The Ati-thesis , Marxism


"By that definition, a state capitalist country is one where the government controls the economy and essentially acts like a single huge corporation, extracting the surplus value from the workforce in order to invest it in further production.[3] Friedrich Engels, in Socialism: Utopian and Scientific, argues that state capitalism would be the final stage of capitalism consisting of ownership and management of large-scale production and communication by the bourgeois state.[4]"

Quoted from Wikepedia

Saturday, June 25, 2016

Walking Through The Looking Glass

http://goo.gl/6BcFNg

When I started doing the research for my book, Public Private Relationships and the New Owners of the Means of Production, one of my first resources was the Maine Constitution by Marshall J Tinkle, recommended by the Maine Legislative Library. The first chapter of Mr Tinkle’s book tells of  a commonly held belief that no one reads the Maine Constitution, a statement which is evidently true even among the Maine Legislature. I once said to someone running for legislative office that the Maine Constitution prohibits the Legislature from chartering corporations by special acts of legislation. He asked me where that is said in the Maine Constitution. It is said in the section on Legislative Powers, a section which it is reasonable to expect one running for the Maine Legislature to know.

That commonly held belief is not entirely true. I have read the Maine Constitution and there are others in Maine who have also done so. Bangor Daily News journalist Mike Tipping ran a successful crowd sourcing project for his book by casting a small group of elderly Maine gentlemen who had formed an organization to further awareness of the Maine Constitution as domestic terrorists. Subsequently the Bangor Daily News published a more balanced story about the group but it is reasonable to hypothesis that second story would never have been published if it were not for the first.

If it is true that (almost) no one reads the Maine Constitution, it is just as true that no one reads the Maine statutes, sufficing with information about current bills reported by the Maine media.

If one is to read the Maine statutes, as I have done, independently and with no greater status than that of a Maine citizen, it is shocking what one finds going on behind totally transparent doors protected from public knowledge by what appears to be a curtain of a dark and occult force. How absurd, the reader might say but what else would explain it? It is as if there exists a building with a large glass display window on a public street but every single person walking by turns their head away from it and no one ever looks at what is behind the clear glass window. The people behind the glass window are as accustomed to the crowds that walk by their window always turning their heads away as they are to the sun rising in the east and setting in the west.




Then one day, one person walks by and looks in the window. That person says to the others passing by ”Look ! Turn your head! Look at what is going on behind that clear glass window !” but the passersby hear nothing and keep their heads turned away. No one will listen to a lone person breaking the rules of convention by turning her eyes toward the glass window and peering at what is inside. Who is that person to break the rules of convention? Who gave that person permission?

 And so that person writes a book describing what is going on behind the glass window and offers it free of charge to anyone to download and read but there are no takers. Who is this one lone individual who has broken the law of human nature by turning her head in the direction of the window to think she can alter an entrenched cultural tradition long since instituted.? Does she fancy herself a butterfly flapping its wings and altering the ever predictable order of things?

"Who are you ?" lone individual asks the crowd with their heads all turned in uniformity away from the clear glass window. That is who I am, says the individual. I am an individual wondering what happened to a state which was once known for its rugged individualism and a nation that stands alone against a sea of collectivist political philosophies seeking to engulf all of humanity into its ever expanding grid.

Break out of the grid of uniformity!, answers back the lone individual. Take a chance and download my book telling what I saw when I walked through the looking glass to see what is going on on the other side. Download Public Private Relationships and the New Owners of the Means of Production FOR FREE before I start charging 99 cents or even more!



Wednesday, June 15, 2016

Free Download for Limited Time; Public Private relationships and the New Owners of the Means of Production

http://goo.gl/VVPlry

FREE DOWNLOAD FOR LIMITED TIME !

My book Public Private Relationships and the New Owners of the Means of Production is now available for a free download. WHY? Because I need YOU to read it! And because I need people who have read my book to pledge to support my crowd sourcing project for the publication of this book.

