JWTC
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Showing posts with label commodity. Show all posts
Showing posts with label commodity. Show all posts

Wednesday, June 26, 2013

Of Markets and markets

Gautam Bhan explores divergences in attitudes towards debt in his response to Arjun Appadurai's lecture, Thoughts on a Capitalist Imaginary.

Reflecting on complex arguments while they are still percolating in one’s brain is, as this reflection is bound to be, an incomplete and possibly even unfair task on both the reader and writer. Nevertheless, in the spirit of thinking out loud in the Johannesburg Workshop, the words below offer first reflections on Arjun Appadurai’s talk Thoughts on a Capitalist Imaginary that opened the current edition of the JWTC.
Appadurai’s context is a moment of deep financialisation at a time of late capitalism with a possibly new mode of production that – and herein lies the contest at the heart of the argument – he argues must push us to rethink the commodity form itself. Looking at the form of the derivative, he says that Marx’s core concept of relative surplus is no longer extracted by increasing the productivity of workers but by a new medium: the leveraging and circulation of debt, or risk upon risk. It is debt then that becomes the base of accumulating relative surplus, of creating value. This debt becomes available to the financial machine through its deep inroads into everyday life. We cannot refuse debt, he says, to live, access shelter, educate ourselves, protect our health. Though this “we” is unevenly distributed across and within different parts of the world, “we” are increasingly, he argues, debt-labourers rather than wage-labourers.
Value then is no longer simply related to price. Commodities begin to merge into commoditized assets rather than take other more familiar, tangible, historical forms. Here the echoes of the many bankers, heads of state and economists throwing their hands up saying that had no way to say how much the bundled, securitized, sold and re-sold American housing mortgages were really worth at the peak of the foreclosure crisis resound convincingly. A trading and investment bank, argues Appadurai, cannot tell you with any accuracy whether it made money at the end of the month or not – value can no longer be calculated in the double entries of the bookkeeper’s accounts.  
How do people enter this imagination? They are, as argued above, debt-labourers. They are also, however, agents of resistance. Resistance comes in the more recognizable form of debt refusal (which he acknowledges but argues is limited) and his own claim: the possibility of socializing and democratizing debt itself. He favours the latter because, he argues, extracting future value (the very idea of debt) is not inherently “bad” – the question is of who controls it and to what ends. This is certainly the moment when one’s spine tingles with a slight nervousness: can the very mechanisms of debt that he describes as being so opaque submit to an idea of control, let alone a democratic one?
I want to engage briefly with only two of the ideas here: one is to take seriously the unevenness of debt penetration in everyday life given our task to think from Johannesburg and the South; and the other to think about the institutional challenges of a resistance that seeks to “socialize and democratize debt.”
The first response is to think about what place a market of derivatives has with markets of everyday life. This is not to argue that global financial markets are not connected to each other across geography and scale and that they influence the local street corner as much as the stock exchange. It is instead to say that the materialities, specificities and degrees of these connections matter. Global processes and flows localize through what Anna Tsing described as “friction.” That friction is an essential space for those of us concerned with place and with the local. How does this new system of value impact markets that run on other modes of production – informal markets, industrial markets, or even national markets of countries “off the map”? Appadurai is right to point out that countries like India were insulated from the worst of the global financial crisis in 2008 because they were not as deeply enmeshed in these cycles of debt-fuelled financialisation. Appadurai argues that it is possible that such enmeshment could just be a matter of time but is it possible that such a “trajectorist” (to use another of his own terms) logic is not inevitable? That resistance could also take the form of refusing this enmeshment?
Edgar Pieterse’s presentation on the following day outlines one kind of friction. He argues that for a significant many across Africa, the future will remain in informal, vulnerable and uncertain work and shelter. For the markets that such places and urban residents produce, what is the imagination and reality of debt? What are the circuits of production and the generation of value? I am not saying that Appadurai claims that a move from wage labour to debt labour is happening in such places. I am seeking to translocate his inquiry to ask it from a different site and push us to think: how would we reconstruct his arguments if we asked them from the informal market rather than the New York stock exchange? How would we think about what kind of representation of the Market the derivatives market really is. Such a translocation could allow us to recalibrate the relative location, power and spread of the debt economy vis-à-vis the Market.
The second point of engagement is to think about resistance. I echo Appadurai’s relative lack of enthusiasm about debt refusal but for a different reason. In transitioning economies (and trajectorist words re-enter our dialogue!) like India, debt remains a sign of social and economic mobility; the ability to arrive and be able to partake in formal market mechanisms not just to alleviate emergency or disaster spending or to smooth consumption but to actually improve the quality of one’s life and enter onto a trajectorist, progressive narrative of upward mobility. The hunger of many Indian residents is not to refuse debt’s pervasive hold on their life as in the US but, in fact, to desperately seek an ability to harness it.
Yet, at least now, even this harnessing is particular. To generalize and speak unforgivably broadly in categories like “India,” debt cannot be seen outside a culture of very high savings in the country. Debt is something that one enters post-saving, as a reward for financial discipline and always alongside it. Debt default in India is a story of the poor, not of those in the formal financial system. It is a story of farmer suicides and micro-lending, though the latter allows a much easier connection to Appadurai’s global financial circuits of debt and value. In short: to be in debt remains a deeply ethically, spiritually and social difficult space for most Indians, even those with the financial means to be able to leverage and afford it.
Yet Appadurai’s other option of refusing financialisation – to socialize and democratize debt— immediately makes one wary precisely because the institutions and processes that are to be reclaimed remain so unclear. If the very premise of a hyper-financialisation is its opacity, how and where does one begin to think about controlling or re-directing this set of actions towards different ends? Here, my final thought is to think tangibly about the derivative as a contract, one that then can be regulated and adjusted through controlling its terms – refusing, for example, the ability of banks and traders to have contracts that do not have the limits of time and closure that we expect them to.
Across the global South, the challenge to reclaim institutions may be a different one from the North – if the latter has economic institutions that are undemocratic, opaque, protected and powerful; the former, in many ways, has institutions that struggle to exist and remain effective – either to ride a new global financial value ride or to resist it.
Gautam Bhan teaches at the Indian Institute for Human Settlements, Bangalore.

