t you just go along with it?” I mean a very deep betrayal. And also she went to Mississippi and got swept up in the urgency and didn’t even have time to process that betrayal at that moment. Then, later in the book and later in their lives, Michael and Zoharah have a child who was sexually abused by Michael’s stepfather. When Aisha, their daughter, told them about this, they couldn’t handle it. In much the same way that people in SNCC couldn’t handle it when Zoharah raised that; that family could be a site of pain and family could be a site of violence. Those book-end the book, these are echoes of that betrayal in these different forms of family. I think we’re getting to the idea of why the book is called Stayed On Freedom, right? Their consciousness had to be expanded. That was Zoharah’s first sense of realizing that the movement was not only a safe space, but also potentially a site of danger. And it was not until many years after their daughter confronted them that they really reckoned with the fact that they themselves could be silent accomplices, or accomplices through silence, to the ways that biological families could be sites of violence, as well. That’s something Aisha has written a lot about this, and this is a big thing for her own activism. It’s been really amazing to learn from. I think that family is never a kind of static thing. It requires this work, it requires a constant struggle or constant engagement. It’s a learning process for me in writing the book, and I think they learned a lot as we wrote about it as we were going through these histories. There were lots of ups and downs in the seven years of working on this book that they would talk about in our interviews.

Steve Prince: Thank you. You have this wonderful line in the introduction of the book that Michael and Zohara Simmons “seemed representative of the rich messiness of social movements in the modern United States,” and you’ve touched on some of the places that we find the Simmons through their journey. They start with SNCC organizing in the rural south. They take us through the transition to Black Power and an awakening of a Black Power consciousness. But over the course of the book, they’re also involved in union organizing, and anti-war activism, prison activism, and anti apartheid activism. They’re involved for a long period with the Friends. It is just such a remarkable journey that they take us through. And, as you say, “representative of the rich messiness of social movements in the history of the United States.” These movements that we tend to isolate and segregate are all there. These two lives connect them all together. So I was hoping you could speak a little bit about this, this breadth of their political imagination through their careers as activists, and what’s the significance of that broad vision of justice and activism?

Dan Berger:  Yeah, thanks for that. I think that so often, we talk about the 60s, when we talked about these time periods that freeze people in time, that freeze our sense of history in time. Or we talk about particular organizations, but obviously, time goes on. So the 60s become the 70s. Started in the 50s. So we have these lapses of time, but we also have these changes in organization, so very few of the frontline organizations of the 60s, survived the time period. SNCC started in ’60, and ended by ’68. The Panthers started in ’66 and technically lasted until ’82, but really they’re an Oakland organization after 1972. So the organizations that really dominate a lot of our historical consciousness and popular consciousness don’t actually have that long a life in the grand scheme of things. Certainly there’s a lot to be learned from focused organizational studies, and I drew on a lot of those works. There’s a lot to be learned by focus studies of particular places. A lot of the civil rights history has been moved to these local studies of how civil rights play out in one particular county or one particular town, and that’s fantastic work. I wanted to do something different, not as a disavowal of that work, but as an expansion of that work because people don’t necessarily stay in that one town their whole life. And people learn new things from their experiences. I think we get a richer, but also a truer picture of what life on the left looks like, what a political life looks like when we follow people rather than following organizations. Obviously, this is a biography; the biography genre, by definition, is following people. But I think that gives us a sense of how that experience in SNCC led people to ask me questions, and what happens when you leave, or in their case, get fired from an organization? I think there’s a lot of just downright heroism, bravery and courage — inescapable in the civil rights and Black Power movement. And it’s people: there’s pettiness, there’s ego, there’s fights that happen. And if I know organizations that I’ve been a part of have fallen apart over that stuff, why wouldn’t I expect that people 50 years ago, or 100 years ago, or 200 years ago, didn’t also have falling out over that stuff? So I think, for me, it became– I mean, you’re always an evangelist for your own method, at some level, at least when the book was new — but for me, it became, the clearest way to understand not only their lives, of course, but to understand the impact of that movement. The impact of that work is to see that move from SNCC, to the National Council of Negro Women to the Nation of Islam to the American Friends Service Committee to the National Black Independent Political Party, to the Philadelphia Worker Organizing Committee, and others that I’m skipping over. There’s a wide range of groups that express a vast spectrum of ideological positions that operate in a wide range of geographies, and yet, the same people move through them. Right. It connects, in some ways, to your earlier question about family. There’s a quote from Michael in the book, “it’s not this or that, it’s this and that” and that it’s everything. I really think, to me, that just knowing that has expanded my sense of the left or radical possibility to understand that people might have their own ideological proclivities and might find themselves working in organizations that don’t share all of them, but that they do some good work with them, and that they can change and push those organizations in the process. So to me, I think that the AFSC, American Friends Service Committee, was fundamentally changed by Black Power activists including Michael and Zoharah, but others as well, in ways that I think we would miss just by doing a history of AFSC. I think we get that sense of how people persist in that sense of change over time.

Tangela Serls:  I want to tie what you said earlier, Dan, about family requiring work, family sometimes being the site of pain or betrayal, and this notion of what Michael said in terms of it being “this and that”, because that was one of my favorite quotes too, to a question that we had about hope. After you answered the earlier question about family, it’s easy to just think about it like it’s pretty depressing. To that point, in explaining the decision to write the book, you describe a longing to tell a hopeful story after some of your earlier work which focused on incarceration and prison activism. We think you’ve achieved this with both Michael and Zoharah Simmons, and the book is resolutely hopeful, but yet there’s still a lot of darkness and tragedy and violence. So why is it still a hopeful story? And what is the power of hope in this work?

Dan Berger:  Yeah, Thanks. I’m glad that you picked up on that line because I meant that line in a couple of different ways. Partly, I meant it as a pure narrative description. I finished Captive Nation, which Scott kindly mentioned in the introduction, and it’s a book about the role that incarcerated people played in the civil rights and Black Power movements in the 60s and 70s, focused mostly in California. The 60s and 70s is the run up to and the beginning of what we now call mass incarceration. Most of the people I write about in that book died painful deaths, sometimes an internecine conflict, sometimes murdered by the state. Many of those who survived that were interviewed are wonderful, committed people, but deeply traumatized by the things that they witnessed and the tortures that they experienced. It was hard to write that book. It took a toll on me emotionally to do those interviews, to sit with people. I’m the better person for it, so I don’t mean it in that sense. But I wanted to do a book that I thought would be more hopeful, right? Because that’s a book that ends not only with this death and torture and violence, but also that ends with mass incarceration. Here we have this profound movement inside of prisons in this country that was so powerful and such a challenge to the established order that prison systems remade themselves to be more austere and punitive to prevent them from happening. It was grim, friends. So when I was thinking about what I wanted to do next, I thought: let me turn to this idea that I’ve had for a long time, that I think would be a hopeful story, because it’s about that continuation. And I was also a new parent at the time when I reached out to them and really thinking about, which touches on another answer to your question Steve, as well, I was thinking about how we played different roles in the different phases and stages of our life. I was living in a new city that I was still getting used to, and now I had this newborn. I couldn’t be at the meetings, and be at the protests and things the way that I once had been. I loved being a parent of a newborn. Being a parent is the best thing I’ve ever done, and it’s changed how I do things in the world. So I wanted to figure some things out about that. I had a lot of hope in that way. But I also mean that line as a bit of self criticism because, I thought, I’m just gonna tell this hopeful story about ongoing continuing activism, and I didn’t quite appreciate the level that, of course, that’s a story of pain and trauma and betrayal. There are some unique and particular ones, because these are specific people. But that, too, is a story of a life of organizing. So I think that line, for me, was also an honest estimation of that process of how I came to the book and the emotional state of coming to the book. But I also mean it in a way that I hope readers will come away thinking, as you did, that it’s not just a hopeful story, right? There’s a lot of difficulties here as well. I’ve been fortunate enough to meet a lot of people in my narrow sense of the world who I would consider famous. I mean famous in the “on the FBI’s 10 most wanted list” sort of famous. Some of them I’ve gotten to know well enough that I can see the obvious point of any famous person, which is that they’re just people. That, to me, was the takeaway that we can have, as Martin Luther King talked about in a very different context, we can’t have a foolish hope. We can’t have a magical hope that things will just work out because we’re on the right side of history. Or, we’ve made good choices and so everything will be fine. We certainly see that in a myriad of ways right now in the world we live in. So, to me, it was a reconsideration of a kind of naive sense of hope. I hope, I want, I think that the book is better and more hopeful for that. Because we walk through the real difficulties of life or the real difficulties of this kind of long haul commitment and the sacrifices that accompany that in a way that allows us to reckon with those tensions and contradictions and difficulties without glossing over them.

Steve Prince:  Great, thank you. I think we should talk about Black Power. One of the beautiful things about the book is that it is a narrative. It’s a story of a pair of lives, for the most part, but it does make a series of important historical and historiographical interventions, at the same time. I really do admire the way that you thread those in a way that is seamless and organic, but still clear and effective. I think one of the more significant historical claims that you do make regards to the nature of Black Power, in that it is a much broader program. I think you’re basing it in the Atlanta movement on the Black Consciousness paper as a formative moment in the theorisation of Black Power. Can you briefly discuss what Black Power means? Perhaps meant in the mid 60s and then perhaps what it means later for the people who were involved in it, and maybe what the story of Michael and Zoharah Simmons does to our textbook classroom vision of Black Power, where it’s Stokely Carmichael, the Black Panthers, full stop. So speak to the ways that your story hopefully challenges and expands what Black Power means.

Dan Berger:  Yeah, thanks. I would love to. A bit of context that, as I said, the Atlanta project of SNCC, was SNCC’s first time organizing in an urban context. And part of that was an effort to elect Julian Bond, who was SNCC’s communication secretary to the state legislature in Georgia. That happened in 1965. SNCC had long been debating whether to take a position on the US war in Vietnam. And again, if you look at a lot of us are anti war. What is presented as this anti war movement as those “campus anti-war movement,” i.e. what exists at mostly white universities, ’65 means there’s been a demonstration, a big and important demonstration, but there’s not much that has happened thus far. In the fall of 1965, practically on my birthday, before I was born, but the day was when I wouldn’t be born. Years later, Michael and Zoharah met at a SNCC meeting in Atlanta, where Zoharah was advocating very forcefully that SNCC needed to take a position on the Vietnam War. But not just on the Vietnam War. SNC needed to take a position on US imperialism. The US had recently invaded the Dominican Republic, US support for the apartheid regime in South Africa was an increasing topic of conversation. SNCC had always been slyly internationalist which is to say it was very focused on the US, but with a global context. John Lewis at the March on Washington said, “One man, one vote is the rallying cry in Africa. It needs to be ours as well.” There are these ways that SNCC was very indebted to and fired by global currents, particularly in Africa, and Southern Africa. After Mississippi Freedom Summer, a delegation of SNCC people went to Africa and came back and these were moments of exchange. By ’65, people like Zoharah were really adamant that this is a global context and that a critique of the US role in the world was important. Zoharah talks about this monster we live in, and those are archival records of the meeting. So SNCC drafts a statement that doesn’t go anywhere. It sits in the office, and then on January 3, about a month later, a Navy veteran and SNCC member named Sammy Young was shot and killed while trying to use a “white bathroom” in Tuskegee, Alabama. SNCC organized protests about it, but also released this statement. It’s a very powerful statement that you can find on the SNCC digital gateway. It’s still well worth reading. Julian Bond is asked about the statement, and he says he agrees with it. So the state legislature refuses to let him take the seat that he had been elected to. So that’s the origin of the Atlanta project that Julian Bond had to be reelected to a seat that he had won, but was not allowed to take because of SNCC’s anti-war sentiment. Bond’s campaign was abolishing the death penalty, raising the minimum wage to what would be set over $17 in contemporary amounts, pro-unions taking on the right-to-work laws. So it wasn’t exactly internationalist, but it was a very radical campaign. But the fact that it was SNCC’s opposition to the war in Vietnam that prevented him from taking his seat made it already very internationalist. So the Atlanta Project was organizing domestic workers, tenants in Atlanta, but it was also doing anti-draft organizing. One of the favorite parts to write and research was this big protest at the induction center, and this cat and mouse game that Michael did to try and avoid induction into the military. But I say all of this to say that the context of Black Power was very immediate, but also very global from the outside. I think that’s one thing that we often miss with a perspective that says, “oh, Black Power was Stokely Carmichael in Greenwood, Mississippi saying, we have to start saying Black Power” or the Panthers in an armed patrol of the police sort of way. All of those things happened, and are obviously significant, but we miss that sense of the world that I think was at the heart of Black Power. The other thing that is really significant, and is there in the Atlanta Project’s paper and thinking from the outset, is that Black Power was a coalitional politics. So Black Power was a recognition that we needed broad constituencies who oppose racism and white supremacy. SNCC had always been a Black-led organization, but during Freedom Summer, a lot of white volunteers came in, and a number of them wanted to stay and wanted to organize in the organization. SNCC’s constituency was always Black communities. It was rural Black communities, starting to be urban Black communities. So if Black organizers were organizing Black communities and the white organizers were organizing black communities, no one was going to where racism lived to build anti-racist constituencies there. So the idea, there’s a great passage from the Black Consciousness paper where everyone talks about Uncle Tom and no one talks about Simon Legree. No one talks about the white character in Uncle Tom’s Cabin. If we want to end racism, we can’t just organize black people. That was this argument from the Atlanta Project; that we needed broad coalitions who opposed racism and white supremacy. I think Zoharah, in particular, still talks about that. That was part of what inspired me when I first heard her speak was saying we needed white people to be anti-racist, and that meant we needed them to bring other people along with that. That made a lot of sense to me at the time, and I think still does. In the book, I talk about Black Power as both a movement and a paradigm, and I think the movement largely didn’t disappear, but certainly faded by the mid 70s. But I think the paradigm is one that in many ways still carries them to this day. As some of the movement work died down in the way that they haven’t been doing it, they became more international in their outlook. Zoharah travels to Vietnam, and Cambodia, and China, and the Middle East, lives in Jordan for two years doing her research, but also other things. Michael ends up living in Budapest for many years after doing all this work in Central and Eastern Europe and in southern Africa as well. They expanded their sense of the world. I think we can trace that to that meeting where they first met and Zoharah was saying we have to talk about the global arrangement of power and how it can be different. I think it was really important for them to learn from the rest of the world. It wasn’t just charity, but it was a sense that things aren’t great in the US, and maybe people in other parts of the world have some things figured out that we can learn from here, as well. I think that sense of solidarity and coalition that was at the heart of Black Power from the beginning, has guided them throughout their careers as activists.

Tangela Serls:  Thank you for that. I’m going to connect two of our questions, and then connect it back to something you said, because even with that question about Black Power, I was surprised to learn about the call for the coalitional-based politics and, more explicitly, the call for white communities to do inter-communal consciousness raising. A simple question would be, does that inter-communal consciousness raising, does that demonstrate a Black Power paradigm?

Steve Prince:  Thank you.

Dan Berger:  I think that was certainly a part of it. I think consciousness raising is always a part of an organizing process. But I think they really took questions of power seriously. So they’re doing consciousness raising with the tenants in Atlanta. Michael and Zoharah both speak much more powerfully about this than I could, but Michael always says: if I think something can be changed, I should be able to get somebody else to think something can be changed. Part of their work was just getting people who had been beaten down and oppressed just by conditions of life, to feel like they could do something different about it. That’s consciousness raising, but that’s the step toward them doing something about it. Rather than just feeling like oh, maybe this isn’t my fault. Maybe this is part of something bigger. I think that absolutely they would see that anti racist consciousness works in non black communities, and particularly white communities, as a part of that. But fundamentally it’s about policy, it’s about power, it’s about transforming the institutions and structures. The consciousness raising is a necessary step in that process.

Tangela Serls:  Thank you for that clarification, that makes a lot of sense. The other question I wanted to ask, which goes back to one of Steve’s earlier questions about activism, he talked about how very few organizations have a long life with how they die out. So when thinking about the struggle for rights and freedom, the book explains how some of the organizations and movements Michael and Zoharah were part of broke down because they weren’t necessarily rooted in a collective understanding or acknowledgement of struggle. Folks allowed ideological differences to prevent them from moving forward. You kind of talked about that on one of your other podcasts. One of the questions that I wanted to ask: as an historian, can you comment on the ways in which struggle and ideology are compatible and sometimes incompatible, as you seen it, like when you were working on the project?

Dan Berger:  Yeah, that’s a great question. So I think that ideology is important, but I don’t think it’s as important as many leftists think. Amílcar Cabral, the great leader of the independence movement in Guinea-Bissau, and he said it better than I am about to, but something like: people don’t fight because of the ideas in their head, they fight for freedom, land bread, right? They fight for the sort of things in the world that will make their lives better. I think sometimes, again, he said it better you should read his version. But I think the point is that it’s cartoonishly easy. It’s a cliche to think that social change pivots on the point of ideology. This is the Monty Python Judean People’s Front versus the People’s Front of Judea. That these organizations are just constantly split, and that’s all they can do. I think ideology is important to the extent that it gives you a sense of the vision of the world that you’re working towards, and where you’re trying to go. I think ideology, what your values are, and what you’re not willing to compromise on, those are really important things in the world. They’re important ways of being able to locate yourself and locate your sense of proximity to power and your sense of proximity to other people of the organization. But I think many people err in thinking that if you just have the right ideological positions, then you win, and therefore think that the goal is to get everyone to have the right ideological position. What you’re talking about, the parts of the book where things break down, is where that starts to happen. Michael was a part of a communist organization in the 70s. I mentioned earlier, the Philadelphia Worker Organizing Committee that was steering this effort to build a new Communist Party in the United States, across a few different organizations, and they call their effort the Organizing Committee for an Ideological Center. I know what you’re thinking with that name, how could it not take off and succeed? But it failed! And I think, obviously I’m joking about it, but it’s clear that it failed, right? I mean, there are some reasons that you read about in the book. But I think that sense of “okay, we just need to get the right ideology, and then we’ll win.” I think for me, this gets back to what you’re talking about earlier about the role of the power of biography or just thinking through people that people are messy and complicated, and I think electoral politics brings us out so clearly. That people who follow politics very seriously, that have an ideology think, “well, how can this union member vote for Trump?” Lots of people don’t have a developed ideology. They respond to people who they think are fun, or funny or interesting, or whatever the case may be. Obviously, I’m not saying that Trump’s base is union members or something. Far from it, but the point is that ideology only goes so far in actually explaining the political affiliations that people have. And I think a lot of things fail and where I become deterministic, perhaps. But Michael was a part of this communist effort I mentioned, Zoharah was part of a Black nationalist effort around the same time. That was very different, in some ways, ideologically. The particulars of their ideologies were different. But it was similarly ideological, if that makes sense. Their orientation was about: okay, everyone needs to be on the same page as an ideology. They were trying to organize through ideology. And they both failed at the same time. To me, that’s part of their story of why I wanted the book to happen. Because usually a history of Black nationalism and a history of Black Marxism and Black communism, they live in different projects, or at least different chapters. But usually in different books. These are different trajectories, or different tendencies, they are not in conversation. The fact that here you have this divorced couple who are very close to each other to talk politics with each other all the time who were doing really different efforts, but they’re both trying to build these ideological parties. They both fail around the same time. To me why I said this is where I get deterministic is my take away from that is that the early 1980s was an awful time. I think that’s true, separate from the book. Politically, to be on the left trying to organize in the early 80s, there’s lots of reasons why it was a terrible time. It was a terrible time. The idea that getting people to have the correct ideology will be the way out of a terrible time, I think, is mistaken. How you make people’s lives better in a terrible time, I think, is a more generative starting point. I think the ideology can actually come from that rather than leading with ideology, as I think happened in those cases.

Steve Prince:  I think this really is a book about the latter half of the 20th century. It’s not just a book about these two figures, or at least the left and latter half of the 20th century. But I think, really, it’s a book about the modern United States, and its broader context, actually. You manage to weave so much into the story, and part of it is you do have these characters who were really everywhere. For those of you who haven’t read the book, there’s this remarkable succession of individuals who just appear. She sang with Isaac Hayes in her choir, and she stumbled into the church, which is Ralph David Abernathy’s. The guy at dinner is Malcolm X. It’s like, come on. A part of it is just their lives: it’s true. But you also managed to weave in events that they didn’t necessarily attend. Neither of them were at the March on Washington in 1963, but you’re able to write about it. You alluded to Reagan, he’s in this book as well. How did you manage to craft the narrative being true to their own life story, but also connecting it to these larger trends and events and what was your thought process there?

Dan Berger:  It’s funny that you say that. Michael often jokes that he is the Forrest Gump of Black liberation. Many times I mentioned somebody and he’s like “oh, yeah, I went to Cuba with that person.” And there’s something at some level, that’s just profoundly unfair about it. Like, come on. For me, some of it was like, well this is how life works. Right? I mentioned this earlier book that I wrote about as an organizing Captive Nation, and that book focuses a lot on George Jackson, too. How many people here have heard of George Jackson? So, about half of you. How many have heard of Sundiata Tate? Nobody, right? George Jackson was, as he himself would say, part of a cohort, part of a generation of people. How many of you have heard of WL Nolen? George Jackson was mentored by WL Nolen. He would say Nolen was his teacher. The reason we know George Jackson, and we don’t know who WL Nolen is, is that George Jackson was a writer. People recognize that he was a writer and published his writings. Often people who are writers in prison we’ve never heard of. But he was a writer whose stuff was published. That allowed him to get our attention and our focus, but the coin lands the other way, and we know WL Nolen, and we’ve never heard of George Jackson. There’s a dimension of that that I think is true here as well. Zoharah’s RA in her dorm was Alice Walker. Well, maybe if Zoharah was a writer, she’d have a Nobel Prize talking about her RA. So some of it is just luck of the draw. We pass through people who become famous. Like, when she met Alice Walker, she was her RA. She wasn’t Alice Walker. Sometimes we meet the Malcolm X example. Michael was very young, but his brothers were significantly older who were early recruits to the Nation of Islam. He tells us in the book, his conversation with Malcolm X, when he was seven or eight years old, was not about Black nationalism. This conversation was: why don’t you eat pork? Like, that was the craziest thing you could imagine. Right? I think there’s just something deeply human about all of this. And I think that, to me, was the most important thing. I wanted a human book on the left. I wanted a sense of just what it means to be a person. I think what it means to be a person, particularly a Black person who came of age in the time that they came of age is that of course, you saw the pictures of Emmett Till’s murdered body in Jet Magazine. Of course, you watched or listened to the March on Washington, even if you weren’t there. Of course, you were outraged and furious and scared when Ronald Reagan was elected. I think, for me, a lot of the guide was needing to contextualize these lives and make sense of these lives. Also, just thinking, to bring it to my own life at some level that was a little bit of a guide was just thinking if I would write something about my coming of age, I remember when Bush was elected. I remember the walkouts that happened when he was reelected. Yes, I went to class, but I also went to the protest. Those sorts of things are like, trying to choose between them: do I go to this protest? Do I go to this class? I just think that’s part of what it means to be human in a time to be paying attention and things are scary or outrageous or exhilarating or exciting. Some of it came from oral histories from things that they remembered, like being there when this happened. Michael talked about being in Philadelphia when the Three Mile Island nuclear explosion happened. He was just leaving a visit to Russia when the Chernobyl nuclear explosion happened. He just casually mentioned that Forrest Gump of the left commented that he may be the only person who was within 100 miles of both nuclear meltdowns. It was like, okay, that’s going in the book. Obviously. But then things like Reagan, or whatever, that was just such a profound reorientation of American politics and such a profound moment of what you can hope for is possible, as someone who had been a committed organizer for close to two decades at that point. I think it was, for me, clearly a part of their lives, but also just a benchmark to help the reader place what’s happening in the larger arc. It totally works the way you do it. It feels organic. It never feels like you’re forcing the history on the reader. Because I think you’re right, it comes from their experiences, and that’s the focus. Very effective.  Yeah. Thank you.

Steve Prince:  Can we take one more question and then open it up?

Tangela Serls:  I think I’m gonna ask my question about Alice Walker. Okay, so when thinking about the introduction, which is titled “A Love Supreme”, after John Coltrane’s album, and your line, that “freedom is a love story.” I kept thinking of one of Alice Walker’s definitions of Womanism, which is: a Womanist is one who loves music, loves dance, loves the moon, loves the spirit, loves love, and food and roundness, the struggle, loves the folk in herself, regardless. So my question is, did an understanding of Womanism factor into your assertion in any way? And additionally, when writing the book, did you struggle to reconcile the fact that love was going to be one of the foremost themes with the fact that you were writing a historical project?

Dan Berger:  Yeah, that’s great. My initial proposal had no introduction. So that chapter “A Love Supreme”, which I’m very proud of and I’m glad is in the book, was not part of the book. My editor said that I needed an introduction to explain, there’s a preface that talks about how I know Michael and Zoharah, and these were some of the serendipitous connections, which are deeper than I mentioned today, but you’ll see in the book. So I had that, but my Editor said I needed something to frame the big picture of it in a more explicit way. I was thinking about different things, but it just struck me that it’s a love story. Clearly there’s this love between two people who do have a lifelong love for each other, even if their romantic relationship only lasted a few years. But it was less, for me, about the love between them as individuals, though that’s obviously important. But that sense of how they keep going. Ultimately, I came to realize that it’s a choice to keep going. I’ve met lots of people, I’m sure at various moments in my life, I would have said of my own self like, “well, this is who I am. Of course, I’m going to do this. Of course, I’m going to be on the picket line. Of course, whatever, that’s just who I am.” I don’t want to deny that self-description of anybody, but just hearing Zoharah stayed in Mississippi for 18 months after Freedom Summer and had no plans to leave but left because she had several run-ins where she was almost killed by the Klan, and she was incarcerated by the police after demonstration and these were very torturous conditions. She was just starting to have a breakdown, and comrades and SNCC said “you have to leave because you’re not well there. You need a reprieve.” And she could have left the movement. She left Mississippi, but she continued to organize. I’ve interviewed several people for this book, but for other projects as well, who have been part of some of these far left organizations, and some of this ideological stuff we’re talking about earlier, who said that was the last organized left effort I was ever a part of. These are progressive people in how they try to live their lives, but they’re no longer involved in anything. I think we always make choices. We always are deciding to choose to do things or not to do things. So I was trying to think through the best ways to understand that choice of how they kept going, and how they kept going, and the ways that they kept going. It’s just so clear from the two of them. I know you were saying you really met them in the book, and I’m glad to hear that because you do feel in talking to them and hopefully in reading about them that they have different personalities, of course, but they both just have this deep love of humanity, this deep love for social change. I don’t know how else to put it, they just love being in the struggle. Michael had this quote, “I just love being a pain in somebody’s ass.” As a youngest child myself, I relate to that as a little brother sort of response. But I also think it’s just true, right? There’s a lot of joy and playfulness in that idea that I love being a pain in somebody’s ass. So to me it was oh, of course, this is a love story. Once it struck me, it was like, well this is what it had been all along. Even though I didn’t plan it, it was like oh, of course this is what it is. You read that beautiful quote from Alice Walker. I was very inspired by bell hooks, who obviously wrote several books about love and talked about that a lot. But it’s really a constant theme throughout Black political thought that you see these ideas of love being central, but also being centrally embedded in questions of struggle, and questions of a transformation.

Scott Ferguson:  So Tangela had this little slip that I think was really productive. She called your book a novel. Because it kind of is a novel. I think that’s a wonderful way of describing it. It’s rich, it’s love. It’s got all kinds of continuities and threads and divergences and you can just gobble it up, and there’s an all at once-ness about it. I guess this is a craft and method-y type of question. I’ve interviewed some folks, but I’ve never had to do the work of interviewing subjects who are also your friends and your mentors over a long period of time, and taking what is probably a fragmentary, iterative process, and turning it into this. And I’ll put another thing out there, which is: we forget so much. So what I’m wondering is, what was that process like? What was their recall? Was it like, “Oh, I barely remember that day.” I guess I’m just kind of curious.

Dan Berger:  Yeah, so they’re very different in that regard. Michael has an impeccable memory, and will tell you, “it was Thursday at 3:30, and he had a blue pork pie hat.” And that may or may not be true. I’m not saying that in any malicious way, but just that memories are always fungible. But he is so precise, so precise, in a way that is believable. Zoharah falls over herself with apologies that she doesn’t remember anything. And that’s also not true, but she doesn’t have to recall. She recalls feelings, she recalls the emotions, the connection. But she doesn’t recall the order, the timing, that kind of thing. It’s obviously based on a lot of oral histories, but I did a lot of archival work, as well. It was that the archives are very much in conversation with the interviews. I really wanted to use the interviews to capture that sense of the things that only they could know, the things that only they could tell me of what it felt to be incarcerated at the Mississippi State Fairgrounds. I can find the date of when you were arrested, but I don’t know what it felt like to be there. I’ve tried to put them in conversation that way. I thought of people like you, like friends who work in the 19th century or earlier time period, because I would be in the archives, and I could text them like, “Oh, look at what I found.” Like, I remember being in the AFSC archive when I found the press release for when Zoharah got hired, because she couldn’t remember the exact time. So it’s like, “oh, looks like you got hired on this date.” This was right when David Blight’s book about Frederick Douglass came out. He did alright for himself with that book, he didn’t need the help. I think it was definitely very iterative, definitely very conversational. I think there’s a lot of times that I was worried that this book was impossible to manage these multiple, two very deeply braided storylines, but still different storylines, and the amount of archives, and so on. But mostly it was a gift to be able to work on something about people, but also with people. I really think of my scholarly method as relational. All the work that I’ve done, some of it like this still comes from pre existing relationships, but I also meet new people in the process of doing it, including this book. Certainly we’ve become much closer than we were when I started it. I just think the relational dimension of research, anthropologists talk about it a lot, historians don’t really consider it. They just don’t discuss it very much. So that relational dimension is really important to me. Depending on how much you want to go into this, I certainly was both reading a lot of novels, but also listening to novelists talk about their craft. Toni Morrison would talk a lot about how Black life is universal, and to push against this idea that Black authors needed to explain Blackness to non-Black audiences. She was like “fuck that” Black life is universal, like everything about the world is contained in Blackness and Black relationships. I really felt that deeply and I wanted to do a book of that. I think that there’s no way to talk about the left or peace or justice or anything like that that is not rooted in Black Power, specifically, a Black politics more generally. The last thing I’ll say about novels and craft is that I have friends who are fiction writers who will talk about, “I didn’t want to write it this way, but the characters took me there.” As a historian of the left, I often feel like I didn’t want to go there, but that’s where the characters went. So I do think there is something to the craft of writing that I feel very excited about, passionate about, and interested in that I think can translate across genres in ways that I was trying to do this book and was a big appeal to me about doing this book.

Scott Ferguson: Other questions?

Crowd Question #1: Going back to the conversation that opened you up to this at UF, how much did you say “that sounds like me.” How does it fit? I was at Florida State in the 60s, and I didn’t come as an activist other than within the church. But then several things happened in a hurry. Though I was always in favor of civil rights, it was in the news, it wasn’t next to me. And I found myself asking if these issues are fundamental or human. So what’s the connection to the people in my dad’s churches? Pastoring in Powell’s Park (spell check) where there are carpenters, cabinet makers, union electricians. What’s the connection? What’s the connection related to me as a working person?

Dan Berger:  Yeah, I think a lot of studying history, generally, is trying to make sense of my own place in history, and trying to make sense of the world. I’ve had a very different life and upbringing than Michael and Zoharah, certainly temporarily, and all the things that come from being born after Jim Crow, but also being a white Jewish person who grew up in the suburbs. They were both raised Christians, Zoharah is now Muslim. Growing up in segregated environments. A lot of differences. But I do think there is something about that kind of universalism that I was talking about via Morrison, that you were mentioning about the civil rights movement, that has always spoken to me. I certainly was asking myself as I was writing this book. I’ve written stuff about people who have been part of underground movements, and engaged in revolutionary violence. And I can’t imagine myself doing that, I guess I would say. I think the choices that they make here are ones that I could see myself making, even if I haven’t been in some of those conditions that they’ve been in.

Steve Prince:  Can I actually follow up on the violence question since that was something that I was thinking about. Neither of them embrace the notion of armed self-defense really, at all. Am I right? I mean, they’re around people who are considering, right? Am I forgetting any elements?

Dan Berger:  So Zoharah starts carrying a pistol when she’s in Mississippi and is really grateful for the local people in the community who were engaged in armed self defense. So certainly in that ‘64-’65.

Steve Prince:  The landlady sitting on the front porch.

Dan Berger:  Yeah, exactly, exactly. So I think she embraced it in that sense. I was very curious that they didn’t join the Panthers. The Panthers were not a part of their purview. This is just human circumstance: they were in Atlanta, and the Panthers weren’t in Atlanta at that time. They met Eldridge Cleaver, and they thought he was a jerk. So they’re like, “we don’t want to be that guy. What else can we do?” So they knew folks from the Nation of Islam. Actually, the person who built the Atlanta chapter was the person who got Muhammad Ali into the Nation of Islam who, of course, was a childhood friend of Michael’s because that’s how these things go. So they joined the Nation of Islam. I think just that sort of serendipitous sense of it all was really part of it, for me. I think they supported armed self defense and Zoharah engaged in it in the sense that she carried a gun for some time in Mississippi, but didn’t use it. So let me be clear when I say engaged in it. But I think the bigger question of violence is, when Michael was working for the American Friends Service Committee and anti-apartheid forces in South Africa, began armed struggle, and Quakers are a pacifist religion. That was a real strong point of contention for many years. But I think it’s more abstract than armed self defense because it was about somewhere else. It was a more ideological conversation than it was about their own personal involvement.

Crowd Question #2:  First, thank you so much, everyone. This has been really insightful and wonderful. As an activist today, I learned a lot from your discussion of love and the difference between struggle and ideology. I think those are really useful concepts. I guess I’m just wondering, with movements today, we are kind of in a unique moment in which we have these mass communication devices in which we reach more people than ever, seemingly, but yet we still seem stifled by that ability. I’m just wondering if they had any insights into organizing today? Or what you learned from the process of writing this that might be helpful to younger organizers?

Dan Berger:  Yeah, thanks for that. I think that’s certainly a question that they take very seriously, as do I. I think for them, the most important thing is, there’s a sense of humility. Michael has often said he’s been on Twitter, but he doesn’t use Twitter. He’s never been on TikTok. He doesn’t have the knowledge to engage in the communication mechanisms that younger people are using. So he knows that means he’s not in a position to tell young people what to do, because he’s not conversant with the things that younger people are using. I think I appreciate that sense, right? Because as both he and Zoharah would say, there’s a lot of folks out their generation who have a hard time exiting the stage who want to always be the ones in control, or in positions of leadership. I think they both have a sense that people are involved in different ways, in different capacities. And all that is great. They’re not in a place where they are or could be the leaders that they once were. Mostly, I think they’ve shifted to a sense of how to maintain that kind of long haul perspective, to thinking about the kind of movement of movements approach that brings together multiple forms of coalition and multiple forms of solidarity. I think that tends to be more how they operate than a sense of like here’s what you should be doing in a prescriptive way. I think that one thing that I’ve been saying, I think social media, obviously, has been useful in a lot of ways. I think equally obviously, it has wrecked our brains in a lot of ways. For all the ways that it’s new, I think it still exists within a media ecosystem that should be familiar to us, which is to say that they’re privately owned corporations that people try to make use of for their own ends, and have their deep limits that always come from that. I think Twitter has been tremendously valuable in showing the limits of speaking truth to power as a position. Because I can log on to that website every day, and unfortunately I do. But I could log on to that website every day and tell the President of the United States, hypothetically the most powerful person in the world, I could tell him what he’s wrong about. I could say, and I do often say, that your border policy is racist. Whatever, I could do that. That’s true, I am literally speaking truth to power. Twitter allows me access to the president in a way that has never existed before. Previously, I would have to write a letter, make a phone call. Now I can just tell him in a sentence, and it’s absolutely meaningless. It means nothing, right? I might feel better for five seconds, but it doesn’t change anything. So I think, to me, the one thing that I learned is the difference between being right and having power. That’s the shift from civil rights as a kind of orienting point or organizing rubric to Black Power. One of the benefits of that, in my view, is that it did squarely identify questions of power as the object and focus. I think we are better when we shift from speaking truth to power to speaking power to power because when you look at pretty much any issue in the United States today, you will see a discrepancy between what public opinion wants and the policies that exist. Clearly, just the idea of getting the ideology together, or getting people to agree with us is not enough. That’s not how change happens. So I really appreciate that sense of, okay, how do we think about power, both the structures of power that already exist, and the forms and structures of power that we need to create in order to bring about the kinds of changes that we want to see.

Crowd Question #3:  Were there moments where it felt like for your oral history, that the people you’re interviewing are telling you things that you realize weren’t true or miss remembered, or did you have any challenges like that?

Dan Berger:  Most of the ones, at least the ones that I can remember, were things that were not that significant to the story. It was a question of dates, or the order of things. Michael remembered being arrested with one person in the archive, I found he was arrested with another person. And he was like, “I swear it was this person.” But also, archives are wrong, too, right? So it’s not to say that where there was a discrepancy that I always needed to choose the archive. In that specific example, I resolved it by just not mentioning the name of the person. I could just say that he was arrested with somebody else. It didn’t matter to the story whether it was this person or that person. I think most of the discrepancies were things like that, they were details that I could write around because they weren’t consequential to the story. The thing that I was most worried about where that difference would happen is their divorce or separation. A friend once beautifully put it that a breakup is when two people have different stories, and their stories don’t match anymore. And I love that idea. I was really scared of how this was going to work. Both the story of the divorce and also the story of how and when and why they didn’t respond to their daughter’s abuse. Why they didn’t when she raised it, or why it took them so long to acknowledge it. I did those interviews separately when talking about their divorce, when talking about Aisha’s abuse, and their response. In part, because their lives were separate at that point, so I wanted to talk to them in isolation. We had a lot of interviews together, and they really did jog each other’s memory in really wonderful ways. But also, it was important to have time separately to hear how they would process it separately. Some of it is luck. But I was amazed at how similar their stories were. Now, again, they had different details, but they weren’t in conflict. So Michael talked about some of the things about the divorce from his perspective. And Zoharah had different details. When we think about history as argument, they had the same argument for why it didn’t work. The different details that they offered were not contradictory. They were just perspectives. In another context for another project, I did have an oral history where I really felt like someone was trying to pull one over on me. And, ultimately, I appreciated the time that he spent with me, but I haven’t done anything with it because I just didn’t trust it enough to do anything. But that’s a totally separate project and nothing to do with one.

Scott Ferguson:  I’m wondering about Michael and Zoharah’s own reception of the book. A.) I would imagine you shared chapters along the way and maybe got notes, so I would maybe like to hear about that and B.) With the finished product and going through all the reviews and the edits. This is like a mirror or several mirrors of their lives. How are they feeling?

Dan Berger:  Yeah, so I didn’t share individual chapters along the way, but I shared the manuscript with them, I think, three different occasions. I didn’t share individual chapters in part because I was often figuring things out from one chapter to the next and everything felt tentative. We spent a lot of time, when I approached them about doing this book, just figuring out what it would mean to do this together. So let me say that. And we are sharing any royalties that come equally between the three of us. It was important that this not be an extractive project, that it would be deeply and materially collaborative, not just ideationally collaborative. In the agreement that we drew up, I think it said something that I would share with them in the actual process, but obviously I would anyway. But in the actual process of doing it, when I had a draft they were like, “Oh, you’re done? We’re just hanging out! Like, what do you mean? There’s a book here?” They were surprised when I had a draft. I gave them drafts more times than they read them. My sense of timing now is off, as well. I think I got a lot of feedback after the first one, and then definitely at the final one when it was like: here’s the last chance to change anything. I don’t think I got much in the middle reading, if I recall, but the first draft was significantly longer than this one. They definitely corrected a few things like, “well, you said this, but it meant this,” or “the way that you use this quote feels different from the rest of the passage.” We refined a few things from that point. Not many, but a few for sure. I think their biggest disappointment is that it’s not 200 pages longer. Not in an aggrandizing way, to be clear, but in a sense that there’s three paragraphs in here that was a whole chapter, right? There’s a whole really interesting, really fun thing to Zoharah’s time in New York after she got pulled out of Mississippi. She’s cursing at Ishmael Reed for dating a white woman, and just very funny and interesting things that end up on the cutting room floor. I was sad about that. There was a lot of Michael’s time in Europe that is not in the book. The book ends, for the most part, in 2003, which was only moved to Europe. So I did one interview with somebody about his work in Europe since then, but that’s work that he was really quite proud of, and was sad about not having in the book. Pre-COVID, I had planned a trip to Europe, and I wanted to do all this archival work and interviews. It just wasn’t possible. That’s their biggest complaint so far. It’s been a month. I think there’s some interest in how some other former SNCC comrades will respond to it because the way that former SNCC people talk about Black Power has changed to become more pro-Black Power, but still very anti in that project (spell check). There’s some stories in here where they don’t look good, but there’s some stories in here where some of their comrades don’t look good. So far, no one has said anything about it, of that crew. But I think that’s what we’re all curious to see.