I now have a great publisher to work with after dumping IUniverse

I am collecting pledges for day one or whenever is best for you. A Crowdfunder that starts on day one with a lot of support has a better chance of succeeding. If you think this book has an important place in our contemporary dialogue, please help in what ever way you can to help this book make it intothe marketplace. I need to raise $10000.00. I will start a crowd sourcing project when I have enough pledges to give it a good start.

About Public Private Relationships and the New Owners of the Means of Production:


n 1979 The Maine legislature deemed central management of the state economy to be an essential government function, declaring that such a function can be achieved through public private relationships. Governor Longley invited the heads of Maine’s most powerful industries to lead the legislature in chartering a corporate state by special act of legislation. 
Article IV Part Third Sections 13 & 14 of the Maine Constitution forbids the Legislature from chartering corporations by special act of legislation, excepting corporations for municipal purposes and in a case where in the object of the corporation cannot be achieved by any other means. Soon after establishing the corporate state, the Maine Legislature passed a statute declaring that state corporations are not corporations but continued none the less to charter corporations serving as instrumentalists of the state.
From 1979,forward inflation shot up nationally like a steep and imposing wall dividing the wealthy from the lower classes as the rich got richer and the poor got poorer- a fact which is documented with statistics and quotes from erudite sources.
Under the leadership of Maine’s wealthiest industries Maine became a state in which taxpayers subsidize the upper end of the economy and public money is used to capitalize privately owned industry.
The founding fathers of Maine’s corporate state listed two fundamental goals in their report to Governor Longley.
It was written in the report that public bond referendums must be eliminated. In 1979 public bond referendums were newly constitutional but only at the municipal level. Courts had previously ruled that the use of general obligation bonds resulting in a particular industry receiving tax revenue in the form of aid, constitutes an unequal tax rate and a derogation of section Article IX Section 8 of the Maine Constitution which says that all taxes must be apportioned equally. The founding fathers of Maine state corporatism wrote that since there exist people in Maine who cannot survive without state assistance it is “appropriate” for capitalists to appropriate public funding for their purposes. The founding fathers recommended that a private investment corporation be chartered by special act of legislation authorized to use tax credits to sell its stock.
The system created was a refundable tax credit, which came into use nationally in the late 70’s. Refundable tax credits are used prolifically today in Maine’s economic development policies, which are usually referred to in the media simply as “tax credits” . Refundable tax credits and tax exemptions are written as separate acts of legislation but a comprehensive examination of the systemic policies embedded in the Maine statutes makes a documented case that tax credits and tax exemptions are designed to work together as a single system which reverses the role of taxation within the public private relationship from one in which the private corporation owes public taxes to one in which the public is taxed by the private corporation.
The system that the heads of industry created is accurately described in Mussolini’s Doctrine of Fascism and the method used to entrench that system is the same as was used in Italy- simply over writing the Maine Constitution with statutory law.
The say as Maine goes, so goes the nation. Public private relationships have become embedded in the USA and around the world, sometimes going by the name of Agenda 21. Public Private Relationships and the New Owners of the Means of Production takes an in-depth look at how the corporate state has become aggressively and progressively entrenched in the State of Maine replacing governance by constitutional law with governance by corporate boards and bylaws.

Please help me to get this story out to the public before the next election via self publishing channels.


Tuesday, June 7, 2016

How the Chinese Upended Koons & Clinton's Cultural Disconnect



 I wrote this piece a while back but it is also relevant today. In 2012 then Secretary of State Hillary Clinton awarded Jeff Koons the first United States Medal of Art. When Koons gave a speech in China, Clinton declared that Koons was an inspiration to his audience. Inspire he did but not as anticipated.

ba·nal
bəˈnäl,bəˈnal/adjectiveso lacking in originality as to be obvious and boring.
"songs with banal, repeated words"

On November 30, 2012 , Jeff Koons, star of the blue chip art galaxy, was awarded the first United States Medal of Art by the Secretary of State Hillary Clinton.

