“The secret to turning a poor nation into a rich one can’t be found in a World Bank report. It wasn’t hatched in the corridors of the International Monetary Fund, either. It came from the British Empire. That is one way, at least, of interpreting Stanford economist Paul Romer’s new plan for turning economically backward countries like Cuba into engines of growth like China. Experts have long known that the traditional tools of development don’t work: free trade, foreign investment, and charity have failed as many countries as they’ve helped. The rot in a dysfunctional country is at its core—in the laws, institutions, and informal rules that govern daily life. How to fix a problem so fundamental? Let a rich country take over part of a poor one. The hope, says Romer, is that the superior norms of the developed country will take root abroad. One problem, admits Romer, is the parallel between charter cities and colonialism. Great Britain, for instance, would surely have qualms about taking over a few hundred acres of coastline in Ghana, where the legacy of slavery is still deeply felt. Romer says the similarities are surface level only—there’s no coercion involved in a charter city since it would be founded on empty or near-empty land, and anyone who lives there would do so by choice. Charter cities would only be considered in countries that welcome them. But the colonial parallel would certainly still rankle some. One way to mitigate the PR problem would be to let a group of rich countries administer the charter area; that way, no single nation could be accused of exploiting the host.”
“Halfway through the 12th Century, and a long time before economists began pondering how to turn poor places into rich ones, the Germanic prince Henry the Lion set out to create a merchant’s mecca on the lawless Baltic coast. He seized control of a fledgling town called Lübeck, had Niclot beheaded on the battlefield, and arranged for Lübeck to become the seat of a diocese. A grand rectangular market was laid out at the center of the town; all that was missing was the merchants. To attract that missing ingredient to his city, Henry hit on an idea that has enjoyed a sort of comeback lately. He devised a charter for Lübeck, a set of “most honorable civic rights,” calculating that a city with light regulation and fair laws would attract investment easily. The stultifying feudal hierarchy was cast aside; an autonomous council of local burgesses would govern Lübeck. Onerous taxes and trade restrictions were ruled out; merchants who settled in Lübeck would be exempt from duties and customs throughout Henry the Lion’s lands, which stretched south as far as Bavaria. The residents of Lübeck were promised fair treatment before the law and an independent mint that would shelter them from confiscatory inflation. With this bill of rights in place, Henry dispatched messengers to Russia, Denmark, Norway, and Sweden. Merchants who liked the sound of his charter were invited to migrate to Lübeck. The plan worked. Immigrants soon began arriving in force, and Lübeck became the leading entrepôt for the budding Baltic Sea trade route, which eventually extended as far west as London and Bruges and as far east as Novgorod, in Russia. Perhaps the only thing more remarkable than Lübeck’s wealth was the influence of its charter. As trade routes lengthened, new cities mushroomed all along the Baltic shore, and rather than develop a legal code from scratch, the next wave of city fathers copied Lübeck’s charter, importing its political and economic liberties. The early imitators included the nearby cities of Rostock and Danzig, but the charter was eventually adopted as far afield as Riga and Tallinn, the capitals of modern Latvia and Estonia. The medieval world had stumbled upon a formula for creating order out of chaos and prosperity amid backwardness. Lübeck ultimately became the seat of the Hanseatic League, an economic alliance of 200 cities that lasted nearly half a millennium.”
Laboratories for Innovation
Q. Let’s move to logistics. Who might grant the charter for one of these cities and see that it will be enforced?
A. Different charters could specify different arrangements. This means that we could try many new types of innovative structures. If a national government has sufficient credibility, it could start a charter city within its own territory and administer it from the national capital. This is, in effect, what some countries have done when they have created special economic zones with rules that are different from the ones that prevail in the rest of the country. You could imagine that a country like India might try something like this to speed up urbanization by cutting through many local rules that get in the way of urban development. In poorer countries that don’t have the same kind of credibility with international investors, a more interesting but controversial possibility is that two or more countries might sign a treaty specifying the charter for a new city and allocate between them responsibilities for administering different parts of the treaty. Let me give you a specific example. Right now, the United States and Cuba have a treaty that gives the United States administrative control in perpetuity over a piece of sovereign Cuban territory, Guantanamo Bay. I’ve suggested that Canada and Cuba sign a new treaty in which Canada would take over administration of this area, bring Canadian rule of law there, and let a city grow up that could bring to Cuba some of the advantages that Hong Kong brought to China.