Crowd Question #4: I really appreciate your comments on balancing hope with also dealing with pain and trauma and violence, and I just wondered if you could talk a little bit more about how delicate that balance is in that process, because I think they’re both so important and they’re so often intertwined.

Dan Berger: Yeah, I’m a big fan of Mariame Kaba who talks about hope as a discipline. I think that’s how to reconcile them or how I reconcile them because there’s so much to be despairing about in the world, and I think it is objective to despair. I think an objective appraisal of the scenario is grim, but it’s not hopeless. I think differentiating between them is critical. I remember I went to Memphis with Zoharah to see where she grew up. I went to church with her, like the second or third time I’ve been in the church my entire life, at least for a service. She was driving around the neighborhood, and she’s saying, “this was the dividing line of segregation.” Like “this was the white neighborhood, this is the black neighborhood” while we’re driving. She’s like, “Oh, this was where this white man exposed himself to me. This is where, if you came over here, the white kids would throw rocks at you as we went to the bus.”  Just walking through the petty indignities of Jim Crow, and now, it’s a totally different neighborhood. Which is not to say that it’s necessarily a better neighborhood. She was also like, “this was a thriving black business district.” And now, it’s a bunch of abandoned buildings…But I guess I’m trying to say that driving around, getting this tour from her, I was really struck by how many lives she’s lived. Here was someone who grew up and could tell me those very specific sites of Jim Crow. Now, I have to use my imagination, because we’re driving through them in the very specific context of neoliberalism of whatever you want to call it, our contemporary racial and economic order, where a formerly segregated neighborhood is now an all Black neighborhood, and a formerly mixed-class neighborhood is now a very poor neighborhood, like exclusively very poor. It was very full of people and now has lots of abandoned houses and abandoned stores. Here’s someone who lived through all of that, and who did a lot to make the good parts of that change happen, and who still works against the bad parts of that. I don’t know that I quite have the words to express it. but there is something very hopeful for me about that, that we could tour through Jim Crow in a way that I had to use my imagination on those specific sites, but that those sites are constantly changing. I think that sense of the inevitability of change is the fact that the inevitability doesn’t point in any one direction. So change is a constant, but whether that change is, broadly and simplistically speaking, good or bad is undetermined and unknowable. That’s where hope as a discipline, as a framework, meets the realities of the world for me.

Never Let a Crisis Go to Waste w/Rohan Grey (Bonus Episode)

In this bonus episode of Money on the Left, Rohan Grey joins co-hosts Scott Ferguson and Billy Saas to assess the epistemological and political implications of the Silicon Valley Bank (SVB) failure. While orthodox economics and law tell us that economic crises are essentially matters of private risk and market discipline, Rohan, Scott and Billy argue that blatant federal mediation throughout the ongoing SVB crisis exposes money’s public and contestable nature. Rather than another story of capitalist contradiction or bankers behaving badly, then, the SVB crisis opens contemporary money politics to a host of invaluable tools for a stable, just, and green transition: democratic state and municipal credit issuance; public digital banking; focused credit regulation and demand management; and full deposit insurance without arbitrary and destabilizing caps. 

For more on the significance of the unfolding crisis, see Nathan Tankus, “Every Complex Banking Issue All At Once: The Failure of Silicon Valley Bank and Five Quick Implications.”

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Music by Nahneen Kula: www.nahneenkula.com

Gramatneusiedl’s Job Guarantee w/ Thomas Schwab

This month, Money on the Left is joined by Thomas Schwab who, as mayor of Gramatneusiedl in Lower Austria, oversees a promising Job Guarantee pilot program. Seeking to eliminate long-term unemployment, the program guarantees public jobs to anyone in the community who seeks them. In our conversation, we explore the philosophy and structure of Gramatneusiedl’s municipal employment service. We also discuss a key inspiration for the program: a Depression-era study of the effects of unemployment conducted in the same region as Gramatneusiedl. Titled “Die Arbeitslosen von Marienthal” (or, “The Unemployed of Marienthal”), the report detailed the deleterious effects of systemic unemployment in wake of a severe economic downturn and soon became an early classic of European sociology. Decades later, Schwab wrote a master’s thesis about the report, aiming to revive its findings in defense of public employment today. The Gramatneusiedl program is presently being studied by Jörg Flecker, a sociologist at the University of Vienna, as well as Lukas Lehner and Maximilian Kasy, economists at Oxford. The pilot is set to expire in 2024. Thereafter, however, Schwab and his allies anticipate leveraging current academic studies to renew and potentially scale up Gramatneusiedl’s public employment program.

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Music by Nahneen Kula: www.nahneenkula.com

Transcript

The following was transcribed by Mike Lewis and has been lightly edited for clarity.

Scott Ferguson:  Thomas Schwab, welcome to Money On The Left!

Thomas Schwab:  Hello, thank you for the invitation. I’m very excited and look forward to an interesting conversation.

Scott Ferguson:  You are presently Mayor of Gramatneusiedl, a small town of roughly 3,000 people in Lower Austria. We’ve invited you to speak with us today about a municipal employment program you currently oversee that guarantees public jobs to anyone in the community who seeks them. Before getting into the details of the program, would you mind telling our audience a bit about your personal and professional background? How did you become Mayor of Gramatneusiedl?

Thomas Schwab:  Before I tell you something about myself, I would like to introduce Gramatneusiedl to your audience. Gramatneusiedl is about 15 kilometers away from the city limits of Vienna. As you probably know, Vienna is the capital of Austria. Due to its proximity to Vienna, the population of Gramatneusiedl has risen relatively sharply in the last 20 years and today – you mentioned it – we have around 3,700 inhabitants. In Gramatneusiedl itself there are not too many jobs. Many people commute to work in Vienna or other communities in the area every day. Therefore, Gramatneusiedl is close to the city, but still in the country. We still have a few farmers in town who cultivate the fields around our community. Many young families have moved to us in recent years. Mainly because we can provide good care for children and young people in Gramatneusiedl – with kindergartens, an elementary school and a middle school. We have very active organizations and clubs that shape life in our community. For example: a volunteer fire brigade, a brass band and of course a soccer club. From my point of view, Gramatneusiedl is a livable small town with many advantages that make this place very attractive to live. Now about myself. I’m 52 years old. I’m married and have two children who are now 19 and 17 years old. I’ve lived in Gramatneusiedl my whole life. After kindergarten, I went to school here. After compulsory school, I completed a high school with an economic focus in Vienna. At the beginning of my professional life, I worked at Vienna Airport and for a company that manufactures safe systems. For around 30 years, I have been employed by a supplier for the automotive industry in a neighboring community of Gramatneusiedl. I worked in accounting for this company for many years. I’ve been on the works council for around 20 years, which is currently my main job. I work full time in this company – that means at least 38.5 hours per week.  From 2005 to 2009, I studied beside my job in Vienna. At the end of my studies, I wrote a master’s thesis that dealt with the world-famous study “Die Arbeitslosen von Marienthal” or “The Unemployed of Marienthal” – but maybe more on that later. I have been involved with politics in Gramatneusiedl practically all my life. My father was active in the municipal council of Gramatneusiedl for many years. As a child, I learned how to shape and positively change the lives of people in our community. I myself have only been active in local politics for around 13 years. In 2020, I was the lead candidate for the Social Democratic Party in our community. We won the elections and achieved an absolute majority of mandates. In our federal state of Lower Austria, the Mayor is elected by the municipal council in a constitutive session. I was elected Mayor of Gramatneusiedl with 15 out of 21 votes from the mandataries. My group, the Social Democratic Party, has 11 seats on the municipal council. The next municipal council election will be held in 2025.

Billy Saas:  Very cool, and we became aware of your work in Gramatneusiedl through a — Did I do okay?

Thomas Schwab:  Yes, it’s fine.

Billy Saas:  Okay. We became aware of your work through The New Yorker article [by Nick Romeo], which was published in December, and it was titled, “What Happens When Jobs Are Guaranteed?” Can you give us an overview of your experience with that, with being interviewed for that piece and talking to the folks for The New Yorker and a sense for how this story came to be?

Thomas Schwab:  I think a reporter of The New Yorker also was informed that there is a new kind of program for long term unemployed people, and he visited Gramatneusiedl and wrote this article. The idea of the guaranteed jobs program was developed by the Public Employment Service of Lower Austria. This organization wants to show a new way in the labor market policy. Today, it is usually the case that the Public Employment Service tries to find jobs for the unemployed. For unemployed people, this can sometimes mean that they are unemployed for a very long time. This system turns those affected into supplicants and can lead to different difficulties for individuals.  After deciding to carry out this experiment, the Public Employment Service of Lower Austria looked for suitable municipalities. Essentially, a community was sought whose long-term unemployed corresponded as closely as possible to the average for Lower Austria in terms of the age of the unemployed and the duration of unemployment. Apparently, Gramatneusiedl met these criteria best. The historical reference to Marienthal certainly also plays a major role, because Marienthal is inextricably linked to the term unemployment through the study “Die Arbeitslosen von Marienthal” or “The Unemployed of Marienthal”. After Gramatneusiedl was selected, there were initial talks with the head of the Public Employment Service of Lower Austria, Mister Sven Hergovich, who presented the project to our community. I wasn’t mayor back then, but my predecessor involved me in the discussions and in that way in the project.  Overall, the Public Employment Service of Lower Austria asked three potential organizations to develop this project for the long-term unemployed and to present the possible implementation. I don’t know the individual concepts. The fact is that the organization named “itworks” was entrusted with conducting this experiment.  As a municipality, we have supported “itworks” from the start, for example in finding suitable premises. The cooperation with the people involved worked immediately. Since the start of the Guaranteed Jobs Program, we as a municipality have been awarding contracts to “itworks” in order to enable the project participants to do meaningful work for the community.  Through the work in the community and making people visible, this project did not encounter any resistance that I know of, on the contrary, there were many positive reports – especially about the quality of the work done. I think that was also part of the article in The New Yorker, where the reporter interviewed the participants, and I think, more or less, he gave that picture to the readers of The New Yorker. And that’s why we talk to each other today.

Jakob Feinig:  Thank you for this. How would you describe the philosophy behind the program? How does this philosophy shape the program structure, its rules and also its operations?

Thomas Schwab:  It is clear to me that the market does not solve the problem of unemployment. Because just reducing the price of work – people’s income – until a company offers work cannot be right. On the one hand, we want an income from which we can live, on the other hand the working conditions have to meet our standards. Unfortunately, there are not always enough jobs in a region. A company will not hire anyone if there is no work. We saw that very clearly if we look back in the 1930s, when people didn’t want any wages at all, only food for their work and still couldn’t find work. For this reason, for me, the neoliberal economic approach is wrong!  In my view, the idea of the Guaranteed Jobs Program was developed precisely to refute this approach. This program tries to respond very individually to each person. There are usually reasons why people become unemployed and unfortunately sometimes cannot find a job for a long time. The philosophy behind the program recognizes that each participant has strengths and weaknesses. For example, someone may not be sufficiently qualified to find a job or may be too old to be hired. From my point of view, people often become desperate after a long period of unemployment and do not even try to find work anymore because they have the feeling that they are not needed. In the Guaranteed Jobs Program, an attempt is made together with the participants to find a job that is suitable for the individual. The wishes of the project participants are also taken into account, as is the extent of the possible working hours, for example. I think it is very important that participation in the Guaranteed Jobs Program is voluntary. If a participant decides to take part in this program, they will receive an employment contract and will not be unemployed any longer. With few exceptions, all of the long-term unemployed have accepted the offer to participate in the Guaranteed Jobs Program. It is the task of the program to find a meaningful activity. There are job opportunities in the program, but also public contracts, for example from the municipality of Gramatneusiedl. We have also established contacts with companies that have now placed individual orders with the Guaranteed Jobs Program. For example, apartments are renovated by the project participants and prepared again for the next tenant. You have to be unemployed for at least a year to be able to take part in the program. About 150 people have decided to participate so far. I know many participants who have found a job in a company again. I think that’s the most important thing: to be ready for the job market — to be ready to be able to get a new job in the primary job market. That’s the goal of the whole program.

Scott Ferguson:  So we’ve been mentioning a few times in our questions and answers so far, the fact that this program has been subconsciously inspired by history, and in particular, this depression era study of the effects of unemployment in this very region. The English title, as you suggested, for this report, was called “The Unemployed of Marienthal”. And the report became an early classic of sociology. Decades later, you wrote, as you said, a master’s thesis about the report. Can you tell us a little bit about the report? And why was it worthy of a master’s thesis, however many decades later, and how has it helped inspire you to engage in what you’re doing today?

Thomas Schwab:  Yeah, I think The historical study “Die Arbeitslosen von Marienthal” or “The Unemployed of Marienthal” is quite rightly a standard work in social science. Essentially, the fate of people who became unemployed overnight after the closure of a textile factory and unfortunately these people did not find work for a very long time.  You may now be wondering what Marienthal has to do with Gramatneusiedl. Marienthal was never the name of a separate community, but only the name of this textile factory and the associated workers’ settlement. Most of Marienthal is in Gramatneusiedl – for that reason the connection.  In my view, this explanation was necessary at this point.  From my point of view, the most important chapter in the study is entitled “Fading Resilience”. This chapter clearly proves that the long-term unemployed have lost all drive and motivation. Even though they had all day, they didn’t do anything. While the women had to take care of the children and the household, the men were completely lost. Before unemployment, there was a rich cultural and sporting life in Marienthal. During the period of unemployment, people were not interested in these activities. It was similar, for example, with borrowing books or other leisure activities. The study shows very impressively how long-term unemployment changes people. This is exactly where the Guaranteed Jobs Program comes in. The Guaranteed Jobs Program enables project participants to use their time wisely and gives structure to the working day. The social contacts with the other project participants are also very important – just as working people have these contacts in their companies.  In my master’s thesis, I tried to compare the Marienthal of the years 2008/09 – there was an economic crisis at that time – with the historical Marienthal. For that reason, the title of my work was “Marienthal – 75 years after the publication of the historical study “Die Arbeitslosen von Marienthal” or “The Unemployed of Marienthal”.  The link was, of course, the crisis situation, but you can compare the 1930s with the financial crisis at the end of the 2000s. The decade 2008-2009. Of course, in the historical study you had a situation in our community that was like a laboratory. Nobody has a car. The people were used to walking in our village and they don’t have the possibility to go to another community where they can work. And also, of course, there was a global crisis with horrible figures of unemployment. And therefore, I tried to ask the same questions as the scientists did in 1930. But of course, I was alone, it’s only a master thesis and not this study with 17 scientists. They spent months, approximately half a year here in Marienthal. And of course, they had much more experience with all these things. But at the end of the day, I wrote the study and a lot of literature connecting with this study. Therefore, I think I know quite well how the people live and what’s going on in Marienthal at that time. Therefore, for example, we had a small museum here in our village, and we did some tours with interested people. I really appreciate that each time because a lot of people are interested in that topic, of course, because unemployment is, unfortunately, a topic all the time because people will be unemployed also in the future. Therefore, it is also very interesting that the people today have the same problems as the people in the 1930s. As I mentioned before, the problem is that they had a lot of time, but they had nothing to do in that time. After a long period of unemployment, we know that people are frustrated. And they stop searching for work because they don’t think there is somebody or company who needs their work. Therefore, I think you can compare the feelings of the unemployed people from the 1930s to today. It’s the same situation, of course, the work itself is another work with the textile industry completely changed. Most companies are not in Europe anymore. But of course, if you’re unemployed, you have the same problem as the people in the 1930s, and the only huge difference from my point of view is that you are more mobile. That means you have the possibility to go from, for example, Gramatneusiedl to Vienna, it’s no problem. You can also go to other places in Europe because of the European Union. That was not possible in the 1930s. But I tried to figure out in my small work that there is something you can compare, and there are things you can compare at the end of the day. But I can only recommend the historical Marienthal study to your audience. Unfortunately, I think we cannot discuss the study for a long time because we will have a lack of time, I think. But I hope that some people will know that the historical study is quite small — not too many pages to read, but very, very interesting. I’m sure that people will understand that the problems are more or less the same. The times are changing but the problem of unemployment, especially long term unemployment, is the same as it was in the past.

Billy Saas:  So how have community members, people living in Gramatneusiedl, responded to the jobs program? How is it affecting the community and individual lives within the community? And then I guess finally: would you call it a success?

Thomas Schwab:  Yeah, I have briefly indicated before that the response from our community members has been consistently positive. Of course, in a small community, it matters a lot if about 150 out of 3,700 residents are or have been participating in this program. Every project participant has his family and his friends and talks about this program. Of course, there are also very isolated negative voices, but that’s life. Generally speaking, the individual project participants are part of our public life. On the one hand, when they work in public within the framework of the project, but on the other hand also as self-confident community citizens. The positive coverage in numerous domestic and foreign media certainly contributed to this. In these reports, project participants were often shown or quoted – whether on television or in print media. Some former project participants have even found new work in Gramatneusiedl.  From the mayor’s point of view, the citizens of Gramatneusiedl like that more can be done for the municipality through this project. We cannot do all the work that we should do ourselves. For this reason, the project participants help to keep Gramatneusiedl nice and well maintained.  I have the impression that the Guaranteed Jobs Program is a great success. At the end of the project period, the results will be scientifically evaluated. The previous interim reports of science give hope for this result. I think these reports or the media: it looks fine, it looks perfect. It seems that it will be a success, and I’m sure that we will see the results in a very positive way after the period of this project. I’m looking forward to it.

Billy Saas:  Would you say there’s anything particularly special about Gramatneusiedl that makes a jobs guarantee program especially suited for it? Or do you think that other communities, say in Austria or smaller cities, towns, villages or maybe bigger cities could use this, could do this program and could follow this model that you’re setting with the program in Gramatneusiedl?

Thomas Schwab:  I’m sure that it would be possible to do this program in other communities, as well. But I’m sure that it makes sense to start with this program in a quite large community because there you have the possibility to make it visible. That means they do work for our community. That was in all the discussions with Sven Hergovich and the Public Employment Service. One of the goals that we should or would like to give the people the chance to work for us because we would like to use the resources of this program, as well. But in a smaller village it makes no sense, I think, because there are not enough long term unemployed, thank God. We had a significant number of more than 100 long term unemployed people before the program as we know it started and we had a lot of people who were unemployed for more than three years or a longer period of time. That means, of course, the research work before starting this project and selecting Gramatneusiedl was more or less to find a community who is in a range that is able to manage that. If they studied, for example, in Vienna, Vienna has 2 million people. It makes no sense because there is no organization from my point of view in Austria who can manage this. Therefore, they had to find an organization who is able to do that in a smaller town like Gramatneusiedl. At the beginning, approximately 100 people split into two groups. They started with the program in October 2020, three months later, the next 30 people started with the program and so on. Therefore, it makes sense to do that in these steps, and you have to also think about, maybe we’ll talk about that a little later, that you need, of course, new participants for the program as well. It makes no sense if you had a project period of three to four years, and then there is nobody, not any unemployed in the village anymore. There needs to be some size, but not too much. I think all these thoughts were made before they started to select because they had to know how many people can be part of this project and who can do this job for the Public Employment Service.

Jakob Feinig:  Yes. So I have an additional question, which would be: given that there was so much positive media coverage, and that there does seem to be very few critical comments, what do you think about the political possibility of scaling this up to Lower Austria, to the entire country, maybe beyond the country? What’s your take on that?

Thomas Schwab:  Yeah, I think, of course, there is a political chance there. But as you know, the mainstream of political thinking in Europe, also unfortunately in Austria, is more or less I would say a conservative approach. That means all these programs are hard to roll out to the whole country because you need the government of, for example, our province Lower Austria, as well as you think bigger of the whole country. Therefore, of course, you need the political will because unemployment is a sensitive topic in politics. That means you always have the discussions: why do people get money, and they don’t work? And maybe, for example, in that case, a lot of companies are searching for workers or for people who can work, and there are some unemployed, and it’s easy to see why they don’t work. We know that there are a lot of different reasons. That’s why I’m really glad that we have the possibility in Gramatneusiedl because now we have no long term unemployment in our village. I think that’s one of the first things that is really really positive, especially of course, for the people. On the other hand, it shows that there is a possibility to manage the topic of long term unemployment. If there is a will. I think there is a political chance there. But you need all the politics for doing that and bringing that in a wider range and then a larger area. I think that is not a huge problem. I’m sure that if the results of the program will be ready after ending the program, the political discussion will be harder. Then we have the results and it is connected. That’s also a fine situation for us with scientists from the University of Vienna and the University of Oxford. Therefore, a lot of media coverage came out of these scientists. They told the story, they wrote reports, and a lot of people are interested in that in the perfect world, I think.

Scott Ferguson:  So you are getting so much positive feedback from the community, from researchers close and far, and also the press, and even the international press. But you’re also very cognizant of the fact that this very much pushes against, both in its philosophy and its implementation, is very much against the reigning neoliberal and conservative ideology. So are the people, the organizations, the institutions who hold up this conservative ideology, are they just letting this fly under the radar? Are they worried? Are they speaking out against it? Are you playing out a happy utopian experiment and no one seems to know or care who might be politically rattled by it?

Thomas Schwab:  I think it is discussed, and a lot of colleagues, a lot of mayors contacted me, or we talked about this program. Everybody would like to have this program in his community, of course, because the results are positive. But on the other hand, politics is more or less a game. You would like to find voters, and I have to be careful, but I think it’s more or less a game. You try to find out where you can catch as many voters as possible, and the group of unemployed people does not have a large pressure group behind them. There are no unemployed people in the Houses of Parliament in Vienna, for example. There is nobody fighting for them. Of course, political parties do that, but in Austria, on one hand, we spent a lot of money in COVID times for all measurements for the people, and much more for the companies. On the other hand, we discuss unemployment payments and all other social payments for people. They do not have the highest income, to say it very carefully. That means it’s easy to fight against them, to say that’s not the best way because they do nothing for the community. On the other hand, we know it is not their goal to be unemployed in a high percentage of cases. I think that’s also one of the positive things in this guaranteed jobs program because most of the people who were invited to be participants of this program said: yes, I would like work. Of course, with the different possibilities they have. At the end of the day, only a handful of people have joined the program up to now. I think that’s one of the reasons why we can say to the people that if an unemployed person is offered a job, then he will do the job if it fits more or less to his qualification or other things if he is not. If it’s in our region, of course, because it’s not possible in Austria, compared with the US, you move from your home village to 500 kilometers away for work. Not very usual in Austria at that time. But, of course, there are some challenges in the program. Challenge for the program is, as I mentioned before, the number of possible new project participants, and a lot of discussions will take place after the end of the jobs program because then we have results from scientists, and nobody from politics can say this is all nonsense, I think. Therefore, I’m quite sure that the discussions will be harder and will be more direct to the topic if the program is over, when the project period is over.

Billy Saas:  You mentioned that the project and the program itself is being studied, and the data is being analyzed by researchers at the University of Vienna and Oxford. Could you tell us a little bit about what you understand to be their preliminary findings? What are they discovering and how are they contextualizing what y’all are doing alongside other kinds of contemporary debates about things like public investment, unemployment, automation, and so on?

Thomas Schwab:  I think the accompanying investigations of the addressed scientists are a very important part of the project. Sven Hergovich, head of the Public Employment Service in Lower Austria, put forward the thesis that the Guaranteed Jobs Program costs about the same as the costs for an average unemployed person. We’re talking about costs at the start of the project in Austria of around 30,000 euros per year. Since no final results are available yet, there is currently only a debate about whether a job guarantee is a sensible solution or whether the current system should be retained. I am convinced that the results will show that the Guaranteed Jobs Program will be the more sensible and cheaper solution for society. The fact that long-term unemployment can be avoided or, so to speak, defeated by this model, is an important finding so far.  From the point of view of the mayor of our community, of course, I also see the support for the well-being of the community citizens. Thanks to the work of the project participants, our community has become even more livable and some of the citizens – the project participants and their families – are happier. I think we see the positive influence today: we see the positive influence since the project has started, and I’m sure that we will see that also in the future. For me, this is a great success. From the point of view of a citizen of Gramatneusiedl, we see also the people — they work now, they are more part of our community because they stayed at home and are frustrated because they have no money, they have no job. The major point is that they understand money for working now within this program as if they would sit at home and receive their unemployment payment. That means they have no positive influence from the income side, but on days that they have the chance to find work they see that they have useful work for themselves and they have the possibility to create their own job, more or less. If they would like to do something new, for example, they will have the possibility to try that. It’s not possible if you go to a company and you have no experience to say I would like to do the job, you will have troubles to get this job in normal times. Maybe sometimes it works, but normally you have no possibility to do completely new work without any experience, and in the job guarantee program, you have the possibility to learn new things, you can change your professional life a little bit, and with this experience out of the program, you will have better chances on the primary job market.

Scott Ferguson:  Can you give us a sense of some of the particular jobs that have been created or filled in the program? And what kinds of services or goods or forms of maintenance are they involved in?

Thomas Schwab:  For example, for our community, they do a lot of gardening work. We had a lot of things to do in that way. For the community itself, it makes sense that they had a lot of people. They have a lot of time and they do this work. They have instructors in different kinds of work. They do some renovation work for apartments as well as furniture; they have their own workshop there. It depends on the instructors, what they can do on a more or less professional basis. On the other hand, they do some creative things. They do all the things with textiles or something like that. They produce some goods, and they sell it on the weekly market in Gramatneusiedl. Also, they have their own market within the, that’s also an interesting point, they are located with their workshop and with their meeting rooms and the offices of the project within the historical textile company building, more or less. In former times, the director of the textile company lived there. After this period of time in the next company, which was located in that area, there was the office building. They are located in the same area as the historical textile company. They had a lot of interviews with the participants before they started to work, and they had the possibility to tell them what they would like to do as they try to find a way to give them the possibility or to give them the chance to try these things. Therefore, it’s easy for some of them to learn new things. On the other hand, of course, companies in our area are looking for workers or for employees, and they contacted me in the past, asking: “how is it possible to get workers out of this program?” And we tried to bring them together and yeah, a lot of people had the chance to start working in a company and I think they are happier.

Scott Ferguson:  Can we hear a little bit more about the instructors? Where are they sourced from? Are they permanent employees of the Public Employment Service? Do they come from elsewhere: do they have other jobs and they volunteer? I’m curious to hear about the details of that part of the system.

Thomas Schwab:  As far as I know, they come from the organization “itworks”. The organizations I know are familiar with working with unemployed people. They have a lot of activities in Vienna, and an instructor normally comes out of Vienna to Gramatneusiedl or we work there for the whole time. But they are employees of the organization itself, and they are trained, they are familiar with these kinds of people because they also have their projects in other communities, especially as I know that in Vienna. In Gramatneusiedl, the responsible people try to find out with the participants what they would like to learn, what they would like to do, which possibilities they have, which opportunities they can fix with them. Then, they come to our village and work with them.

Jakob Feinig:  Could you maybe explain what “itworks” is? What kind of organization, what kind of history, trajectory, and experience they have?

Thomas Schwab:  As far as I know, they are specialists for social projects themselves. They do a lot of work with the unemployed as well as with elderly people. They do that on a professional basis. They work together in Vienna also with the Public Employment Service. As I explained before, three of such organizations were invited to find a solution, to find a concept for these long term unemployment projects in Gramatneusiedl. They are well known in this scene for the public employment service, they will know them. I didn’t know them before, I have to tell you that. But I think in Austria, a lot of organizations work with people, and they get their employees from the market and the jobs they are looking for should fit the employment programs. If they work with old people, for example, they need other qualifications as here in Gramatneusiedl. But I don’t know them really well because we are glad they are here and we didn’t talk about their other work, more or less.

Billy Saas:  Are you aware of or have you become aware of, since the increased media attention on your program, of any other similar programs that are either sort of in proposal stages or being developed? Or maybe in fact, are underway? I’m not, but I wonder if you might have become aware of other programs? No?

Thomas Schwab:  No, unfortunately not. I think that’s why we get the whole coverage of the media.

Billy Saas:  Yeah.

Thomas Schwab:  Because it’s unique. Of course, there is a conservative government that rules Austria at the moment. Despite this, the Public Employment Service managed to get this great project and the financing of 7.4 million euros, I think, off the ground. I think that’s a huge amount of money. On the other hand, Mr. Hergovich and his colleagues had the idea, and now we have this experiment. We will see how positive the results are at the moment, if there is a possibility that the politicians will use that as an example and find a way to implement it in, for example, the region of Lower Austria or in the region of Austria or somewhere else in Europe. I’m sure it is possible all over Europe because we had similar systems in some countries, therefore, it should work in that way. That can be an example for a lot of people that it is possible to do something against long term unemployment, and I’m looking forward to that. As I said before, Marienthal is not only linked to unemployment. Maybe in the future, also well known as a village to find a solution against long term unemployment with this guaranteed job program.

Billy Saas:  Part of the reason I asked that is that, yeah, I’m not aware of any others either. In the early 2000s, there was a similar sort of program the Hefe y Hefas in Argentina, which has gotten some attention and comes up every now and then. There have been, in recent years, more experiments in cities and municipalities, towns, villages, experimenting with a universal basic income where they just cut a check to people. I wonder: what would you say to those who might come to you and say: “Why induce people to labor in the first place? Why not just cut a check to those who are long term unemployed?” And I think you’ve given us a sense of what your answer would be in terms of like the social and sort of mental, physical health, and well being benefits that come from working. Would you have any other answers? Or what else would you say to someone who said, maybe just do a universal basic income with those 7.6 million euros next time?

Thomas Schwab:  I think, if you have a basic income, it’s another kind of discussion, for me, because that’s more or less another approach because everybody would receive the same amount of money. And if you do some work, you will earn more than other people. Yeah, I’m not sure if that is the solution for unemployment. Because if you receive, for example, 1,500 euros per month, and you are fine with that, you will not work. Then we have the same problem. You will not be part of the society, you will stay at home, you have no social interaction with your colleagues, for example, in a company. You will be fine, you will be able to pay the rent for your apartment, the energy, and you can buy some food. I think that’s a fine approach, but I’m not sure if this will help in every case. In Austria, you don’t have an income for all, but you have a minimum standard of income that’s not enough for living, but it’s also a possibility to increase the demand. Therefore, it would not be a huge problem, but I think it’s another kind of solution. It makes sense to me. I think in Sweden, or somewhere, they tried it. As I wrote in the newspaper, they were not 100% happy with that, and I think we have to try another approach. Maybe in that direction, but not in the same process, because the results will be the same. Here we are in another topic: employment, unemployment is more or less living. If you sit at home and do nothing, and you have enough money, the chance that nobody does anything is quite higher. We live in a time where a lot of people, even though they are neighbors, don’t know more than 10 people in their surrounding. Of course, a lot of social interaction happens in a company or university, for example, if you go out of your flat. Therefore, I think it’s an interesting discussion and basic income is also a good approach, but it’s another topic. I think it would help us in some cases, but I’m not sure if this is completely the best solution. A job guarantee program for long term unemployed is the solution to help the people come back to the society, come back to work, in a positive way or help the people to do something where it’s no pressure because working in a company, something is another work as if you work in the program and you don’t go out of the program because you are not ready for the job market. Therefore, it’s different to other things because you have the possibility to choose if you would do something more or not, it depends on the personal condition and on your personal behavior and on your possibilities. Do you have the possibility to go to another village because you have no driving license, for example? When I started work in my company, the first shift started at 5am in the morning. There is no public transport. You cannot come to the company, and all these things are very, very different. If you have such a program, you also have opportunities that the people will do their work. Maybe within the program, maybe for the community, but not for a company. There’s no pressure on it. You are also fine if you work only 10 hours a week there; you’re not forced to work 40 hours a week because if you work 10 hours a week in a company you only earn a few euros of money. As much time as you work, as much money will you receive from your company. In that case, you have the possibility to find solutions for people who are not in the condition to work, for example, the whole day or the whole week.

Billy Saas:  We’ve talked quite a bit about the jobs guarantee program being a solution for long term unemployment. I wonder, one of the things that excites me about the idea of a larger scale job guarantee, perhaps, is the notion of what it offers for those who are currently employed in work that is not good or rewarding or who might be short term unemployed, but would like to try something new. Could you say something about how you imagine a program like this, if it scaled up, what it might do for those who are, say, in jobs that they don’t like, doing work that they do not find meaningful. Do you have thoughts about that?

Thomas Schwab:  Yeah, I think at the moment, we have a quite good time for people who would like to change their jobs. We have large amounts of fluctuation in Austria, also in normal years, but now a lot of companies are looking for new employees. Now, people have the possibility to quit their job if they are not glad with the working conditions or with the salary or something like that and find another job. At the moment, it’s easy to do that. That’s maybe a difference to the US. In Austria, we have unemployment payments. If you’re unemployed, you receive money from the government. You will always have people who change their jobs or they are short term unemployed. I think the one year period of time you have to be unemployed, that you are more or less a long term unemployed, is connected with the period of time you can receive some money from the government out of the unemployment payments. It’s not a good deal in Austria because, unfortunately, you receive only 55% of your income as an unemployment payment. That’s not the best percentage in Europe. In Belgium or other countries in Scandinavia, the people who are unemployed receive much more money. But at the end of the day, I think the problem is if you try to implement a guaranteed jobs program for all unemployed, it is not possible for any organization in Austria to deal with that. Therefore, it makes no sense to try that. Of course we have the Public Employment Service whose job it is to find a job for the unemployed. Of course, it’s easier in one case, and it’s more difficult in another case because the jobs are different, the qualifications are different. It is necessary to look where the jobs are needed, in which region they are needed. For example, as you probably know, in Austria, tourism is a strong economic factor. But tourism is more or less within the Alps or in cities, and the people are not there in that amount of necessary employees. As I mentioned before, nobody from Gramatneusiedl would go to Kitzbuhel to work in a hotel. If he has a family, if he has a house or an apartment here, why should he do that? That’s also an end point within the discussion: what is possible for the unemployed and what will the government force them to do? And that’s a huge discussion all the time because, of course, you have other kinds of unemployment in Austria as you have in the US. There is another culture connecting with work, as we have it, here in Austria or in Western Europe. There are a lot of people, and it’s growing more and more. They are traveling around the world all day, but a normal worker with not that much skill is more or less fine if they are in their community. They don’t want to go away from home in most cases. Therefore, it is a problem. On paper, it’s easy. You have at the moment 300,000 unemployed people in Austria. We need 200,000 employees somewhere. Why are 300,000 people unemployed? That’s the argument of the right wing parties, especially. They argue in that way.

Billy Saas:  Perhaps there’s no agency or institution in Austria yet that could handle a universal guarantee of a job. But thank you so much for being so generous with your time, Mayor Thomas Schwab. Thank you for joining us on Money On The Left.

Thomas Schwab:  It’s a pleasure. I enjoyed it a lot. Thank you for the invitation, once more. I wish you all the best. And I hope that we will see that this program we discussed will be a part of the programs all over the world to get rid of long term unemployment. That’s my hope. I hope you will hear a lot about this program in the future because I think it’s a wonderful idea. In our small village works, more or less. Very, very good from my point of view. Thank you, also for your time. I’m looking forward to hearing the podcast.

* Thanks to the Money on the Left production teamWilliam Saas (audio editor), Mike Lewis (transcription), & Emily Reynolds of The Buffalo Institute for Contemporary Art (graphic art)

Money & Solidarity in Latin America w/ Andrés Arauz

Money on the Left is joined by Andrés Arauz, recent candidate for the Ecuadorian presidency, heterodox economist, and outspoken advocate for the creation of the “Sur.” The Sur is a complementary currency for use in intra-Latin American trade and cooperation. Dismissed by New York Times blogger, Paul Krugman, as a “terrible idea,” Brazilian President Lula De Silva’s proposal for development of the Sur as a tool for encouraging economic and political integration between Latin American countries has stoked the imaginations of progressive leftists within and beyond the region. As he makes clear in our conversation, Arauz is among those who see in the Sur urgent opportunities to build plurinational solidarities among countries like Ecuador, Colombia, Brazil, and Peru, as well as to diminish the hegemony of the U.S. dollar and financial institutions over Latin American economies and politics. Arauz offers an astute and defamiliarizing perspective on the Sur for anyone who may be committed to or uncertain about the political economic potentials of a SUR-driven future for the Latin American Left. 

In our dialog, we speak with Arauz about his time serving as director of the Ecuadorian Central Bank. Remaking an orthodox organization with heterodox tools, he not only oversaw the Central Bank’s transition from a neoliberal handmaiden for corporate interests to a robust public institution in Ecuador’s complex “dollarized” economy, but also empowered and secured the country’s network of local credit unions by integrating them into the Central Bank’s federal payment system.

Money on the Left is proud to present transcripts of this important conversation in both English and Spanish.

Andrés Arauz on Center for Economic and Policy Research (CEPR): https://www.cepr.net/staff-member/andres-arauz/

Visit our Patreon page here: https://www.patreon.com/MoLsuperstructure

Music by Nahneen Kula: www.nahneenkula.com

English Transcript

The following was transcribed by Mike Lewis and has been lightly edited for clarity.

Billy Saas:  Andrés Arauz, welcome to Money On The Left.

Andrés Arauz:  Thank you very much for having me. I’m excited to be here. I’ve been following your work for the last few months and years, and I’m happy to be here.

Billy Saas:  Oh, that’s exciting to hear. We’re excited to have you here with us, especially now, because these are some pretty historic times in Latin America with six now (very recently, seven) of the most populous countries, including for the first time Colombia, run by leaders with progressive left politics. How would you characterize this moment and its importance for the future of the region?

Andrés Arauz:  Well, this is a very exciting moment for progressives, especially people in Latin America that already lived through the first pink wave, the first progressive tide in the region. Of course, now there’s a bit more maturity in the progressive space, in general, and I think we have learned a few lessons. One of the most important issues that we have learned is the importance of regional integration. Right? So we know that one country by itself will not change the world. One country by itself will not change the major dynamics of the world system, or come out, in a sustainable way, out of poverty and transform its economy, its industrial base, and so on. We know that that can only be achieved with a regional plan or integration. And I think that has definitely been incorporated into the left’s agenda. That’s why this is a critical moment in history, because now we see that President Lula, who just arrived to power only 10 days ago in Brazil, and has already faced the first putsch attempt, has said that regional integration, specifically with South American countries, is one of his key priorities in his foreign policy. So this is exciting for us, with the leadership of Lula, of course, the situation in the region changes completely. We see that the sort of extra regional forces like the US have also taken note of this shift towards the left, and that has implications for the entire region. Hopefully, we will overcome all these putsch attempts and violent threats against progressive forces. And this can be not just a reaction, a resistance in opposition to the forces of Empire, the forces of Neocolonialism that threaten progressive politics all over the region, but that we are able to actually build something. And I think the monetary, the financial issue is definitely something that we can achieve in a short timespan. Because of the electoral dynamics in the region, I would like to insist that for Latin America and progressive politicians and those who are leading the countries, we don’t have an infinite timespan. We have a very limited window of opportunity, which is exactly this year, 2023. If we go beyond that, it will probably be much more difficult, because of the domestic political junctures, the correlation forces, and so on. So I think this year is the year of hard, hard work, and to put things in order and get them rolling.

Scott Ferguson:  So how would you understand Ecuador’s place in this particular historical moment? And I’m wondering, in your experience, taking advantage of this particular historical opening, how have you pursued speaking about money and public financing from a heterodox point of view and communicating that to everyday people?