The main reason given for selecting Koons is that he is very famous and shows in top of the market art galleries. In the honorary speech, Secretary of State, Hillary Clinton recognized Koons for the time in that year when he spoke before an audience of 1000 listeners in China. According to Secretary of State Clinton Mr Koons "inspired cross-cultural appreciation and thought-provoking discussions among the city's art community". Inspire he did- but not exactly in the way Koons and Clinton fantasized

"One of the great characteristics of our country are our public-private partnerships. They are really at the core of how we do everything. De Tocqueville noticed that, but we’ve continued to perfect and increase our extraordinary partnerships between government and businessbetween civil society and academiaOur partnerships are really at the core of who we are and what we do. And this program could not exist without those partners. So on behalf of the Obama Administration, and especially everyone who works in our Diplomatic Corps around the world, we have been blessed by your generosity......
 [Each of these artists] are living testaments to the timeless and unending human urge to create and connect," she continued. "So they provide us with another language of diplomacy, one that evokes our universal aspirations as human beings, our common challenges, and our responsibilities for thinking through and addressing the problems that we face together......
Just think of what each of these artists means for people yearning to express themselves, that young artist living under a repressive regime, that budding painter who’s not quite sure where he or she fits in. Now, not all of these people will ever meet any of these artists, but they will learn about them and themselves, maybe even know something of their spirit and tap into a deeper level of inspiration, because they will encounter their works.........". Hillary's amazing speech!

On July 29 2014, artnet news reported that a Chinese Company is producing copies of Koons work, which is to say the company is turning the tables on Koons, on Clinton, and on the USA.

All the while that the high end art elite in the western world was waxing prolific about Koon's tribute- or was it a diatribe ?- to banality, someone was making the so called banal art work and someone else was making a living selling it. Strip down a layer of the glossy rhetorical surface and the subject matter of Koons art is not banality, it is making a mockery of cultural objects being primarily produced in China and other global low wage labor markets which are both  ridiculed and celebrated as banal by the intellectual elites of the western world. Is this what diplomacy has come to ?

 As an artist, Koons taps into the philosophy of global capitalist marketing luxury to the wealthy while producing it in low paid labor markets. Koons doesn't produce his own work in China- at least not yet. He hires USA workers to produce his astronomically priced work which resembles copies, made larger than life, of work that is often produced in international low wage markets and then sold in USA markets. Alternatively, Koon's art is appropriated from ordinary things- such as his balloon dog, looking exactly like an over sized dog made out of a twisted balloon but in Koons case made out of stainless steel, a very expensive material. If Koons works are not direct copies of something else they look like they are trying to be so generic as to be devoid of any quality beyond commercialism.

In 2012 China, producer nation, has become wealthy and Koons and Hillary are courting China's favors. Can Koons and Clinton really be surprised that those who are the makers of objects which Koons ridicules in his art will apply the same business strategy to the selling of the most expensive art in the world as they do for everything else- produce it for less! Are not the Chinese known for knocking off American designs and technology? How disconnected are Koons and Clinton from the culture of the audience before whom Koons delivers his speech?  

Koons is the producer of the most expensive objects in the world which are often copies of work produced in China. Here in China now to inspire you! And Inspire he did! Now the nation of the low wage laborer are making copies of Koons's luxury art! How post-modern is that? Will the Chinese copies of the Koons copies of objects made in China succeed in deflating the value of Koons work? And then in turn will the deflation in the value of Koons work deflate the value of his imitators, creating the ultimate art world downward spiral? Will those who are the objects of imitation appropriate Jeff Koons imitative art work to be heralded as the next big thing in Post Modern Art? Will real world commercialism appropriate the the title of high art by producing it in less expensive materials and making more money by selling to the masses than Koons selling it to the wealthy elite? Will it become a standard of the international dialogue taking place in the language of diplomacy?