Sunday, July 8, 2012

Don't Panic


The site of the exhibition of Don’t Panic (at the Centre for Historical Reenactments), curated by Gaby Ngcobo is a elegant example of the fluidity between thinking of universalism, (the experience of climate change) and particularities and identities of the African vantage point, as well as the viewpoints of a variety of generations of artists. Ngcobo gives us an arena to view these varying images and points of view and we are left to our own minds to make sense of it. This is how art creates a space that is flexible, in which intellectuals and mainstream viewers can debate the efficacy of visual and audio strategies. There are some artists that create direct human and formal responses to the idea of nature, such as the sun, of Sean Slemons drawings on the wall and floor demarking the pathway of the sun as it moves in reaction to the human made architecture of the building and window. Slemons reminds us that we can create gestures in concert with our world without interrupting its processes. The pathway is made as a large drawing that increases its density as the day moves on. The piece is formally elegant in its transition from the wall to the floor. Donna KuKama is presenting a video with a extremely disruptive sound element, as we stands her hair is waving in the wind against the background of a rock formation. The geologic site reminds us of the ancient period of time, her dress is contemporary, and her hair waves over her face, which brings to mind her identity as well as loss of identity. Her waving hair signifies that she is a black woman, yet we do not know her as a person. So she is presenting herself as a metaphor and an icon in the natural environment. She looks cold, as the wind blows, and is steadfast in her standing position. She confronts the viewers and we are to begin to understand what she is trying to communicate to us mutely. KuKama is also performing live for us today at the Center for Historical Reenactments. She is performing as a bank teller selling certificates on gold paper, and asking for financial exchange for something that would suggest a purchase on the future. The question is also what are we purchasing? The vegetables are placed on the desk and arranged in piles suggesting piles of money or currency. The idea of food as luxury, or food as commodity is brought forward.

They suggest that currency can be as simple as food, but also that food is so urgent for human beings. Donna’s voice can only be heard by the person in line whose turn it is to engage her. Therefore the audience is peaked by its interaction with her. Her manner is calm and serious as she assumes this character with authenticity. Viewers are deprived of hearing their exchange, and therefore are required to line up themselves in order to truly know what the bank is all about. KuKama is also right on time as she uses the platform of the bank in a moment when we all are wondering particularly about the role of banks their abuses. Viewers take this skeptical energy to donna as they react in parting with their currency.

The range of works in this exhibition is wide. They deal with both the content of the issue of climate change, but they locate in an African dialogue. Some of them have humor, and all have certain formal qualities, and some react to the locale of a particular African experience. The challenge of facing the end of a world as we knew it is so absurd that we as viewers immediately look for the corners where we are familiar, or the intimate places where we can find our purpose.

The title of Don’t Panic is taken from Ruth Sacks, video. Sacks skywrote these words using an airplane into the sky. She chose the day of human rights in South Africa to write these words. She asks viewers to look up, and not panic about the ecological disaster, not panic about the lack of human rights perhaps. In this she draws a line between the conditions of human beings and the condition of the larger natural world. Sacks today serves us a lunch, which is conceived of as a repaying her climate debt of using an airplane and its fuel in the atmosphere. The lunch is lovingly prepared by a cooking artisan, who thinks of food as her work, using local cheeses, and meats, and African grilling traditions. The meal was like no other I have had in Africa, it was fresh, delicious, authentic, abundant for us viewers and eaters. The international area of food+art is current and thoughtfully conceived. We are in fellowship together as participants, and the generosity of spirit of this work is potently felt.

Gabi Ngcobo is purposefully providing a constellation of works that articulate nodes of how to think about climate as global disaster. The works confront what still exists at a time of disaster, these may or may not be examples of natural beauty, these may or may not be hints of disaster. The nodes do not illustrate the scope of the problem. The art asks questions of viewers who must then question their own vantage points and assumptions. Human beings wrestling with the indifference of nature have to have thoughts and draw intellectual and emotional conclusions. Human beings can then remind us of the biologic and geographic locations, as well as economic and racial disparities, social dilemmas, and political problems etc. The function of art is to stir this pot with potent thoughts and arguments, and spur the viewers to connect dots and create projects of remedy. One critical question perhaps is the one that asks in the saving of nature what hierarchies are being created and by whom?
Art can perhaps suggest, yet not exactly supply the action steps, but rather foment these to become urgent.

The identity or question of audience then comes forward. Who is the audience for these works? In our hearts artists hope that the scope is wide, often the audience is more rarified. Thus, the forms of our work  also migrates across spaces such as both white cubes, black cubes, or mainstream locations like public works, and particularly on line locations such as social networks, and digital video networks such as You Tube etc. The life of a written publication is also key to the works living beyond their physical confines, like the Don’t Panic catalogue for example. This circles back to the Center For Historical Reenactments and its commitment to providing a space to work on projects in the context of post Apartheid society. This flexibility of this model addresses post trauma in a sanctioned space. The existence of the first exhibition in the public gallery of Durban is another foray in engaging the fallible government entities as well.  Don’t Panic succeeds in both subject, and context, for art and the conversation it inspires.

Kim Anno

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