Andrés Arauz:  Okay, so let’s begin with Ecuador’s role in all of this. Ecuador, unfortunately, right now is headed by the antithesis of progressive money with policy, which is a banker. A neoliberal billionaire banker, who has completely sided with the IMF in their conventional, and old school, and effectively-demonstrated false and incorrect policy advising and policymaking, and he’s leading the country into a major economic crisis. The country of Ecuador is probably the country that has least recovered after the pandemic. So it hasn’t grown, really, because of very restrictive monetary policy and fiscal policy, in general. He is promoting capital flight as part of the government policy. Just yesterday, or I don’t know when this will air, but very, very recently, he just announced that he will scrap the money outflow tax that we have in Ecuador. It has been there for a while. So that will promote capital outflow. But the thing is, his main line of business as a banker is actually to own an offshore bank based in an offshore center in Panama, whose approximately between 80 to 85% of all deposits actually come from rich Ecuadorians. So it really is very messed up for any country, in general. But for my country, it actually hurts, you know? When you have a president whose main line of business is to actually promote capital flight to his offshore bank based in Panama. And of course, all the policy is changed to fit his line of business. And it’s actually quite absurd, but also a bit disgusting, because he has not quit the bank, he has not put his shares into a blind trust or whatever. No, he has been explicit about holding his property, and that’s very sad. Also, because if you extrapolate this or you zoom out a bit, you’ll see that this is the type of character that will oppose a proactive role that has always been Ecuador’s foreign policy, except for this government, to be a part of a regional force. To be part of a regional bloc. So he will most likely oppose all these initiatives, and it is very sad because until very recently, Ecuador was the capital of UNASUR: it was the head seat of the headquarters of the South American Union. The former President Moreno, who betrayed his program, and now Lasso, have resigned, have renounced the fact that Ecuador was the Capital of South America, the city of Quito. Fortunately, on the other hand, Ecuador’s population is markedly progressive. So in the last elections, where I ran, Ecuador’s population voted around 70% for progressive parliamentarians. The presidential result was not exactly the same: I lost by just a bit. But the parliament is overwhelmingly progressive with social democrats, with progressives with what we call the indigenous movement of plurinational national forces. They are over two thirds of the parliament. And the population, in general, is fairly progressive, as well. So this means that sooner rather than later, Ecuador’s population will step up, will start exerting their democratic rights, and will probably have a changeover in the administration. It is very unlikely that the current president would be reelected. And we will have a progressive government in place to align themselves with the regional integration project. You also asked me about how to approach heterodox money and heterodox economic policy in this context, and I have several hats that I wear all the time. In the context of my own country, I am predominantly a political actor within my country. Ever since the election two years ago, I am now seen as a political player, so it’s a chance to be in the media quite a bit. It’s a chance for my social networks to have plenty of followers, and it’s important to try to relay the message adequately. I tried to share my knowledge in very lay terms and with fairly easy vocabulary, but mainly showing contrasts. I think that’s been a very effective way of communicating to people, to large segments of the population by contrasting either policy recommendations or policies from orthodox money, monetary policy or in general economic policy, with what can come about with a heterodox approach. That’s my hat that I use within Ecuador, but outside of the country, I have, perhaps, still more of an academic hat on. I use my knowledge to communicate to specialists and specialized media, to those, perhaps, that are monitoring the international financial institutions, in general, and try to use that sort of language to reiterate and to insist on my academic credentials, which I think is also important in terms of legitimacy building. That’s more or less what I do. I work in several spaces, always around issues related to money and technology. I’m pretty happy in that space and trying to change the world with my knowledge, my brain power, with the networks that I can try to build. Hopefully, we can also leverage that to further develop and transform my own country.

Billy Saas:  As you’re doing this communication work, are there any other thinkers who model the kind of communication that you aspire to? And then under the broad banner of heterodox economics, are there any schools or perspectives that you find yourself more consistently drawing on?

Andrés Arauz:  I haven’t had any specific person in mind in terms of how to model the communication. I have been exposed to many leaders and to many economic thinkers. I can’t deny the incredible and important role model that, for example, Rafael Correa has been in terms of economic policy communication. He used to have a weekly radio program where he explained the economic policy and government policy to the entire population. It was a program that lasted between two and four hours every Saturday. And then, of course, making issues easy and communicating them to people using PowerPoint slides and so on was also, I think, something that did not only affect me, but it was a style of communication that everyone in my country got to be familiar with. In terms of economic thinking, though, I definitely recognize the influence of many Latin American economists that have been around ever since Raul Prebisch; structuralists and dependency theory thinkers. More recently, I think the influence of Post-Keynesians has been very explicit in my economic thought and practice. I would say that I would ascribe to the broader Post-Keynesianism, and then there are many smaller groups within that broad school, and I like to gather elements from all of them. I have really grown to like some of the main elements gathered by the separatists, the French separatists school with some Italians in there as well. My PhD work includes a lot of their work, as well. Specifically, Augusto Graziani because I specialized in payments systems, and in money dynamics, and the role of banks, and so on. And I like to consider that as well. But also, and this is perhaps something that is related to more of Latin American context, is what I call the Solidarity Economy school; economia solidaria in Spanish. The Solidarity Economy is very important in our region because we are a late comer to industrialization. We’re a late comer to capitalism, itself. We’ve been under basically feudal economies well into the last century, the 20th century. Solidarity Economy is important because it is a way of including those who were excluded by the capitalist system. If you analyze my country, or my neighbors, between 70 and 80% of the working age population is not a formal worker. They’re not under a capital-work relationship. They are basically survivors in a system where they have to find a way to survive every single day. That doesn’t fit into any neat economic theory, so Solidarity Economy tries to say: okay, what can we do as people that have been excluded from the system? Let’s save each other. Let’s cooperate. Let’s build community. Let’s build a cooperative economic system where we can recognize that we are partially excluded from capital and capitalism, but we have to talk to capital and capitalism. We’re partially excluded from the state, but we have to interact with the state, as well. We are divorced from our own realities because we have to survive. We also have to work together. We have to become cooperatives, we have to get together into associations. Even though we’re not a union, or a Workers Union, we have to come together so that we can negotiate in better terms with the forces that be. Solidarity Economy, I think, has a very important and marked influence in how I think about development. Yeah, there are probably many more that I’m missing right now, but definitely some of these that I’ve mentioned.

Scott Ferguson:  When you ran for and nearly won the presidency of Ecuador in 2021, the press liked to note that you would have been the youngest president in the country’s history. But we find it just as remarkable, if not more remarkable, that you already served as Director of Ecuador’s central bank when you were just 24. How did this situation come about? What drew you to that work in monetary policy in the first place?

Andrés Arauz:  I would have to definitely mention my Masters thesis director Pedro Paez Perez. He was a very important person in my early stages of professional development. I actually got my Bachelor of Science degree at the University of Michigan Ann Arbor in both math and economics, and then I went back to Ecuador and started doing a Masters in Ecuador. The order is usually the opposite: people get a local degree, and then they get a Masters abroad. I did it the other way around. Actually, it was very, very helpful because when I enrolled at FLACSO, which is a Latin American university that has offices in different parts of the region, in my case Ecuador, all my professors were going to become ministers of finance, planning, development, central banking, and so on. My thesis director, Pedro Pais, had been a central bank researcher, so when he became Minister of Economic Policy, I became his advisor.  I was actually 22 when I was advisor to the Economic Policy Minister. I was in charge of what we called the new financial architecture, which is basically proposing a transformation of the domestic financial system, but we were also working on transforming the South American financial system and their institutions. I worked with him on a lot of those issues, and I got to know the central bank from the outside. I was an advisor to the ministry, but most of my work had to do with the central bank. So I was able to criticize it all the time and to push them to make changes and so on. It’s important to mention that before all of this, I had worked at the central bank. I was a statistician at the balance of payments statistics area, and my job allowed me to see the individual transactions of money that went in and out of the country. I got to see names of people, names of companies, and that knowledge has always been valuable to me because when an economist goes and finds the statistics, you see a bunch of numbers, you see a bunch of aggregates, you try to build a story in general terms, in general concepts. Well, when I see statistics, and when I see these numbers, I don’t see general stories and general concepts. I see people. I see the companies. I know their behavior. I know their patterns. I know exactly who we’re talking about because of that experience that I had failed more than 15 years ago. So that’s definitely a plus when you build the policy, when you know what makes up the statistics, and how much of it is also just hot air and how much is actually rigorous statistics building. I always thought that statistics, and therefore accounting, were absolutely crucial if you really want to do rigorous economic analysis. That’s also why I sometimes laugh when I see colleagues putting out all these nice, econometric models and using numbers as if they were some sort of physics and hard science when a bunch of these statistics are absolutely made up and have very strong deficiencies, or very large, significant deficiencies. I’ve actually written quite a bit about problems about monetary and balance of payments statistics Anyway, to come back, I was an advisor to the Economic Policy Ministry, and we had a major issue because the central bank of Ecuador had been ran, perhaps over two decades, by the most conservative, Orthodox people in the country, and with clear links to the more powerful bankers. So in 2008, under Correa’s government, we had a new constitution of Ecuador, which was a very interesting process of democratization of lawmaking. We had thousands and thousands of people propose amendments, and changes, and wording, and so on, for the Constitution. And eventually, I really think it’s a piece of artwork, the Ecuadorian constitution. It is very progressive, it is forward looking, and one of the things that the Constitution did was to change the nature of the central bank. It said that the central bank would no longer be independent. It will no longer be autonomous, that it would be democratically accountable to democratic forces, and therefore be part of the executive branch. Now, we’re also a dollarized country, but with a non-independent central bank, that was run as a branch, effectively, of the executive government, and the President was a PhD economist. Okay, so this was a very particular moment in time. And if that guy wanted to have the central bank also comply with the new constitutional mandates, which also changed for the central bank. For example, we have financial inclusion as a constitutional objective, not just inflation or whatever. You have a list of constitutional mandates for the central bank. You wouldn’t find anybody in the central bank staff that would even understand much less so be aligned with the new constitutional objectives. So since I had a monetary background and I specialized in those issues, and I knew the central bank both from the inside, and the outside, because I had been able to live within its framework, but also to criticize it from the outside. I became the general banking director, which is basically the one in charge of the central bank’s operations. It was a very happy moment for me because I was fairly young, but I already, perhaps, could be considered an expert in central banking affairs. And I knew the workings of the payment system, the reserve management areas, the international payment systems, and financial institutions. I knew accounting very well, and it’s key to know that if you’re running a central bank. And I had the correct political orientation as to what were the key transformations that I had to achieve within the central bank, so as to instead of destroying the institution, leveraging the institution to fulfill these new constitutional roles. So I had a key role there in transforming the central bank into what it still is today, even though we now have, again, a conservative government. But because we had very important changes in place, even in the culture of the central bank, I think it’s difficult for them to revert all of that. So that’s how it all came about. It’s a really nice story, and I think it’s not easily replicable elsewhere in the world, unfortunately, but there are many things that on the margin can be done to use an immense power that any central bank has in any society to democratize that society, to democratize its economies.

Music Break – “This is Not America” by Residente

Billy Saas:  So moving from critic of the central bank’s activities to someone who’s effectively directing them, were there things that you learned or surprises that you encountered in your new position on the inside? Did anybody take your place as the critic from the outside? And what was that criticism of your work like?

Andrés Arauz:  Well, to be honest, no. There was no strong criticism at the time because, like I said, we were moving really fast.

Billy Saas:  Yeah.

Andrés Arauz:  This academia in Ecuador had been dominated by neoliberal thought by neoclassics and no real thought about heterodox monetary policy, and so on. The payment system was something that was completely out of the discussion, out of the debate. None of that. The central bank’s proactive role in the economy had been forgotten for the last 20 or 30 years, and so on. So the people in academia, even the right wing academia, had no idea what we were doing. They looked at the balance sheets, and they just couldn’t figure it out. They didn’t even know how to read the balance sheets, because they had excluded that sort of training for a long time. So the first few years, there was really no criticism, not because they didn’t feel like something was wrong, but because they didn’t know what to do about it. We had also kicked out the IMF and the World Bank from our country. We had expelled the World Bank from Ecuador. The IMF was still in the country; they used to occupy a large office at the central bank, and they didn’t pay rent. So we said, “no, if you don’t pay rent, you get kicked out of the building.” And of course, they didn’t have as much access to what was going on within the central bank, either. So there was really nothing that they could do or say during that time because we were making changes in the plumbing of the system. We were working on, for example, democratizing the payment system by something so simple as retrofitting the telecommunications requirements for connecting to the payment system, and for making a light version of the software available for credit unions. In Ecuador, we had over 600 credit unions that were operating, but were not included in the payment system. So they weren’t able to offer the same kinds of financial services, transactional services, payments of government wages, and so on, like big banks were able to. So just by democratizing the payment system, we had a revolution at the base of the pyramid where rural credit unions all of a sudden became a major force in the economic system. These guys were part of the Solidarity Economy, so they had another value system in there as well. Not just capitalist banks, right? Just by democratizing the payment system—something that we did out of the mainstream or the media’s radar—we were able to make major changes. Now, when did they start to pick up when they, by then, I mean basically right wing academics, opposition pundits, and so on, was when we started the launch of what we call the mobile money system. Ecuador was the first central bank digital currency. Now it’s a fad. But we did this 10 years ago, and the project started in 2009. So this is like 15 years, 14 years ago. We changed the regulations so that citizens, any citizen, all they had to have was a national identification number, so their ID, and that was the only requirement to open an account at the central bank. A central bank digital currency, we called it mobile money then. It was designed in such a way that was perhaps another tenant of my way of thinking about technology, its appropriate technologies, rather than vanguard technologies, or the latest thing. You need to make technology appropriate to people’s needs, not to just…

Scott Ferguson:  Disrupt.

Andrés Arauz:  Right, so we had this mobile money that would work with the most basic feature phone, without the need of having a smartphone, without the need of having a data plan. All you needed to do was dial a shortcode, and you will get access to an entire system to transact. And that’s when the right wing opposition started to criticize. I had been out of the central bank by the time it actually launched, but that’s when they started to pick up on some of the major issues. In part, because one of the main people that they recruited was a former central bank guy, who then went to work for the private bankers association, and is now working at the IMF. So this person is perhaps the only one that was able to educate the right wing as to what was actually happening. And now it’s only about 10 or 14 years later, writing about what we did in 2009, 2010, and 2011 with a critical perspective. I think it took them a while to understand what was going on. People, when they think about a dollarized country, they usually say, “you lost your monetary policy, and you’re screwed,” and so on. That’s not true because when we went into the central bank, and when I was an advisor at the Economic Policy Ministry, we said look, sure an Orthodox dollarization removes all of those tools and possibilities and policies and you just sort of quit and say: I renounce everything and let the markets dominate. But in a heterodox dollarization, it forces you to be creative. You will have an advantage, which is that you have a stable unit of account, which is actually a challenge for many developing countries that try to apply heterodox economic policy. You get these devaluations, depreciations, people lose faith in the currency because of the pundits and the markets react quickly. But when you have a dollarized economy and a stable unit of account, you can be a bit more creative without worrying about these speculative attacks, because they have nothing to attack. So then you really start to play with actual issues that depend on credit creation, and the role of banks in society, and the workings of the payment system, and the velocity of circulation of money, and how the securities market operates. You can be more creative without worrying about issues like speculative attacks. For example, we have a neighboring country, Colombia. President Petro is also an economist. He’s pursuing a heterodox policy. But of course, the speculative attacks against the Colombian currency are there, and you have an Orthodox central bank that is not aiding or helping or contributing in that same heterodox orientation. So it’s much more difficult to be heterodox when you don’t have all the pieces aligned.

Scott Ferguson:  So do you still have a critique of dollarization, despite having a more nuanced, creative, heterodox, experimental approach to moving and creating institutions, and developing forms within a dollarized country?

Andrés Arauz:  Absolutely. Yeah, I’m critical. First, we have to understand that there are many dollarizations, right? I’m critical, absolutely, of dollar hegemony, for example. So this is geopolitical. This is a colonial thing. The south does not have to use a New York or Miami account to make payments between Uruguay and Peru. Why, right? So dollar hegemony, and the fact that dollar hegemony contributes to imperialist measures like economic sanctions, unilateral coercive measures that are destroying entire countries. Furthermore, if you put dollar hegemony together with transactional systems such as SWIFT that are a global monopoly, and if you cut them off SWIFT, you are also effectively cutting them off. And it’s basically being weaponized. Money as a weapon, and the plumbing of the system used as a weapon, I’m absolutely critical of dollar hegemony. I will continue to be so, and I will try to build alternatives because I don’t think the world has to subject itself to one country’s currency. I think that it has to be a global system, and that means going towards a more democratic, multilaterally-based economic monetary system. Just like it was dreamt decades ago, almost 100 years ago, by key thinkers such as Keynes: you have the Bancor, a global monetary asset. Of course, there are key power players. We cannot deny that, but let’s have a more balanced approach. Now, that’s one issue that has to do with dollarization. For example, dollarization of international transactions, of international trade, and so on. Then there’s the issue of domestic economies and adopting the dollar for domestic means of payments. Like I said, one thing is the dollar as a unit of account. Another is the dollar as the actual physical means of payment that people use on the street. I think that even if you’re dollarized de jure like my country is, it’s best to try to replace the physical dollar used for means of payment domestically with electronic means of payment, and keep the physical dollars as international reserves for the current international system that requires that you use the US dollar. That way you free up dollars that you’re using for domestic payments that you don’t really need to better import equipment, technology, and resources that you don’t have available in your own country. So I think there are nuances to all of this. And while I’m a critic of dollar hegemony, I think we have to recognize that until that changes, the dollar plays a key role in Latin America, and basically 99% of international transactions in the region. Many domestic prices in the region are pegged to the dollar de facto like real estate, in cars, of course imported technology, and then that sort of creeps into the rest of the prices in the economies. So the dollar is there. Now, how do you optimize that? How do you gain degrees of freedom? How do you get some policy space, a bit of sovereignty in that context, is what it’s all about. And that is independent of whether you’re a de jure dollarized country, or just a normal market economy with a domestic currency. But that has to comply with the rules of dollar hegemony. So I think there are many similarities in both approaches, and I think you can be a critic, and as well, be a proactive thinker, and policymaker, in that context.

Billy Saas:  So you are making the best of the situation, working in the dollarized economy, but it clearly was not the case, when Ecuador’s economy became dollarized, that they had these sort of advantages in mind. So can you talk a little bit about, you’ve been a critic before of President Jamil Mahuad’s decision, the administration’s decision in Ecuador, in 2000, and into 2001, to give up the Sucre and adopt the dollar as the state currency. Could you sort of tell us, what was their motive as you understand it? And why was that a particularly bad idea for Ecuador at the time?

Andrés Arauz:  It was a bad idea because it was a conspiracy. Now that Mahuad just came out with a book, and there are people that are doing a bunch of research. Marco Naranjo has also come out and said this was a conspiracy. He was the one guy who was planning dollarization five years before. You have declassified reports from the United States government saying that they actively pursued the dollarization of several economies in Latin America. It is not a coincidence that Ecuador accepted a US military base in Manta in 1999, and Ecuador was dollarized in the year 2000. There were only four months between both decisions., and, unless you believe in fairy tales, that’s fairly easy to link up in terms of the international political economy. Now, Mahuad was a terrible president, predominantly for what he did to the people of Ecuador. He was bankrolled and financed by bankers. He put bankers in the ministries, in the central bank, and everywhere. Private bankers, who did not quit their jobs as bankers while they were being government bureaucrats at the same time. So just plenty of conflict of interest, nasty policies, and so on. He started basically bailing out banks when the crisis came, which was not an accident. Again, crises are not natural disasters in the sense that there’s an unforeseen circumstance. Financial crises are anthropogenic in nature; they are manmade, they are engineered, if you will. And there is enough research into financial crises, especially from Hyman Minsky, and all of his disciples, and people that have studied him, we know how crises come about, and how they play out, and then how they eventually get resolved. So instead of preventing the crisis, instead of solving the crisis, Mahuad basically started pumping all this amount of money for the bankers, but at the same time, didn’t close the capital account or didn’t put exchange restrictions. So what the bankers immediately did was they got all this bailout money in Sucres and they literally just went through the revolving door of the central bank and came back with the Sucres and bought Dollars. Now if overnight, you have this increase of demand for dollars because of the huge supply of Sucres, that without any exchange rate restrictions, without any capital account restrictions, of course, you’re going to have a devaluation, depreciation of the local currency immediately. But this is not something that requires a genius mindset. This is sort of very, very basic. And they did it anyway to purposely weaken the local currency and justify the dollarization measure, which had been in the workings for quite a bit. So now, Mahuad 24 years later is trying to come out and say, “Oh, look, I wanted a dollarized economy. Look what would have happened if the Sucre kept devaluating,” and so on. But they did it on purpose. It’s not like it was an accident, and he cured the illness. It is that they created this crisis to justify the measure, so they weren’t thinking about the creative uses of dollarization. They had no idea about the actual workings of the dollarized economy or the balance sheet logic that you can apply. They were working on, basically, assumptions that you would renounce monetary policy, and that it would be a hard restriction on fiscal policy, as well. Basically, they said, if you have dollars, then the central bank cannot lend to the government anymore. And then, we’ll starve the beast, and then we’ll justify our privatization program, and so on. It was very purposely a neoliberal agenda. The law of dollarization was written, not in Ecuador. It was written in DC at the IMF, and then sent via fax to Ecuador to be copied and implemented. It’s a very long story, the story of how dollarization was implemented. But they didn’t see that we were going to be smart enough to find loopholes and creativities and creative solutions to that. For example, and I will mention this quickly, but starting in 2009, the central bank of Ecuador started to lend to the government, even though we’re dollarized. This completely blew their minds because it was like, “Isn’t dollarization supposed to forbid the central bank from creating money out of thin air?” No! You can still create dollars, right? You can still create dollars on a central bank’s ledger. They are just accounting dollars, right? Of course, you can’t go and print physical dollars, but you can still create dollars on the ledger, and then have them be transacted in the domestic economy. Sure, that creates an issue then later with a balance of payments, international reserves, but then you have to have a proactive balance of payments policy, like any developing countries should, in fact.

Scott Ferguson:  Isn’t this the case with Eurodollars, as well?

Andrés Arauz:  Yeah, I mean, that’s exactly. The thing is, when it’s private banks doing it, nobody has an issue with them creating dollars in their banks, and in the ledgers. That’s how offshore dollar banking systems also work, in general. I use the term “xenodollars” to be more etymologically correct. But yeah, that’s exactly how it works. What they didn’t like is that now a state institution, which was the central bank, was doing exactly the same, perhaps with even more care, with more oversight, with clearly defined parameters under a democratically accountable system than what private banks were doing, which was creating Ecuadorian dollars when they lent. That’s definitely something they didn’t have in mind in the year 2000. When the economy was dollarized, there was a huge crisis in terms of prices. Relative prices just got really messed up over the next year or so. Many economic activities became non-competitive overnight, and Ecuador could have collapsed, even as a country, except for one thing, which was that the crisis of the late 90s and dollarization created a mass migration of millions of Ecuadorians. We lost almost 15% of the population that went to live in the States, in Spain, and Italy, and then started sending remittances home. So it was this hard currency that was coming from abroad that basically saved the country from catastrophe.

Scott Ferguson:  You’ve been a vocal advocate for the development of a regional currency in South America called the S-U-R, the Sur. And this currency would be used instead of dollars in international cooperation and trade. Could you share with our listeners a little bit about the Sur currency and what its adoption will mean for member countries like Ecuador.

Andrés Arauz:  So the Sur is actually an initiative by President Lula, by former presidential and now Minister of Finance, Fernando Haddad, and his team. The Sur is not a currency like the Euro that wants to replace the national currencies. That’s something that I have to insist from the start: it is not a currency intended to replace national currencies. It’s a complementary currency. It’s a regional complementary currency that wants to contribute to the dynamics of intra-regional trade. Okay. So, right now a country like Argentina, in order to buy staples or equipment from Brazil, has to have Dollars in their reserves, and then it has to transfer those dollars to a Brazilian bank in order to get the equipment, the machine, or whatever, from Brazil. Why? Why? Then, of course, the logic of that is that the dollars aren’t in suitcases or wherever. The dollars are just accounts in US banks abroad. The dynamic of that is creating institutionalized capital flight because you have to have a liquidity pool, a bunch of money basically deposited abroad, that you cannot use for your developmental needs. So, by having the Sur, we’re basically setting up a payment system with a regional unit of account, the Sur. We have to still talk about how we’re going to value it, but most likely, it will be pegged to the SDR, the Special Drawing Right. And the Sur will avoid having to require US dollars for these international transfers, for these intra-regional international transfers. We can just use this unit of account for our purposes. Again, it does not resemble the Euro in the sense that it replaces national currency. More likely it resembles, even though I don’t like to use this example that much, the European Currency Unit, the ECU, which was an ancestor of the Euro. So you have a unit of account composed of a basket of currencies whose idea is: let’s avoid using an extra regional currency for inter regional trade. I think that will definitely create some flexibility and policy space for countries so that they can free up some of their reserves, and use those for technology and equipment that’s not available within the region; stuff that we may need to import from the US, Europe, or Asia. At first glance, it does not seem so ambitious. I am proposing to the working group that we start with a bit more ambition, which is allowing payments in Sur from any bank account in the region—twenty other bank accounts in the region—in real time, like the Brazilian Pix payment system is working. We already have the technology. We don’t really have to make anything up. All we have to do is connect the softwares, and the pointers, and the parameters, and we can get that rolling overnight. Why is this very important? Because in South America when people think about regional integration, sometimes they think it’s a thing about politicians, and presidential summits, and they gather once a year, all the flags are put together and they hug each other, and so on. But we need to make this very tangible and to build regional integration in such a way that it’s actually existing in people’s lives. And the way to do that is, I think, by making a democratic payment system where you can actually make transfers within the region, denominated in Sur in real time. That will be a big, big competitive leap compared to the legacy system, dollar based, SWIFT-based system that runs today.

Billy Saas:  That’s super helpful. Thinking a little bit more in terms of on the ground in Ecuador, there have been major indigenous uprisings over the last several years, indeed going back to the 1990s. Then, there was recently a call this past week by the Confederation of Indigenous Nationalities of Ecuador, or CONAIE, for more protests after one of their leaders, the chairman of CONAIE was arrested and detained. The CONAIE endorsed your candidacy and 2021, and I imagine you might like to have that endorsement again. Could you talk to us a little bit about your vision for the newly created Sur, and a reinvigorated Unasur, and how those will serve and advance the interests of Ecuador’s indigenous peoples? So thinking about on the ground, in material terms, how does this complimentary currency improve the lives of Ecuador’s indigenous?

Andrés Arauz:  First, CONAIE is an organization that I really respect. I think they have decades of political organization and work. They were, unfortunately after 2003 specifically, infiltrated and contaminated by different intelligence agencies—Local, neighboring, and foreign intelligence agencies—to try to break it apart because it was becoming a very powerful force, and they clearly had a left wing agenda. During the left wing progressive government of Correa, there was a lot of tension with CONAIE, but during my candidacy, we were able to find common ground, and to admit some of the historical mistakes that progressive forces had made, which allowed these foreign interests to penetrate such a valuable movement. Now, I didn’t have the endorsement of the entire CONAIE. I had the endorsement of the President of the CONAIE at the time, and let’s just say good relations with the rest. But specifically with the Amazonian indigenous peoples of Ecuador, which is the Confeniae. This year, we had protests in 2022 over several issues, among them, importantly, the price of gasoline and fuel. Of course, there was a packet or package of agreements that the government reached with CONAIE, but the government has, of course, continued their neoliberal agenda, because that’s what a private banker is there to do. There will probably be more protests. Now with the government, Lasso’s rampant banking corruption will probably come out in 2023, and we’ll see a change there. So that’s what’s happening in Ecuador. In Ecuador, what has always been my proposal is we need to build what’s called the historical block, which is reiterating the same forces that supported the new constitution of Ecuador in 2008. That sort of waned over time. We need to rebuild that and have that be strong again. So that involves an agreement, a political, social, and economic agreement with the indigenous movement and the Citizens’ Revolution which is the political space that I belong to. Now, the Unasur that is now in zombie status, but will not be for long because in the next few days, we’ll see Unasur have a rebirth, especially with Lula’s leadership. One of the reasons that I think Unasur failed—and I want to emphasize this is my perspective—was because it did not have a material or tangible effect on people’s lives. It remained as a general idea that was mostly around political circles. It was not a culturally ingrained concept. I see that Unasur cannot just be an integration of politicians or of states, it needs to be an integration of the peoples. And I use that term on purpose. The peoples of South America need to perceive that this thing is actually something that is useful to them. I think the way of doing that is, first, having the Sur allow all these transfers like I mentioned, in real time, denominated in the unit of account, which will be a thing that would materially impact trade in the region. You will get businesses, small, medium, and so on, to support this. You would also have an education pillar that would allow for students to have an exchange program; a year long exchange program in any of the countries in the region, both high school students and university students. That would also make it very concrete. The third thing is the thing that Evo Morales, former President of Bolivia has started, which is called Runasur. Runa, in other indigenous languages, means person or lay man, and it is, of course, a reference to an indigenous integration of the South. I think we have a key opportunity there in terms of the urgent needs for climate change, biodiversity, and above all, the respect of indigenous peoples. So I think that also will be a key pillar in strengthening the integration of the peoples. Hopefully, that can also become an integration of social movements. Why not, instead of having 12 different workers unions, for example, in a specific economic sector, just have a regional workers union with 12 chapters, or with local chapters. Just like a big organization, because transnational companies all work in that way; they operate in different countries, but they all respond to the logic of the headquarters. This is what we should do in terms of workers unions, women’s movements, students movements, indigenous peoples, and in general, the organizations that respond to the majority of people and our capital. So hopefully, not Unasur per se, because it’s more institutional space, but Runasur, which is the space of lay people, can also have a political union going forward. That’s why it’s important for the indigenous peoples of Ecuador to support that initiative, as well.

Scott Ferguson:  Are there critics of these complementary currency systems, either on the right or left or center? And if there are, what do you say in response to them?

Andrés Arauz:  Yeah, of course there are critics. People that think and believe that we should always just comply with the dollar hegemony and base all of our economy on the needs of US interests, and who are happy to have their double residence in Miami and another Latin American country. Unfortunately, this sounds caricature-esque, but this is what it is. Bolsonaro was a supposed nationalist and supposed Brazilian Jersey fan. Even before leaving the presidency, he went to live in Orlando, Florida and put on the Mickey Mouse hat. I don’t know if you saw it, but he also wore the US Soccer Jersey.

Scott Ferguson:  Oh yeah, we saw.

Andrés Arauz:  I mean for Latin Americans who are football fans, and we just had Argentina win the World Cup, it’s really symbolic. It’s pretty bad. That shows how these fascist nationalisms in Latin America say that Latin American Integration is bad, but somehow wearing the US Soccer jersey is good. It makes no sense whatsoever, but this is how they think. This is what’s in their mind. And that’s also where their wallets are, and what their bank accounts are, and where the property is. Lasso has 140 properties in Broward County and Miami Dade County, in Florida, so this is who they are. The elites, unfortunately, are more Miami-based than Latin American-based, and we will have to face that struggle, show these contrasts, and make that transformation happen.

Scott Ferguson:  Yeah, it’s a big middle finger. What about the center left and left? Because I think we’ve come up against many critics and oppositional forces, whether it’s in the British Labour movement, British Labour economists, or left wing media folks and activist in the United States who are not thinking with Post-Keynesian theories of endogenous money, are really thinking in these old fashioned, even classical hydraulic models of finite money redistribution. Do you come up against those kinds of criticisms from center left and left interlocutors?

Andrés Arauz:  Yeah, unfortunately, there is not enough education as to how money works. You have covered this extensively in the past, and yeah, we all have to face not just a radical idea, but then we have to also deconstruct the previous theoretical assumptions that even our peers or comrades are having in their day to day. A logic of understanding policymaking, or economics, or money to sort of rebuild from scratch and say, “Okay, now forget everything you know about this and let’s start all over.” Yeah, there’s that. Fortunately, I think, the pandemic and then before that the financial crisis, were lessons in what is scarcity? What is scarce money? What is money, where does it come from, and so on. Now, it’s very easy to point to that. All you have to do is show a graph or even show examples. It’s much easier than before. You know what else, actually? The crypto space, even though it doesn’t understand or doesn’t want to understand endogenous money, has at least opened the minds of people in terms of the discussion about money. So what they have done is popularize the issue of money to the point where now people are just more open minded, in general. And that’s also important, and it has also been key in opening the doors for these heterodox approaches, endogenous money, MMT, Post-Keynesianism, and so on. I think, also in academic circles, you’ve had key people and gatekeepers admit to the fact that that is how money works. The famous Bank of England paper, and so on, and we’re getting there. I still think we still have a lot of work to do in terms of how the formal education system talks about money and textbooks and stuff. If you go to a classic Econ 102, an introductory course in university, you still get brainwashed with other kinds of things. We still have to do a lot in terms of the curriculum and universities, especially in developing countries, which need to know this more. But I think we’ve definitely gone forward a lot, including with center and center left people in the region. That, by the way, the Post-Keynesians are pretty strong in Brazil, and that’s also a big one.

Billy Saas:  Awesome, I think one other area of concern for some people who might be interested in the Sur but worried is: what happens when the political tides change again? Hopefully they don’t ever, right? But say the Sur is built, implemented, and the gains of the left are lost over the next several years. Could the Sur not be weaponized against the countries in the region? What do you say to those folks who might have that kind of concern?

Andrés Arauz:  So my approach to policy making is, of course, planning. When I want to make these major transformations, such as when I was in the central bank or in other spaces, like the developing ministry, planning is central. Improvisation is bad. You need to plan. You need to make a short, medium, long term plan. You need to have the risks involved in there as well as plan for the risks, as well. And then something that most technocrats forget is, what those of us that have a bit of Marxist influence, is the correlation of forces. So how is the political economy? What’s the political economy for this? It’s thinking about sustainability in terms of political economy. Is this going to be reversible or not? Right? So that’s when we start having some implementation issues with some peers and colleagues on the left, because we just assume that we’re going to have power, and we’ll keep power forever, or for a very long time, and then people just get used to this somehow or another. That’s not how it works. We need to make sure that the political economy of this is sustainable over time so that the forces, the political and economic forces, sustain it over time. Like the example that I gave you with the credit unions, I can’t imagine Lasso, the banker, President of Ecuador, even after coming to the central bank, trying to turn off the switch, which disconnects 600 credit unions from the payment system. He will get sort of a massive push back and strikes, and it won’t happen, right? So we need to achieve that point of irreversibility in terms of the political economy, but also in terms of the usage of the system. So if three or four people use the system, whatever, they’ll disconnect it, and that’s it. But if you get many people using it, this is why I think it should be part of the regional payment system and get businesses, small and medium enterprises specifically, using the Sur payment system. We need to have a dynamic sector. We need to have even capitalist forces support the system saying: this is much cheaper than using the dollar-based SWIFT system. And have that incentive in place, as well. We need to sort of create incumbents that will defend the system, even when the left wing politicians are out of the game. That’s the kind of process building that we need to achieve, both in terms of the Sur and the Unasur. That’s why the economic pillar has to be in place, as well, and not just the other pillars of integration that happened in the past, such as the military union, or the health union, or the democracy union, or whatever. All of those can be stripped away as soon as the politicians are gone. When you have the fabric of society, an economic and productive fabric, that needs the regional system, then it’ll keep moving forward and it’ll become the incumbent. It will become a long lasting, sustainable project.

Scott Ferguson:  In December, you published a significant report for the Center for Economic and Policy Research (CEPR) titled “Putting Climate At The Core of IMF Governance.” To close out our conversation, would you mind giving our listeners a sense for what you are arguing for in that project?  Well, first, I’m really thankful to CEPR for opening the doors to my contributions, to my thoughts, to whatever I can do to coincide in terms of our priorities in an economic and policy arena. I’ve been studying the IMF for over a decade now. I’ve seen the IMF face to face, and I’m strongly versed with some of its policymaking, which strongly coincided with some of their issues like SDRs. I think SDRs are a very important instrument that, even though they’re not perfect, we should continue to push for them.

Billy Saas:  Special Drawing Rights, could you say just a little bit about the Special Drawing Rights?

Andrés Arauz:  SDRs, or Special Drawing Rights, are international money, international currency, that is created out of thin air. It’s endogenous money. And it’s political money: it was created as an international treaty to replace gold and the US Dollar as a reserve asset in the 60s. So it’s the thing that mostly resembles an international currency even though in the SDR basket, the US dollar has a large weight, like 40%, or something like that. It’s okay because it will have to recognize the realities of world power players. And hopefully one day, the Sur will be part of the SDR basket. That’s actually something that I am proposing should be one of the long term objectives of the Sur. We’ve been working with CEPR on promoting SDR use. Also with other organizations such as Latindadd, the Latin American Network of Economic Justice. Other organizations around the world like Oxfam, Arab Watch, and so on. Really, a large coalition has been built in civil society, and people who think and propose economic policy issues use SDRs beyond the narrow monetary reserve asset quality of them. I wrote a handbook for Latindadd saying, look: SDRs can actually become an instrument of fiscal policy. Then, that opens the door for central bank-Ministry of Finance coordination even though it’s taboo that many want to hide and not speak about until after the pandemic. Anyway, I really like SDRs, and I want to keep exploring and writing and mainstreaming them. But this other thing, this paper on putting climate at the core of IMF governance comes about because I started to read a lot of greenwashing from the IMF, especially in the RST, the Resilience and Sustainability Trust. They put out a climate strategy, and so on and so forth. Most of it is, unfortunately, sort of greenwashing: just basically saying that they’re going to work on climate issues, but not really incorporating that into the main logic of the functioning of the monetary system like they could. For example, they don’t mention the fact of the Petrodollar, the exorbitant privilege of the dollar issuer that can acquire extrasomatic energy needs from Petrostates just by printing their own money versus the rest of the world, and how that relates to historic CO2 emissions on behalf of the United States. So there are many issues that are systemic in terms of the relationship between climate and money that the IMF is not even touching with a stick. I thought that it would be interesting to say:  well, if you’re serious about climate change, if you’re serious about having systemic structural change with regards to the climate, let’s talk about how IMF governance has an incidence in that. I don’t know if you’ve seen this, but the Bridgetown agenda, which is basically being promoted by Prime Minister Mia Mottley of Barbados. She’s saying we need more SDRs so we can invest those SDRs in climate because if we just wait for the rich countries to give us money, that’ll never happen. Poor countries don’t have money on their own to do this, because you need hard currency. The next best thing to hard currency are SDRs, and they can be created out of thin air. Hey! We have the money to invest in fighting climate change. Let’s do it. And of course, then the rich countries are saying: hahaha, no, maybe later, let’s think about it…And they pretend not to hear. That all could happen if the IMF governance system could change a little bit. Right now, at the IMF, there is only one country that has veto power over the decision to create more SDRs, and that country is the United States. You can have veto power with 15% of the vote, and the United States has 17%. So you need to change that. You need to have more weight for developing countries, and especially for the countries that are vulnerable to climate change because they are the ones most desperate to actually make things change and make things happen. So in this paper, with my co-authors, we propose changing the formula of how the IMF voting share is distributed. How the votes are allocated within the IMF, among the different countries. All we do is very simple. There’s a formula with five variables: GDP, reserves, openness, amount of trade, and so on. And they have a weird variable called variability of capital flows. I have these five variables, and sure the biggest countries get the biggest voting share, but we just add one more variable, which is historic CO2 emissions. We say keep the same variables and divide the openness variable by the cumulative, historic CO2 emissions of that country so that we can include their degree of responsibility to climate change as part of the IMF form. We use non-ambiguous, objective metrics published by the Potsdam Institute for Climate to measure the country’s contribution to climate change via cumulative CO2 emissions. Of course, as you would expect, the United States voting share at the IMF falls from 17% to somewhere like 6%. China’s also falls significantly to somewhere like 6%. Rich countries, in general, all fall significantly, and developing countries, in general, increase their voting share significantly, especially small island developing states. So those that risk being destroyed, those at risk of disappearing from rising sea levels, are actually the ones that increase the most, from around 2% to around 20% of IMF voting share. That would have a significant impact on the entire monetary system, the practices of IMF lending, the logic of power within the institution, and they would actually have a transformational impact on how the world, how the planet, deals with climate change. The IMF is a powerful institution with a trillion dollars of lending power. That’s not counting how much money it can create via the SDRs, and it’s not counting the influence that it has over financial markets, and not counting the influence that it has over local policymakers in terms of the ideas of money, the ideas of policymaking, the ideas of fiscal management, monetary policy, and so on. I think if we start from the core, then we can have far reaching effects. Of course, I’m not naive to think “oh, wow, how could we not think of this and have the US accept this change overnight?” That’s not gonna happen. But at least we’re putting the discussion forward so that we can understand the true magnitude of this reality.