Q. It all sounds great as a theoretical exercise, but honestly, don’t your colleagues tell you that something like this will never happen?
A. They do say this, which is actually kind of ironic when you line it up with the other things they say. They recognize that the construct of a charter city is something that could make everyone better off. They admit that there is no technological or economic constraint that keeps us from building many of these. Then they say that for political reasons, it will never happen. They tell me that you can’t change politics; you can’t overcome nationalism; there is no way for countries to work together to extend the reach of good rules. Then these same economists suggest that we should just stick to business as usual. We should offer conventional economic advice and assume that political systems will naturally follow our advice when we point to something that could make everyone better off. But of course, they have already revealed that they don’t believe this. What’s going on here is a kind of self-censoring. Economists seem to think that we should propose things that are acceptable and that political systems will pursue, but that we should avoid proposing or even discussing things that are controversial or politically incorrect. I think we’d do our jobs better if we just said what’s true without trying to be amateur politicians.
students do homework under the parking lot lights at G’bessi Airport in Guinea
From Magical-Secrets.com, “Always ahead of his time, New York artist and performer Rammellzee (born in 1960 in Queens, New York) is credited with being one of the inventors of graffiti art as we know it. Through writing, drawing and painting on subway cars in spray paint and felt-tip pen in the late ‘70s, he became interested in the symbolic value of letters, seeing for example the letter “A” as a pyramid or taking “W” to mean “double-you.” He has continued to explore these ideas through a variety of media ever since, from the paintings that in 1988 Gerrit Henry described in Art In America as having “a Star-Wars-via-Jackson-Pollock look” to the legendary hip-hop single “Beat Bop” that was produced by the artist Jean-Michel Basquiat, and became not just one of the most collectible hip hop releases ever, but a model for generations of witty and experimental musicians after him.
In the mid-80’s, Rammellzee became associated with a group of artists who painted or tagged in a style known as East Village wild style. This was an illegible, dynamic style of writing letters derived originally from the Gothic script of Medieval manuscripts. In 1982, he appeared in the seminal hip hop documentary Wildstyle by Charlie Ahearn. Rammellzee named his style “Gothic Futurism,” describing the battle between letters and their symbolic warfare against any standardizations enforced by the rules of the alphabet. When his style of writing became more mainstream in the world of graffiti, Rammellzee built his letters into flying armored vehicles, bursting forth with a style and philosophy all his own that he termed “Ikonoclast Panzerism.” Jan van Adrichem and Marjin van Nieuwenhuyzen wrote in the catalog for his 1986 retrospective that, as in the biblical story of the city of Babel, in Rammellzee’s system “people do not use language, language uses people; it has become an autonomous force.”
“Conversation with an Insect” originally published in ‘Soul Underground’ magazine 1988.
Read his Ionic Treatise of Gothic Futurism
Rather lengthy Brother JT interview in Arthur No. 8
Baltimore daretakers Lexie Mountain Boys inside “Igloo” at Noah Purifoy’s “Outdoor Desert Art Museum” in Joshua Tree, California, last Saturday.
Lexie Mountain Boys myspace
Noah Purifoy on NPR and Tavis Smiley Show
Crazy Dreams Band (featuring Lexie)
For the past year or so, i’ve been working on a lot of beat and synth driven ideas. One day i decided it had been too long since i gave much attention to the guitar or making slowly evolving improvised “sound-scape” music.
Boring Guitar Music was recorded with this in mind/ in one sitting/ in March of 2010. Electric guitar, Ableton Live and an APC40 controller.
DOWNLOAD THIS AWESOME ALBUM NOW! NAME YOUR PRICE OR FREEEEE!!!!
Saw this at 360 Vinyl today. The LP is a triple album with silkscreened sleeves and the cd comes with an awesome new ‘Rapper X’ comic by Benjamin Marra. Happy to find myself reading a comic book in a record store.
Madlib Medicine Show No. 5: The History of the Loop Digga, a limited-edish album of early work by hip-hop artist, Madlib, is now available for pre-order on Stones Throw’s website. Check out everything here. I did the cover and a comic book insert for the album. Some of my artwork was the basis for the silkscreen vinyl covers. I worked with Stones Throw’s Jeff Jank, who put together the designs for everything and was great to work with.