Tag Archives: production

archaeology of prestidigitatory production

A short Doug Rushkoff riff that chimes with my extended infrastructure-as-stage-magic metaphor:

The industrialist’s dream was to replace [workers] entirely — with machines. The consumers of early factory goods loved the idea that no human hands were involved in their creation. They marveled at the seamless machined edges and perfectly spaced stitches of Industrial Age products. There was no trace of humans at all.

Even today, Chinese laborers “finish” smartphones by wiping off any fingerprints with a highly toxic solvent proven to shorten the workers’ lives. That’s how valuable it is for consumers to believe their devices have been assembled by magic rather than by the fingers of underpaid and poisoned children. Creating the illusion of no human involvement actually costs human lives.

Provision ex nihilo. The seemingly magical product or service always sells better. Rushkoff points off in the direction of the metamedium, too:

While people once bought products from the people who made them, mass production separates the consumer from the producer, and replaces this human relationship with the brand. So where people used to purchase oats from the miller down the block, now consumers go to the store and buy a box shipped from a thousand miles away. The brand image — in this case, a smiling Quaker — substitutes for the real human relationship, and is carefully designed to appeal to us more than a living person could.

Infrastructure as a metasystem is complicit in its own effacement. Its purpose is not only to enable our prosthetic consumptions, but further to obscure their consequences by displacing them in timespace. It is the veil that capital draped over Gaia, the entangled cause and effect of the social/natural dichotomy.

The last days of the Next Big Thing

Today, social media enables young people to engage with culture and politics in all kinds of ways that have nothing to do with music; from the 1960s to the 1990s, music was pretty much all there was. It seems likely that, in the broad sweep of cultural history, the period circa 1955 to circa 2000 will be a treated as a discrete epoch, and the cultish fanaticism that drove its successive countercultural waves – from Beatlemania to grunge, via punk, post-punk, New Romantics et al – will be seen as an analog-era curio. The regime of production and dissemination was the defining characteristic of the four-and-a-bit decades of its hegemony; the demise of that regime has led, ultimately, to the obsolescence of that particular iteration of pop culture.

TFW someone produces a good and coherent version of a vague theory you’ve been kicking around for a few years and done nothing with.

(Please read the whole thing before criticising it; one can acknowledge nostalgia without necessarily taking that feeling as an indication that things were actually and objectively “better” during your own salad days.)