Billy Saas:  We will, of course, link to that on CEPR and your other work there. Andrés Arauz, it has been an absolute pleasure talking with you. Thank you so much for joining us on Money On The Left.

Andrés Arauz:  Thank you all! I hope we get another chance to share some more stories about CDBCs and what’s happening in that space, as well. I’m quite involved in that area, as well. I’m advising a tech company called Nym on that issue. I would also like to talk about creating unions, financial inclusion in the solidarity sector and the role that money plays there. So yeah, in general, I’d love to share this on another occasion with you and it’s been a pleasure talking to you all.

Spanish Transcript

The following was translated by Sisa Pacarina Tixicuro Duque and has been lightly edited for clarity.

Billy Saas:  Andrés Arauz, bienvenido a “Money On The Left”.

Andrés Arauz:  Muchas gracias por recibirme. Me complace estar aquí. Vengo siguiendo su trabajo desde hace unos meses y años, y me alegra estar aquí.

Billy Saas:  Oh, qué emocionante saberlo! Estamos encantados de tenerte aquí con nosotros, y más ahora, que estamos viviendo un momento histórico en Latinoamérica, puesto que seis (hace muy poco, siete) de los países más poblados, incluida por primera vez Colombia, están siendo gobernados por líderes con ideas políticas progresistas de izquierda. ¿Cómo calificarías este momento y su importancia de cara al futuro de la región?

Andrés Arauz:  Bueno, este es un momento muy emocionante para los progresistas, sobre todo para la gente en Latinoamérica que ya vivió la primera Marea Rosa, la primera corriente progresista en la región. Desde luego, ahora hay un poco más de madurez en el entorno progresista, en general, y pienso que hemos aprendido un par de lecciones. Una de las más importantes que hemos aprendido es la importancia de la integración regional. ¿Verdad? Así pues, sabemos que un país por sí solo no cambiará el mundo. Un país por sí solo no cambiará la dinámica fundamental del sistema mundial, ni saldrá, de manera sostenible, de la pobreza, ni tampoco transformará su economía, su base industrial, etcétera. Ya sabemos que eso sólo puede lograrse con un plan regional o de integración. Y creo que definitivamente eso se ha incorporado a la agenda de la izquierda. Por eso este es un momento crítico en la historia, pues ahora vemos que el Presidente Lula, que acaba de llegar al poder hace sólo 10 días en Brasil, ya se ha enfrentado al primer intento golpista. Él ha declarado que la integración regional, concretamente con los países sudamericanos, es una de sus prioridades clave en su política exterior. Así que esto es emocionante para nosotros, con el liderazgo de Lula, desde luego, la situación en la región cambia por completo. Observamos que fuerzas extrarregionales como Estados Unidos también han tomado nota de este giro hacia la izquierda, y eso tiene repercusiones para toda la región. Esperemos superar todos estos intentos golpistas y amenazas violentas contra las fuerzas progresistas. Y esto puede ser no solamente una reacción, una resistencia frente a las fuerzas del Imperio, las fuerzas del Neocolonialismo que amenazan la política progresista en toda la región, sino que realmente seamos capaces de construir algo. Y pienso que lo monetario, la cuestión financiera, es sin duda algo que podemos conseguir en un corto período de tiempo. Dada las dinámicas electorales en la región, quisiera insistir en que para Latinoamérica y los políticos progresistas y quienes dirigen los países, no contamos con un lapso de tiempo infinito. Disponemos de una brecha de oportunidades muy limitada, que es justamente este año, 2023. Si traspasamos ese plazo, probablemente será mucho más difícil, debido a las coyunturas políticas internas, las fuerzas de correlación, etcétera. Así que considero que este año es el año del trabajo duro, y de poner las piezas en orden y echarlas a andar.

Scott Ferguson:  Entonces, ¿cómo interpretarías la situación de Ecuador en este momento histórico en particular? Y yo me pregunto, según tu experiencia, aprovechando esta peculiar apertura histórica, ¿cómo has conseguido hablar sobre dinero y finanzas públicas desde un punto de vista heterodoxo y comunicarlo a las personas comunes y corrientes?

Andrés Arauz:  De acuerdo, empecemos con el papel de Ecuador en todo esto. Ecuador, por desgracia, ahora mismo está dirigido por la antítesis del dinero progresista con la política, es decir, un banquero. Un banquero multimillonario neoliberal, que se ha alineado completamente con el FMI en su asesoramiento y formulación de políticas convencionales, y de la vieja escuela, y demostrado eficazmente que son falsas e incorrectas, y está llevando al país a una gran crisis económica. Ecuador es probablemente el país que menos se ha recuperado tras la pandemia. En general, realmente no ha crecido a causa de una política monetaria y fiscal muy restrictiva. Él está promoviendo la fuga de capitales como parte de la política del gobierno. Ayer mismo, o no sé cuándo saldrá al aire, pero muy, muy recientemente, acaba de anunciar que eliminará el impuesto a la salida de divisas que tenemos en Ecuador. Existe desde hace tiempo. Así que eso promoverá la salida de capitales. Pero la cosa es que en realidad su principal línea de negocio como banquero es poseer un banco offshore con sede en un centro offshore en Panamá, en el que aproximadamente entre el 80 y el 85% de todos los depósitos proceden de ecuatorianos ricos. Así que es realmente muy complicado para cualquier país. Pero para mi país, es realmente doloroso, ¿sabes? Cuando tienes un presidente cuya principal línea de negocio es promover la fuga de capitales a su banco offshore con sede en Panamá. Por supuesto, toda la política se cambia para adaptarse a su línea de negocio. Y es bastante absurdo, pero también un poco repugnante, porque no ha abandonado el banco, no ha puesto sus acciones en un fideicomiso ciego o lo que sea. No, él ha sido explícito acerca de mantener su propiedad, y eso es muy lamentable. Además, porque si uno se aleja un poco y amplia la visión, verá que este es el tipo de personaje que se opondría a un rol proactivo como lo ha sido siempre la política exterior ecuatoriana, salvo este gobierno, para ser parte de una fuerza regional. Formar parte de un bloque regional. Así que lo más probable es que se oponga a todas estas iniciativas, y es muy lamentable porque hasta hace muy poco, Ecuador era la capital de UNASUR: era la sede de la Unión Sudamericana. El ex Presidente Moreno, que traicionó su programa, y ahora Lasso, han renunciado, a que Ecuador fuera la Capital de Sudamérica, la ciudad de Quito. Por fortuna, en cambio, la población ecuatoriana es notablemente progresista. Así, en las últimas elecciones, a las que me postulé, la población ecuatoriana votó alrededor de un 70% a parlamentarios progresistas. El resultado presidencial no fue exactamente el mismo: perdí por poco. No obstante, el parlamento es mayoritariamente progresista con socialdemócratas, con progresistas de lo que llamamos el movimiento indígena de fuerzas plurinacionales. Representan más de dos tercios del parlamento. Y la población, en general, también es bastante progresista. Por tanto, esto significa que, más temprano que tarde, la población de Ecuador dará un paso al frente, empezará a ejercer sus derechos democráticos y probablemente se produzca un relevo en la administración. Es muy poco probable que el actual presidente sea reelegido. Y tendremos un gobierno progresista que se alineará con el proyecto de integración regional. También me preguntaste sobre cómo abordar la política financiera y económica heterodoxa dentro de este contexto, y tengo varios, digamos sombreros que me pongo todo el tiempo. En el contexto de mi propio país, soy principalmente un actor político. Tras las elecciones de hace dos años, se me considera un actor político, lo que me da la oportunidad de aparecer bastante en los medios de comunicación. Supone para mis redes sociales la oportunidad de contar con muchos seguidores, y ahí es importante procurar transmitir el mensaje adecuadamente. He intentado compartir mis conocimientos en un lenguaje sencillo y con un vocabulario bastante fácil, pero principalmente mostrando contrastes. Pienso que ha sido una forma muy eficaz de comunicarse con la gente, con amplios segmentos de la población, contrastando las recomendaciones políticas o las políticas monetarias ortodoxas, la política monetaria o la política económica en general, frente a lo que se puede conseguir con un planteamiento heterodoxo. Ese es el sombrero que uso dentro de Ecuador, pero fuera del país, tengo, quizás, más reluciente el sombrero académico. Empleo mis conocimientos para comunicarme con los especialistas y los medios de comunicación especializados, con aquellos que, tal vez, hacen un seguimiento general de las instituciones financieras internacionales, y trato de utilizar ese tipo de lenguaje para reafirmar e insistir en mi acreditación académica, lo cual creo que también es importante en términos de construcción de legitimidad. Más o menos eso es lo que hago. Trabajo en varios espacios, pero siempre en torno a cuestiones relacionadas con las finanzas y la tecnología. Me siento bastante feliz en ese espacio y trato de cambiar el mundo con mis conocimientos, mi capacidad intelectual, con las redes que puedo tratar de establecer. Espero que también podamos aprovechar eso para seguir desarrollando y transformando mi propio país.

Billy Saas: A la hora de realizar esta labor de comunicación, ¿hay otros intelectuales que modelen el tipo de comunicación al que aspiras? Y dentro del amplio espectro de la economía heterodoxa, ¿hay alguna escuela o perspectiva a la que recurras más a menudo?

Andrés Arauz: No he tenido en mente a ninguna persona en concreto como referente de comunicación. He estado en contacto con muchos líderes y pensadores económicos. No puedo negar el increíble e importante modelo que ha sido, por ejemplo, Rafael Correa en cuanto a comunicación de política económica. Él solía emitir un programa de radio semanal en el que explicaba la política económica y la política gubernamental a toda la población. Fue un programa que duraba entre dos y cuatro horas cada sábado. Y luego, por supuesto, explicar los temas de forma sencilla y comunicárselos a la gente utilizando diapositivas de PowerPoint y demás también fue, creo, algo que no sólo me afectó a mí, sino que fue un estilo de comunicación con el que todos en mi país llegaron a familiarizarse. En términos de pensamiento económico, sin embargo, reconozco definitivamente la influencia de muchos economistas latinoamericanos que han existido desde Raúl Prebisch; estructuralistas y pensadores de la teoría de dependencia. Más recientemente, la influencia de los post-keynesianos ha sido muy significativa en mi pensamiento y práctica económica. Diría que me adscribo al post-keynesianismo más extenso, y dentro de esa amplia escuela hay muchos grupos más pequeños, y a mí me gusta recopilar elementos de todos ellos. Realmente me han llegado a gustar algunos de los principales elementos recopilados por los separatistas, la escuela separatista francesa junto con algunos italianos también. Mi trabajo doctoral abarca muchos de sus trabajos. Concretamente, Augusto Graziani porque me especialicé en sistemas de pagos, y en la dinámica del dinero, y el papel de los bancos, etcétera. Y también me gusta tener eso en cuenta. Pero además, y esto es quizás algo que está más relacionado con el contexto latinoamericano, está lo que yo llamo la escuela de la Economía Solidaria. La Economía Solidaria es muy importante en nuestra región porque nosotros llegamos tarde al proceso de industrialización. Llegamos tarde al capitalismo mismo. Hemos estado bajo economías básicamente feudales hasta bien entrado el siglo pasado, el siglo XX. La Economía Solidaria es importante porque es una forma de incluir a los que fueron excluidos por el sistema capitalista. Si analizas mi país, o mis vecinos, entre el 70 y el 80% de la población en edad de trabajar no es trabajadora formal. No están bajo una relación capital-trabajo. Son básicamente sobrevivientes en un sistema en el que tienen que encontrar la manera de sobrevivir cada día. Eso no encaja en ninguna teoría económica definida, así que la Economía Solidaria trata de explicar: vale, ¿qué podemos hacer las personas que hemos sido excluidas del sistema? Salvémonos los unos a los otros. Cooperemos. Construyamos una comunidad. Construyamos un sistema económico cooperativo en el que podamos reconocer que estamos parcialmente excluidos del capital y del capitalismo, pero tenemos que dialogar con el capital y el capitalismo. Estamos parcialmente excluidos del Estado, pero también tenemos que interactuar con el Estado. Estamos divorciados de nuestras propias realidades porque tenemos que sorbrevivir. Además, tenemos que trabajar juntos. Tenemos que convertirnos en cooperativas, tenemos que juntarnos en asociaciones. Incluso sin ser un sindicato, o una Unión de Trabajadores, tenemos que unirnos para poder negociar en mejores términos con las fuerzas que nos gobiernan. Considero que la Economía Solidaria tiene una influencia muy importante y marcada en mi forma de concebir el desarrollo. Sí, probablemente hay muchos más que me estoy saltando ahora mismo, pero desde luego algunos de los que he mencionado.

Scott Ferguson:  En 2021, cuando te presentaste a las elecciones presidenciales de Ecuador y estuviste a punto de ganarlas, la prensa destacó que hubieras sido el presidente más joven de la historia del país. No obstante, para nosotros resulta tanto o más extraordinario que hayas ocupado el cargo de Director del Banco Central de Ecuador con tan solo 24 años de edad. ¿A qué se debe esta situación? En primer lugar, ¿qué te llevó a dedicarte a la política monetaria?

Andrés Arauz: Sin duda debería mencionar a mi director de tesis de maestría, Pedro Páez Pérez. Él fue muy importante en mis primeras etapas de desarrollo profesional. De hecho, obtuve mi licenciatura en Ciencias en la Universidad de Michigan Ann Arbor, en matemáticas y economía, y después volví a Ecuador y empecé a cursar una maestría en ese país. Por lo general, el orden suele ser el inverso: la gente obtiene un título a nivel local y luego hace una maestría en el extranjero. En mi caso, lo hice al revés. En realidad, fue muy, muy útil porque cuando ingresé en la FLACSO, una universidad latinoamericana que tiene sedes en distintas partes de la región, en mi caso Ecuador, creo que todos mis profesores iban a convertirse en ministros de finanzas, planificación, desarrollo, banco central, etcétera. Mi director de tesis, Pedro Páez, había sido investigador del Banco Central, de modo que cuando se convirtió en Ministro de Políticas Económicas, yo pasé a ser su asesor.  De hecho, tenía 22 años cuando fui asesor del Ministro de Políticas Económicas. Yo estaba a cargo de lo que llamábamos la nueva arquitectura financiera, que básicamente proponía una transformación del sistema financiero nacional, pero también trabajábamos en la transformación del sistema financiero sudamericano y sus instituciones. Trabajé con él en muchos de esos temas, y llegué a conocer el Banco Central desde fuera. Fui asesor del ministerio, pero casi todo mi trabajo tenía que ver con el Banco Central. De modo que pude criticarlo constantemente y presionarles para que hicieran cambios, etcétera. Cabe mencionar que, antes de todo esto, yo había trabajado ya en el Banco Central. Trabajaba como experto en estadísticas de balanza de pagos, y mi trabajo me permitía ver las transacciones individuales de dinero que entraban y salían del país. Pude ver nombres de personas, nombres de empresas, y ese conocimiento siempre ha sido valioso para mí porque cuando un economista va y encuentra las estadísticas, ve un montón de números, ve un montón de agregados, intenta construir una historia en términos generales, en conceptos generales. Pues bien, cuando yo veo estadísticas, y estos números, no veo historias generales ni conceptos generales. Veo personas. Veo empresas. Conozco su comportamiento. Conozco sus patrones. Conozco exactamente de quién estamos hablando gracias a la experiencia que tuve hace más de 15 años. Así que eso es definitivamente una ventaja cuando se construye la política, cuando se sabe lo que compone las estadísticas, y en qué medida es también sólo palabrería y cuánto es en realidad la construcción de estadísticas rigurosas. Siempre he pensado que las estadísticas, y por tanto la contabilidad, son absolutamente cruciales si realmente quieres hacer un análisis económico riguroso. Por eso a veces me río cuando veo a colegas que presentan modelos econométricos muy bonitos y utilizan números como si fueran una especie de ciencia exacta y pura, mientras que muchas de esas estadísticas son pura invención y tienen grandes deficiencias, o deficiencias muy grandes y significativas. He escrito bastante sobre los problemas de las estadísticas monetarias y de balanza de pagos. En fin, retomando el tema, yo fui asesor del Ministerio de Políticas Económicas, y ahí tuvimos un gran problema porque el Banco Central de Ecuador había sido dirigido, quizás durante dos décadas, por la gente más conservadora y ortodoxa del país, y con claros vínculos hacia los banqueros más poderosos. Así que en 2008, bajo el gobierno de Correa, redactamos una nueva Constitución de Ecuador, que supuso un proceso muy interesante de democratización legislativa. Tuvimos miles y miles de personas que propusieron enmiendas, y cambios, y redacción, etcétera, de la Constitución. Y al final, realmente pienso que la Constitución ecuatoriana es una obra de arte. Es muy progresista, está orientada al futuro, y una de las cosas que hizo la Constitución fue modificar la naturaleza del Banco Central. Dictó que el Banco Central ya no sería independiente. Ya no sería autónomo, que sería responsable democráticamente ante las fuerzas democráticas, y por lo tanto formaría parte del poder ejecutivo. Ahora bien, también somos un país dolarizado, pero con un Banco Central que no es independiente, que estaba dirigido como una rama, en efecto, del gobierno ejecutivo, y el Presidente era un economista doctorado. Bien, así que este fue un momento muy especial en esa época. Y si ese sujeto quería que el Banco Central también cumpliera con los nuevos mandatos constitucionales, que también cambiaron para el Banco Central. Por ejemplo, la inclusión financiera es un objetivo constitucional, no sólo la inflación o lo que sea. Existe una lista de mandatos constitucionales para el Banco Central. Entre el personal del Banco Central no habría nadie que entendiera, y mucho menos que estuviera en consonancia con los nuevos objetivos constitucionales. Así que como yo tenía formación monetaria y estaba especializado en esos temas, y conocía el banco central tanto desde dentro como desde fuera, porque había podido vivir dentro de su marco, pero también criticarlo desde fuera. Llegué a ser director general de la banca, que es básicamente el encargado de las operaciones del Banco Central. Fue un momento muy feliz para mí porque era bastante joven, pero ya se me podía considerar, quizás, un experto en asuntos de la banca central. Además, conocía el funcionamiento del sistema de pagos, las áreas de gestión de reservas, los sistemas de pagos internacionales y las instituciones financieras. Poseía excelentes conocimientos de contabilidad, algo fundamental para dirigir un banco central. Además, tenía la orientación política correcta respecto a cuáles eran las transformaciones clave que tenía que lograr dentro del Banco Central para, en lugar de destruir la institución, potenciarla para que cumpliera estas nuevas funciones constitucionales. Así que desempeñé un papel clave en la transformación del Banco Central para convertirlo en lo que sigue siendo hoy, aunque ahora tengamos, de nuevo, un gobierno conservador. Pero como introdujimos cambios muy importantes, inclusive en la cultura misma del Banco Central, creo que es difícil que puedan revertir todo eso. Así es como surgió todo esto. Es una historia muy bonita, y por desgracia creo que difícilmente podrá repetirse en cualquier otra parte del mundo, pero hay muchas cosas que, al margen, pueden hacerse para utilizar el inmenso poder que tiene cualquier banco central en cualquier sociedad para democratizar esa sociedad, para democratizar sus economías.

Pausa Musical – “This is Not America” por Residente

Billy Saas: Pasar de ser un crítico de la gestión del Banco Central a alguien que, de hecho, lo dirige, ¿te ha traído sorpresas o lecciones aprendidas en tu nuevo papel dentro del banco? ¿Hubo alguien que ocupara tu lugar como crítico desde fuera? ¿Y cómo fueron esas críticas hacia tu trabajo?

Andrés Arauz:  Pues, sinceramente, no. En aquel momento no hubo fuertes críticas porque, como he dicho, íbamos avanzando muy deprisa.

Billy Saas:  Claro.

Andrés Arauz: La academia en Ecuador estaba dominada por el pensamiento neoliberal de los neoclásicos y no se pensaba realmente en una política monetaria heterodoxa, entre otras cosas. El sistema de pagos era algo que estaba completamente al margen de la discusión, fuera del debate. No había nada de eso. El papel proactivo del Banco Central en la economía había quedado en el olvido durante los últimos 20 o 30 años, y así sucesivamente. De modo que los académicos, incluso los de derecha, no tenían ni idea de lo que estábamos haciendo. Examinaban los balances y no podían entenderlo. Ni siquiera sabían cómo leer los balances, porque durante mucho tiempo habían dejado de lado ese tipo de formación. Así que los primeros años no hubo realmente ninguna crítica, pero no porque no sintieran que algo iba mal, sino porque no sabían qué hacer al respecto. Además, habíamos expulsado de nuestro país al FMI y al Banco Mundial. Expulsamos al Banco Mundial del país. El FMI seguía en el país; ocupaban una gran oficina en el Banco Central y ni siquiera pagaban alquiler. Así que dijimos: “no, si no pagan alquiler, los echamos del edificio”. Y por supuesto, tampoco tenían mucho acceso a lo que ocurría dentro del Banco Central. De modo que no había nada que pudieran hacer o decir durante ese periodo porque estábamos haciendo cambios en las cañerías del sistema. Por ejemplo, estábamos trabajando en la democratización del sistema de pagos mediante algo tan sencillo como la adaptación de los requisitos de telecomunicaciones para conectarse al sistema de pagos, y para poner a disposición de las cooperativas de crédito una versión ligera del software. En Ecuador, teníamos más de 600 cooperativas de crédito que funcionaban, pero no estaban incluidas en el sistema de pagos. Por tanto, no podían ofrecer el mismo tipo de servicios financieros, transaccionales, pagos de salarios públicos, etc., que los grandes bancos. Así que, simplemente democratizando el sistema de pagos, se produjo una revolución en la base de la pirámide, donde las cooperativas de crédito rurales de repente se convirtieron en una fuerza importante en el sistema económico. Estos sujetos formaban parte del sistema de Economía Solidaria, por lo que también integraban otro sistema de valor. No solamente bancos capitalistas, ¿verdad? Sólo democratizando el sistema de pagos -algo que hicimos al margen de la opinión pública o de los medios de comunicación- pudimos introducir cambios importantes. Ahora bien, cuando empezaron a darse cuenta, me refiero básicamente a académicos de derecha, expertos de la oposición, etc., fue cuando iniciamos el lanzamiento de lo que llamamos el sistema de dinero móvil. Ecuador fue el primer Banco Central de moneda digital. Hoy día es una novedad. Pero nosotros hicimos esto hace 10 años, y el proyecto empezó en 2009. O sea que esto fue hace como 15 años, 14 años. Modificamos la normativa para que los ciudadanos, cualquier ciudadano, solo necesitara un número de identificación nacional, su cédula de identidad, como único requisito para abrir una cuenta en el Banco Central. La moneda digital del Banco Central se llamaba por aquel entonces, dinero móvil. Se diseñó de tal manera que, quizás, fue otra muestra de mi forma de concebir la tecnología, las tecnologías apropiadas, en lugar de las tecnologías de vanguardia o lo último en innovación. Hay que hacer que la tecnología se adapte a las necesidades de la gente, no…

Scott Ferguson:  Interrumpa.

Andrés Arauz: Exacto, entonces contábamos con este dinero móvil que funcionaba en los teléfonos más básicos, sin necesidad de tener un smartphone, sin necesidad de tener un plan de datos. Basta con marcar un código corto, y tenías acceso a todo un sistema para realizar transacciones. Y ahí fue cuando la oposición derechista empezó a criticar. Yo ya estaba fuera del Banco Central cuando se lanzó, pero fue entonces cuando empezaron a darse cuenta de algunos de los principales problemas. En parte, porque una de las figuras principales que reclutaron fue un antiguo miembro del Banco Central, que luego pasó a trabajar para la Asociación de Banqueros Privados y ahora trabaja en el FMI. Así que esta persona es quizás el único que pudo educar a la derecha en cuanto a lo que realmente estaba sucediendo. Y ahora está solo unos 10 o 14 años después, escribiendo sobre lo que hicimos en 2009, 2010 y 2011 con una perspectiva crítica. Pienso que les llevó un tiempo entender lo que estaba pasando. La gente, cuando piensa en un país dolarizado, suele decir: ” perdiste tu política monetaria y estás arruinado”, etcétera. Eso no es cierto porque cuando entramos en el Banco Central, y cuando yo era asesor en el Ministerio de Políticas Económicas, dijimos mira, por supuesto que una dolarización ortodoxa elimina todas esas herramientas y posibilidades y políticas y uno simplemente renuncia y dice: “Renuncio a todo y dejo que los mercados dominen”. Pero con una dolarización heterodoxa, estas forzado a ser creativo.Tendrás una ventaja, y es que dispondrás de una moneda estable, lo que en realidad supone un reto para muchos países en desarrollo que intentan aplicar una política económica heterodoxa. Se producen devaluaciones, depreciaciones, la gente pierde la fe en la moneda a causa de los expertos y los mercados que reaccionan rápidamente. Sin embargo, cuando se tiene una economía dolarizada y una moneda estable, se puede ser un poco más creativo sin preocuparse por estos ataques especulativos, porque no hay nada que atacar. Entonces se empieza a jugar con cuestiones concretas que dependen de la creación de crédito, del papel de los bancos en la sociedad, del funcionamiento del sistema de pagos, de la velocidad de circulación del dinero y del funcionamiento del mercado de valores. Se puede ser más creativo sin preocuparse de cuestiones tales como ataques especulativos. Por ejemplo, tenemos un país vecino, Colombia. El Presidente Petro también es economista. Está llevando a cabo una política heterodoxa. Pero, naturalmente, los ataques especulativos contra la moneda colombiana están ahí, y tienes un Banco Central ortodoxo que no está ayudando ni contribuyendo en esa misma orientación heterodoxa. Así que es mucho más difícil ser heterodoxo cuando no tienes todas las piezas alineadas.

Scott Ferguson: Entonces, ¿continúas criticando la dolarización, a pesar de tener un enfoque más sutil, creativo, heterodoxo y experimental a la hora de mover y crear instituciones, y desarrollar distintas estructuras en un país dolarizado?

Andrés Arauz:  Por supuesto. Sí, soy crítico. Para empezar, hay que entender que existen muchas dolarizaciones, ¿no? Soy crítico, rotundamente, por ejemplo, de la hegemonía del dólar. Así que esto es geopolítico. Se trata de una cuestión colonial. El sur no tiene por qué usar una cuenta en Nueva York o en Miami para hacer pagos entre Uruguay y Perú. ¿Por qué? Pues por la hegemonía del dólar, y por el hecho de que la hegemonía del dólar contribuye a medidas imperialistas como las sanciones económicas, medidas coercitivas unilaterales que están destruyendo países enteros. Además, si pones la hegemonía del dólar junto con sistemas transaccionales como SWIFT que son un monopolio global, y si les cortas SWIFT, también estás cortando de manera efectiva. Y básicamente se está convirtiendo en un arma. El dinero como arma, y la cañería del sistema utilizada como arma, soy absolutamente crítico con la hegemonía del dólar. Seguiré siéndolo, y trataré de construir alternativas porque no creo que el mundo tenga que someterse a la moneda de un solo país. Pienso que tiene que ser un sistema global, y eso significa ir hacia un sistema monetario económico más democrático, de base multilateral. Tal como lo soñaron hace décadas, hace casi 100 años, pensadores tan importantes como Keynes: tienes el Bancor, un activo monetario global. Desde luego, hay actores clave del poder. No podemos negarlo, pero adoptemos un enfoque más equilibrado. Ahora bien, esa es una cuestión que tiene que ver con la dolarización. Por ejemplo, la dolarización de las transacciones internacionales, del comercio internacional, etcétera. Luego está la cuestión de las economías domésticas y la adopción del dólar como medio de pago doméstico. Como he dicho, una cosa es el dólar como unidad de cuenta. Otra es el dólar como medio de pago físico real que la gente utiliza en la calle. Creo que incluso si se estás dolarizado, como mi país, lo mejor es intentar sustituir el dólar físico utilizado como medio de pago interno por medios de pago electrónicos, y mantener los dólares físicos como reservas internacionales para el actual sistema internacional que exige el uso del dólar estadounidense. De este modo se liberan dólares que se utilizan para pagos internos y que realmente no son necesarios para importar equipos, tecnología y recursos de los que no se dispone en el propio país. Así que creo que hay matices en todo esto. Y aunque soy un crítico de la hegemonía del dólar, creo que tenemos que reconocer que hasta que eso cambie, el dólar juega un papel clave en América Latina, y básicamente en el 99% de las transacciones internacionales de la región. En la región, muchos precios internos están vinculados de facto al dólar, por ejemplo los de la propiedad inmobiliaria, los automóviles y, por supuesto, la tecnología importada, y eso se extiende al resto de los precios de las economías. Así que el dólar está ahí. Ahora, ¿cómo optimizar eso? ¿Cómo ganar grados de libertad? De lo que se trata es de conseguir cierto espacio político, es decir, un poco de soberanía en ese contexto. Y eso es independiente de si eres un país dolarizado, o simplemente una economía de mercado normal con una moneda nacional. Pero se tiene que cumplir las reglas de la hegemonía del dólar. Así que creo que hay muchas similitudes en ambos enfoques, y creo que se puede ser crítico, y también un pensador proactivo, y un responsable político, en ese contexto.

Billy Saas: De modo que estás sacando el mejor partido de la situación, trabajando en una economía dolarizada, pero es evidente que, cuando la economía ecuatoriana se dolarizó, no tenían en mente este tipo de ventajas. Has criticado la decisión del presidente Jamil Mahuad, la decisión de la administración ecuatoriana, en 2000 y en 2001, de abandonar el Sucre y adoptar el dólar como moneda del Estado. ¿Podrías explicarnos cuáles fueron, en tu opinión, sus motivos? ¿Por qué fue una mala idea para Ecuador en aquel momento?

Andrés Arauz: Fue una mala idea porque se trataba de una confabulación. Ahora Mahuad acaba de sacar un libro, y hay gente que está investigando mucho. Marco Naranjo también ha dicho que esto fue una conspiración. Él fue el que estuvo planeando la dolarización cinco años antes. Hay informes desclasificados del gobierno de Estados Unidos que dicen que buscaban activamente la dolarización de varias economías en América Latina. No es una coincidencia que Ecuador aceptara una base militar estadounidense en Manta en 1999, y que fuera dolarizado en el año 2000. Sólo hubo cuatro meses entre ambas decisiones y, a menos que se crea en cuentos de hadas, eso es bastante fácil de vincular en términos de economía política internacional. Ahora bien, Mahuad fue un pésimo presidente, sobre todo por lo que le hizo al pueblo de Ecuador. Él fue financiado por banqueros. Colocó banqueros en los ministerios, en el Banco Central y en todas partes. Banqueros privados, que no dejaron sus cargos de banqueros mientras eran burócratas del gobierno a la vez. Por lo tanto, un montón de conflictos de intereses, políticas repugnantes, y así sucesivamente. Él empezó básicamente a rescatar bancos cuando llegó la crisis, lo cual no fue un accidente. Nuevamente, las crisis no son desastres naturales en el sentido de que existe una circunstancia imprevista. Las crisis financieras son de naturaleza antropogénica; son provocadas por el hombre, son diseñadas, por así decirlo. Y existe mucha investigación sobre las crisis financieras, especialmente de Hyman Minsky, y todos sus discípulos, y las personas que lo han estudiado, sabemos cómo surgen las crisis, y cómo se desarrollan, y luego cómo se resuelven finalmente. Así que en lugar de prevenir la crisis, en lugar de resolver la crisis, Mahuad básicamente comenzó a bombear toda esta cantidad de dinero para los banqueros, pero al mismo tiempo, no cerró la cuenta de capital o no puso restricciones de cambio. Así que lo que los banqueros hicieron inmediatamente fue recibir todo este dinero de salvataje en Sucres y, literalmente, pasaron por la puerta giratoria del Banco Central y retornaron los Sucres y compraron dólares. Ahora bien, si de la noche a la mañana se produce este aumento de la demanda de dólares debido a la enorme oferta de Sucres, sin ninguna restricción del tipo de cambio, sin ninguna restricción de la cuenta de capital, por supuesto, se va a producir una devaluación, una depreciación de la moneda local de forma inmediata. Pero no se trata de algo que requiera una mente brillante. Esto es algo muy, muy básico. Y lo hicieron de todos modos para debilitar a propósito la moneda local y justificar la medida de dolarización, que había estado en marcha durante bastante tiempo. Así que ahora, Mahuad 24 años después está tratando de salir y decir: “Oh, mira, yo quería una economía dolarizada. Miren lo que hubiera pasado si el Sucre se seguía devaluando”, etcétera. Pero lo hicieron a propósito. No es que fue un accidente y curó la enfermedad. Es que ellos crearon esta crisis para justificar la medida, por lo que no estaban pensando en los usos creativos de la dolarización. No tenían ni idea del funcionamiento real de la economía dolarizada ni de la lógica de balance que se puede aplicar. Estaban trabajando, básicamente, asumiendo que se renunciaría a la política monetaria, y que sería una dura restricción a la política fiscal, también. Básicamente, dijeron, si tienes dólares, entonces el Banco Central ya no puede conceder préstamos al gobierno. Y entonces, vamos a matar de hambre a la bestia, y así justificaremos nuestro programa de privatización, y así sucesivamente. Fue una agenda neoliberal muy intencionada. La ley de dolarización se escribió fuera de Ecuador. Se redactó en Washington DC, en el FMI, y luego se envió por fax a Ecuador para ser copiada e implementada. Es una historia muy larga, la historia de cómo se implementó la dolarización. Pero ellos no se imaginaron que íbamos a ser lo suficientemente inteligentes como para encontrar vacíos legales y soluciones creativas. Por ejemplo, y voy a mencionar esto rápidamente, a partir de 2009, el Banco Central de Ecuador comenzó a conceder préstamos al gobierno, a pesar de que estamos dolarizados. Esto les dejó completamente atónitos porque era como: “¿No se supone que la dolarización prohíbe al Banco Central crear dinero de la nada?”. ¡No! Aún se pueden crear dólares, ¿verdad? Todavía se pueden crear dólares en el registro contable de un Banco Central. Son sólo dólares contables, ¿verdad? Desde luego, no se pueden imprimir dólares físicos, pero sí se pueden crear dólares en el registro contable y hacer que se muevan en la economía nacional. Por supuesto, eso crea un problema con la balanza de pagos, las reservas internacionales posteriormente, pero entonces tienes que tener una política de balanza de pagos proactiva, como, de hecho, cualquier país en desarrollo debería.

Scott Ferguson: ¿Acaso no ocurre lo mismo con los eurodólares?

Andrés Arauz: Sí, eso es exactamente. La cuestión es que, cuando son bancos privados los que lo hacen, nadie tiene problemas con que creen dólares en sus bancos, y en los libros de contabilidad. Así es como funcionan los sistemas bancarios de dólares offshore, en general. Yo uso el término “xenodólares” para ser más etimológicamente correcto. Pero sí, así es exactamente como funciona. Lo que no les gustó es que ahora una institución estatal, que era el Banco Central, estuviera haciendo exactamente lo mismo, quizás con más cuidado, con más supervisión, con parámetros claramente definidos bajo un sistema democráticamente responsable que lo que estaban haciendo los bancos privados, que era crear dólares ecuatorianos al hacer préstamos. Eso es algo que sin duda no tenían en mente en el año 2000. Cuando se dolarizó la economía, se produjo una crisis enorme en materia de precios. Durante el año siguiente, los precios relativos se alteraron mucho. De la noche a la mañana muchas actividades económicas dejaron de ser competitivas, y Ecuador podría haber colapsado, incluso como país, salvo por una cosa, y es que la crisis de finales de los 90 y la dolarización crearon una migración masiva de millones de ecuatorianos. Perdimos casi el 15% de la población que se fue a vivir a Estados Unidos, a España y a Italia, y luego empezó a enviar remesas a casa. De modo que fue esta moneda fuerte que venía del extranjero la que básicamente salvó al país de la catástrofe.

Scott Ferguson: Has sido un firme defensor del desarrollo de una moneda regional en Sudamérica llamada S-U-R, el “Sur”. Esta moneda sustituiría al dólar en la cooperación y el comercio internacionales. ¿Podría compartir con nuestros oyentes un poco sobre la moneda “Sur” y lo que su adopción significaría para países miembros como Ecuador?

Andrés Arauz:  Entonces, “Sur” es en efecto una iniciativa del presidente Lula, del ex presidente y ahora ministro de Finanzas, Fernando Haddad, y de su equipo. El “Sur” no es una moneda como el euro que quiera sustituir a las monedas nacionales. Eso es algo en lo que tengo que insistir desde el principio: no es una moneda que pretenda sustituir a las monedas nacionales. Es una moneda complementaria. Es una moneda complementaria regional que quiere contribuir a la dinámica del comercio intrarregional. Bien. En este momento, un país como Argentina, para comprar productos de primera necesidad o equipos a Brasil, tiene que tener dólares en sus reservas, y luego tiene que transferir esos dólares a un banco brasileño para obtener el equipo, la máquina, o lo que sea, desde Brasil. ¿Por qué? ¿Por qué? Entonces, claro, la lógica de eso es que los dólares no están en maletas o en cualquier lugar. Los dólares son simplemente cuentas en bancos de EE.UU. en el extranjero. Esta dinámica está creando una fuga de capitales institucionalizada porque tienes que tener un fondo de liquidez, un montón de dinero básicamente depositado en el extranjero, que no puedes utilizar para tus propias necesidades vinculadas al desarrollo. Por tanto, al crear el “Sur”, básicamente estamos estableciendo un sistema de pagos con una unidad de cuenta regional, el “Sur”. Aún tenemos que hablar de cómo vamos a valorarla, pero lo más probable es que esté vinculada al DEG, el Derecho Especial de Giro. De este modo, el “Sur” evitará tener que utilizar dólares estadounidenses para las transferencias internacionales, es decir, las transferencias internacionales intrarregionales. Podremos utilizar esta moneda para nuestros fines. Repito, no se parece al euro en el sentido de que sustituye a la moneda nacional. Más bien se parece, aunque no me guste tanto utilizar este ejemplo, a la Unidad Monetaria Europea, el UME, que fue un antecesor del euro. Se trata de una moneda compuesta por una cesta de divisas cuya idea es evitar el uso de una moneda regional adicional para el comercio interregional. Sin duda, pienso que esto creará cierta flexibilidad y espacio político para que los países puedan liberar parte de sus reservas y utilizarlas para tecnología y equipos que no están disponibles en la región; cosas que quizá necesitemos importar de Estados Unidos, Europa o Asia. A primera vista, no parece tan ambicioso. Lo que yo propongo al grupo de trabajo es que empecemos con algo más ambicioso, que es permitir los pagos en el sistema “Sur” desde cualquier cuenta bancaria de la región -otras veinte cuentas bancarias de la región- y en tiempo real, como está funcionando el sistema brasileño de pagos Pix. Ya disponemos de la tecnología. En realidad, no tenemos que inventar nada. Lo único que tenemos que hacer es conectar los programas informáticos, los indicadores y los parámetros, y podemos ponerlo en marcha de la noche a la mañana. ¿Y por qué es esto tan importante? Porque en Sudamérica, cuando la gente piensa en la integración regional, a veces cree que se trata de un asunto de políticos y cumbres presidenciales, que se reúnen una vez al año, se juntan todas las banderas y se abrazan, etcétera. Pero tenemos que hacer esto más tangible y construir la integración regional de tal manera que realmente forme parte de la vida de la gente. Y la forma de hacerlo es, en mi opinión, creando un sistema de pagos democrático en el que se puedan hacer transferencias dentro de la región, expresadas en “Sur” y en tiempo real. Eso supondrá un gran salto competitivo en comparación con el sistema actual, basado en el dólar y en el sistema SWIFT.

Billy Saas: Eso es muy útil. Centrándonos un poco más en la situación local de Ecuador, en los últimos años se han producido importantes levantamientos indígenas, que de hecho se remontan a la década de 1990. Además, la semana pasada la Confederación de Nacionalidades Indígenas de Ecuador (CONAIE) convocó más protestas después de que uno de sus líderes, el presidente de la CONAIE, fuera detenido y encarcelado. La CONAIE respaldó tu candidatura y la de 2021, e imagino que te gustaría volver a contar con ese respaldo. ¿Podrías contarnos un poco sobre tu perspectiva de la recién creada “Sur”, y de una UNASUR revitalizada, y de qué manera servirán y promoverán los intereses de los pueblos y nacionalidades indígenas de Ecuador? Pensando en términos tangibles, ¿cómo mejorará esta moneda complementaria la vida de los indígenas ecuatorianos?

