Five things George Osborne doesn't want you to know about the economy

Including, this is still the slowest recovery for 100 years, the economy is 3.3% smaller and unemployment hasn't fallen for six months.

So downgraded have our economic expectations become that unremarkable growth of 0.6% is now viewed as cause for celebration. Those who opposed George Osborne's decision to pursue austerity in 2010 are now urged to recant. But here are five reasons why it's still the Chancellor and his supporters who have all the explaining to do. 

1. This is still the slowest recovery for more than a century

Growth has returned - it was always bound to at some point - but this remains the slowest recovery for more than 100 years. Had Osborne achieved the OBR's original June 2010 forecasts, the economy would now be 8.1% larger. Instead, after a collapse in private and public investment, it's only 4% larger. To make up the lost ground since 2010, the economy would need to grow at 1.3% a quarter for the next two years. Output of 0.6% is the least we should expect. 

2. The economy is 3.3% smaller than before the crash (the US is 3% larger)

Owing to three years of anaemic growth, the economy is still 3.3% below its pre-recession peak. In the US, by contrast, where the Obama administration maintained fiscal stimulus, the economy is 3.2% larger than in 2007 (even before the Q2 figures) after growth three times greater than that of the UK since autumn 2010. And it's not just the Americans who have outpaced us. The UK recovery has been slower that of any other G7 country bar Italy. 

3. Unemployment hasn't fallen for six months and underemployment is at a record high

Before the economy returned to growth, the Tories were hailing the employment figures as this government's success story (as they did when the most recent were published). But the data, as so often, tells a different story. After falling from 8.4% to 7.7% between November 2011 and November 2012, the headline rate of unemployment has been stuck at around 7.8% for the last six months (read Alex's superb myth-busting post), 0.1% higher than its previous low.

That total joblessness has not risen to the heights experienced in the 1980s owes more to the willingness of workers to price themselves into employment (real wages have fallen by a remarkable 9%) than the success of the government's strategy.  

Alongside this, underemployment is surging, with a record 1.45m in part-time jobs because they can't find full-time work. Worst of all, long-term unemployment (those out of work for more than a year) has reached a 17-year high of 915,000 and youth unemployment is at 959,000 (20.9%).

4.  His deficit reduction plan failed and he's forecast to borrow £245bn more

For a man whose raison d'etre is deficit reduction ("The deficit reduction programme takes precedence over any of the other measures in this agreement," states the Coalition Agreement), Osborne isn't very good at it. Having originally pledged to eliminate the structural deficit by 2014-15 and ensure that debt is falling as a proportion of GDP by 2015-16, he's been forced to push both targets back to 2017-18.

Contrary to what some on the right claim, this isn't due to any lack of austerity. Infrastructure spending has been slashed by 42%, VAT has been increased to 20% and 356,000 public sector jobs have been cut, so that the state workforce is now at its lowest level since 1999. Despite all this, Osborne is still forecast to borrow £245bn more than planned across this parliament and more in five years than Labour did in 13. 

5. Most people are still getting poorer - and that won't change soon

While the media and the political class fixate over GDP, it's a poor measure of the nation's economic health. As we saw even before the crash, a growing economy can disguise stagnating or falling wages for the majority. In the year to May 2013, total pay rose by just 1.7%, more than two percentage points below the rate of inflation (2.9%). Since the election, average pay has fallen by £1,350 a year in real terms, with most now earning no more than they were in 2003. And the situation is unlikely to improve anytime soon. Wages aren't expected to outstrip inflation until 2015 at the earliest and earnings for low and middle income families won't reach pre-recession levels until 2023

George Osborne attends a press conference on July 19, 2013 during the G20 Finance Ministers and Central Bank Governors' meeting in Moscow. Photograph: Getty Images.

George Eaton is political editor of the New Statesman.

Warren K Leffler at Wikimedia Commons
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"She wore a USB cord instead of a necklace": whatever happened to Cyberfeminism?

The movement was young, energetic, educated, and art school-heavy. Above all it was “positive”: both cyber-positive and sex-positive.

Sometime in the late 1990s, I met someone else called Joanna Walsh. The fact that this is also my name drew me to study her closely. We were about the same age. She worked in the tech side of the arts world, with which I was also connected via a loose network of zines, "comix" and journals. Instead of a necklace, she wore a USB cord. She knew how to program. She was a cyberfeminist. 

Cyberfeminism had been a word since 1991, coined separately by the British philosopher Sadie Plant (once profiled painfully in the Independent on Sunday as the “IT girl for the 21st Century”) who was then running the Cybernetic Culture Research Unit with fellow philosopher Nick Land, and by the Australian art collective VNS Matrix

In September 1997, the First Cyberfeminist International meet-up took palce in Germany, and the artist Cornelia Sollfrank writes that its members "agreed not to define the term" cyberfeminist, but to understand it through negative. As a result, the Old Boys Network, a cyerfeminist alliance founded at the event, wrote “100 Anti-Theses” in languages from Croatian to Indonesian. The theses defined cyberfeminism by what it is not: “cyberfeminisme n'est pas une pipe… cyberfeminism is not post-modern… cyberfeminismo no es rock'n’roll” - as a gap, a lack, but also posited this newly-available "cyber" space as a place into which bodies could be projected, and within which they could be remade.