If the price of Koons's work starts tumbling down, it seems apropos. The internal message coming from Koons work is down and out despite it's expensive price tag. It is down right cynical and out of internal inspiration. Jeff Koons has nothing to say beyond mocking the ordinary and the importance of cold hard cash. There is nothing at the center and no true development as an artist. Koons keeps on repeating versions of the same thought he had in the 1980's and then sold that thought to the world of art & stock alliances, the alliance that built the eighties art market in which Koons rose to fame and wealth, participating in both worlds by working as a wall street trader before becoming a rock star in the arts. Now he is the anointed diplomatic ambassador of the administration of the United State's first rock star president!

The ugliest moment in Koon's career was when he mounted a show of over sized photographs of himself having sex with his Italian Porn Star wife, La Cicciolina. This is the darkest chapel of the Koons religion as Koons makes his mark on the art world, canine style. Porn is as cynical and empty as the involuntary message of Koons's work which speaks involuntarily and cannot be helped with carefully crafted rhetoric.

Recently, in Maine, in one of the forums surrounding the Brand Company's newest incarnation as art dealers, I said that huge oversize pictures of Jeff Koons engaged in acts of sex with his porn star wife and hanging on the walls of the Sonnebend Gallery is nothing more than over sized pornography. Ed Beem, the author of the article, suggested that I responded to Koons work that way because I do not understand it:
Jeff Koons is a marketing genius, but it is too easy to dismiss work you don't understand. In the late 19th century, people thought Impressionists were no-talent poseurs and even the immortal Winslow Homer had his naturalistic paintings compared to muddy doormats. Koons made the market part of his art just as Warhol made production part of his. Most of the artist who show in Maine galleries create beautiful decorative objects. Only a handful are engaged in the eternal international dialogue that is the life of art.

Mr Beem claims an eternal international dialogue coming from Koon's work but all he can say about it is that the marketplace is a part of it- as if that were something so easy to miss for those uneducated in the proper thought process for understanding Koons's high art!. Beem is right! There in the marketplace lies the smidgen of content in Koons work- but barely a smidgen and that is totally disconnected from the real international dialogue in response to Koons's cynical marketplace objects. Koons turned ordinary objects of commerce into fine art for no other reason than making it over sized and crafted in expensive materials to sell at high prices. The eternal international dialogue is reflected in the Chinese doing what they always do in international trade. The Chinese copy products made by others and produce and sell them for less. When Koons delivered his speech in China- that is the international exchange that he engaged. That's the eternal international dialogue about art which has made the marketplace part (all?) of their art, Mr Beem. The eternal ubiquitous dialogue takes place in the real world of global commerce!


Mr Beem had concluded his own blog about the Portland Art Gallery with these words:

The true value of art lies in the making of it. Owning a work of fine art conveys a certain status, but, more importantly, it permits the collector to participate, albeit vicariously, in the ongoing search for meaning that is the work of all serious art.
Koons is one of those artists who prides himself on never touching is own artwork, instead hiring others to create it under his instructions. Like an aristocrat, Koons keeps the actual process of making the art at an arm's distance. But Koons is a marketplace art star and that is what some mistake for "serious art"- in other words "investment art"- not just an object of beauty and meaning to the individual, which decorates our walls, but art representing a high end price tag ! Beem speaks for a faction that yearns to re-invent Maine as yet another extension of the New York City art market. Mainers need not buy into that. We have our own life style and values which intrinsically finds it way into the genuine voice of Maine artists living and working in the unique locality which is Maine. By being true to who we are, we can also be part of an eternal cross cultural dialogue- taking place in an entirely different galaxy than the one inhabited by Koons. A galaxy in which marketing is just a function that enables the artists to express a higher content- where marketing has not become the one and only content of art, the mark made by Koons in a high priced art world, gazing at its own navel and mocking itself.