Andrés Arauz: Primeramente, la CONAIE es una organización que realmente respeto. Pienso que tienen décadas de organización política y de trabajo. Por desgracia, a partir de 2003, concretamente, se vieron infiltrados y contaminados por diferentes agencias de inteligencia -locales, vecinas y extranjeras- para tratar de disolverla porque se estaba convirtiendo en una fuerza muy poderosa, y claramente tenían una agenda de izquierda. Durante el gobierno progresista de izquierda de Correa, existió mucha tensión con la CONAIE, pero durante mi candidatura, pudimos encontrar puntos en común, y reconocer algunos de los errores históricos que habían cometido las fuerzas progresistas, que permitieron que estos intereses extranjeros penetraran en un movimiento tan valioso. Ahora bien, no tuve el respaldo de toda la CONAIE. En aquel momento tenía el respaldo del Presidente de la CONAIE, y digamos que tenía buenas relaciones con el resto. Pero en concreto con los pueblos indígenas amazónicos de Ecuador, que es la CONFENAIE. Este año, tuvimos protestas en 2022 por diversos temas, entre ellos, de manera importante, el precio de la gasolina y el combustible. Por supuesto, hubo un paquete o un paquete de acuerdos que el gobierno concertó con la CONAIE, pero el gobierno, por supuesto, ha continuado con su agenda neoliberal, porque para eso está un banquero privado. Probablemente habrá más protestas. Ahora con el gobierno, la corrupción bancaria rampante de Lasso probablemente saldrá a la luz en 2023, y veremos un cambio allí. Así que eso es lo que está pasando en Ecuador. En el caso de Ecuador, mi propuesta siempre ha sido construir lo que se llama el bloque histórico, es decir, consolidar las mismas fuerzas que apoyaron la nueva Constitución de Ecuador en 2008. Eso fue decayendo con el tiempo. Necesitamos reconstruirlo y que vuelva a ser fuerte. Entonces eso implica un acuerdo, un acuerdo político, social y económico con el movimiento indígena y la Revolución Ciudadana que es el espacio político al que yo pertenezco. Ahora bien, la UNASUR que ahora está en estado zombi, pero que no lo estará por mucho tiempo ya que en los próximos días, veremos a la UNASUR tener un renacimiento, sobre todo con el liderazgo de Lula. En mi opinión, una de las razones por las que la UNASUR fracasó -y quiero subrayar que ésta es mi perspectiva- fue porque no tuvo un efecto material o tangible en la vida de las personas. Se quedó en una idea general que rondaba sobre todo los círculos políticos. No fue un concepto enraizado a nivel cultural. Yo considero que la UNASUR no puede ser sólo una integración de políticos o de Estados, tiene que ser una integración de los pueblos. Y utilizo este término a propósito. Es necesario que los pueblos de América del Sur sientan que esto es realmente algo útil para ellos. Creo que la forma de hacerlo es, en primer lugar, que el SUR permita todas estas transferencias que he mencionado, en tiempo real, denominadas en la unidad de cuenta, lo que tendrá un impacto material en el comercio de la región. Las pequeñas y medianas empresas apoyarán esta iniciativa. Además, habría un pilar educativo que permitiría a los estudiantes participar en un programa de intercambio de un año de duración en cualquiera de los países de la región, tanto para estudiantes de secundaria como universitarios. Eso también sería muy concreto. Lo tercero es la iniciativa de Evo Morales, ex Presidente de Bolivia, denominada “Runasur”. Runa, en Kichwa y otras lenguas indígenas, significa persona, y es, por supuesto, una referencia a una integración indígena del Sur. Pienso que ahí tenemos una oportunidad clave en cuanto a las necesidades urgentes del cambio climático, la biodiversidad y, sobre todo, el respeto a los pueblos indígenas. Así que pienso que eso también será un pilar clave para reforzar la integración de los pueblos. Ojalá pueda convertirse también en una integración de los movimientos sociales. Por qué no, en lugar de tener 12 sindicatos de trabajadores en un sector económico específico, simplemente tener un sindicato de trabajadores regional con 12 secciones, o con secciones locales. Al igual que una gran organización, ya que las empresas transnacionales funcionan todas de esa manera; operan en diferentes países, pero todas responden a la lógica de la sede central. Eso es lo que deberíamos hacer en cuanto a los sindicatos de trabajadores, los movimientos de mujeres, los movimientos estudiantiles, los pueblos indígenas, y en general, las organizaciones que responden a la mayoría de la gente y de nuestro capital. Entonces esperemos que, no necesariamente la UNASUR porque es un espacio más institucional, la “Runasur”, que es el espacio de los pueblos pueda tener también una unión política hacia adelante. Por eso es importante que los pueblos indígenas de Ecuador también apoyen esa iniciativa.

Scott Ferguson: ¿Existen detractores de estos sistemas monetarios complementarios, ya sean de derecha, izquierda o centro? Y si los hay, ¿qué les responderías?

Andrés Arauz: Por supuesto que hay detractores. Gente que piensa y cree que siempre debemos conformarnos con la hegemonía del dólar y basar toda nuestra economía en las necesidades de los intereses de Estados Unidos, y que están felices de tener su doble residencia en Miami y en otro país latinoamericano. Por desgracia, esto suena caricaturesco, pero es así. Bolsonaro era un supuesto nacionalista y presunto hincha de la camiseta brasileña. Incluso antes de dejar la presidencia, se fue a vivir a Orlando, Florida y se puso el sombrero de Mickey Mouse. No sé si lo vieron, pero también se puso la camiseta de fútbol de Estados Unidos.

Scott Ferguson:  oh, sí. Lo ví.

Andrés Arauz: Quiero decir que para los latinoamericanos que son aficionados al fútbol, y acabamos de ver a Argentina ganar la Copa del Mundo, es algo realmente simbólico. Es bastante malo. Eso muestra cómo estos nacionalismos fascistas en América Latina afirman que la integración latinoamericana es negativa, pero de alguna manera llevar la camiseta de fútbol de Estados Unidos es positivo. Carece de todo sentido, pero así es como piensan. Esto es lo que tienen en la cabeza. Y ahí es donde están sus billeteras, y sus cuentas bancarias, y donde están las propiedades. Lasso tiene 140 propiedades en el condado de Broward y Miami Dade, en Florida, por lo que esto es lo que son. Por desgracia, las élites son más de Miami que de América Latina, y tendremos que afrontar esa lucha, mostrar esos contrastes y hacer que se produzca esa transformación.

Scott Ferguson: ¿Y qué pasa con el centro izquierda y la izquierda? Porque pienso que nos hemos topado con muchos críticos y fuerzas de oposición, ya sea en el movimiento obrero británico, economistas obreros británicos, o gente de izquierdas de los medios de comunicación y activistas en Estados Unidos que no piensan con las teorías poskeynesianas del dinero endógeno, piensan realmente en estos modelos hidráulicos anticuados, incluso clásicos, de redistribución finita del dinero. ¿Te enfrentas a ese tipo de críticas por parte de interlocutores de centro izquierda e izquierda?

Andrés Arauz:  Sí, por desgracia, no existe suficiente educación sobre cómo funciona el dinero. Ya has abordado este tema ampliamente en el pasado, y sí, todos tenemos que enfrentarnos no sólo a una idea radical, sino que también tenemos que deconstruir los supuestos teóricos previos que incluso nuestros compañeros o camaradas mantienen en su día a día. Una forma lógica de entender la elaboración de políticas, o la economía, o el dinero para de alguna manera reconstruir desde cero y decir: ” Bien, ahora olvida todo lo que sabes sobre esto y empecemos de nuevo”. Sí, eso existe. Por suerte, creo que la pandemia y antes la crisis financiera, dieron lecciones sobre ¿qué es la escasez? ¿Qué es la escasez de dinero? ¿Qué es el dinero, de dónde viene, y así sucesivamente. Ahora, es muy fácil señalar eso. Basta con mostrar un gráfico o incluso mostrar ejemplos. Resulta mucho más fácil que antes. ¿Y sabes qué más? El criptoespacio, a pesar de que no entiende o no quiere entender el dinero endógeno, al menos ha abierto la mente de la gente en términos de la discusión sobre el dinero. De modo que lo que han hecho es popularizar la cuestión del dinero hasta el punto de que ahora la gente tiene una mentalidad más abierta. Y eso también es importante, y también ha sido clave para abrir las puertas a estos enfoques heterodoxos, el dinero endógeno, la TMM, el poskeynesianismo, etcétera. Pienso que, también en los círculos académicos, gente influyente y expertos han admitido el hecho de que así es como funciona el dinero. Por ejemplo, el famoso documento del Banco de Inglaterra, y así sucesivamente, y estamos llegando a ese punto. Todavía creo que tenemos mucho trabajo por hacer en términos de cómo el sistema de educación formal aborda el tema del dinero y los libros de texto y demás. Si vas a un clásico Econ 102, un curso de introducción en la universidad, todavía te lavan el cerebro con otro tipo de cosas. Aún nos queda mucho por hacer en cuanto a currículos y universidades, sobre todo en los países en desarrollo, que necesitan saber más de esto. Pero pienso que definitivamente hemos avanzado mucho, inclusive con la gente de centro y centro izquierda de la región. Que, por cierto, los poskeynesianos son bastante fuertes en Brasil, y eso también es importante.

Billy Saas:  Impresionante, pienso que otro aspecto que preocupa a algunas personas que podrían estar interesadas en el “Sur” pero preocupadas es: ¿qué ocurrirá cuando las mareas políticas vuelvan a cambiar? Esperemos que no lo hagan nunca, ¿verdad? Pero supongamos que el Sur se construye, se pone en práctica y los logros de la izquierda se pierden en los próximos años. ¿No podría ser la “Sur” un arma contra los países de la región? ¿Qué le dirías a la gente que podría tener ese tipo de preocupación?

Andrés Arauz: Mi forma de abordar la elaboración de políticas es, por supuesto, la planificación. Cuando quiero llevar a cabo estas grandes transformaciones, por ejemplo cuando estaba en el Banco Central o en otros espacios, como el ministerio de desarrollo, la planificación es fundamental. Improvisar es malo. Hay que planificar. Es necesario hacer un plan a corto, medio y largo plazo. Es necesario tener en cuenta los riesgos y planificarlos. Y algo que la mayoría de los tecnócratas olvidan es, para aquellos de nosotros que tenemos un poco de influencia marxista, la correlación de fuerzas. ¿Cómo es la economía política? ¿Cuál es la economía política dentro de esto? Se trata de pensar en la sostenibilidad en términos de economía política. ¿Será esto reversible o no? ¿Verdad? Ahí es cuando empezamos a tener algunos problemas de aplicación con algunos compañeros y colegas de la izquierda, porque simplemente asumimos que vamos a tener el poder, y vamos a mantener el poder para siempre, o durante mucho tiempo, y luego la gente simplemente se acostumbra a esto de una manera u otra. Esto no funciona así. Tenemos que asegurarnos de que la economía política sea sostenible en el tiempo para que las fuerzas, las fuerzas políticas y económicas, lo mantengan en el tiempo. Como en el ejemplo que les di de las cooperativas de crédito, no me imagino a Lasso, el banquero, Presidente de Ecuador, incluso después de llegar al Banco Central, intentando apagar el interruptor que desconecta a 600 cooperativas de crédito del sistema de pagos. Él recibirá una especie de rechazo masivo y huelgas, y no va a suceder, ¿verdad? Por tanto, necesitamos alcanzar ese punto de irreversibilidad en términos de economía política, y también en términos de uso del sistema. Así que si tres o cuatro personas utilizan el sistema, como sea, lo desconectarán y ya está. Pero si consigues que mucha gente lo utilice, por eso creo que debería formar parte del sistema de pagos regional y conseguir que las empresas, las pequeñas y medianas empresas en concreto, utilicen el sistema de pagos “Sur”. Necesitamos un sector dinámico. Necesitamos que incluso las fuerzas capitalistas apoyen el sistema diciendo: esto es mucho más barato que utilizar el sistema SWIFT basado en el dólar. Y tener también ese incentivo. Necesitamos crear una especie de agentes que defiendan el sistema, incluso cuando los políticos de izquierdas estén fuera de juego. Ese es el tipo de construcción de procesos que tenemos que lograr, tanto en términos de “Sur” como de la UNASUR. Por eso el pilar económico también tiene que existir, y no sólo los otros pilares de integración que se dieron en el pasado, como la unión militar, o la unión sanitaria, o la unión democrática, o lo que sea. Todo eso puede desaparecer en cuanto se vayan los políticos. Cuando tienes el tejido de la sociedad, un tejido económico y productivo, que necesita el sistema regional, entonces seguirá avanzando y se convertirá en el sistema dominante. Se convertirá en un proyecto duradero y sostenible. 

Scott Ferguson:  En diciembre publicaste un importante informe para el Centro de Investigación Económica y Política (CEPR) bajo el título “Putting Climate At The Core of IMF Governance”. Para concluir nuestra conversación, ¿te importaría dar a nuestros oyentes una idea de lo que defiendes en ese proyecto? 

Andrés Arauz: Bueno, en primer lugar, estoy muy agradecido al CEPR por abrir las puertas a mis contribuciones, a mis pensamientos, a todo lo que pueda hacer para coincidir en cuanto a nuestras prioridades en un ámbito económico y político. Llevo más de una década estudiando el FMI. He visto al FMI cara a cara y estoy muy familiarizado con algunas de sus políticas, que coinciden en gran medida con algunos de sus temas, como los DEG. Creo que los DEG son un instrumento muy importante que, aunque no sea perfecto, debemos seguir impulsando.

Billy Saas: Derechos Especiales de Giro, ¿podrías hablarnos un poco de los Derechos Especiales de Giro?

Andrés Arauz: Los DEG, o Derechos Especiales de Giro, son dinero internacional, moneda internacional, que se crea de la nada. Es dinero endógeno. Y es dinero político: se creó como un tratado internacional para sustituir al oro y al dólar estadounidense como activo de reserva en los años sesenta. Por tanto, es lo que más se asemeja a una moneda internacional, aunque en la canasta de los DEG, el dólar estadounidense tiene un gran peso, como el 40%, o algo así. No importa, porque tendrá que reconocer las realidades de las potencias mundiales. Y esperemos que algún día el “Sur” forme parte de la canasta de los DEG. De hecho, eso es algo que yo propongo como uno de los objetivos a largo plazo de “Sur”. Hemos estado trabajando con el CEPR para promover el uso de los DEG. Asimismo, con otras organizaciones como Latindadd, la Red Latinoamericana de Justicia Económica. Otras organizaciones de todo el mundo como Oxfam, Arab Watch, etcétera. Realmente, se ha creado una gran coalición en la sociedad civil, y las personas que piensan y proponen cuestiones de política económica utilizan los DEG más allá de su estrecha calidad de activos de reserva monetaria. Escribí un manual para Latindadd diciendo, mira: Los DEG pueden convertirse realmente en un instrumento de política fiscal. Entonces, eso abre la puerta para que exista una coordinación entre el Banco Central y el Ministerio de Finanzas, aunque sea un tabú que muchos quieren ocultar y del que no quieren hablar hasta después de la pandemia. En fin, me gustan mucho los DEG, y quiero seguir explorándolos, escribiendo sobre ellos e incorporándolos a las discusiones generales. Pero este otro asunto, este artículo sobre situar el clima en el centro de la gobernanza del FMI, surgió porque empecé a leer mucho sobre el lavado verde del FMI, especialmente en el RST, el Fondo para la Resiliencia y la Sostenibilidad. Han sacado una estrategia climática, etcétera, etcétera. Desgraciadamente, la mayor parte es una especie de lavado verde: básicamente dicen que van a trabajar en cuestiones climáticas, pero no lo incorporan realmente a la lógica principal del funcionamiento del sistema monetario como podrían. Por ejemplo, no mencionan el hecho del petrodólar, el privilegio exorbitante del emisor del dólar que puede adquirir necesidades energéticas extrasomáticas de los petroestados simplemente imprimiendo su propio dinero frente al resto del mundo, y cómo eso se relaciona con las emisiones históricas de CO2 en nombre de Estados Unidos. Así que hay muchas cuestiones que son sistémicas en términos de la relación entre el clima y el dinero que el FMI no está tocando ni siquiera con un bastón. Me pareció interesante decir: bueno, si nos tomamos en serio el cambio climático, si nos tomamos en serio un cambio estructural sistémico en relación con el clima, hablemos de cómo la gobernanza del FMI incide en ello. No sé si han visto esto, pero la agenda de Bridgetown, que básicamente está siendo promovida por la Primera Ministra Mia Mottley de Barbados. Ella dice que necesitamos más DEG para poder invertirlos en el clima, porque si nos limitamos a esperar a que los países ricos nos den dinero, eso nunca ocurrirá. Los países pobres no tienen dinero por sí mismos para hacerlo, porque se necesitan divisas fuertes. La segunda mejor alternativa son los DEG, que pueden crearse de la nada. Tenemos dinero para invertir en la lucha contra el cambio climático. Hagámoslo. Y por supuesto, luego los países ricos dicen: jajaja, no, quizá más tarde, pensémoslo… Y hacen como que no oyen. Todo eso podría pasar si el sistema de gobernanza del FMI cambiara un poco. Ahora mismo, en el FMI, sólo hay un país que tiene poder de veto sobre la decisión de crear más DEG, y ese país es Estados Unidos. Se puede tener poder de veto con el 15% de los votos, y Estados Unidos tiene el 17%. Así que hay que cambiar eso. Es preciso conceder más influencia a los países en desarrollo, y especialmente a los países vulnerables al cambio climático, porque son los que están más desesperados por hacer que las cosas cambien y sucedan. Así que en este artículo, con mis coautores, proponemos cambiar la fórmula de cómo se distribuye la cuota de voto del FMI. Cómo se asignan los votos dentro del FMI, entre los diferentes países. Todo lo que hacemos es muy sencillo. Hay una fórmula con cinco variables: PIB, reservas, apertura, cantidad de comercio, etcétera. Y tienen una variable extraña llamada variabilidad de los flujos de capital. Tengo estas cinco variables, y seguro que los países más grandes se llevan la mayor parte de los votos, pero simplemente añadimos una variable más, que son las emisiones históricas de CO2. Decimos que mantenemos las mismas variables y dividimos la variable de apertura por las emisiones históricas acumuladas de CO2 de ese país, de modo que podamos incluir su grado de responsabilidad ante el cambio climático como parte del formulario del FMI. Utilizamos métricas objetivas y no ambiguas publicadas por el Instituto de Potsdam para el Clima para medir la contribución del país al cambio climático a través de las emisiones acumuladas de CO2. Por supuesto, como era de esperar, la cuota de voto de Estados Unidos en el FMI cae del 17% a un 6%. La de China también desciende significativamente hasta el 6%. En general, todos los países ricos disminuyen significativamente, y los países en desarrollo, aumentan significativamente su cuota de voto, especialmente los pequeños Estados insulares en desarrollo. Así que los que corren el riesgo de ser destruidos, los que corren el riesgo de desaparecer por la subida del nivel del mar, son en realidad los que más aumentan, de alrededor del 2% a alrededor del 20% de la cuota de voto del FMI. Esto tendría un impacto significativo en todo el sistema monetario, en las prácticas de préstamo del FMI, en la lógica del poder dentro de la institución, y realmente tendría un impacto transformador en cómo el mundo, cómo el planeta, se enfrenta al cambio climático. El FMI es una poderosa institución con un billón de dólares de poder de préstamo. Eso sin contar la cantidad de dinero que puede crear a través de los DEG, y sin contar la influencia que tiene sobre los mercados financieros, y sin contar la influencia que tiene sobre los responsables políticos locales en términos de las ideas del dinero, las ideas de la formulación de políticas, las ideas de la gestión fiscal, la política monetaria, y así sucesivamente. Pienso que si arrancamos desde el núcleo, podemos tener efectos de largo alcance. Por supuesto, no soy ingenuo al pensar “oh, vaya, ¿cómo no se nos ha ocurrido esto y que EEUU acepte este cambio de la noche a la mañana?”. Eso no va a ocurrir. Pero al menos estamos planteando el debate para que podamos comprender la verdadera magnitud de esta realidad.

Billy Saas:  Por supuesto, incluiremos un enlace sobre el CEPR y sus otros trabajos. Andrés Arauz, ha sido un absoluto placer hablar contigo. Muchas gracias por estar con nosotros en Money On The Left.

Andrés Arauz:  Gracias a todos. Espero que tengamos otra oportunidad de compartir más historias sobre los CDBC y lo que está ocurriendo en ese ámbito. Yo también estoy muy involucrado en ese campo. Estoy asesorando a una empresa tecnológica llamada Nym sobre ese tema. También me gustaría hablar de la creación de sindicatos, de la inclusión financiera en el sector solidario y del papel que el dinero desempeña en él. Así que sí, en general, me encantaría compartir esto en otra ocasión con ustedes y ha sido un placer conversar con todos ustedes.

* Thanks to the Money on the Left production teamWilliam Saas (audio editor), Mike Lewis (transcription), & Emily Reynolds of The Buffalo Institute for Contemporary Art (graphic art)

Making Digital Public Spaces w/ MUSICat

This month Money on the Left is joined by the folks behind the MUSICat project, an online music streaming service for public libraries designed to share heterogenous local music with local community members. We speak with Preston Austin and Kelly Hiser from Rabble, the company behind MUSICat, as well as with Racquel (“Rocky”) Mann, who coordinates the MUSICat service with Edmontonians as Digital Initiatives Librarian for Edmonton Public Library

Launched by the Madison Public Library in 2014, MUSICat has since been adopted by public libraries, including in Pittsburgh, Nashville, Fort Worth, New Orleans, Edmonton and elsewhere. Artists who share music via MUSICat are paid for their work with library funding and are granted other substantial forms of support through the library system. 

MUSICat serves as an inspirational model for mobilizing public institutions and forms that can provision communities in diverse and locally sensitive ways. Exploring what we at Money on the Left have called a hermeneutics of provision, we affirm public libraries’ critical function as creative stewards and producers of regional public cultures. 

Special thanks to Edmonton artist Jill van Stanton for the album art used in our episode graphic. Thanks also to the Edmonton musicians, whose work is spread liberally throughout this episode. Featured tunes include: Shout Out Out Out Out, “Never the Same Way Twice”; Souljah Fyah, “8 Days of Summer”; Farhad Khosravi, “Escape”; Denim Daddies, “Roadrunner”; and The Tsunami Brothers, “Stink Bug.”

Visit our Patreon page here: https://www.patreon.com/MoLsuperstructure

Transcript

The following was transcribed by Mercedes Ohlen and has been lightly edited for clarity.

William Saas: Rocky Mann and Preston Austin, welcome to Money on the Left.

Rocky Mann: Thank you. 

Preston Austin: Good to be here.

Rocky Mann: Great to be here.

William Saas: We’ve invited you on the show today to talk about your MUSICat project, which as we understand it, is an online music streaming service for public libraries. Which is an unconventional way for collecting, curating, and distributing music. Could you start off our conversation by telling us a little bit about yourselves and how you came to the MUSICat project and what the MUSICat project has become and where it might be going?

Preston Austin: Sure, I’ll start. I’m the co-founder of Rabble, a company that actually writes the MUSICat software. So I work as a web technology guy in Madison, Wisconsin and my history includes a lot of working with both higher ed and mid-tier media production for the web. So producing audio-video things that work on webpages, especially back when putting audio and video on a webpage was difficult and involved all sorts of plugins and browsers, we didn’t know how to do things. So I had a background in that tech and built a framework for doing things on web pages that was called “media landscape.”

And that mostly had to do with actual stuff like what we’re doing today recording meetings, or presentations to classrooms and producing multimedia from it. That led to me working in a startup that had to do with publishing music for people to consume music collections. And while I was working on that, word got around that I was the music guy for web pages for one of them in Madison, and a music librarian from Madison Public Library approached me and they wanted us to work on a project called the “Yahara Music Library.” 

And I said, “no, it was a cool idea. But I’m really, really busy.” But it remained a cool idea. And so over a period of about a year, I ended up talking to a guy, Hank, the music librarian from Madison. And eventually we said, “let’s do this” and built a prototype. This was based on Iowa City’s earlier music collection online. We built a prototype, and that became the Harlem music library. And that project involved a business partner who will be on the program later, Kelly Heiser, and that all formed a foundation. And we said, this is interesting. Libraries, in general, are going to be interested in this, this is not a one-off product, do you want to start a company to build a platform to make this thing practical? That platform is what became MUSICat. 

And that company has Rabble as the first library partner, and it was really formative. And working with us on that platform was Edmonton, thus the connection with Rocky.

Scott Ferguson: Can you give us a sense of the years here? When did these initial experiments take place? And when did you found the company?

Preston Austin: I’m terrible at this sort of thing. But, I think the initial conversations were happening in 2013, possibly as far back as late 2012. And I think we founded the company in 2014. It’s possible it was legally formed in 2015 as an entity. It was originally in a partnership with a startup that I was in at that time, but we purchased their interest in it. I exited that venture and became full-time focused on Rabble shortly thereafter. Within a few years, we were a completely independent venture. And so currently, Rabble is a company that’s closely held and slowly works with libraries. We have no external investors and we’re not a grantee of any foundation or anything like that.

Scott Ferguson: Rocky, you want to tell us about your background? 

Rocky Mann: Sure. I came to the project in 2016 as part of getting this new position with Edmonton Public Library, the Digital Public Spaces librarian. Prior to that, my background was in music. Before moving to Edmonton, I was pretty heavily involved in the music scene in Victoria on Vancouver Island. I was doing, you could call it “participatory video” or “participatory media,” community-based research with the UBC Okanagan with Indigenous communities on Vancouver Island and all over BC.

The concept of collaboratively built infrastructure online and how to share, distribute, and ensure authority and authenticity with communities when sharing content has always been something I’ve been very interested in and in working on. I started in this role in 2016, which was one year after we launched our collection with MUSICat. But this project with Edmonton Public Library started as part of an internship in 2013 with my predecessor, Alex Carruthers. 

She was looking at: what’s the digital public space? What are other libraries doing? And she came up with a really great trend-spotting report. And through community discussions and things like that, we identified that of all the different types of digital public spaces, people wanted something about music. We’re generally thought of as a blue-collar working-class city compared to Calgary–I don’t know if you should put this on!–Calgary is the Texas of Alberta and Edmonton’s the Austin. 

Scott Ferguson: That’s helpful.

Rocky Mann: We love our arts. Edmonton loves their arts: theater, music, the community is quite tight-knit. She embarked to do an environmental scan of what technology is out there. And from that process, she chose to work with Rabble because it was really important not to work with something that was proprietary. The fact that it was open source, the fact that it was community-based and collaborative, and we can work together to build it. 

Because things change, having that type of relationship was–from what I’ve read from her reports and in talking with her– a key factor. When I was onboarded, I remember the introduction from her and my supervisor, “oh, we’re gonna work with this tiny startup and there’s some challenges, but it’s really great.” I’ve loved every moment of it. And then in 2014, I think our initial feedback–and I wasn’t there yet– was from an “unconference” called YEG, which is our airport code. YEG Band Camp, where we brought in musicians, artists, nonprofits, all the businesses and people who are really active in our music community to talk about what they would like to see in a platform and initiative. So there’s the technology side and then how it branches out in real life. That fed into our early discussions with Rabble: What should this thing look like? What’s our community saying?

Scott Ferguson: That’s so fascinating for a number of reasons. I’m a media studies scholar, among other things. And very often, media studies scholars want to understand social and cultural change in terms of tech as disruptors. What I hear you saying is that, of course tech is playing a big role, but that actually culture and a culture of participation and aesthetic construction is side by side with tech. Could you speak a little bit more about that?

Rocky Mann: Sure. Coming from my background through Indigenous research methodology and the concepts of OCAP, which is ownership, control, access, and possession. Personally, those are really important. And my other portfolio is building an Indigenous digital public space. Similar in the way that we’re working to build it for indigenous content here, but I really see the music community and artists. 

The industry has a historical background that is quite exploitative in many regards. You could really describe artists, upcoming artists, or generally that group, as vulnerable in that sense. So the need to share, the need to be exposed, the need to get your creative works out there often supersedes protecting, ensuring that the standards of who you’re working with are ethical, of a high ethical standard. So my background was coming from that previous research background. 

And every step along the way Rabble’s values seemed to match my personal ones, and the library’s vision of being community-led, which is one of the appeals, foundational philosophies about how we deliver and develop programs, identify barriers, your community discussions, and then, with our communities, find a way to attend to those and reduce those gaps. So it’s a civic gap, participation in your creative community, in your profession, access to technology, access to being a creator and participating in our civic society.

William Saas: Let’s run with that. You mentioned the history of music as an industry, music publishing as having been, well, straight-up exploitative. MUSICat seems to be coming at music making and publication from a very different direction, which seems like it’s probably informed by critiques of some of the larger streaming platforms. How would you articulate your criticisms of the platforms that exist and have existed around music circulation and publication? And how is MUSICat different?

Preston Austin: Who wants to go first?

Rocky Mann: I think I’ll throw that to you.

Preston Austin: MUSICat’s thesis, Rabble’s thesis with MUSICat is that empowering public institutions to invest in artists and with artists together to invest in collecting is valuable, full stop. I want to start there, that the public investment in artists is a thing unto itself. And if you send an artist a $200 check to license their work into a library collection, on very clear terms that are artist-friendly, and leave them able to continue to use their work the way they want to, where they want to, this is a good thing to have done. Somebody gets 200 bucks, and that respects and supports them.

We wanted to build a way to focus on building value. Communities being able to build value and technology that is not disruptive technology really, it’s supportive technology. And I’m not trying to break up the dynamic of how people listen to music and create some new thing that changes the world and deflates the costs and disintermediate people, etc, etc. That gets a little frustrating. So we didn’t build it to compete with streaming services or to replace them or even really to contemplate them. We built it to complement them, we really built it with the idea in mind that it is its own thing. Public spaces for music, a concept that I wasn’t calling it then and had a different notion of before the work with Edmonton. But I really liked Alex Carruthers’ work and Kelly contributed to that. That was a good conceptualization, and we absorbed that value or more of those values. 

What we did is we said, let’s focus on this question of power, local control, local power, artists as real participants in the process, the library as a convener. What is appropriate within that in terms of technology? And what we did was, instead of building a leanback music experience that tries to create an adhesive listening, okay, you’re in there, and now you’re stuck to it. And you’re playing that playlist for a long, long, long time. And we’re trying to get everybody in the world’s music available to every listener in the world, and everybody’s going to pay eight bucks a month or something like that–I just picked that number out of the ether. 

And instead of creating that all to all process, which critically in its incentive structure means that whomever is collecting that money and paying for that streaming is trying to minimize the amount of those monthly revenues that go to the creation because they’re trying to get all the music in the world to all the listeners in the world and they want them listening all the time. So this structure is fundamentally minimizing the return to artists. We designed on the other side of it, we designed on maximizing the public’s ability to invest in their artists. 

And those artists’ ability to invest in their public via the collecting and the community formed around it. And it’s all via invitations, everything is understood upfront, the relationships are personal, the fact that the relationships happen in this public and safe space is important. 

So what’s my criticism of the streaming universe, which I think is what you’re actually asking me to do? It creates a world within which the technical intermediary or the licensing intermediary who licenses art from artists and licenses it to either listeners or downstream services, where those intermediaries’ motivation is to take a piece of that pie. And it does so in a way that really abstracts music into a commodity to be listened to that is valued primarily in terms of listening, and then it turns everything else in the musical community into something around that commodified listening. 

Here we’re saying “no, no, no.” The process of collective involvement in building this collection, building with the library, that these are all part of it. And we actually want the technology to be more part of it, we’re not as open as we want to be. We’re open-source to our library customers, but there’s not a distribution. And getting to that ethos of everyone being able to invest with everyone else around these local nuclei is what we want to do, in terms of the experience created, these collections, we call it “lean forward”, it’s a terminology that I’m not sure if I made it up or picked it up from somebody, but I haven’t been able to track it down. But you have “lean back” listening experiences, you hit a play button and music comes out forever. 

MUSICat and the library collections are leaning forward. It is a collection. It’s more like being in a listening room and being able to look at titles and pick one off the wall and play it on a fancy old-fashioned turntable there and interact with information about the artists, use it as a jumping off place to find their other material online. So we’re not trying to solve the problem of, how on earth would I get music into my ears right now? We’re trying to solve the problem of how would I become a participant in starting as a listener, but possibly in other ways, my local community, my local music community, and were can I make the technical supportive choice in doing that, where can I do that knowing that there aren’t money grabbing assholes, let’s say, in the middle. 

All of that said, it’s a long project, I think we’re about halfway there. So in the aggregate right now, of all the money that libraries spend on artists’ licensing direct to artists, plus Rabble MUSICat fees, money that comes to develop the software platform, we’re not on a very large base of libraries yet. And so the cost of maintaining the software platform is still quite high. When we started, we were probably getting actually two thirds of the funding, there were almost no libraries, and most of the money was going into developing software. 

We’re now at a point where maybe 55% or something in aggregate of the money is going directly to local artists from their local public library if you look at that combined budget. There’s other budgets.That doesn’t include internal budgets at the library and things like that, we’d like to be in a position where more than 80%, possibly 90% of the total spend, inclusive of platform costs, goes to artists, and that’s getting the technology part of it to where it’s just tech that different vendors can compete to do this sort of thing. And then it’s a fairly straightforward and deflated technical process. We’re a few years away from that goal.

Scott Ferguson: That’s so interesting. So can we talk about how, from an artist point of view, how does submission work? And then from a curatorial point of view, how does the review process work?

Preston Austin: Rocky, do you want to take this from the perspective of governing that process? Because from my perspective, it’s a little bit reductive. I can talk about our publishing chain, there’s the artist’s submission and a jury, but I feel like in terms of what it really means for the community, you speak to it better than I do.

Rocky Mann: So I’d say before the submissions, I think the jury and the curators and the terms of reference are the goals, criteria of the collection, which are word for word, but the criteria of the collection being something that a collection that is representing diversity in terms of demographics, genre, and contexts. And perspective, which really matches our Public Library’s collection policy anyway. It’s really important to have representation on the jury that can also speak to that diversity. The balance between ensuring that you have a quality collection, that is of value to be in for an artist. So you don’t accept everything because you need it to maintain a certain standard, but also something that captures all of our niche existences in our community. 

So, for example, when the initial jury came on, it wasn’t a call out to who was invited… members of the jury were nominated, basically, through discussions with the community. Who does the community respect, celebrate? Who does the community think can make really rich decisions on what music is important here and important to represent? So then we would invite those people that were named to those discussions, then what happens is, as submissions go through the years, and through holding open calls, each time we assessed the collection. What’s missing? What are the gaps, what do we have a lot of and what do we not have a lot of and why? 

For example, Edmonton has a very, very active and large indigenous population, and we weren’t seeing music from that community in the submissions. And there wasn’t really representation in our curators group. So reaching out actively to that community to find somebody who would be interested and also a really good fit. And then for the subsequent round, that curator or jury member, I know two different terms are used. We’ve always used jury, but we’re considering going to curator for our refresh in 2023. I’ll stick to the jury for the purposes of this discussion. I do really like “curator”, but there’s something about “jury” that’s exciting during this admissions process.

Scott Ferguson: I had no idea when I was using that word, “curatorial”, that I was walking into a minefield of semantic complications.

Preston Austin: It’s a nightmare, where we’re at right now, to the degree that we have an official line on it, the role is curator, which is both a public role and an internal role and the process and the group formed is jurying and the jury with respect to a round of submissions, that’s how…

Scott Ferguson: That makes a lot of sense.

Preston Austin: That’s how I try to clarify it. However, there’s a long history of discussion around this. And so that is far from normalized language across all of MUSICat. 

Scott Ferguson: Did you want to keep going?

Rocky Mann: Sure. I’ll save that other rant for later. Then those jury members or those curators are active in their community. So they’re reaching out and they’re connecting with other musicians and artists, and encouraging their submissions or just by being present. I think their presence can encourage groups to submit. So on that end, I think the representation and the participation in the community by each jury member is really significant for what it has an impact on what submissions that we receive. 

The submission process, we’ve been through a few practical iterations of it, I think initially, we were going for four times a year. So accepting 100 albums per year. And really quickly… There was one before I came on board, and I think 50 albums were added. There were some big celebration concerts in the city. It was really exciting. And then, after going through that process, I did the next one and realized, well, it takes three months to prep our marketing and communications department to be sending out the message encouraging people, notifying people that the call is open, then it takes a month for that submissions period to be open, then it takes a month or two, depending on the support needed by the jury or lives are busy to select. 

And there’s also always like, Oh, this album or this track didn’t upload. So there’s always technical support needed. So another month, maybe a month and a half for the jury to go through the submission, then another month to support artists who have been invited to the collection, and uploading their submission, uploading their album, creating their profiles, and then another month or two, to celebrate the new additions to the collection. So that’s a six-month process. So I think now, our model is once a year, and to have up to that full amount. So 100 albums a year is what our collections budget has been set aside for. 

Which I’ll say, too, in the submissions, what I really love about Edmonton Public Library’s model– is they have permanently integrated the budget for new albums through capital city records into our regular collections management and access budget. So it’s not with digital initiatives, my department, which is always exploring new technologies. And some things live for a long time, some things fade out, it’s with our permanent collections budget, just like any other type of collection that we have, physical or digital, which I very much appreciate. So it does give that sense of commitment and sustainability. 

With artists’ admissions, too, I do a lot of active work on the ground, we really want it to be inviting. So I’m part of, I don’t know, 20 local music community Facebook groups, I’m going to events, I’m talking to people and making sure that everybody who might be interested is aware, I keep a list of artists who email me through the year with inquiries and I make sure to add them to this list of those who wish to be notified every time something happens just so things don’t get lost in the very overwhelming fear of internet and communications. So it is a very supportive thing. 

If a submission isn’t quite working, or I’ll reach out personally to say, “hey, your track, the quality isn’t so good. Do you have another one?” I would not like to see somebody not be recommended because of a technical barrier, for example.

Scott Ferguson: Is the basic unit of submission an album? That’s what I thought I heard you saying or can a band submit a song or a few tracks?

Preston Austin: Let me speak to what’s possible first, and then the library-ality maybe. So the submit form, the initial process entry point into the technical layer of publishing is a short form and it gathers very basic metadata. And metadata is going to come up later probably in the conversation because it’s so important. But we gather very basic metadata; the album title, or the work in question, the artist’s name separately from the act, so the name of the individual versus the act, which are often not the same, some very basic high-level genre information. 

And then the library administering the collection has control of additional meta information that they might want and ensure and process. And what that includes is how many tracks that are going to collect. So they could collect just one or they could collect many if they want to make many tracks available. And that does vary across collections. So some libraries, for example, they only collect albums, they have minimums and how many tracks they want. And they want to see three tracks presented to the jury so that they can make a judgment across that. So that’s like a very high investment, both for the submitting artist and for the jury in terms of how much is involved there. 

We try to remember all that later, so that nobody ever has to redo any of that data entry, or uploading. But they can also ask other questions. So if they just want to ask a question of the artists they can, and two questions that have become standardized, and I think these actually didn’t both come from Edmonton, but I can’t remember right now where they came from the two questions that have become standardized are basically where have you been playing out? And then how would you describe your connection to the musical community? And so they were these two long-form questions in the submission that are basically like, tell us why you are connected locally. So that’s the technical layer of the process. And that produces a package that you get many, many, many pending submissions that the jury can work with.

Scott Ferguson: That’s so fascinating. I was thinking about comparing that process to what used to be the process of getting verified on Twitter. Which is like, show us your numbers, show us your raw numbers … this is totally different: write us some, give us some language about how you’re connected to the community. It’s so different.

Preston Austin: Sorry, go ahead.

Rocky Mann: I was just gonna say, it’s really important not to restrict what it means to be part of a music community. So our criteria we asked for, I think we have a field for a postal code, but it’s a greater Edmonton region. So it can be you either are born here, produce your album here, or have significant activity within the community here. So we want it to be local, it must be local somehow. But there is always room for that gray area for that one-off or that person who is really important, or that group that is really important to this community, based on their description, so we don’t want it to be a hard line of territory or region.

William Saas: Rocky, when you were talking about the process for soliciting submissions, it sounds to me a lot like canvassing, political canvassing. And the community organizing that you’re doing resembles workplace organizing. A couple of questions. One is: did your background that you were describing before, coming to the Edmonton Public Library, seem to entail some of that organizing work? How did that inform your approach to the submission process? Was it a one-to-one? What’s different about it? And then also, as you’re doing this work, I wonder how often local political community issues come into the conversation? And do you see potential within this territorial juried process, the community music community building that you’re doing there? Is it just inevitably also a political project?