Nineties cyberfeminism drew heavily on contemporary feminist postmodernist theory, including the work of Julia Kristeva and Luce Irigary. As with any radical movement concerned with identity politics, there was a tension between repurposing or remixing stereotypes and the near-impossible task of destroying them and creating new archetypes. The work of trans cyberfeminist Sandy Stone is indicative of much of the movement’s gender-fluid stance: the Old Boys Network's founding aim was to “contribute[s] to the critical discourse on new media, especially gender-specific aspects,” by members who self-select “if you call yourself a woman.” 

"A Cyberfeminist Manifesto for the 21st Century” by VNS Matrix.

As Sadie Plant explains in her book Zeros and Ones—and as Elena Ferrante demonstrates through her (anti?) heroine Lila in the Neapolitan novels, who is an early coder — computing was once considered “women’s work’”. Like Plant, MIT Professor and digital theorist Sherry Turkle described women as digital natives, particularly suited to its “bricolage” methods. The VNS Matrix art collective, by contrast, saw women as biological infiltrators of “Big Daddy Mainframe”. 

Like other strands of 1990s feminism, whether they were prefixed with “Riot” or “Spice”, Cyberfeminism was “girl”-oriented. Zines were called gURL, and Geek Girl, and in 1995 Linda Dement made a “Cyberflesh Girlmonster”. The movement was young, energetic, educated, and art school-heavy. Above all it was “positive”: both “cyber-positive” and “sex-positive”. Cyberfeminism’s enthusiasm, its refusal to self-define, could be exhausting, but is it exhausted? The OBN's calendar takes us up to 2003, the function feminism timeline to 2005. In 2012 a reassessment of the movement titled Cyberfeminism 2.0, was published. What happened in the interim?

What happened is, we all became users. The internet is so embedded in our lives as to make the prefix “cyber” tautologous as “road traffic” or “free gift”, but use of a medium implies neither expertise or control. Not only have women become notoriously scarce in programming, but, as technology becomes more complex, everyone is losing access to the basic means of production. JR Carpenter, a digital artist who continues to make “handmade” web pages, quotes Lori Emerson’s 2014 Reading Writing Interfaces: From the Digital to the Bookbound:

“‘The iPad works because users can’t know how it works.’ Reading the web on an iPhone, iPad, or similar device, readers do not have the option of viewing the page source. The iPad provides consumers with access to materials created by others, but cannot easily be used as a tool in the handcrafting of new materials.”

As internet consumers we are all feminised, invited to complete ourselves through purchase: “The boundary between empowerment/subjectivity/agency and market-driven formation of self, which in fact has never been clear, becomes more nebulous,” wrote Radhika Gajjala’s and Yeon Ju Oh in their introduction to Cyberfeminism 2.0. “I’d rather be a cyborg than a goddess,” declared Donna Haraway in her Cyborg Manifesto, published in 1991, Cyberfeminism’s year zero. But who are our cyborgs now? Default-female Siri and her cohort of servers with a smile? The internet’s “Mechanical Turks’”, mostly women in low-pay jobs whose hand-input is disguised as technology? 

The net can be an echo chamber of reinforced thought as, from Twitter to porn sites, users seek out communities that reflect their offline opinions. “Networked knowledge,” wrote David Weinberger  in a recent essay in the LARB, “is inextricable from its social context,” and can even offer a new, improved platform for offline prejudice. In April, the Guardian catalogued what everyone already knew: that’s it’s primarily their women (followed by non-white) correspondents whose work attracts trolling, abuse and threats.

An unusual feature of Cyberfeminism was how quickly it began to bemoan its own demise. Gashgirl/Doll Yoko/Francesca da Rimini of VNS Matrix wrote as early as 1997:

“after 6 years of surfen sibapussy g-slime as one of the vns matrix pussy posse i don't feel particularly inspired to comment anymore on cyberfeminism/s [if u dont have nothing new to say don't repeat yrself]… cept to say that as far as i rememba things vns matrix never *seriously* wanted to rule the world ..or women to dominate the net...necessarily.... .. but, as artists, we were serious bout usin strategies like irony 'n inversion of cultural stereotypes to raise some of the many issues around women and technology.”

As such, though the internet has been of inestimable benefit as a platform and network for feminist activists (at least those who can access the equipment), “online feminism” is not absolutely identifiable with Cyberfeminism. 

Like Ginger, Posh, Baby, Sporty and Scary, Cyberfeminism it posed a question, rather than giving an answer but, during a brief window of blue-sky thinking as to what the net could be. Artist Cornelia Sollfrank writes that “simply attaching the happy 'cyber' hype to the term feminism in the early 90s opened up immense potential. The synonym for an unreflective, euphoric understanding of new technologies, which 'cyber' definitely is, breathed new life into the debates around gender and feminism.”

Now, Cyberfeminism remains live because rejection of definition is its founding feature. Many 90s cyberfeminist groups and artists are still practicing, including Subrosa, Studio XX, and forums on OBN and elsewhere remain active. Members of the CCRU and VNS Matrix can be found working in academia and the arts, and contemporary theorists include Professor Radhika Gajjala who writes particularly on "subaltern" and south Asian "Cyberselves".“Cyberfeminism does not express itself in single, individual approaches but in the differences and spaces in between,” writes Sollfrank. “All continue to write the story.”

But now, when I use Google to search for “Joanna Walsh”, even in conjunction with institutions with which we were both linked, the only name I find is my own. 

This piece is part of our themed Internet Histories week. See the rest of the stories here