Rocky Mann: It’s interesting the words you select. I would say that it’s more outreach. There is an organization part. But the public library, Edmonton Public Library, first and foremost, is really about outreach. So before this role at EPL, I was a community librarian. Basically, my job is to drive around, look at what’s there, and talk to people. So I might drive by a building and see a sign. Some group or organization that I’ve never heard of that might not even have a website or be in the phonebook. And I’ll try to connect to see what, what they’re up to. 

And the question of, what are you up to? What are your goals? What are your visions? And how can the library support you? So what are the barriers to doing what you want to do in this community and for yourself? And then from those, from that “discovery interview” to use traditional library terms, we try to find ways the library can support. Versus I would say, and I think the platform supports this as well, because it’s collaboratively developed, this community based feedback. We bring that to Preston and Glen, and try to see it technically applied in that in a technical way, how can that technology support that need? 

So we take what they’re saying… This is opposite, I think, of a corporate model where a business says “we’ve built this amazing thing. Now, you should probably want to use it and this is how you can use it.” That, to me, is very like if you build it, they will come where the focus is on the company or the product versus the process. My background is really, process is just as important as product. When I’m reaching out during the submissions process. I’m trying to build a relationship. Everything is about relationships. 

Everything is about trust. I think Capital City Records and the MUSICat platform is the foundation of a safe place for sharing creative works, not just for the artists, but also there’s a gap of access for our Edmontonians, for example, and the world to access local content. A lot of this stuff may exist elsewhere on Bandcamp, or SoundCloud, or other things, but to be part of this collection, that is recognized by the library that is seen as this something that has value in that sense. There’s almost that, for lack of a better word, there’s an authority there, people trust the library, people know that there is very, very strong values, ethics process behind selection, and a historical commitment to intellectual freedom and things like that in a way that, there’s a lot of hot debate around those subjects as well.

And there will never be a clear answer. But the library is the appropriate place for those decisions to be made, as I’ve discussed before. So how do I recruit, how does that all work into it? Relationships are of the utmost importance, whether it’s an individual or group, making people aware of what’s available, but in that talking to people to learn what they need, and then feeding that into creating something available. So it’s ground up that way. And that’s powerful. It’s wonderful, I can reach out to an artist I maybe connected with once and it’s always a pleasant interaction.

I see them in my community on the ground, I really see the technology in the platform as the foundation for that. It’s the foundation for education, artists’ education, artists’ awareness, organizing around it, connecting people in real life on the ground, building those communities between artists and the rest of Edmonton and celebrating the culture and identity here, which in turn, those strong communities helps for that mutual support. That identity of what we are historically and now is really important to this global divide in places. I know it’s so strong between political views, you talked a lot about politics. 

The politics that are thereI hope that this project can help curb that socio-economic gap between access to equitable distribution sharing and representation through the technology and the initiative. But it’s also about taking the politics out in a way that’s about–it’s first and foremost, the people and their works, and the perspective that might encompass politics, but it’s never neutral. But we strive for equity. Long-winded answer.

William Saas: Solidarity maybe?

Rocky Mann: Solidarity and strengthening community access, it excites me so much. And I know the biggest needs because I constantly get feedback. I’ll tell you how the artists really influenced two parts of the submissions process and how we do things, but I constantly get feedback and ask for feedback. What do they need now? What is of interest? So music business industry education, embedding metadata, we could get into that, too.

There’s so many overwhelming aspects to participating in these creative new industries that really important things like having proper metadata to protect your creative works is something I don’t think most artists know how to do or really are informed about. And so there’s that and even in our honorariums, I would say originally, I got some feedback being like, “hey, I’m an experimental artist and my album is two tracks and 40 minutes long.” 

But we have tiers for honorariums. You asked before, can people submit one song or is it albums? It’s not just one track. We don’t have submissions for if you have a single, although I was just asked about this, and maybe that needs to change because singles are a very important thing these days. Maybe that’s a future discussion. But it is an EP, so originally, it was three tracks as an EP and above six tracks is an album and 12 or 10 plus gets the highest honorarium because we do want to attribute work somebody who’s invested in an album-length work, we want to compensate them for that contribution for maybe for an EP length or something. But we were doing by number of tracks, and that really wasn’t equitable. 

So, upon that comment, I further reached out. I did a survey of all 300 artists. Tell me about your work. Tell me about what you consider. So now it’s an either or. So if you’re out and I based it on LP length, so a 7 inch how many minutes of music can that hold? 10 inch how many minutes of that and an LP–12 inch–how many minutes? And everybody agreed, that seems fair. So now the honorariums are based on either this amount of minutes, or this many tracks, because a punk or country album, which might have 12 short songs, but still be 15 minutes long.

Like my album is a full album, but it’s not as long as other genres. So out of all my creation trends, genres, and these works was all through those conversations, and then they result in our submissions process. And how we compensate. Two rants.

Scott Ferguson: Can you discuss a specific example of how artist participation changed the tech?

Preston Austin: Sure. There’s really a bunch. I’m trying to think of some that are odd and core to it. My mind is still on this question of album lengths right now. So which has ended up by the way being a constant area of work? So we’ve revisited again and again and again and again and again. So I think a key area where artist feedback changed the tech that I want to talk about in terms of responsiveness and the fact that this is a public platform and stuff like that. We’re in the middle of a worldwide pandemic, or not, depending on who you ask. But if you’re asking me, it’s still going on. 

And at the beginning of that, we had a situation where everybody whose work was not considered a societal priority, and whose work depended on getting a bunch of people in little venues and rooms together just went away, all over the place. And so, we saw this situation where people who wait tables and artists who play in the venues where people who wait tables, and artists who play in small venues and cities and venues themselves, and we’re all just saying, “oh, we used to do things, and now we sit around at home, and this is ruining us. What should we do about that?” 

There was push-back in a lot of spaces that were non-commercial, to say, “okay, how can we support each other?” So our libraries, we’re hearing from artists, a little bit of, “hey, basically can we do more to link out to places where we can generate revenue?” And so our reaction to that was twofold at Rabble… actually threefold, we did three things. One, we put up a product, which actually I need to take down on the webpage because we can’t afford it anymore. But we put up the product which we said, okay, for the duration of the pandemic, if you will support your local artists, if you have a budget for artists, we will bring up your MUSICat collection rate. And we actually still have one, I’m not going to say who because I don’t like to reveal who’s paying and who has not. 

But we have a city that actually does not pay anything for MUSICat for a major urban market because they wanted to support their artists. And we said “fine, we won’t charge you anything, get a budget worked out when you can when there’s money.” That was one thing we did. Another thing we did though, and this is changing platform in reaction to artists, we added the ability for participating libraries who want to do it to offer their artists the ability to put up links to peer-to-peer payment platforms as part of the artists page that did not exist as a feature. And we just straightforwardly said, if people want to be able to jump off to give the artists money, we’re going to make that an aspect of the artist page. 

So somebody in Rocky’s role can turn a feature like that on or off and an artist can opt into it. And if they want to put in links to things like CashApp, or Venmo, or Paypal or whatnot, we recognize those and offer those links on the page. And that was just one of the ways people are supporting each other during this pandemic, artists in particular are being hit hard by these, small local artists are being hit harder than artists in general, we’re just going to do this. So that’s a durable change to the technology that was just completely in response to that. And then the final thing we did is for two or three months as a company, we put down all of our work at MUSICat completely. 

We built a separate platform for people to simply give money to local servers at restaurants. So we just built something called tipyourserver.org. We built it around a simple spreadsheet driven product that somebody named Emil Wimmer had built, which was cool, we thought that’s awesome. Let’s build a way for people to just give money to people during this pandemic, who were working at restaurants who they normally tip. I don’t think by the way that there should be a tipped minimum wage, I don’t think anybody should be paid in tips. I think that that’s all crazy. But that’s the reality of the world. And we knew there were social relationships there that would support people. So we built tipyourserver.org, which basically leveraged the same approach. Let people say what restaurant they worked for in what city and then jump off to a Venmo, or CashApp or whatever. And we don’t track things in a way that would allow me to know who does what. We’re very anti-surveillance. 

But we did do a little bit of basic logging of how much that got used. And we did some analysis of some of that use from users. Basically, these platforms helped early in the pandemic move, tens of thousands of dollars a week at the scale of a city like Madison into the hands of people who needed the money to buy groceries. So these are reactions in technology. I’ve gone a little afield maybe from when we’ve started. But I think it’s an important aspect of where we’re at and how we’re trying to react to library values. We work with libraries. When the pandemic came, libraries dropped everything in order to become local support institutions for their communities, because they have a public mission. And so they do what’s important if they can, they don’t… this gets to Rocky’s point. They’re not trying to sell their product, they’re trying to react to their community needs. We have to do that, too. So that’s what we tried to do in that case.

Scott Ferguson: So we had a question that I think the language was spin “spin off projects.” But I almost feel like that question is wrongheaded. Because from your answers, it’s clear that the tech and the community and creating values and it’s all related, and everything spills into everything. This is as much about streaming local music as it is about local outreach as it is about supporting people during a pandemic who are restaurant workers. 

But I guess maybe to ask this question in a slightly different way. Clearly, this is a project that goes beyond just a streaming service. Rocky referenced a concert that had happened. What kinds of other projects that are music based, have spilled out of this music streaming project?

Rocky Mann: A lot, so many. I guess I’ll start. Concerts were always part of the goal. And also part of that community building aspect. We started with concerts, every open round we’d have a concert and then there was this thing we were seeing that Capital City Record artists were really excited to be in Capital City Records together and wanted to put on their own Capital City Records events. 

Which is usually they’re hosted by the library or a partnership with an organization or, or venue or something. So that was really cool to see.

William Saas: When you say “in Capital City Records,” do you have a physical space in addition to the catalog?

Rocky Mann: We do. We have a theater and a stage in our downtown library. I think our initial concerts were held in the park beside one of our other libraries, but also in other local venues. It’s really important to be supportive. Those music venues. And those local businesses aside from nonprofits and organizations are the heart of our music community. And especially during the pandemic that was really tough on our venues, who are the most… they’re really actually our pubs and our bars, who put on live music are really trying to be identified as culture hubs versus pubs or bars for funding and other reasons for their contributions. 

So we like to work with those groups, those businesses as well. Concerts can happen anywhere. We started partnering with festivals to have a Capital City Record stage where if you showed your library card, which is free, you could have free access to the Capital City Record stage, because a barrier to participating in local culture is access to music, festivals and events. All our events are free. We don’t charge for anything when it comes to the community accessing Capital City Records work or events. So concerts were one. And they really spread the gamut of what kinds of events are shared.

Sometimes we just support another group if they want to use Capital City Records artists, so we’ll recommend and we’ll make that relationship connection for them as well. The second thing was a podcast with our local radio station here, CKOA Songs of the Week, which was so cool, because it was starting to connect other local celebrities with the collections. So they come and pick their favorite artists or track, and there’d be a five minute mini-podcast about why they love it. We’ve had the mayor on there. It could be anyone. So that was really great. We had two seasons of the podcast. So it was a partnership. 

The technology when Rabble created the playlist, so getting other record stores or local music enthusiasts to also share their picks and playlists just like in other aspects of the library. We have people give book lists and things like that. So that was really important, Matt has been really great for little projects. Then, there’s the Posters Archive Collection, that was a side project or not a side that was always built in. It’s something that I really hope to have the resources to expand. 

I love that as a piece to the site. So I know in Alex’s notes from that original report and transcending that it’s not… There’s the contemporary music collection, which is the submissions process, but it was really important that the platform also celebrate Edmonton local music history, as well. So it’s not just what are the albums in the last five years or that a part of submission? It’s what’s the history that feeds into what makes the community today. So the Gig Posters Archive is part of that. 

Then we had a group of protest, the community group called Legends of Edmonton Music Scene Society, who have probably spent thousands of hours passionately collecting information and media about Edmonton music life. So it started off from the Shoebox Radio Show where Pete The Rocker was interviewing local legends. It’s quite amazing. He’s very passionate about it. These legends are here right now and he wants to celebrate them and make sure that they have a name and he will cry. 

He has a lot of emotion talking about it because it is important. It’s important to those artists themselves, their families, and the community. It’s been a long… It’s an intensive process, but immediately Rabble said, “okay, let’s build a showcase.” We need something on there that can offer the opportunity for libraries to build other types of collections. There’s five categories, musicians, bands, venues, media (media is really important for a thriving music community). Who are those players in media who have really boosted artists in the past? And what are their stories? Builders. So who’s the music community builder that’s a category in the Legends of Edmonton Music Scene Society collection. 

We’re trying to support a volunteer-run group to build a really beautiful collection, celebrating Edmonton music history, with old archive radio shows and other things. That’s another not side project, but that has come from those relationships and that has also fed into new aspects of the technology and platform. And there’s music videos, the video feature that Rabble implemented, we were getting requests to showcase music videos or other projects in the community, there was one called Northern Sessions or the Dead Venues Documentary that was all about our historical venues. So I think originally, we made a separate page that was linked in to MUSICat. 

But then they built it right in. So now it’s part of the product. It’s part of the platform, which is awesome. And now it’s being used in so many different ways by all the libraries who use MUSICat. So I love going on to all the different libraries that are using the platform and seeing what they’re doing with these features and what their other projects are. Because the ways that you can use the technology are endless. There’s so many ways you can represent the community. Aside from the album and submissions collection, then one of the more excited ones was… I think we’re maybe the first public library to press a vinyl compilation. 

So we’ve been building as makerspaces. And making becomes part of a lot of public library services, as it’s seen as another type of literacy and route for civic participation. We built living recording studios, we’ve had them for a long time. And when our downtown library was going into renovations and revitalizing it, we really set up and so we were doing fundraising. It was part of a fundraiser for these new recording studios that are complete and in full use. Very beautiful. But also it was from one of our members on the City Council at the time, who was very passionate about the arts community and he said let’s press a record and I said “well, that’s my idea, too.” 

Councilor Scott McKeen was really wonderful on that. So he just rallied, helped us rally a bunch of players. We had somebody who was an expert in working with visual artists to help us with the artwork. Long story short, Edmonton Arts Council also came on board to fund it. We had a separate jury onboard of very… they didn’t have to be in Edmonton, we had Cadence Weapon from Edmonton, but like a huge mentor and celebrated artists here in Canada, on the jury, so we had a separate jury, we invited artists to really submit tracks previously unreleased in physical format, because again, we didn’t want to limit the ability for artists to be sharing through this long year, wait a whole year for this album to be pressed before they could continue on with their business. So that was awesome. 

We worked with the radio station to curate the record once the submissions were selected. Everything was local, we had a local press here, press the vinyl. The artwork was from a muralist from Edmonton. So that was a really exciting project, you can see the artwork from behind me.

William Saas: I’ve been admiring most of the entire show, our conversations… that’s awesome.

Rocky Mann: There’s… she calls them easter eggs that are inside jokes and the music community you can find in the artwork. But I’ll say that through that process, the feedback from that project was, it’s so expensive, some artists, there was such a range of people present on there like Juno Award winners, and people who maybe recorded that track in the basement, who would never be able to access or afford to have at that time, their music pressed on wax. So it was just really exciting. 

And a challenge to make a compilation across genres. We have the north side because Edmonton is split by a river and there’s a joke of like the north side of the south side. So all of it really celebrates the city. So we’ve pressed a record, we’re hoping to do a volume two. We’ve also had projects during the pandemic through Capital City Records for virtual concerts. So we were holding interactive people on Valentine’s Day and other concerts and streaming them in hospital wards and long-term care facilities where the artist would share messages from between loved ones. So we were making connections between those artists and different kinds of community groups. 

Which led to another realization that not everybody can attend a physical concert I have to say a positive thing came out, the platform and these spin off quote “spin-off” projects that come out of it help us realize other barriers that music lovers and music makers face in connecting their art with local art and culture. And that was one. So we’re continuing to do those even if live venues are open again.

William Saas: How long have you been doing the MUSICat project? That sounds like 10 years.

Rocky Mann: That’s how I started in 2016. Oh, and we started a physical collection of CDs, which is interesting.

William Saas: Amazing.

Rocky Mann: So hoping to represent physical works from the digital collection, alongside local authors and things like that. But, 7… 6 years. And now we’re partnering with the Juno Award. So I’m hoping that can become a thing, too. We’re talking about a song… a music expert, or musician residents like the local poet laureate. So that’s very new. I don’t know where that will go. 

But it’s something that the education artists education and support through the initiative, all founded through the platform and the technology that is the base for all of these other things. It opens up so many opportunities to bring people together. And I think that’s why we determined a digital public space, is because this technology is so deeply entwined into all the ways that we can connect and support artists and Edmontonians. That was a long rant, but there is so much.

Scott Ferguson: Beautiful, it was so beautiful. This is all just so glorious. I think it’s wonderful. Maybe we can have a bit of a meta-conversation about what else we want to get on record. So we’re holding maybe some of the technical discussion for when Kelly arrived. Do we want to do some of that? Preston?

Preston Austin: I’m absolutely happy to. Kelly started this project as the representative. She was doing a public humanities fellowship during her PhD in musicology at University of Wisconsin Madison, she went to work at the library during that and built in the way that a super high-end intern can do moving freely in an institution built the foundations of a few things. One of them was everything internal to make possible the collaboration. So we’re one week into that process of working with her and I go talk to one of my business partners, and I’m like, “wow, like this Kelly Heiser person, holy shit. Is she good at absolutely everything?” So she’s getting her PhD in musicology. 

But she’ll be like, “well, how does the tech work on this?” Then two days later, she comes back, and she’s gone and read StackOverflow, or whatever. It’s not magic work. But she just puts in the work and brings it back and is unafraid to try things. And so I think we were probably less than a month into this collaboration with Madison, when I was like there’s gotta be a way I can work with Kelly in the future on something. I don’t want this to end with this fellowship. And so that’s a little bit of a history of how they came to be Rabble. And I think actually, when she first invited us, when we first said to her, “hey, do you want to start a company or something like that?” 

I actually think that is much like with the art music library project. I mean, I’m pretty sure the answer was no. And I was like, well, I won’t bother. But then opportunity opened up. So as a musicologist and as a scholar and as a participant from the library side, initially, she brought an abundance of theory to this. A thoughtfulness around sound, we can talk for two hours about sound. What is sound? Kelly and I used to go on at great length about how annoying it is to deal with people in technology who are obsessed with fidelity, with linearity, with the reproduction of objectively perfect sound. What the hell does that even mean? I’m not going to do that on your program.

Scott Ferguson: Oh, please.

Preston Austin: Not without Kelly. I have somebody who actually knows what they’re talking about and conversation. Otherwise, I’ll go too far out of land of some bullshit exposition on a topic. So anyway, there’s no aspect of the history of building Rabble MUSICat that I’m not also a party to. It’s just worth understanding that she founded this company, and I worked for her during the period of time prior to and the first few years of Rocky’s work in Edmonton and the establishment of the core values and all of this. There’s never a point at which that’s not under Kelly’s leadership. And I just think that’s important. And there’s Kelly!

Scott Ferguson: There’s Kelly!

Preston Austin: I have invoked her into the conversation. I was singing your phrases here.

Kelly Hiser: I know I missed you. It’s been way too long. 

Rocky Mann: Preston just said that you just miss the good five minutes…

William Saas: It was as though his job was to introduce you before giving an amazing talk. So you’re up.

Scott Ferguson: No pressure.

Preston Austin: No pressure, Kelly. I’m pretty sure that I just said that you can do anything at all.

Scott Ferguson: We’ve taken quite the tour, all around MUSICat. But we’d like you to talk a little bit about the initial challenges with the technology and what the design process was about, especially initially, and then Preston has suggested that because of your musicology background, you have some things to say about music theory or music fidelity or non-fidelity.

William Saas: What is sound? 

Scott Ferguson: What is sound? You take this, however, wherever you want to take it.

Kelly Hiser: In terms of thinking about sound from a more philosophical standpoint, I have always had this stance that being an audiophile is more about status than any real quality in music. So I was always… just make it work, I don’t care. As long as it… once you get to a certain point, people will say they can tell the difference between different levels of fidelity. But in most cases, that’s just not how people are actually using music in their lives. 

And it just ultimately, that’s not what these collections were about at all to me. They are more about building community demonstrating the value of music in a community. And I don’t think the value of that music is in any way tied up with some technological fidelity to sound quality.

Preston Austin: Agreed. That said, the sound quality is perfect. I can speak a little bit to some of this, too. So one of the things that was a question basically, is what formats are accepted. And so what we targeted was making it basically anything. And we encourage these days artists to upload WAV for 4.1 kilohertz 16-bit so that they have a baseline standard that is equivalent to what was used to offer CDs. When you run into all the problems and talk about dynamic range, and loudness, and compressing everything into the upper end of that, artists are going to do what artists are going to do. But if they have mastered tracks in WAV, we’ll use them. But there are other people who are doing their entire workflow in mp3 tools, and they want to upload an mp3 and we’re not going to be like, “oh, it’s 120 kilobit mp3 that you made five years before the first collection was done, and we’re not going to take it because that’s not master quality or whatever.” F that. 

Kelly Hiser: That’s a good point, too, because those differences are very much tied up in genre and race. Fidelity to some audio quality can be a white male status symbol. And a lot of the time when folks are creating stuff in mp3, it’s Black musicians who are working in their local hip hop scene. So another reason to really question audio quality as a marker of value or goodness.

Rocky Mann: I’ll agree and I’ll just say even when on that vinyl record, even on wax, which is “oh gosh, you must have spent $10,000 to get a master to sound good enough for a pressing,” we had such a range of file types, compression, quality. They all sound great somewhere like basement recordings and submitted on mp3. And they sound equally good on wax as they do on the platform. So that to just follow up on what Kelly said.

Kelly Hiser: Rocky, I’m sorry, I have to take a tangent. I have that print of the vinyl hanging in the entryway of my house downstairs. It’s framed. The exact same thing is right underneath me before.

William Saas: Are copies still available? Now I feel like I want in. Can people outside of Edmonton get a hold of it?

Rocky Mann: You can just email me after. We can mail one.

William Saas: Well, I was gonna say, we could also put it in the show notes and invite listeners, if that’s something that you have copies to sell. Awesome. I’m definitely intrigued.

Preston Austin: I need to get in on that as well. So we were going to make our poster that you sent us as a gift for Mark Bracken, who was one of the interface developers who was instrumental in your first submission round. Mark Bracken killed himself to make it possible for Edmonton to get through the jury process. We were literally writing every interface a couple of days. And Kelly was presiding over that process. 

And I was making sure that the servers worked. And Mark, we were going to frame your poster, put a little plaque on it, a little brass plaque. And so it was a framing shop when the pandemic hit. And between one thing and another, it has been lost to the world of framing. So if I can get another poster, that would be great. I want to but I still want to give Mark that gift if I can.

Rocky Mann: No we can get that. I’d have to say that’s another example. We wanted to do this thing, we needed a different type of submission process, we needed the technology to work differently than the regular round. And again, something was created that could support what we need to do. 

Kelly Hiser: And that goes to that question about what was the design process like? Preston says I can do anything. I had zero tech, or UX, or product management experience when I came into the role. And really what I did instinctively, and what was Preston’s philosophy as well from the beginning, was we just worked incredibly closely with our library partners, so that the design process was really working with them and not for them. 

We talk a lot about designing with, not for and that was really what we did. We had librarians in our GitHub repo actually in the code with us checking things out and testing stuff as we went. And it was… there were no mocks, there were no requirements, it was very messy and chaotic. It was a chaotic collaboration among a couple of really talented developers who put in a lot of backbreaking hours for us, which I have sworn I will never ask another developer to do again, if at all possible, because it was not fun for him. 

But he cared about the work and believed in it. And we all did. So I can’t speak to there being some actual process, it was very much more just let’s have some meetings and put some basic requirements together and have Mark go off and build a thing and just keep that circle going.

Rocky Mann: And then I’ll show it to you. So that’s the thing, it opens and then it was even on color, which was a whole thing.

Scott Ferguson: That’s awesome.

William Saas: Blue vinyl.

Rocky Mann: It’s so pretty.

Kelly Hiser: It’s really pretty. It’s really good, too. It’s such a good album.

William Saas: So Rocky, I imagine in the context of Edmonton, the pitch to artists is pretty easy now, after you’ve done this work for over six years and built this community out. I’m wondering, for newer or aspiring libraries who would like to join the network and become part of and have MUSICat. What does the early pitch look like? How do you get artists involved? Is it the honorarium? Is that what you lead with? Or do you lead with the mission of MUSICat and the mission of the platform and the sense of community? You have all of that in Edmonton. And I think that it would be implied in your approach, or at least you could point to it. But in places where that’s not established yet what does the pitch look like to artists to join the network? 

Rocky Mann: To artists… Because there’s a pitch to artists, there’s a pitch to libraries. And there’s a pitch internally to continue. So I’d say to artists, the honorarium is part of what I call this is a safe space of integrity. This is so aside from just sharing music, there’s so much more to part of it. It’s supporting their career, their civic participation, as we say. So all these aspects to be in this archive collection to have… Preston and I were talking last night about the Marc Record, what it means. 

What it means to have a historical authority that applies to your work, so it’ll be discoverable. And as a snapshot of a place in time, and a culture in time, historically is so important. It’s very different than the… I will say it here, but in a sense, it’s part of a community question. It’s something that we talk a lot with the university and there are researchers there and how can we make this something of value into the future to long beyond, which gets into other interesting conversations about forms of technology, how people might want to be not identified the same way, all through history all through time, moving forward, but the value for artists, one, what I call a safe space, that means a lot, it means a supportive space, that means something that strives for an ethical standard. 

Strives from a different agenda, it comes from a different agenda, that they know that we might not always be fluid will be changing. A $200 honorarium is a lot for some people. And maybe for other people, it isn’t so much. If we could pay more we’d love to, but that being paid something to share your work, instead of having to pay or having to have something cut out of your work. Just the idea of that is really meaningful. Then there’s the opportunities on the ground, and not opportunities in the way, if you join us, a corporate mentality, something that’s trying to sell a product might communicate, there’s so much opportunity if you join our organization, or our business or our thing, it’s not like that, it’s let’s connect you. 

There’s other people who have similar interests as you and there’s other knowledge out there in our local community that is exciting. So, that’s the piece. I have a whole paper right or document right here, we come back all the time with quotes from artists and for example, say the Denim Daddies, who are a local country group, I’ve written letters of support for grants they’re applying for. I help with some of those quality files, I’ll help share knowledge. And then if I know another artist, then I’ll connect them to that artist who might have that knowledge to share. 

So that’s part of it. I think it’s the community and being attached to the library, for all the value the library has in society is what’s meaningful. So they say, “the Denim Daddies are excited to be part of this unique project that connects Edmonton talented artists with the library community. It gives the public access to local musicians whom they may not have heard, and gives them an accessible way of discovering artists from Edmonton. DCR is writing an ongoing history of Edmonton’s ever growing and always talented community.” So I think in that quote, it’s the greater importance in place of a public library including accessibility, not just for artists, but for music lovers and for those who need to connect to local culture.

Scott Ferguson: So to close us out, I wanted to explore with you all, a federal policy proposal that we at Money on the Left are very much advocate for, is the Federal Job Guarantee. This would essentially guarantee everyone who is willing and able a public service job to participate in their community, whether it’s in the arts or working in any number of communal senses, and one of the reasons we’re so inspired by your project, is that it seems you’re already doing the work that we imagine would be done across scales, and would be guaranteed by federal spending through a Job Guarantee.

So we were wondering if you feel like your experience in doing what you do… Well, we’re sure that you have things to teach us who are advocates for the Job Guarantee. But what might a Job Guarantee program of public service employment mean to you all and what you do?

Preston Austin: I can speak a little bit to this, or maybe a lot, but I don’t have time. So I assume when you’re talking about looking at this as a federal policy proposal that you’re basically talking about Sandy Darity and Derek Hamilton’s version of this concept.

Scott Ferguson: There are multiple versions of it. And we are in solidarity with…

Preston Austin: Okay, sure, fair enough. So that’s the recent discourse that I’m familiar with. So one of the things I want to say is that, if we’re going to use an Employment Guarantee as a way of creating economic security and economic justice, one of the questions I have is where does being an artist stand in public employment? Is it a public value that can be funded from a public budget? And I think that building a skeleton towards that, with material payments and relationships between public entities that act as a qualifying enterprise for eligibility, and that build the relationships along which funds can flow, I think is important. 

And I think that while it is not… it prefigures something very thinly. But I also don’t want to overstate what’s happening here, like getting a single $200 check from your Public Library is where a $300 check is great, respectful and material. And that’s what we want it to be respectful and material, straightforward, artist friendly terms upfront, no bullshit. But we don’t want to pretend that this is lots and lots of money. Not right now. However, we do want it to actually become lots and lots of money. 

So we’re trying to validate direct public funding of artists’ work. And I think that connecting the throughline from there to direct public funding of lots of people’s endeavors in a Job Guarantee program is not that hard to draw. So I’d like to see that become $200 a month for the duration of work on the collection. And I’d like to see it become more than that. I’d like there to see fellowships within this where artists are really a city’s artists and residents are one of a collection of and then that group gets expanded over time.

This is really, really important. And again our philosophy is not, “hey, let’s find a valuable work.” Our philosophy is “let’s invest in the valuable activity of people producing art and working with very local public institutions to collect and celebrate and share that.” So that’s what I’d like to see funded, I don’t want to construct an increased purchase of your work, I’m not particularly interested in metering or something like that. Instead, it’s increased support for the activity of those who produce these valued local works. I’ll stop there.

Kelly Hiser: I can hop in, too, and just say that I think when you’re imagining other possibilities than the ones we live in, it’s great to have big theoretical frameworks. But it’s also crucial to have real work happening within the cracks of the system. And I think that’s what we’ve been able to do really successfully. I think we heard a lot of doubt about how you can do this with the way copyright is and the way libraries are constructed. And we just pushed and we’re able to create a model that’s been replicable in a lot of different kinds of communities. 

I agree with Preston, we don’t want to pretend that we’re revolutionizing the world, but at the same same time, this is a radically different prospect than the commercial music industry. And it’s one crack in the fortress.

Rocky Mann: What really hits home for when you said validate direct public funding of artists’ work, I can see that happening. I just have never really thought about it that way. For example writers and authors and books are really the traditional content in a public library. So we have a writers-in-residence program, they get paid for a year to be a writer-in-residence. And now, as I mentioned earlier, especially now that we have recording studios and other things, other aspects, and it’s become recognized that this content is also important in cultural content, that the library is a really valid and important piece of our collections. 

And how do we represent that? So a music expert, or musician, or songwriter-in-residence is on the table. Same with the fact that a lot of the artists who… that validation piece, I know artists in the collection who’ve been able to get CVC spotlight, national spotlight, funding or have gotten big awards through being through… I think it’s supported, I’m not gonna say directly influenced, but I will say that being part of this collection or that validation by a public, not just institution, because CCR is funded here in Canada by residential taxes. 

So basically, that image in public libraries, saying that the community who is paying taxes has determined that this is a value to them. So that money from the pockets of the community is supporting those artists’ work. And being in the collection is indirectly saying to these other ways that an artist can survive and make money and continue to subsist that our civic community has identified that this is of value, and therefore programs are being created that can allow them to maybe make some of a living by what you said… I don’t know… I think the education piece and the whole licensing royalties here is so different than the states. 

But to me, that’s a huge part. When artists come in, some are aware, some don’t know how to properly also receive royalties. And we have several complicated CMOs and PROs. But that’s a piece that we can help with. So that can also play into that income to subsist and continue to provide the public service of culture production and connection.

Preston Austin: Real quick, I want to expand on a point that Rocky made if there’s time. So one of the things Rocky mentioned earlier in the conversation was Marc Records. So Marc Records, M-A-R-C Records are basically catalog card digital records. So if you imagine your old school card catalog with a little… So one of the things we do that feels like a dry library world concern is we export Marc Records of the collection was actually a big hassle. It’s hard to do. And libraries have different standards for it. And we thought it was really important. And the reason why is because for a lot of these works locally, it’s the first cyclical existence of the work and possibly the act, the artist as a band that they can point out that goes into durable institutional memory. 

And I don’t know quite how to tie this together. But I think that this is one of these things that connects to the value that leads to flows of money as is like existing to institutions, as a record, in a good way… Is really, really important and not trivially accessible and being citable isn’t just an academic concern. It’s a validation for all sorts of things. And collectively, it’s the validation that allows things to be counted. 

So for example, Austin Public Library, when they take artists off the collection after the period that they’ve licensed their work for, they’ve ended up using the features that we helped write with Rocky that Legends of Edmonton Music is based on the showcase feature, to keep the artists represented as one of the people who built this collection by making a showcase record for them so they’re no longer an artist page because that’s connected to the published album and that’s not fair after three years. 

They keep 300 albums at a time on the collection. But that showcase page again, it’s part of keeping excitability alive and acknowledging contribution and respecting in a way that has more permanence and I think that that’s going to, as this goes forward, play more and more a role both individually and collectively and why it matters to artists.

William Saas: Well, Rocky Mann, Kelly Heiser, Preston Austin, thank you so much for your excellent, amazing, tremendous work on this. I think revolutionary technology MUSICat and thank you so much for joining us on Money on the Left, it’s been really amazing talking to you. 

Rocky Mann: Thank you.

Scott Ferguson: We did it! Amazing.

William Saas: That was so fun.

Scott Ferguson: Thank you so much. Wow. So I know Billy has a hard out.

William Saas: Gonna get a hard knock on the door here in a second.

Scott Ferguson: But we want to talk about securing permission for using the art in our art… we also and we were talking to Preston before about this. Rocky if you could potentially secure permission to use some clips from local music.

William Saas: Gotta be The Denim Daddies… gotta be.

Scott Ferguson: And we can splice them in as interludes throughout our conversation if that’s possible and we’ll just be in an email contact with you about that.

William Saas: This is awesome. I hope we can talk more in the future. Bye, guys.

* Thanks to the Money on the Left production teamWilliam Saas (audio editor), Mercedes Ohlen (transcription), & Emily Reynolds of The Buffalo Institute for Contemporary Art (graphic art)

The Buffalo Institute for Contemporary Art


Money on the Left
 is joined in conversation with curator Emily Ebba Reynolds & artist Nando Alvarez-Perez, co-founders of the Buffalo Institute for Contemporary Art, or BICA, in Buffalo, New York.

BICA is a new and distinctly heterodox arts organization, offering physical space for artist shows and educational seminars, as well as fiscal space for provisioning micro-grants to local artists. In 2018 Emily & Nando founded BICA, in their words, in order to “reframe contemporary art around issues of regional community, create a plurality of art worlds, and reconceive art as a practical tool which can be used to reshape the world around it.” Along this journey of re-conception, reframing, and reshaping, they’ve confronted and engaged creatively with the “money” question in its numerous and challenging forms. We talk about these as well as get Nando’s and Emily’s take on why a “jobs guarantee” is something artists should fight for.

Learn more about BICA (and discover ways to support the project) at THEBICA.org. 

Special Thanks to Nando for lending his artwork titled, Primary Document 08262022a, for our monthly episode art. Scroll below the transcript for a full view of Nando’s piece. See if you can spot the reference to the Money on the Left crew! 

Visit our Patreon page here: https://www.patreon.com/MoLsuperstructure

Music by Nahneen Kula: www.nahneenkula.com

Transcript

The following was transcribed by Jakob Feinig and has been lightly edited for clarity.

Scott Ferguson: Emily Ebba Reynolds and Nando Alvarez-Perez, welcome to Money on the Left.

Emily Ebba Reynolds: Thanks, really excited to be here! 

Nando Alvarez-Perez: Thank you.

Scott Ferguson: Thanks for joining us. We’ve invited you on the show today to speak with us about the Buffalo Institute for Contemporary Art, which is known by the acronym BICA. It’s an experimental arts organization you two have co-founded in Buffalo, New York. It’s dedicated to communal practices, pedagogies, and publishing.

We’d like to highlight BICA’s accomplishments and aspirations to think together with you about how Modern Monetary Theory might help us reimagine relations between political economy on the one hand, and aesthetic practice on the other. But to start us off, maybe you can tell our listeners something about your personal and professional backgrounds to lay the land for this discussion. 

Emily Ebba Reynolds: Let’s go way back, I grew up on a farm in Colorado. Then I went on to study art history in undergrad, and then exhibition and museum studies in grad school at the San Francisco Art Institute. After school, I started working at museums, I worked in marketing primarily at Yerba Buena Center for the Arts (YBCA), a multidisciplinary Art Center that, especially at the time, was more interested in shifting culture than traditional exhibitions and the more typical institutional art exhibition projects.

At the same time, I was also starting my own projects: I ran a gallery with three friends, a communally owned and run gallery. We did all kinds of exhibitions, and I also did a parking lot art fair where people could just pull up their car and show work out of them, guerrilla parking lot style. A few years ago, Nando and I moved to Buffalo, where I’ve also been working in museums and marketing, and then we also started BICA. Currently, I’m part-time at the University of Buffalo art galleries. I still got my toes in a more institutional setting, but I’m running BICA.

Nando Alvarez-Perez: My name is Nando Alvarez-Perez, and, bear with me, I stutter. I was born in Buffalo and did an undergraduate degree in Film Studies at Hunter College because I thought I wanted to work in the movie industry, and then wound up at SFAI to do my MFA in photography, which is where Emily and I met. At the time, right after grad school, I was exhibiting my work in the Bay Area, adjuncting, working in tech, wearing all the hats that artists need to wear. I am currently a visiting faculty at Alfred University.

William Saas: How did you get together and first conceive of BICA? What kinds of problems were you responding to at that point with respect to the art world and art education?

Nando Alvarez-Perez: I think we can specifically point to late summer 2017. I was doing a fellowship at YBCA, where Emily worked with the artist Tania Bruguera who was teaching an eight-week workshop about her Arte Útil program which is all about reframing arts away from traditional visual aesthetic values and norms and more about how we can re-value aesthetics through the lens of usability and practicality. And obviously, a very vague word in art, but to us, it means meeting people’s needs as they actually exist in the world. 

This was the first year of Trump being in office. I think we were both really burnt out on the hustle culture of the Bay Area, of the art world there. And it felt like art promises so much for institutional and community change, that was just not feeling lived up to there. I remember I had a great run of exhibitions, and I had done work I was really proud of, but by that summer, I was feeling like this whole art game is just an exercise in narcissism. We want to think through ways that we can make it valuable to people. 

Emily Ebba Reynolds: You nailed that, nothing to add!

Scott Ferguson: I used to live in the Bay Area, but you were there more recently than that I’ve lived there. And clearly, Silicon Valley Tech has increasingly overtaken San Francisco, Oakland, and the surrounding areas and made rents go through the roof. The culture is changing. What was it like to be artists, curators, students as those changes were happening?

Emily Ebba Reynolds: Everybody moves there thinking that every artist who lives there, and every gallerist that goes in there has this moment where they’re say: “Oh, obviously, we just have to figure out how to take advantage of all of this tech money.” Like there’s just some magic code that we can crack that will suddenly convince tech people to buy physical art! That was the thing. I feel like when we first started grad school, that’s what we were like, “oh, this is somebody’s just gonna do this. It’s easy.” 

And then as we moved on, we realized that, no, it’s really hard to crack that nut. We would laugh at the next group of people who said, “oh, we’re just gonna sell art to the tech people.” But, they really–as a large generalization–were more interested in things like real estate and cars and watches and these sorts of more stereotypical, more material, wealthy things, instead of something that supports artists. And even when the big-time galleries moved into San Francisco, the Gagosian Gallery moved in and tried to have an outpost there, it’s closing now, they didn’t ever figure out that special way to get the tech people to pay attention. Of course, now we have NFT’s, which are questionable… well, that’s another conversation we don’t have to go into. Nando, do you want to add anything else?

Nando Alvarez-Perez: I felt we caught what felt like the last gasp of an art world there. Since we left in early 2018, a lot of curators have left, private spaces have closed down, galleries have closed down. I am laughing because our school closed as well. It first closed in March 2020 and then reopened. We were involved in rethinking what this program could look like in the future. And they were like: “no, thank you,” and went back to normal, and then they shut down. It’s one of the things that comes up in Buffalo: A lot that the Bay did have something Buffalo does not: that when you’re an artist there, you can find work in tech and actually get part-time creative work that will help you pay for artwork. In smaller places like Buffalo, there’s not as many opportunities for those intersections.

Emily Ebba Reynolds: The job quality is a little lower. I also do want to push back a little, Nando. I was just reading an article on ArtNet about this narrative that the Bay Area art scene is dead, but it’s coming back, it’s just not not mirroring the traditional art market. I think that’s something to investigate further there. But it’s certainly not easy. It’s not as easy to see what the art world is looking like in San Francisco, and it doesn’t look as traditionally successful as it has.

William Saas: When you said the “physical art” bit, I knew we were going to touch on NFT’s. Was that something that was live when you were still there? Or is that something that happened after you had skipped town?

Nando Alvarez-Perez: Definitely after.

Emily Ebba Reynolds: Nando, I remember you reading an article about a photographer who maybe did a picture of a sunflower you saw.

Nando Alvarez-Perez: Even that was around 2018. I definitely had a lot of friends who were investing in various crypto things back then–some have done very well, some have forgotten the passwords to their bitcoin wallet, ups and downs!

Emily Ebba Reynolds: That wasn’t really the art scene that we were plugged into.

Emily Ebba Reynolds: Even that thing wasn’t getting check money at the time.

Nando Alvarez-Perez: Like I said, the Gosian Gallery opened there in 2016 and then closed in 2014 and 15. They did the–I’m stuttering a lot you guys, bear with me. They did two trial runs of the Silicon Valley Art Fair, they were trying to attract artists that would make objects that tech people would like. And it was all either derived from emojis or very shiny, mirror-based things you could do a lot of looking into. They were a complete bust. I remember walking in there and on the front, they had a paintball gun attached to a drone that was making an abstract painting. That was that desperation of time.

Scott Ferguson: Wow. So where is the high-stakes art flipping market in all this? That’s in New York, that’s elsewhere? 

Emily Ebba Reynolds: There are certainly people who buy new art, this happens in Buffalo too. The really rich people who buy art don’t buy art in the city they live in, it’s part of a bigger experience of going to another place, feeling like the red carpet is rolled out to you in a big fancy gallery or at an art fair. It’s not unheard of, it happens that people buy art in the city that they live in, but a lot of collecting really, especially people who have been used to living in a secondary or tertiary city, they’re used to going to a place and they like doing it that way. I think that’s a big part of it. Nando, anything else?

Nando Alvarez-Perez: Even though local people who are well-endowed and love being in Buffalo and love the Buffalo cultural scene tend to still be drawn to LA and New York. Even in the Bay Area, it was just not a big part of the culture and a lot of galleries had a hard time making it work.

Scott Ferguson: Nando, you’re obviously from Buffalo. Our next question, I think, has a partial baked-in answer, but we’d like to hear you talk about what drew you back to Buffalo. Why did you want to establish BICA in Buffalo? Maybe you can tell us a little bit about the history of Buffalo. What’s the region been like? What are the major industries? How have things changed? What’s it like now? And maybe reflect a little bit about how place shapes your thinking about arts and arts provisioning.

Emily Ebba Reynolds: I’m gonna butt in because I’m the one who convinced Nando that we should move back to Buffalo. He was resistant to it at first. When we were in the Bay Area, we were thinking about all of these problems that we’ve already covered. But another thing that we didn’t talk about is we also felt really stifled by conversations about gentrification–arts and gentrification get put together a lot, there’s definitely some chicken and egg stuff happening there. And we were concerned about anywhere we went to try to start something, if we didn’t have some kind of roots or stakes there, it being or looking like some kind of colonial enterprise. 

We started to think about how either Buffalo or Colorado (where I’m from) might be the right places to have at least a historic position in the community. And Colorado has all kinds of other growth issues and we said “maybe not the place we want to dive into right now.” And when we came to Buffalo, often, it was so clear that people were actually needed here in Buffalo, we needed more people of every kind to come here. 

Buffalo is a huge resettlement city for refugees and immigrants because we just literally need the population more. The other thing that really struck me in our previous trips to Buffalo was that people here seem to really care about the arts, maybe I was just recovering from the Bay Area syndrome of being like: “why doesn’t anyone care about this?” But we’d go to Nando’s friends’ parents’ houses, and they’d have original artworks they had paid for on their walls. And I said, “this is amazing, we should just, we should just be here, it seems like people care about that.” That felt like a good base to have. 

Historically, obviously, Buffalo is a Rust Belt city, and it has a lot of the characteristics of most Rust Belt cities. The population has been declining, from the 60s to the last census, our current population in the city is 277,000 or so. It’s not a big city, and it does have a bigger metro area. That 277,000 also puts us as the second-biggest city in New York, which is wild, because obviously there’s a huge disparity between New York City and Buffalo. 

Because of that, we’re also in this interesting position where as far as state funds are concerned, Buffalo tends to get a little more support per capita because it’s important for lawmakers to look like they’re spreading money around the state. And as the second-biggest city, you tend to have more attention than is warranted for a city of the size. The other thing that really drew us here, and that anybody who comes into Buffalo, I think, will be able to relate to, is this idea in the public imagination here that Buffalo is constantly on the edge of a resurgence. We’re just about to have our big Renaissance, party is about to start here!

William Saas: The Bills will be good this year.

Emily Ebba Reynolds: The Bills are a big part of it, and have always been, I think, but in the city that has been dealing with economic depression and struggles you could really see mental depression and emotional depression being a reality for a lot of people. There’s this strange, unending sense of, no, it’s going to get better, things are going to turn around. Which feels like a really fertile place to try something new. Nando you want to add anything? 

Nando Alvarez-Perez: Not a whole lot to add there. We were thinking about where a project like this could work. Emily’s from outside Boulder and Denver where they weren’t going to solve the quality-of-life stuff and the cost-of-living issues. In Buffalo, it feels like there’s a lot of opportunities to make things happen because there’s a lot of unfulfilled and unaddressed needs. We could have gone anywhere, but we really wanted to be someplace where we felt we had real stakes and a personal connection.

William Saas: When you get back to Buffalo, you have the idea for BICA. We’d like to hear more about what y’all do. But, to set the stage: What’s the first step? We want to start an Institute for Contemporary Art in Buffalo for all these great reasons. What’s the next step? I imagine it involves money.

Nando Alvarez-Perez: The first step was that we had an idea for what we thought we wanted to do, what we thought would be a good fit. And Rock Model was a residency program that would invite artists to Buffalo. They would have an exhibition first, and then they would teach their non-art skills to non-artists. Graphic design, accounting, transcription, all of these things, but it felt with all of these new demographics moving to Buffalo, it felt like there was a need for this intersection of art and vocational work. 

Then we got back there, and we spent the first year talking to people, trying to find out where we could actually be helpful. In a place that small, the vocational art stuff was fairly well covered. But we found that the regular art scene had been diminishing a bit because it had aged so much, and there were no easy on-ramps for younger audiences. Just going to a lot of exhibitions and openings and talking to younger artists there, it was clear that there were no role models, mentors, or spaces that they felt like were theirs.

That turned into the first thing we felt we could tackle. We did a pop-up in fall 2018, just to get the name out there and give people a sense for the vibe of what a BICA exhibition and opening is like. That was as part of an event called Playground, which we’re actually partnered on now, but that first edition of it was: Artists were invited to do installations in this old school, one artist per classroom.

For our pop-up, I did an artists design classroom where I made these reading books with books, beanbags and readings for all ages. Then I invited a local drag queen, Fidelia May, to do a performance about art, culture and blow jobs. I also invited my high school history teacher, who’s a local actor, to do a lecture on whatever he wanted to (this was around the time of the Brett Kavanaugh hearings). He did this this great talk about [Anne] Hutchinson, an early Jamestown proto-feminist figure who had been expelled from the community. I wrapped that up with readings for audience members. 

Once we had this pop-up done, it was time to find a space. I had worked as an intern in arts organizations while I was in college here, and so I knew people who were on boards. I don’t want to go too much into the specifics of this, but there was a lot of drama with some local art organizations that people were eager to direct resources into something else. Our first base was an old mechanic’s shop on Elmwood Avenue, which is a main thoroughfare in Buffalo. It is a very tiny space and rent was quite affordable and it left room to be nimble, with what we wanted to do.

Emily Ebba Reynolds: I also want to point out that the first thing we did was start looking into how to become a 501(c)(3), and if that was the right path for us. We did try to explore non-501(c)(3) paths, which I think is important for anyone who thinks that they have to be a 501(c)(3). But in the end, for us to take the donations that we wanted to take, it made the most sense to go that direction.

Nando Alvarez-Perez: And to get the grants. 

Emily Ebba Reynolds: And for grants. 

Nando Alvarez-Perez: Which we knew we would need to do.

Scott Ferguson: Can you talk a little bit more about the money side of setting up this experimental community arts institution?

Emily Ebba Reynolds: Like Nando said, we had a couple of people who we had been talking to for a while and had also known Nando for most of his life at the very beginning. We were able to sell them on the idea of helping us at the start, and explained how with some upfront money, we would be able to start getting grants and doing more fundraising and keeping it sustainable on a broader level where we didn’t need just their support for as long. Obviously, we hope that everyone who has ever supported BICA will continue to, but we did get a couple of people to take a big leap with us at the beginning.

Scott Ferguson: What were the upsides and downsides of the 501(c)(3) path?

Emily Ebba Reynolds: One of the things that we’ve been actually exploring as of late –there’s ideas you can’t do, things like having a co-op that’s a 501(c)(3) but that’s actually untrue, you can. There’s something about the structure of having the board that traditionally has been a board of wealthy people who guide the decision-making of the nonprofit but often are not well versed in the work the nonprofit does, but have the ability to make huge financial and governance decisions about the organization. There’s all kinds of problems with that model, for sure. It’s based on an idea of philanthropy that comes from wealthy people who continue to have all the power and direct their funds into communities in the way that they want them to be directed. 

That was, I think, our biggest concern going into it. But as we’ve done more research, and seeing that there are people really pushing on what the structure of a 501(c)(3) has to look like. Actually, none of our major donors are on our board. Our board is mostly artists and friends. It’s all people who are close to our age. It’s not the traditional–a bunch of old white men sitting in a room that you serve coffee to while they make crazy assumptions about what you’re doing.

Scott Ferguson: Stroke their beards and deciding your fates. What you’re saying is that there’s a set of normative rules and prescriptions and procedures that attend this legal category of the 501(c)3 which, for ideological reasons, have been cemented together, but are not actually part of the legal definition of the form in the first place.

Emily Ebba Reynolds: Exactly.

Nando Alvarez-Perez: It’s a pretty essential designation when it comes to donations and asking corporate sponsors for money.

Emily Ebba Reynolds: And federal and government sponsors.

Nando Alvarez-Perez: Over the last few years, we’ve also been able to act as a pass-through for other projects. I was talking about Playground, which we’re involved with now. The funding and grants we get to do that–they would not appeal to these givers if it was not tax deductible. They really want to give for the perks.

William Saas: This is something that’s front of mind for us, and probably a lot of people who are interested in starting something like BICA. I’d be interested in your experience with the first confrontation you had with the wall of bureaucracy and paperwork, and the option of a lawyer.

Emily Ebba Reynolds: There’s this guy in Buffalo, he’s a friend who is an artist and a lawyer and does this. He helps people form their 501(c)3s. It’s all he does. And so I want to say it was like, we just paid him $500. Is that right Nando?

Nando Alvarez-Perez: It was a bit more, like $750. Happy to direct all listeners to him because it was very easy. As an artist, one of the things that I’ve learned is–as an artist who also has to work and teach, I’ve learned that you just don’t always have the time to do the things you want to do. And if you have the resources to make your life a little easier on most fronts, it made things so much more smooth.

Emily Ebba Reynolds: I want to say, we opened the forms two times, and both times we’re fighting and at each other’s throats about not understanding what anything meant. And we said, let’s call that guy.

William Saas: Remarkably similar to buying drugs. You either know a guy or you’re waiting for the system to change to where it’s like… Glad you knew a guy.

Nando Alvarez-Perez: Outsourcing work, too. We do all of our own bookkeeping. But when it comes to tax time, it’s not the most affordable way to have an accountant do all that work. It’s just something I have been hesitant to tackle because there are so many ins and outs and details. 

Emily Ebba Reynolds: It’s just a poor use of our time. It’s something that we’re not interested in and don’t want to do.

William Saas: You start to feel like you’re one of those conservative lawmakers, “there’s too much paperwork at the IRS”!

Nando Alvarez-Perez: I will say, the IRS these days, post-COVID, is impossible to get in touch with. It does seem like everything is delayed. If you have a problem, it’s scary because there’s no one there listening.

William Saas: This might seem like a left turn or a divergence from the conversation. But this is exactly where we want to go. The path of the IRS to the question of public funding and public provisioning and money as such. One of the things we’re interested in talking to you about and what we’re up to in every episode of Money on the Left is rethinking money and its relationship to art, aesthetics, and also social provisioning, media making. 

We know that MMT wasn’t front of mind when you set up stakes in Buffalo with BICA, but it’s our understanding that you’ve encountered it and spent some time with it since. How would you say–as curators, artists, and community members invested in Buffalo and the art scene there–how has MMT aligned with and maybe informed or shaped your thoughts and decisions? Short version: What does money mean to BICA?

Emily Ebba Reynolds: MMT was not on our mind or even on our radar when we started BICA. But I do want to shout out that thinking about finance differently, or thinking about money differently, was part of our early conceptions. At the same time, as I left San Francisco, I had been working at Yerba Buena Center for the Arts and as I was leaving, I convinced them to keep me on as a project manager on a project they were working on called Culture Bank, an idea that was germinating between the director at the time, Deborah Cullinan, and this woman, Penelope Douglas, who was a pioneer in the social finance world. 

I was working with them on writing case studies about artists who were contributing in non-financial ways to their communities, but in thinking about artists and community assets in a really different way than it had been traditionally thought of. That was ingrained in a lot of the language we were using, especially at the beginning of when we were talking about BICA. And when we were selling the initial donors on the project, we were already taking a financial [view] … framing things in a way that made more sense to them because they were people who thought more about money than about art.

Nando Alvarez-Perez: The default brain mode for all artists and arts organizations is scarcity, being afraid that there’s never enough. In the Bay Area, our school closed down, and obviously, somebody there had the resources to make that not happen. It sucks that that’s how it went. We came into Buffalo just preaching that more is more and more is better. And there is enough. There’s enough money, attention, and resources to be equitably shared with everybody.

Of course, once you are paying a lawyer to do your 501(c)(3) paperwork, and you’re working on a budget, and you say, “I’m going to invite these artists here for a period of X amount of time.” We install all of the work hours. So there’s still a production budget, a shipping budget, and an artist fee. We always want our artists to be paid for their work. When you’re doing bookkeeping, money becomes a very grubby material thing: in and out, in and out, in and out. 

It becomes really hard to stay in that mind that there’s enough out there. We are always trying to think about ways to make the very limited financial resources that we have, make an impact beyond just an exhibition or just an artist talk. The ways that we’ve done that have been buried. You wake up one day, and it’s just like, “we can make this work,” which is amazing. And then you don’t get a grant and it’s like, “okay, well, now we need to be very practical and scrappy about how we pull this out.”

Scott Ferguson: I want to get into some of the specific projects and programs. You’ve teased us with a bunch of the different things you do. I want to get into it. But before we do, I want to ask you about the pandemic. I’ll just say in learning about BICA, and about you two and what you’ve been up to, and what you’ve been building, I came across a podcast that was recorded, I think, in 2019. It was a Bay Area arts podcast. I was listening to it from the vantage of 2022, knowing that a pandemic is coming, and you two are talking about your plans and what you’re up to, and it was all very exciting. And I just kept thinking to myself, “oh my god, the pandemic is coming. And they have no idea that they’re gonna have to try to do all this in this global emergency.” So I wanted to ask you, how did that go? How did you build all this out in the midst of a pandemic?

Emily Ebba Reynolds: I think it’s so funny that you were listening to a podcast from before, I was just listening to a podcast with my fitness guru. It’s before the pandemic and I thought, “oh, God, she doesn’t know what’s gonna hit her.” Anyways, go ahead Nando.

Nando Alvarez-Perez: That is a good way to get into the work that we do, too, because I feel like the pandemic–obviously, I don’t want to be dismissive of anyone else’s experience. But it was not a not positive thing for us. By the time BICA closed in March 2020, we had done four exhibitions in our space there, and every year of programming was designed around tackling or addressing some specific issue. 

That first year of curating was about reimagining how arts institutions can be more engaged with the world around them and actually serve a purpose to their users. Each exhibition, like the first one, was when we wanted to address this issue about the younger audiences. We reached out to our friends, Bonanza, a queer, collaborative group in the Bay Area that does work that’s very campy, kitschy, fun. They’ve gotten known for their fashion shows where they make clothes out of all kinds of different things, often just garbage. We knew that these fashion shows would be a great way to draw in this new audience. They did an all-ages, all-body-types, all-experience-levels fashion show that went great. 

The following exhibition was the work of Lindsay Preston Zappas, who runs an art review in Los Angeles called Carla, Contemporary Art Review LA. We asked her to come and do a show and then do an arts writing workshop. And that led to [the magazine] Cornelia, as we realized that we could produce this print publication, selling ads to local arts organizations who had nowhere else to advertise. Each exhibition came with this social-practice, community-engagement thing and they were, honestly, really hard to pull off. Each one, we felt, was tapping into a new audience and we weren’t gaining long-term traction with those people. 

In early 2020, we exhibited Puerto Rican artists. We were talking about creating a float for the Puerto Rican Day Parade in August 2020. Thank God, that didn’t happen. It felt like we were just speeding up and speeding up and speeding up, and we didn’t know to what end or outcome. When the lockdowns hit, it was like, “okay, this is a good time to take stock, breathe.” 

We got the magazine online, which we at first insisted would only be in print, but then it seemed like a good time to go online. And all of those social practicey engagements, we were able to re-evaluate and rethink how we want those to work at max. That’s where the impetus for the BICA School Program started, because it was a way to start building an audience for these artists, engagement and projects. Do you want to add?

Emily Ebba Reynolds: Through another organization’s misfortune–an organization that didn’t weather the pandemic as well, although I think their finances were questionable beforehand, and then the pandemic laid everything there. They moved out of this space we have moved into. Which, for us, was huge. It’s a much bigger space. We spent the first three months of 2021 building out this space to meet our needs instead of this previous organization’s needs. We’re now part of this historic art center, we get to build on this cool legacy. So we got really lucky in that moment, as well. 

Nando Alvarez-Perez: The rent went down too. 

Emily Ebba Reynolds: And our rent decreased, which I think we’re not the only business that figured out that the real estate market was crazy in the middle of COVID. Since we don’t depend on income from ticket sales or anything like that–it’s free to visit BICA, it’s free to pick up our magazine–we weren’t losing money. And then suddenly, there were all these new grants to help support arts organizations and increase their visibility during these times when everybody was stuck inside. Artists can often think of crazy ideas to entertain people, we were able to take advantage of some of those. Which was just lucky in positioning. Now as we emerge from a pandemic, we keep trying to remember that the feeling of speeding up and speeding up and speeding up is not sustainable. And so we have to keep remembering to not let ourselves get back there if we can.

Scott Ferguson: Tell us about the BICA School, which is different from traditional art schools you attended.

Emily Ebba Reynolds: BICA School is the most recent project we have launched at BICA. As Nando mentioned, our school started closing in March 2020 and then continued to zombify, and really closed last June, I think. As they were trying to figure out if there was a way to stay open, Nando and I served on the Committee to Reimagine SFAI where we met a lot with people who were interested in trying to keep the school open for various reasons. As we had all these meetings, I started to instill in both of our minds that the things that were most important about our education were the people we met there and the community we formed while we were in this intensive two-year program.

Nando Alvarez-Perez: To expand on that a bit, I think at BICA, a great many of the exhibitions we’ve done have been through SFAI role models, connections, and friends. Besides just being the community that was formed, it’s also the professional milieu we were able to build.

Emily Ebba Reynolds: There’s this importance of this network. The other thing that we really felt or especially that I really felt that we got out of SFAI–which was a small and scrappy school when we were there–was something about learning to do things ourselves, because the institution was not going to provide us the resources and things we needed. We needed to learn how to build the thing ourselves: If we wanted to stage an exhibition, we needed to figure out how to do that on our own because the administration was not prepared to help us with that. Thinking of those is the most important things that we got out of school. Obviously, the readings and writing papers was helpful, but I don’t go back and read my thesis very often. So I said, “oh, well, those things should be free, right? Those things are not very expensive to put together!” Yet, somehow, I graduated from art school with over $50,000 worth of debt, we don’t need to go to exact numbers. 

Obviously, it doesn’t make sense, especially in a field where you know people are not going to make a lot of money. The person who goes into the art fields and makes a lot of money is a very rare breed. It doesn’t make sense for professionalized art school to cost that much. And maybe it doesn’t make sense for it to cost anything at all. With those kinds of ideas we said, “well, we should try to start this school.” And then we fought ourselves for like a year thinking, “oh, we need to set up all these structures for it.” And then, finally, we realized we are getting to that point where we’ve been talking about this to all of our friends and families for too long, and we needed to just actually do something about it. 

We pulled the trigger last June and had an info session where we invited anybody who was interested in the BICA school to come and learn more about what we were thinking. We sent it to all of our audiences, but we also tried to send it especially to the universities who could make sure that people who had recently graduated from BFA programs or art programs would get it, trying to focus on Gen Z, the millennial generation. And also, obviously, there have been a bunch of people we’ve met through the years that we had been envisioning when we thought of the program. We invited all these people to come, we thought that maybe we’d get 15 people at this info session. Then we talked about it for an hour. At the end of it, we presented people with a piece of paper that asked them to commit to this journey with us for the next year.

We thought that maybe eight people might sign on to a year-long thing no one really knows what it is yet–seems risky. We thought maybe people wouldn’t want to do that. But all 30 of the people who were there signed the piece of paper. In July, we started having biweekly reading groups and critiques. At the beginning, they were mostly led by Nando and me but the group has started leading them themselves. They’re very insistent on not having a hierarchy which is great with us because the idea isn’t that we do way more work to make this happen. We provide the space and a basic framework.

Nando Alvarez-Perez: For the Money on the Left audience, maybe it’d be helpful to expand on what the traditional model of an art career is supposed to look like, which is that you are essentially regarded as untouchable if you don’t have an MFA. First you have to pay a school to get this degree that qualifies you to look good to potential buyers and galleries and also, of course, to teach. And when you exhibit your work, you’re doing it all on […], the gallery doesn’t pay you up front, you’re only paid in sales. So you go further into debt to make each exhibition happen. And teaching jobs, as you guys know well, are few and far between. We’re all in this debt scheme together.

Emily Ebba Reynolds: Especially as arts programs are cut (I’m not saying that I think that everybody should get this professional degree) but if you’re also cutting all the jobs they can go into, it’s especially confusing.

Nando Alvarez-Perez: You realize that what you get out of school is a community of like-minded peers and colleagues who will help you build a thing, and a way of being an artist in the world. You shouldn’t have to pay for that. The BICA school model is nothing new–there’s lots of examples of self-organizing alternatives to MFAs, some that have gone on longer than others. We figured we could take this core idea that what you get out of school is a community of peers and start with these basics of readings and critiques and let the users of the school develop it.

Emily Ebba Reynolds: Fear is pretty important. It’s pretty important to have fear. 

Nando Alvarez-Perez: Fear helps.

Scott Ferguson: And do the participants work across media?

Emily Ebba Reynolds: Yes, we’ve got some poets who are trying to see if this is helpful for them, too. The group is all over the place, but in a way that’s fun to experiment with right now and see how it goes for everyone.

Nando Alvarez-Perez: Poets, musicians, painters, 3D printer people …

Emily Ebba Reynolds: A sex education specialist. She’s a fun one.

Nando Alvarez-Perez: It really runs the gamut. Some people are there more for critiques, some are there more for reading groups, some are there just for the energy and being involved in this thing. The last thing I’ll add is that, within about two months, it started to become clear that the participants were eager for a space of their own. We helped them lease space, it’s also in the BICA Complex, a shared workspace, exhibition space, and event venue.

Emily Ebba Reynolds: They’re running that fully collectively. They each pay in for rent as they can each month, and then are fundraising to cover the rest of their rent for the year. Again, we’ll see how it goes. But so far, they’re not very far behind, which is good.

William Saas: Much talk about finance and art in those contexts?

Emily Ebba Reynolds: We’ve talked a lot about the problems with the art market. One of the things we’d like to do as we go forward is focus on areas for multiple weeks. As we’ve gone so far, it’s been like, “oh, one person wants to read this, or another person wants to read this or last night, they wanted to listen to a Frank Ocean album,” and that went okay. I think more directed reading is probably the right thing. I think that some MMT stuff might be helpful and some thinking about how it can materialize and how artists could illustrate it might be a fun exercise to bring in.

William Saas: Maybe we can just sketch that out–what would that look like? Coming from you and your background? How would the MMT approach fit in the ad hoc curriculum?

Nando Alvarez-Perez: It’s something I’ve thought about a lot, because I’ve been very into reading about … But it’s been a tough conceptual sell.

Scott Ferguson: To you or to others?

Nando Alvarez-Perez: To others. I think people hear about the Federal Reserve and most artists’ brains just go off. It has come up a bunch of [times] Taxes are not for what you think they are. We’re working on a grant, I’ll just be very honest about this. And we’ll see how much is […] people don’t listen. We and the BICA Schoolers said, “we need to pay rent.” This grant cannot be used to pay rent. So we need to create roles for each person to pay because they really just want to pay as many artists as they can. A lot of the pandemic responses have been a spray-and-pray approach to just blasting out as much money in small chunks to as many artists as possible. I feel like the effects have not been too different than the $1,200 that we got from Trump. It just all goes into rents and stuff. But the specifics of each grant rarely allow you to put the money where you want to. For us, it’s usually overhead stuff. We are still not paid for our work at BICA. That is one thing that makes it all go round, I think. And as we’re talking about how to write this grant, we need to create facilitator roles for the artists that will then get paid. I was not there last night, but it sounds like they had a conversation clarifying that it’s okay, that they will get paid, and this pay goes back into rent. 

Emily Ebba Reynolds: I said, “we can’t use this to pay for rent, but we could use this to pay each of you as facilitators.” Before I even finished the sentence, one of them said, “yeah, and we’ll pay it back in rent.” And I said, “if that’s what you want to do, that sounds good.”. I’m not gonna tell you that you can’t do it that way. 

Scott Ferguson: What is that stipulation designed to do? 

Emily Ebba Reynolds: All of these things are put in place because at some point, there was a problem. The past problem is that nonprofits have paid outrageous salaries to their employees, have had insane overhead costs for rent and other things, and justify why the state doesn’t want to spend money on things that are not being used appropriately.

But then, of course, it’s the thing of bad faith versus good faith. No one feels like they can trust anyone to do the right thing with the money and they’re not willing to take that leap to assume that anybody would not misuse their funds. In history, it’s not always proven that people do use their funds properly. 

Nando Alvarez-Perez: We’re in the space that we are because of a mis-used grant. It definitely surprised us. We’ve had such an exciting year with the grants that we’ve gotten. And we thought that would start solving all of our problems. But the step from getting those grants to consistent staffing funding is a big relief.

Emily Ebba Reynolds: It’s really weird because it essentially asks for organizations to use private money to pay for all those things–whatever you can get from private donors. When I worked at YBCA, our biggest fundraiser each year was a dream house raffle, which is essentially gambling, right? People who never came to the organization paid money to buy tickets to possibly win a home that they would immediately have to sell because the taxes would be so high. That was the only way that the organization could make enough fundraising money that they could pay their overhead, their basic overhead of staffing, which is such a backwards way to think of it. 

Instead, perhaps, we should take care of the people who are working every day and not make those positions dependent on that private money. Because then we start to run into the same thing where boards say, “oh, well, I’d like my son to do this job.” Or, “let’s make sure another white man gets to this position” and continues to sustain all the same problems.

Scott Ferguson: If we were to imagine a world of arts and arts provisioning that wasn’t austere and that was publicly supported and funded in robust ways, and included a federal Job Guarantee, which in our previous conversations you have suggested you support. What is your position in the world, your experience as artists and curators? What can you teach us folks who are really interested in fighting for a federal Job Guarantee? What should we be thinking about? What should we be arguing for from the arts world perspective?

Nando Alvarez-Perez: A couple of things. First, thinking about how many of the are-related pandemic responses to COVID have been to take usually federal money distributed to a lot of artists in fairly small amounts to do aesthetic embellishments to pre-existing programs and projects. That can be fine, it can absolutely be very helpful to put a nice artists-made veneer on top of community development program, but when I’m thinking about what a Job Guarantee could mean in the arts, I would hope that local organizations on the ground would have a way to direct the financial resources to where they see a need. 

I think on the one hand, arts organizations that are always dealing with issues of staffing would all of a sudden have access to people who could handle marketing, social media and all of these things, they can really help the organization bring in more people. And then on the artist’s side, the crazy optimist in me says, “I would hope it would mean that the art world would actually decenter.” We talk so much in the arts about “art worlds” and not an “art world.” But when we talk about the Art World–big A, big W, most people have an idea of what that means. It’s the art fairs. It’s the major museums in New York and LA and Berlin. I think that if artists didn’t feel like the only way to sustain a life was to move to New York or LA, we would see artists staying where they are or going to places where they felt a real connection. 

Emily Ebba Reynolds: Somewhere they just wanted to be. 

Nando Alvarez-Perez: If you spend any time talking to artists from New York City… some will love it, but most are just white-knuckling it for years and then decades, hoping that things will work out. And it’s true, that is the one place where you can make a career in the arts because people actually window shop for art there. It just doesn’t happen in Buffalo. I could see artists’ evaluations of where a life could be made completely reshaped.

Most artists don’t get into the arts because they want to be a famous artist, they do it because it’s a way of using their brains that suits them, because we’ve all been sold on this idea that art is good, culture is good, the aesthetic realm can offer all these new ways to see the world. I think artists are often simply not making the work they want to make because they have to direct it towards a certain market. And I could see that the JG starts to dissolve that.

Emily Ebba Reynolds: I also think it would take some of the risk out of being an artist, when you have a sense that there’s something to fall back on. I think a lot of people are artists because they feel they always even want to be, often it’s one of those things… “oh, this is the only thing I can do.”

Nando Alvarez-Perez: Just to go back to the Bay Area, on the one hand, it’s great to have all of these jobs available to artists. On the other hand, most artists leave the arts because they say, “I can get a job at Apple? What am I doing?” There’s this constant brain drain out of the arts to other sectors. It would be so interesting to see that being reversed.

Emily Ebba Reynolds: Healthcare and having the support to not feel like you’re making a stupid decision that’s just too risky to make any sense.

William Saas: I’m thinking of David Graeber, his advocacy for something like Universal Basic Income, specifically for artists. As artists, maybe you could help us consider, as we start to wrap up, why the Job Guarantee makes sense over other possible avenues?

Nando Alvarez-Perez: I don’t want to toot our own horn, but we spend a lot of time talking to artists and organizers and community members where they are and we can get an actual sense for what their needs and resources are. Reading more about the Job Guarantee helps me reframe UBI as this libertarian dreamscape of “it would be nice to have more cash in our pockets, but what are we going to spend it on and why?” I think having those voices on the ground that can direct the work where it’s needed would make the money useful and not just inflationary.

Emily Ebba Reynolds: I want to throw out a maybe more holistic and less financial [perspective]. There are a lot of UBI programs being tested on artists right now. It’s a really common thing.

William Saas: You say tested on artists that sounds like…

Scott Ferguson: Art rats.

William Saas: Yes, art rats.

Emily Ebba Reynolds: I think they probably mostly like it. But I also think that it continues to propagate this idea of the lone artists working alone in their studio, having not a great sense of their world or their community, which I think is a really “over” idea of what art is … It’s a very capitalistic idea, a very patriarchal idea of how art works. 

Funding it in a way essentially continues to be in the form of: “We’ll just pay you your salary to do whatever you want” doesn’t help the rest of the world see the value. This doesn’t really help. It’s meant for a very specific kind of artist. I think a lot of artists are perfectly happy to work in a job that helps them have a better sense of their community. They bring a lot to jobs that they work in. Obviously, I don’t want artists to have to do backbreaking labor for 40 hours a week, but I think most artists are pretty happy to see people and solve problems with them.

Nando Alvarez-Perez: I will add that this came up in a BICA School conversation a couple of weeks ago, it was at the extreme ends of a Job Guarantee, at least as we have seen it in America, is artists no longer wanting to paint WPA murals really badly. And so we get, in large part, abstract expressionism coming out of a rejection of this. You do still need to leave space, artists are going to do what artists are going to do. But I do think that they are, generally, by their nature, more other-directed than a lot of other kinds of laborers. You would still need to find some fine line there. It sounds really cheesy. I said this when we had the first info session for BICA School: “I know that when you get artists in a room, awesome things happen, and they’re capable of making things happen out of almost nothing.” Providing more opportunities and more intersections for artists to work in the real world would be awesome.

Scott Ferguson: We’ve spent a long time criticizing capitalist atomized society and artmaking. But, still, individuals do exist and Nando, you’re an artist, and you make a lot of really provocative and interesting work. Could we ask you to talk about your own work and what are your practices? What materials do you work with? What are you up to? What have you been exploring?

Nando Alvarez-Perez: Feel free to cut me short on this. Obviously working with tiny […] has made me think about BICA and Cornelia and all this stuff as an artwork of its own. Emily and I always have conversations about: “Are you an artist, Emily?” And it’s just like… who cares. Good work is being done. My own work hasn’t moved into social practice, but thinking about BICA and working through BICA has helped me reframe my own work around audience and context. 

For years, I’ve been working with photography as a kernel of everything else, the work might come out in installations. I do larger installations that use extruded aluminum, there are a lot of conceptual underpinnings in the material. It’s a material you see used for trade show booths, and they’ll use it a lot in sci-fi movies and TV as a material that looks really futuristic. I think it already looks dated. It’s also often used to make things like 3D printers and cotton carve machines. Most recently, it’s been used as COVID barriers. I keep thinking I’m moving away from this one material, but it just keeps waking up. The installations use a lot of photographs I make in my studio that collapse historical movements into one flat scene. Lots of blending of both avant-garde and kitsch stuff. And then there’ll be books and beanbags and things to get people to engage with the intellectual backdrop to the work. 

Two exhibitions I’ve been pretty proud of recently: I showed some work in a middle school here, where my usual work just felt overbearing and condescending to a bunch of eighth graders. I was trying to think, “what were the things that I was aesthetically into then?” It was jean patches, chain wallets,boondoggle and Tamagotchis. I was doing, you can’t see me, in quotes, “research” on YouTube and discovered the world of a VSCO girl, who’s an ecologically minded, middle schooler/high schooler who really loves to wear crocs, drinks only out of metal straws, and is really into save the whales.

Emily Ebba Reynolds: The turtles I thought.

Nando Alvarez-Perez: And there’s this whole culture of Tamagotchis. And then I got into the e-boy and e-girl scene, this post-goth internet persona. 

Emily Ebba Reynolds: These things are probably so dated, I feel like they didn’t survive the pandemic.

Nando Alvarez-Perez: It was weird for me to discover that kids these days have a lot of nostalgia for the same objects that I have nostalgia for at that age. And so that show was called Eternal Flame. The Eternal Flame is a local geological feature here, open natural gas events behind the waterfall that as a kid growing up here you go to a lot. That name just seemed to work, it is calling upon the weird eternal recurrence of these consumer trends.

Last fall, I did an exhibition in a confession booth in an old girls’ middle school. That was a really fun opportunity to address conversations around disinformation versus conspiracy theories, using the confessional as a way to explore trauma, especially national traumas that are under-researched. I’m just reading about Jeffrey Epstein, weird connections to intelligent figures was really the start of that work. And I thought it would be a much longer project but then had this opportunity, this very, very, very tiny space to bring it all together. That was a lot of fun. 

Emily Ebba Reynolds: It came with an essay, which I feel like was written as part of the show. The essay is part of the exhibition.

Nando Alvarez-Perez: And the text existed as a standalone piece that was about the backdrop of the work and didn’t exactly directly address it and that work was a lot of fun. Using Polaroids to take pictures out of old newspapers and off my screen and using the Polaroid, which is regarded as a very truthy medium, to start to tell these lies and shake your certainty about how an image got made and where I was in its making.

Scott Ferguson: I’m looking at this show, it’s so striking. There’s an image of JFK, a cut-out collage image where JFK’s face is like wood. And then I also see this really dark picture that looks like a clay Mickey Mouse. What are the implications or suggestions? What are the relations here?

Nando Alvarez-Perez: JFK with his head removed is an image familiar to a lot of Americans. He’s photographed with this wood veneer as the background and the wood veneer start to work their way into the work as a way to frame these works. It was just a perfect match for the confession booth architecture itself. 

Veneer art has become this really interesting thing to me, because it’s a very overt lie. It’s lying to you on its surface. But you’re still supposed to act as though it’s just wood. And then the Mickey Mouse piece, I was thinking about the stories and myths that constitute our political imagination, and how over-simplified and reduced a lot of the–no offense to my fellow Americans–Americans seem to have a pretty narrow scope of how we come to believe the things that we do, and how those things relate to broader historical narratives.

Emily Ebba Reynolds: I was going to say I think there’s something–going back to that idea of what, how does this come in art? I feel like that’s something Nando might be working towards. But something about that art has often–art in the broad sense to television, and movies, and all kinds of music–have helped people sometimes see those moments when a deeply held truth is not true. And something like the way that money works, or that they’ve been told budgets work on the federal scale–these are the kind of things that maybe someday artists can help make a little space for people to think more imaginatively about.

Nando Alvarez-Perez: That was a great way to tie it all. 

William Saas: Excellent.

Emily Ebba Reynolds: I’ve written some essays in my day.

Scott Ferguson: Maybe you do go back to your thesis.

William Saas: Are you working as a curator again, as we close out? Is there anything that you’re working on you’d like to talk about?

Emily Ebba Reynolds: It’s funny because now Nando and I almost always curate together, which I actually really appreciate. I have always been more of a person who likes to work on a team than alone. We’re in the middle of a series of exhibitions at BICA right now under this umbrella of recovering futures, but we’re really thinking about recovering from the pandemic in a more holistic way. That sounds really cheesy, but the artists we’re working with are in the witchy vein of recovery or…

Scott Ferguson: That doesn’t sound cheesy. 

Emily Ebba Reynolds: No, it’s not cheesy. That’s the thing, we wrote a lot of grants to make it sound very cheesy because the grantors love a cheesy thing. But in reality, it’s about community healing and long-standing practices of healing that people have done together instead of medicines. Next year, we’re working on a certain entity… want to talk about the Maps to the Territory series?

Nando Alvarez-Perez: Sure. For Fall ’23 through Summer ’24, we’ve got this rough idea of looking at artists who are–now I’m thinking too hard about what we wrote in this NDA Grant–who are reframing traditionally known narratives, and well-mapped territories, through new indices. We’re showing the work of Lee Hunter, who has been working on this world-building project. They’re working in stone photography, video work, to create this future landscape and artifacts that come out of this imagined archive of a post-human future. And we’re showing the work of Maximilian Goldfarb–I would have a hard time describing exactly what he does, but he’ll take a found image of some unusual industrial objects. One thing he did was an Indian Maoist group was making IEDs, and he made a fake IED.

Emily Ebba Reynolds: He takes a picture. And then he writes an odd audio or an Alt Text description of the image. He’s working on over 1000 of them.

Nando Alvarez-Perez: Weirdly, the IED he made was used as a news photo about this actually existing Maoist group in India, which is just wild. And then finally, we’ll be selling the work of Joy Reid Minaya, a Dominican-born artist who’s been in New York for years. She tackles postcolonial narratives about the Caribbean, usually through the lens of tourism, and how tourists view the Caribbean world now.

Scott Ferguson: Thanks so much for coming on the show. Before we go, you can tell our audience how to find you online?

Emily Ebba Reynolds: We’re not Twitter people because artists tend not to live in the twittersphere. But you can find BICA @BICA.Buffalo on Instagram or at TheBICA.org. If you want to find me on Instagram, I’m @EmilyEbbaReynolds. And Nando is @NandoDotEternity but “dot” is spelled out. And Nando’s website is NandoAlvarezParez.com.

Scott Ferguson: Great, thanks so much for coming! I hope we can continue this conversation in the future. Thanks.

Nando Alvarez-Perez: Thank you guys. Yes, please.

Emily Ebba Reynolds: It’s been fun.

* Thanks to the Money on the Left production teamWilliam Saas (audio editor), Jakob Feinig (transcription), & Meghan Saas (graphic art)

Primary Document 08262022a by Nando Alvarez-Perez

Internet for the People with Ben Tarnoff

Money on the Left is joined by Ben Tarnoff—tech worker, writer, and cofounder of Logic Magazine—about his book Internet for the People: The Fight for Our Digital Future (Verso Books, 2022). In his book, Tarnoff provides a comprehensive history and a critical topology of this thing we have come to know, love, hate, swear off, get on, and grow bored of: the Internet. Throughout our conversation, Tarnoff displaces the haphazard history of the Internet that circulates often-unquestioned in our foggy collective memories, helping us to see more clearly how the Internet came to be “so broken.” Tarnoff refuses to accept privatization or the profit motive as given or inevitable. Instead, he evaluates the history of privatization and profiteering from the perspective of public provisioning. He does so, moreover, in order to advocate for heterogeneous public alternatives and cooperative futures. Ultimately, Tarnoff fashions a vision for the future of the Internet as a de-privatized, public space for collective flourishing, which is to say, an “Internet for the People.”

Visit our Patreon page here: https://www.patreon.com/MoLsuperstructure

Music by Nahneen Kula: www.nahneenkula.com

Transcript

The following was transcribed by Mercedes Ohlen and has been lightly edited for clarity.

Scott Ferguson: Ben Tarnoff, welcome to Money on the Left.

Ben Tarnoff: Scott, thanks so much for having me.

Scott Ferguson: We’ve asked you to join us today to discuss your recently published book, Internet for the People: The Fight for Our Digital Future (Verso, 2022). The bulk of the book tells a synoptic, critical history of the internet: How it came to be, and how it came to be–as you note–so broken. 

You tell this story in an unexpected way. You not only eschew the fallen redemption narratives of Web3 and blockchain libertarianism, you also proceed with a set of assumptions and values that very much complement the approach to public money politics at Money on the Left. Specifically, your project refuses to accept privatization or the profit motive as given or inevitable. Instead, you evaluate the history of privatization and profiteering from the perspective of public provisioning while advocating for heterogeneous public alternatives and cooperative futures. To start us off, how would you characterize most hegemonic histories of the internet today? What do they tend to overlook or get wrong? How does your approach substantially differ? And why does this matter for building what you call an internet for the people?

Ben Tarnoff: It’s an interesting question, Scott, because I’m not sure there is a hegemonic story about where the internet comes from, if I had to think about it. I think there are pieces of the story that the person on the street would know. I think folks are vaguely familiar with the idea that the internet came out of US military research. I think the more recent history of the internet, the rise of Google, Facebook, Uber and so on, may be familiar to them depending on how old they are. 

But I’m not sure there is a hegemonic story about how all those things fit together, that there is a continuous single narrative of the internet’s creation, its development, its commercialization. There is some good scholarly work on these subjects, which I draw on in the book. But I really have thought of my intervention as not so much telling people what they get wrong about the story of the internet but giving them that story for the first time (in many cases) or at least the story as a single story, knitting together some of the bits and pieces they may have floating around, half-remembered in their head, trying to bring it all together into a story with a beginning, middle and end.

Scott Ferguson: Perhaps to clarify what I was up to with that initial question: I think that floating, underarticulated narrative or bits of narrative that are around I tend to associate with some sense that the government and the military were involved at the beginning, but then this almost tabula rasa, where the web became a libertine, freely associating, extra-legal, extra-political utopia. And then Web 2.0 comes along, and these major corporations take over and ruin that utopia. And then that licenses a certain hegemonic project today, which is trying to imagine a Web3 that is returning to that wild west utopia, but now with private property laws and more order. That’s what I had in mind, which maybe isn’t the totally hegemonic, or the full story, or not everybody believes that. But I guess that’s what I was gesturing towards.

Ben Tarnoff: I think there’s a generational aspect here: Folks who remember the web of the 1990s in some form are likely to hold the types of views that you describe, Scott. I would characterize it as a form of internet nostalgia. I talk a bit about internet nostalgia in the book, and I think it’s important to note that nostalgia has been a component of how people have experienced the internet from the very beginning. People have felt nostalgic for the internet of the mid-1980s, the early 1990s. All of us feel nostalgic for some era of the internet and I happen to be of the age where I do feel nostalgic for the so-called “Open Web” of the 1990s, the world of GeoCities and so on.

In the book, I try to treat nostalgia fairly because there is something real there. There is an accurate perception of the fact that the internet has changed quite dramatically. And I think we could say, in some ways for the worse. But it also can give us a somewhat distorted view of how the different periods of the internet fit together. For instance, to take the era of the so-called “open web”: we still have the open web. In fact, the openness of the web is what has facilitated the rise of the so-called platforms. Google, to take an example, is able to sprinkle its advertising software throughout the web precisely because the web is open. So, the open parts of the open web are what make the closed parts closed, if that makes sense. The open and the closed exist, if you like, in a dialectical relationship with one another. This is a left podcast so I can say words like dialectical. I want to encourage us to take that view of internet nostalgia where again, I don’t want to be dismissive or condescending to people who have these views because I have my own private set of longings for a different internet, but they don’t always give us a complete picture of how these different things fit together.

I should also say that any project to build a better internet, which is partly what motivated the decision to write this book, my commitment to that project, can’t go in reverse. There is no way to reverse the privatization of the internet, for instance. What we need to do is to come up with a creative reimagining of the internet that takes it forward, we can’t simply put the gears in reverse as much as we might like to.

William Saas: I want to sit with that for just a second. I think the argument that there is no reversal of the privatization of the internet–that’s a very profound observation that may be troubling for some listeners. I want to ask you to expand on that. One might imagine a world where the internet goes down, and there’s some kind of catastrophe. Is there not a clean slate? There’s no reversing the privatization? Maybe you can unpack that for us a little bit more? 

Ben Tarnoff: What I mean by that is that privatization created the modern internet and that process was a creative process. It wasn’t simply a matter of enclosure. Enclosure is a metaphor that is very popular among Marxists, among those on the left, and has been increasingly applied to digital spaces, and there may be contexts in which it’s appropriate. But it would not be accurate to say, precisely, that the private sector enclosed the internet, which had formerly been a commons, which would suggest that all we need to do is to break down the fences erected by those bad landowners, as in rural England, and reclaim the commons for ourselves. 

 That’s not what happens. Of course, the internet, as I’m sure we’ll discuss, was created by the public sector, specifically by the US military, and its development would not have been possible without billions of dollars of public money. And indeed, the private sector did take over the internet without paying the public sector any compensation. However, it didn’t simply inherit it and keep it as it is, because what it was taking over was essentially an academic research network. It was relatively small by today’s standards. It was relatively unusable by today’s standards.

It had to be quite significantly developed and crucially, it had to be renovated for the purpose of profit maximization. Privatization is not simply this passive process whereby public assets pass into private hands and that’s that. In the case of the internet, privatization is a creative process. It involves remaking the internet into what we have today. So that’s what I mean when I say we can’t simply reverse that process because the internet as it exists today is a product of that process. Something, I think, more imaginative, is required.

Scott Ferguson: Before we dive into the details of the history of the internet you tell, would you mind first sketching out the structure or topology of the contemporary internet, as you do in your book, I think it’d be really helpful, especially for our less tech-savvy listeners to sketch this out and define some of the key terms you unpack in the book such as “stack,” pipes” and “platforms.”

Ben Tarnoff: The “stack” is a metaphor that would be familiar to folks who are in the world of computer science or software engineering, it’s a very common metaphor in the worlds of computing and networking. And in particular, it’s applied frequently to the internet. Now, my take on the “stack” is a bit reductive, it’s a simplified schema of the “stack.” I split the “stack” into two layers. A “stack” is really just a set of layers piled on top of one another, like a house, you can think of the floors in a house. 

In my simplified schema, I’m talking about two layers: what I call the “pipes,” which is basically the physical infrastructure of the internet, the fiber optic cables, the routers that are required to get a packet of data from one place to another. And here the companies involved are firms like Verizon and AT&T–internet service providers–as well as companies that operate the deeper networks of the internet. And then when we move up the “stack,” we get to a different layer, which is inhabited by what people often call the “platforms.” I take issue with that term, which is a bit of pedantry we can get into later if you like, but this is essentially the application layer of the internet. This is where the apps and the sites are. This is where we experience the internet. 

Splitting the internet into two helps organize my book, it’s literally the two sections of my book. But there’s also a chronological story implied here, because my book is mostly about not just how the internet was created but how it was privatized. And privatization begins at the bottom of the “stack” with the “pipes” and then it moves up the “stack” to the application layer. There’s a spatial metaphor, which helps us understand how the internet fits together. But there’s also a historical aspect because privatization ascends from the bottom to the top of the “stack.”

William Saas: So where did it all begin? How did this thing we call the internet get started? Where was the first pipe laid? And what does it look like at the outset? And if we could think also about the original vision, values and ideals behind the internet at its origins.

Ben Tarnoff: To talk about where the internet comes from, we probably have to say very briefly what the internet is. We discussed the “stack,” which gives us an architectural overview of the internet, but it doesn’t give us the ontology, so to speak, it doesn’t really give us what is the internet. The internet is fundamentally a language. It’s a language that lets different computer networks talk to one another, and thus interconnect to form a network of networks. What this means specifically is that the internet is a protocol, a set of protocols. And a protocol is basically a bunch of rules for how computers should communicate. 

The very first internet protocol was created by US military researchers in the mid-1970s. And through a series of experiments, they figure out that this internet protocol is capable of stitching together different networks from around the world into a single network of networks. And why this matters, why they’re doing it–the military pretext for these experiments–is to project computing power from the United States into the battlefield. 

Now, what does that mean more specifically? What it means is that there are large mainframes, million-dollar machines, very heavy, very expensive computers, located in places like northern Virginia, that are capable of running computationally intensive programs of the kind that might be useful to soldiers who are deployed in places like Vietnam. The vision is that those soldiers who are deployed in places like Vietnam could have a small, less powerful computer in their Jeep, for instance, and communicate wirelessly with that mainframe in northern Virginia through the internet protocol and maybe get some output from an application that helps them gain an upper hand on the battlefield. 

That’s the vision for the internet. That’s why it gets funded by the Pentagon’s R&D arm, DARPA [Defense Advanced Research Projects Agency]. Now that’s not actually what the internet is used for. Once they have this protocol, the Pentagon realizes that it could be useful for interconnecting various computer networks they have within the Department of Defense. They have various computer networks, and it would be useful for various reasons for these networks to be able to communicate with one another, and they use this new internet protocol to do so. Over the course of the 1980s, the internet goes from being a protocol to a place. It actually begins to describe a distinct set of networks that have been interconnected with the internet protocol, which in turn becomes the internet protocols. 

By the early 1990s, the federal government continues to control the internet. But it’s passed from military to civilian hands. By the early 1990s, the National Science Foundation, which is a federal agency tasked with supporting basic research, controls the internet. In particular, it controls the main backbone, which is really the main artery of the internet at that time, something called NSFNET. In the early to mid-1990s, the National Science Foundation takes steps to rapidly and comprehensively privatize these “pipes” of the internet. 

It’s important to note that privatization was the plan all along, the federal government never had any intention of running the internet indefinitely. But the timetable gets moved up because there’s so much demand–unexpected demand–by people who want to get online. At the time, the internet is mostly for academic researchers. But things like the rise of the World Wide Web, the rise of graphical web browsing, is making the internet more popular. So, demand is soaring, capacity is limited, and the National Science Foundation feels that privatization has to happen sooner rather than later in order to stimulate the type of private investment that would be needed to create capacity to meet that expanded demand.

The crucial date is April 1995, at which point the National Science Foundation terminates its backbone, the NSFNET, and the private sector takes over. Crucially, this takeover happens with no compensation, with no conditions, with no enduring public or non-commercial foothold in the new internet. In other words, privatization of the “pipes” in the 1990s takes a particularly extreme and comprehensive form. And this is really due to extensive industry influence over the process. Telecoms have a lot of money to make from the new internet, from selling access to it, and they don’t want any interference in their profit-making prerogative. 

There were alternative proposals floating around at the time, I talk about them in the book. There were always ideas of how the internet could be organized differently that would not have ceded the “pipes” so completely to the private sector. But crucially, no social movement existed to make those ideas active and to overcome industry opposition. This story is really what I tell in the first part of my book, because privatization was not an event, it was a process. And this is actually just the first part of the process. This is the privatization that begins at the bottom of the “stack” in the basement of the internet, if you like, with the “pipes.” The next piece of that story will be privatization moving up the “stack.”

Scott Ferguson: How would you situate this within the political and ideological climate of the United States in the 1980s and 1990s? I think of familiar stories about the rise of Reaganism and then Clintonism being a neoliberal re-articulation of the Democratic Party and its platform. What are those broader changes doing to shape privatization as a process of the internet?

Ben Tarnoff: The ideological backdrop here does matter. You have Clinton on the one hand, whose politics I think will be pretty well known to your listeners. And then Newt Gingrich’s Republicans in Congress. Gingrich, as some of your listeners may not know, actually had a turn as a poster boy of techno libertarianism. He was interviewed quite favorably in Wired magazine, presents himself as a forward-thinking cyber netizen… so many silly words from that era.

Scott Ferguson: We have no silly words. 

Ben Tarnoff: Nothing that will embarrass us in 20 years.

Scott Ferguson: We’re good. 

Ben Tarnoff: Ideologically, there’s a lot of alignment around the idea that the market is the best mechanism for organizing outcomes, that the private sector should lead not just in the realm of the internet, but in all realms of social life. And that certainly helps create the conditions for industry lobbying to be particularly effective, and to close down political space for alternatives to emerge. I think there is a confluence of factors that conspire to ensure that privatization takes a particularly extreme form.

William Saas: On your telling, it seems like this was almost inevitable, given the historical factors operative at the time. You’ve got Gingrich hanging out with Alvin Toffler and the fall of the Soviet Union and the Berlin Wall. We’re not going to claim this for the public–that’s communist and communism is over. It’s just in the air.

Ben Tarnoff: Absolutely. And I would add that one of the things that makes the fall of the Soviet Union so significant, is that it ends the justification, or an important justification for industrial policy through the Pentagon of the kind that had really laid the foundation for the internet. I mean, the internet is created by DARPA. DARPA, as the Pentagon’s R&D arm, is created in the aftermath of Sputnik, when the US policy-making class has a collective freakout and figures, they’re losing not just the space race but science and technology is falling behind the Soviets. So that demands significant federal investments in science. That rationale disappears after the collapse of the Soviet Union. So, for a number of reasons, privatization emerges in a particularly comprehensive form.

William Saas: I recently read with some students an essay by David Graeber called “Of Flying Cars and the Declining Rate of Profit.” His argument is basically we’ve stalled out technologically, we don’t have flying cars now because all the ambition, innovation, and he calls them “poetic technologies” are channeled into this bureaucratic state, you know, R&D for military reasons, and that seems to track here. But I wonder if in those early days, and as part of that early history of the internet that you are so familiar with, were there any internal debates, discussions, alternate imaginations about the kinds of applications for the internet in a non-martial direction? Maybe some more techno-utopian ideas? Or was it all like, “let’s outfit our boys on the frontlines with the information they need?”

Ben Tarnoff: Well I’d say utopian sentiments were part of the internet from the very start. The thing about the military justification for the internet is: that’s how they got the money. But a lot of the people who are actually developing the protocols and working on different aspects of the network were not motivated by the military pretext, they may in fact have had anti-war sentiments of their own.

Many of them, when you talk to them, they’re just scientists. They thought it would be a really cool thing to do, it’d be really impressive to get these different computer networks from all over the world to start talking to one another. There’s a gee-whiz aspect that’s very motivating, which is very familiar if you know scientists. Often, it’s just the kind of sense of wonder that is motivating.

Certainly, once the internet exists as a place, as a network of networks, it’s primarily used for email. It’s primarily used for mailing lists for people to argue with one another. It’s a kind of proto social media. People are getting flamed, I don’t know if “flaming” is still a current term, or if that just become everyday internet, it’s become too normalized to even merit its own term. Certainly, when we think of the creation of online worlds, of virtual communities where people socialize with one another, that happens initially through email. Email predates the internet. Email is actually invented on ARPANET, which is an important computer network created by the Pentagon as a predecessor to the internet and one of the networks that gets linked into this network of networks. 

It’s important to note that, while the initial justification was military because they were getting money from the Pentagon, what it’s used for is basically social. The internet emerges as a social medium from the start. And in fact, the social aspect of the internet is what has endured most today. I mean, the internet of 2022 looks nothing like the internet of 1985, in terms of how you would use it, in terms of the applications, in terms of who is using it. But that social quality, that it’s being used by people to connect with one another, has endured.

Scott Ferguson: So maybe we can circle back to the story of the 90s: privatization and the turn toward the profit motive. I don’t know if you want to talk a little bit more about the privatization of the “pipes” and then the rise of the “platforms” in more detail, maybe getting into some of these flagship companies like eBay, Amazon, Google, Facebook, and more.

Ben Tarnoff: April 1995 was the date that I had mentioned earlier. And this is, again, the date at which the National Science Foundation terminates its backbone and the private sector essentially takes over the “pipes” of the internet. 1995 is important for other reasons as well, because it’s the year that the dot-com boom launches. So ’95 is the year that Netscape has its explosive IPO. Netscape, for folks who might be a bit younger–imagine not knowing what Netscape is! But in fact, there are people who don’t know Netscape. So, Netscape was the creator of the first popular graphical web browser, Netscape Navigator, and it has this very exciting IPO, in the summer of 1995. 1995 is also the year that amazon.com opens for business. And in subsequent years, tens of thousands of startups are founded, billions of dollars flow into internet companies. 

All these folks are trying to figure out, how do you make money not just from selling people access to the internet because that’s what the companies down the stack are doing. That’s what the internet service providers are doing. But how do you make money from what people do once they get online? In other words, how do you monetize not access but activity? And this turns out to be pretty challenging. 

The dot-com boom is mostly a story of companies struggling to find profitability. One company that does manage to be very profitable from the beginning is eBay, initially called auction web. I spend some time looking at eBay in the book, because to my mind, it is a really interesting example of all of the elements that would go into what we later think of as the “platform” being expressed in a primitive form in eBay in the mid-1990s. 

What are those elements? Well, eBay is a middleman. It facilitates interactions, in particular between buyers and sellers. It is a sovereign in the sense that it writes the rules for those interactions, it doesn’t just sit back and say, “you guys connect and figure it out,” it has to be intimately involved in how people connect. So, there’s a governance element that’s really important. The third piece is that it’s a maker and beneficiary of network effects. The more people interact on eBay, the more valuable eBay becomes to everyone. These are the three elements that, to my mind, distinguish eBay and help eBay leverage this social quality of the internet that we’ve been discussing, which has been a very important part of the internet from the beginning. It helps leverage the socialness of the internet and turn it towards commercial ends. 

I talk about eBay as the first community market. People are brought together in a type of community, and, particularly at the beginning, eBay uses that rhetoric very explicitly, but under the sign of capital, for the purpose of commerce. And this innovation–the creation of the community market through those three elements I described earlier–is very profitable. At a time when dot-coms are taking on a lot of venture funding, but in fact, losing a lot of money, eBay is printing money. 

As we all know, the dot-com boom collapses in 2000, 2001. Out of the ruins of that era, the so-called platforms–the big firms that still dominate the internet–begin to build these complex computational systems. Post-2001, that’s when we really see the rise of Google, the founding of Facebook, the founding of Uber, the rise of Amazon, and so on. This is when these various empires of the modern internet consolidate, and they do so, in my view, by applying the same patterns that eBay had developed as early as the mid-1990s. In most cases, that influence is not direct or conscious. But nonetheless, the building blocks of the modern platform were really discovered by eBay in the mid-1990s. 

The one piece that platforms add to the recipe, if you like, is that they are also manufacturers and monetizers of data. Data is actually the most crucial piece of the puzzle for them. If we think about those elements of the community market that I discussed before, what’s most important is that this is a space for interactions. What the so-called platforms do, what I call the online malls, ensure that all of these interactions that are happening, that are transpiring within the walls of their enclosure, if you like, are occasions for manufacturing data, and then this data can in turn be monetized in a variety of ways. 

I think the broad outlines of that story are quite familiar to people in the context of online advertising. Everything you do on Facebook creates data, which in turn can be used for the purpose of selling ads. But it’s important to note the data can be monetized in a variety of different ways. So that’s ultimately, in my view, how privatization gets pushed up the stack, they try and they fail with the dot-com period, but then they finally succeed in the aftermath of the dot-com bust with the platforms.

William Saas: If the metaphor of enclosure doesn’t work to capture the process we’re describing, are there any other metaphors that you could supply us with to help us understand? I think it does sound like a bit of enclosure but I get what you’re saying also–it’s not like there was a commons that was enclosed, it’s more complicated than that. Do we have any abstraction to encapsulate that metaphorically?

Ben Tarnoff: First a note on clarifying the term enclosure. I had just used the word enclosure in my last response, which you may have noticed, and by that I simply mean a structure with four walls. I think then there’s also the Marxist use of enclosure, which is from the Enclosure Acts in Marx’s study of primitive accumulation of a commons that is enclosed. And I think that suggests that there is something within the fence that we can reclaim, if we could only tear the fence down. That’s what I would object to, in the case of the internet. 

Marx also has this distinction between the formal and the real subsumption of labor by capital, which is the distinction between the process whereby capital inherits a labor process without reorganizing it. For instance, let’s say a subsistence farmer becomes a wage laborer, but still works on a farm. Now, he’s been absorbed into the wage relation, he no longer produces for his own consumption, he earns a wage and uses that wage to buy the necessities of life. But the way in which he works has not changed. This is what Marx would call “formal subsumption.” Now, let’s imagine a little further along: The farm is expanded, it’s mechanized, it’s industrialized, and the way in which our wage laborer works is completely transformed. He’s no longer using the same practices that he did as a subsistence farmer, he’s now a cog in a much bigger, industrialized agriculture machine. This is what Marx would call the real subsumption of labor by capital. 

I use that distinction to talk about the internet in the sense that in 1995, when the private sector takes over the “pipes,” the private sector inherits a network, a network of networks, that has not been organized around the principle of profit maximization. Something that was created by the US government, that was developed mostly by research scientists for their own use. At that point, you have formal subsumption. But what has to occur in the subsequent years and decades is the very difficult process of real subsumption: this network of networks, this research network built by scientists has to be remodeled, reorganized for the purpose of profit maximization. And this is ultimately what I think the platforms achieve. This is their legacy: managing to unlock the profit potential of the internet by reorganizing it.

Scott Ferguson: I also think your metaphor of the mall, which I think you borrow from somebody else in the book, but this trope of imagining, the “platforms” as online malls. It’s absurd to imagine a mall as an enclosure in the historical sense of English law. There wasn’t, there’s no “pre-mall”, that then a private corporation takes over. I think that’s one thing to hold on to here.

William Saas: I wonder if there was any internal struggle at the NSF that you were able to uncover or discover about just saying, “okay, here, take this thing that we’ve built and go crazy.” I know that we talked about the spirit of the times being distinctly and acutely neoliberal. But were there any opposing viewpoints from the NSF that you could discover to what actually happened?

Ben Tarnoff: Within the NSF, there was an alternative proposal that I discussed in the book that was embodied in a Senate Bill put forward by Senator Daniel Inouye of Hawaii, which would have created what advocacy groups at the time called a “public lane” on the information superhighway (“information superhighway” being the preferred metaphor at the time for the internet). And this bill would have done a number of things such as forcing telecoms to reserve up to 20% of their network capacity for non-commercial uses, which would have been granted specifically to nonprofit organizations like libraries. 

Broadly, Inouye’s bill, and the organization around it that was pushing for it, looked to the legacy of public media for inspiration. If radio and television could have spectrum set aside for public non-commercial uses, why can’t we do the same with the internet. Of course, public media has always been very weak in the United States, compared to other advanced capitalist countries. But nonetheless, that was an important piece of inspiration.

This bill–I don’t have to tell you–doesn’t get passed, and this idea doesn’t go anywhere. But nonetheless, there were alternative proposals at the time and that’s something I try to emphasize in the book: It wasn’t inevitable the way it went. But it was a question of the balance of forces. And there simply was not a social movement, at the time, that would have politicized this issue and made it legible to masses of people. The internet is still fairly obscure at the time and it would have been hard to have built a movement around the internet. But nonetheless, this is how privatization takes such an extreme form: Not the absence of alternative ideas, but the absence of enough social power to make those ideas active in the face of the opposition of the capitalist class.

Scott Ferguson: Now that we have a stronger sense of how the internet was publicly provisioned, and then multiply privatized in a processual way, it seems like we’re pretty well posed to discuss some of the more exciting democratic and public alternatives you promote in your book.

But before we get into some of those details, I want to make our listeners aware of the fact that you importantly couch what you are calling “an internet for the people” within broader political struggles, as part of the political struggle for the provisioning of food and housing and health care and public financing. Can you talk a little bit about that larger framing? You don’t just offer a narrow politics of the internet, you have a much more nested sense of where we are and how this fits into the broader political order today.

Ben Tarnoff: I tried not to do too much of that in the book because I wanted to try to keep the lens as narrowly focused on the internet as possible. But inevitably, the problem with writing about the internet is that the internet is entangled with everything. So other things start to creep in. 

I think I also want to give a sense of what’s at stake. Discussions about the internet are often quite dry and quite technical. I wanted to try to make the point that what’s at stake is the possibility of democracy without putting it too grandly. We live in a profoundly undemocratic society. And what I mean by a democracy, and this is a definition that I go into in the book, is the ability for people to rule themselves. For people to rule themselves, they need to have certain things available to them. In other words, as I say in the book, freedom isn’t free. If we want to lead self-determined lives, we need access to resources that enable us to do so. You can’t rule yourself, you can’t lead a self-determined life if you’re hungry. If you don’t have a roof over your head. If you’re bankrupt from medical bills.

Similarly, the internet has become an indispensable precondition of participation in social, economic, cultural and civic life. We saw this in the early days of the COVID pandemic, people needed to get online to apply for unemployment insurance, and we had to work from home, their kids needed to attend school from home. And that helps bring into view the stakes of the social crisis around connectivity in the United States. The United States has absolutely abysmal broadband. We pay on average higher monthly costs in the United States for broadband than our equivalents in Asia or Europe. We rank fourteenth in connection speeds–below Hungary and Thailand. And most astonishingly, in 2018, Microsoft researchers determined that 162 million Americans do not access the internet broadband speeds, which is about half the country. We could talk about these statistics in the dry language of the digital divide, and so on. 

But I think we need to elevate our rhetoric and talk about democracy. If people don’t have access to the resources, they need to lead a self-determined life, they can’t exercise self-rule. The ability to exercise self-rule at a personal level is intimately bound up with the ability to exercise self-rule collectively. In other words, the reason that people don’t have access to the resources they need to lead self-determined lives is because certain political choices have been made about how those resources are distributed. And those are choices that those people don’t have an opportunity to participate in.

To my mind, this is the other essential ingredient of a democratic society: Giving people not just the resources they need to lead self-determined lives, but the opportunity to participate in the decisions that most affect them. And those are the guiding principles for my project of how to create a more democratic internet. And it has implications, different implications, we should say, at different parts of the “stack.” It means something different at the “pipes” than at the “platforms.” But nonetheless, these are the principles that I think can guide us, not just in building a more democratic internet, but in building a more democratic society.

William Saas: Let’s talk about some of the proposals that you engage with in the book for doing just that: For creating and recovering the internet as a channel technology with a series of “pipes” and “platforms” we can use to advance democracy. 

These proposals include, but aren’t limited to, creating public and cooperatively owned networks on the model of ongoing experiments in Chattanooga (Tennessee), and rural South Dakota, supporting decentralized open source models of social networking, such as the Mastodon Project, and using public libraries and post offices–I like this one–as local administrative hubs for social networking and journalism across the United States. Can you take us on a brief tour through these alternate horizons for the internet, and perhaps tell our listeners how we might or how they might get involved with such efforts?

Ben Tarnoff: My term for the political project to build a better internet is deprivatization. And deprivatization aims at creating an internet where people and not profit rule, that’s the North Star. What does that mean in practice? It means developing models of public and cooperative ownership that can shrink the space of the market, diminish the power of the profit motive and encode practices and principles of democratic control. In the book, I look at a number of experiments that are, in my view, putting those ideas into practice that represent–even if it’s on a small scale–deprivatization in action. 

One example, which you indicated, is the Community Network. Community Network is a publicly or cooperatively owned broadband network that could be owned, for instance, by a municipality or by the members themselves. More than 900 communities in the United States are currently served by community networks. These networks tend to provide better service at lower cost than their corporate counterparts because they don’t exist to enrich shareholders with stock buybacks and dividends like the big firms such as Verizon, they’re able to prioritize social goals like universal connectivity. 

Crucially–this is the piece that I find most promising–they are able to give users an opportunity to participate in decisions around how infrastructure is developed and deployed. I see community networks as the main protagonist in deprivatizing the pipes of the internet–not the only one because we can’t simply have a series of local networks. That’s not what the internet is, the internet is composed of networks at various scales. But nonetheless, community networks, I think, are the most promising form deprivatization can take at that layer of the internet. 

When we move up the stack to the realm of the so-called platforms, the situation becomes more complex, the path to deprivatization here is less linear because we’re immediately encountering creatures of a greater complexity and greater diversity. Facebook, Uber and Amazon: These are creatures of much greater technical sophistication than ISPs down the “stack.” And they’re more different from one another than ISPs are from one another. So inevitably, how we deprivatize these different sectors will depend a lot on what we’re actually talking about. As a result, the experiments are somewhat less mature.

As you mentioned, I allude to experiments that are ongoing among a number of different communities, such as the decentralized web community, and projects like Mastodon, which aim to create decentralized social media networks, which in turn could enable something like a cooperatively owned and cooperatively moderated social media site, which interconnects freely with other sites. There’s also the platform cooperativism community. This is a group of people who are interested in trying to create worker-owned and -operated app-based services. What would a cooperative alternative to Uber look like, for instance? These experiments are quite limited, we have to say, I think we have to acknowledge their limitations and also acknowledge that they are, in most cases, modeled on corporate counterparts. If you use something like Mastodon, it looks a lot like Twitter. Inevitably, these are the first draft of what a deprivatized application layer might look like. 

To go further, I think we’re going to need a lot more experiments. And in particular, we’re going to need public investment to create spaces of imagination where ordinary people can come in, get connected to the resources and the expertise they need to build the online services that are capable of meeting their needs. This latter part about imagination is where I place most of my faith in the book. I know it can sound a bit wishy-washy and a bit open ended. But I think if we think of imagination not as something a solitary genius does alone in their room, but rather a collective embodied process of experimentation that necessarily requires resources and investment, I think we can get a bit closer to creating the type of process that will eventually result in a deprivatized internet.

Scott Ferguson: To circle back to something you said before, this definition of “platforms.” We’ve been using it in this conversation, just heuristically, normatively, but you also noted that you had a critique of “platform” as a concept, as a term, and the way that it frames our understanding of the world. I want to give you an opportunity to flesh that out.

Ben Tarnoff: You’ll notice I’ve been doing annoying things like saying “so-called platforms,” trying to always put quote marks around “platforms.” I should say in general, the terms and metaphors we use to talk about technology we’ve mostly inherited from the tech firms themselves. And that’s a problem, because we’re operating on enemy territory, if you like. “Platform,” I think, is a good example of a metaphor that does a lot of strategic work for the firms themselves. It suggests neutrality, it suggests openness, and a certain kind of levelness. They have an interest in presenting themselves this way in presenting themselves as not, in fact, intimately involved in organizing and governing our online life, but rather being a neutral receptacle for it. 

Rather than “platform” I use the term “online mall” because to my mind, the best way to understand the systems that these firms create is: They operate like the online equivalents of shopping malls. They are spaces of commerce that incorporate an aspect of a public square. They’re spaces where all sorts of different interactions can transpire. Interactions between buyers and sellers, social interactions. If you’re an American teenager in the suburbs, you probably spend a lot of your social life in a shopping mall. Similarly, online malls can be quite a social space. 

Whatever these interactions are, they are all organized around the manufacture and monetization of data, which we discussed earlier. But data is the essential ingredient and motivating purpose of the online mall. Moving away from the spatial metaphor of a train platform, let’s say, the horizontal line, into a cube, into something that you’re trapped inside of and you can’t get out of. I think that’s much closer to the experience we have of these computational systems.

William Saas: There’s not even a Cinnabon, what a crummy deal. Going along these lines, I think there were some other phrases and words and concepts we use that I would like to maybe plumb just a bit more. We at Money on the Left have been committed to everything you’re talking about doing and specifically around, well, imagination. Advocacy for expanding our horizons–not just on the individual level, in a long office, talking about these things in an academic way. But collective imagination and building in common with each other. 

We don’t have what it seems like the platforms, the corporations, the eBays, the Googles, the Netflixes have, which is the profit motive. I think that this is something that we come up against, in terms of left politics, left organization, there’s a dearth of money, in terms of just piles of money just laying around to fund the movement. Whereas on the right, there are lots of more piles of money for reasons of the profit motive, and the people who have that money are engaged in the business and market activity that leads to profit.

I was thinking, the cooperative motive, the social motive, the poetic motive, I don’t know, if we can devise or think about or just riff and imagine, collectively, we three right now, what that motive could be and how could it be sufficient to, to motivate us, our listeners, people? To say, okay, I have all these bills I have to pay. But what’s more important is building a collective new, imaginative, cooperative internet. I’m going to eschew this profit motive, I’m going to go for the new internet motive. Let’s dream.

Ben Tarnoff: I think you have to politicize people’s relationship to technology. I think you have to help clarify that there are political stakes to these different technical artifacts that surround their lives. And I actually think that conversation has gotten a lot easier in the last few years, because broadly, that awareness is actually there. It gets politicized in different directions, more successfully often by the right than the left. But the idea that Facebook is not some neutral arbiter, some kind of neutral communications platform that you just throw ideas on to but is actively involved in shaping and organizing our online lives with consequences that can be socially disruptive–that’s an idea with very broad currency, it’s nearly common sense. 

That creates an opening. I think from there, you have to make people feel as if their well-being, and even their sense of themselves, is wrapped up with this project. I think that’s how you get people to participate in any project of social transformation, whether it’s joining the union, whether it’s joining a political organization, whatever kind of political work you’re asking them to do. I think they need to feel as if their sense of self and their material interests are bound up in that project. 

I don’t mean to suggest that we should define interests in a simplified way, because I think people often will also have an interest in living in a fairer, more solidaristic world. Interest does not simply have to mean the kind of rational actor definition of interest. In fact, people have a lot of complex and contradictory interests. And it’s the work of organizers to try to give certain interests greater prominence. Interests are, let’s say, another terrain of class struggle. But I think we can make a distinction between a moral as opposed to a material view of how change happens. Which is not to say that morality isn’t useful or justified. There’s certainly some polemic in my book that draws on morality–morality can be useful in organizing projects. Of course, a sense of outrage can be very useful. 

But morality doesn’t change the world. I think this is an observation that I would draw from the work of Marx. Marx uses a lot of moral language, he can be a great moralist, but he recognizes that moral exhortation is not a force for social transformation. It can be a useful agitating tactic. But at the end of the day, in order to bring masses of people into some kind of transformative project, you need to make them feel–you need to make them see–as if their material interests are served by that project, however you are defining those interests.

William Saas: Maybe by sharing our experiences of how we came to see those things as important to our material interests as well.

Ben Tarnoff: Right. And the process of social transformation, I think, involves and entails self-transformation. Part of making the case to somebody about why they should join the union is appealing to one set of interests over another: They have an interest in not getting fired, there’s a risk involved. They may have an interest in maintaining certain hierarchies in the workplace that benefit them. But then they have other interests as well in the context of a union campaign and interests–maybe in job security, in more clarity around job progression. And also, certain solidaristic interests–in being a good co-worker, in taking care of one another. So inevitably, this conversation about which interests should be given prominence and which interests should be downplayed, or de-emphasized, involves a process of personal transformation as well.

Scott Ferguson: To close us out, I was wondering if you could put this book in the context of a lot of the other work that you do. You’re an accomplished author, you’ve published essays, you’ve published many, many books. And you’re also co-founder and writer at Logic magazine. Can you give us a breezy tour through your broader horizon of work and where this fits in?

Ben Tarnoff: I’m trying to think of how to make it breezy.

Scott Ferguson: Or belabored!

Ben Tarnoff: I could certainly make it belabored, that won’t be hard at all! I’m someone who works in the tech industry, I’m someone who thinks about the relationship between technology and society. And I think most of my writing and editing and intellectual projects flow from that concern. But I’m also someone who’s getting bored of the internet. Technology is such a useful way for thinking about power but then it’s easy to get stuck in different threads of it. I find that I have to keep re-centering myself and try to figure out: What am I really interested in? 

Because I don’t want to become just an expert on the internet. Not that there’s anything wrong with that. But I think my interest in the internet is an expression of my interest in how power is organized in society. I remember doing an event with the great Astra Taylor once. She said something to the effect of “I’m not interested in technology, I’m interested in power. But the reality is that if you care about power today, you have to care about technology.” And I don’t think that’s entirely accurate for me, because I do really love technical details and technical complexity. But at the end of the day, as a writer and editor, what is most important to me is the stakes, the consequences: Who’s going to be affected, whose lives will be changed through the use of these technologies? And I think that’s what guides me rather than a more specific interest in this or that technology.

Scott Ferguson: Thanks so much for coming, Ben Tarnoff, everybody should go out and get your book. Highly recommended!

Ben Tarnoff: Thanks so much. Thanks for having me.

William Saas: When you said you were bored of the internet, you reminded me of the Le Tigre song “Get Off the Internet.” As a kind of left politics, at the turn of the century, the idea of getting off the internet …

Ben Tarnoff: We lost. 

William Saas: We have, I mean, we’re bored, where do you go? You were bored of it. I thought that could go a couple of ways. I think a lot of us are bored with it, angry at it, or frustrated or befuddled by it but feel like we have no choice but to participate and stay on the internet. A little bonus question here if you have anything to say about “get off the internet” politics?

Ben Tarnoff: It’s something I struggle with, I wrote a book about the internet because I love the internet. I vividly remember the first time I used the internet in 1994. I was in the Oregon Museum of Science and Industry, which is in Portland, Oregon, right on the river. It’s a lovely museum. And I would have been maybe nine years old. I was wandering around this museum with my mom and I was looking for astronaut stuff–rockets, space shuttles, astronaut ice cream. And we stumbled across a room full of computers: the computer lab. And these are enormous (by our standards) computers–big towers, huge CRT monitors.

And I sit down at one of them. We’re informed that these are connected to something called the internet, which I had not heard of. I must have brought up Yahoo! or whatever was available at the time for finding websites on the internet–this being, of course, before the rise of the modern search engine. I start looking up information about Star Trek and start learning about precisely how many millimeters the width of the starship Enterprise’s wings are. Information about halls and phasers and how many torpedoes are loaded–all sorts of nerdy stuff that I felt I needed to know. I was just exhilarated. There was so much information about Star Trek on the web in 1994, as you can imagine. 

William Saas: I think that’s all there was actually! 

Ben Tarnoff: That could have been! It was probably mostly Star Trek information. I fell in love with the internet and spent much of my childhood online, in online communities. If I didn’t love the internet, I couldn’t write a book about it. But it’s something I struggle with because increasingly the rest of the world has caught up to where I was, as a kid and I don’t think it’s been a constructive development. It was seen as somewhat antisocial, even pathological, although my parents permitted it for me to just spend all my time on the internet all day. 

Now this is what we all do anyway because we have it with us in our pocket and because it mediates so much of our lives. Lives that formerly had many offline components have been absorbed into the internet. It is something I wonder about and struggle with. I try to avoid taking a moralizing tone because I remember how life-giving the internet was to me as an isolated kid–that was actually the world where I felt most comfortable, and I think there’s still a lot of kids who feel that way. I wouldn’t want to take that away from them. But there’s something lost when the offline world has become so emaciated, so emptied out that, we can’t even get offline I don’t know. But now I also listen to myself and I sound like I’m pushing 40. Maybe I don’t have the right perspective on this anymore.

* Thanks to the Money on the Left production teamWilliam Saas (audio editor), Mercedes Ohlen (transcription), & Meghan Saas (graphic art)