boundary 2

Tag: digital labor

  • Gavin Mueller — Digital Proudhonism

    Gavin Mueller — Digital Proudhonism

    Gavin Mueller

    In a passage from his 2014 book Information Doesn’t Want to Be Free author and copyright reformer Cory Doctorow sounds a familiar note against strict copyright. “Creators and investors lose control of their business—they become commodity suppliers for a distribution channel that calls all the shots. Anti-circumvention [laws such as the Digital Millennium Copyright Act, which prohibits subverting controls on the intended use of digital objects] isn’t copyright protection, it’s middleman protection” (50).

    This is the specter haunting the digital cultural economy, according to many of the most influential voices arguing to reform or disrupt it: the specter of the middleman, the monopolist, the distortionist of markets. Rather than an insurgency, this specter emanates from economic incumbency: these middlemen are the culture industries themselves. With the dual revolutions of personal computer and internet connection, record labels, book publishers, and movie studios could maintain their control and their profits only by asserting and strengthening intellectual property protections and squelching the new technologies that subverted them. Thus, these “monopolies” of cultural production threatened to prevent individual creators from using technology to reach their audiences independently.

    Such a critique became conventional wisdom among a rising tide of people who had become accustomed to using the powers of digital technology to copy and paste in order to produce and consume cultural texts, beginning with music. It was most comprehensively articulated in a body of arguments, largely produced by technology evangelists and tech-aligned legal professionals, hailing from the Free Culture movement spearheaded by Lawrence Lessig. The critique’s practical form was the host of piratical activities and peer-to-peer technologies that, in addition to obviating traditional distribution chains, dedicated themselves to attacking culture industries, as well as their trade organizations such as the Recording Industry Association of America (RIAA) and the Motion Picture Association of America (MPAA).

    Connected to this critique is an alternate vision of the digital economy, one that leverages new technological commons, peer production and network effects to empower creators. This vision has variations, and travels under a number of different political banners, from anarchist to libertarian to liberal and many more who prefer not to label.[1] It tells a compelling story (one Doctorow has adapted into novels for young people): against corporate monopolists and state regulation, a multitude, empowered by the democratizing effects bequeathed to society by networked personal computers, and other technologies springing from them, is posed to revolutionize the production of media and information, and, therefore, the political and economic structure as a whole. Work will be small-scale and independent, but, bereft of corporate behemoths, more lucrative than in the past.

    This paper traces the contours of the critique put forth by Doctorow and other revolutionaries of networked digital production in light of a nineteenth-century thinker who espoused remarkably similar arguments over a century ago: the French anarchist Pierre-Joseph Proudhon. Few of these writers are evident readers of Proudhon or explicitly subscribe to his views, though some, such as the Center for Stateless Society do. Rather than a formal doctrine, what I call “Digital Proudhonism” is better understood as what Raymond Williams (1977) calls a “structure of feeling”: a kind of “practical consciousness” that identifies “meanings and values as they are actively lived and felt” (132), in this case, related to specific experiences of networked computer use. In the case under discussion these “affective elements of consciousness and relationships” are often articulated in a political, or at least polemical, register, with real effects on the political self-understanding of networked subjects, the projects they pursue, and their relationship to existing law, policy and institutions. Because of this, I seek to do more than identify currents of contemporary Digital Proudhonism. I maintain that the influence of this set of practices and ideas over the politics of digital production necessitates a critique. In this case, I argue that a return to Marx’s critique of Proudhon will aid us in piercing through the Digital Proudhonist mystifications of the Internet’s effects on politics and industry and reformulate both a theory of cultural production under digital capitalism as well as radical politics of work and technology for the 21st century.

    From the Californian Ideology to Digital Proudhonism

    What I am calling Digital Proudhonism has precedent in the social critique of techno-utopian beliefs surrounding the internet. It echoes Langdon Winner’s (1997) diagnosis of “cyberlibertarianism” in the Progress and Freedom Foundation’s 1994 manifesto “Magna Carta for the Knowledge Age,” where “the wedding of digital technology and the free market” manages to “realize the most extravagant ideals of classical communitarian anarchism” (15). Above all, it bears a marked resemblance to Barbrook and Cameron’s (1996) landmark analysis of the “Californian Ideology,” that “bizarre mish-mash of hippie anarchism and economic liberalism beefed up with lots of technological determinism” emerging from the Wired (in the sense of the magazine) corners of the rise of networked computers, which claims that digital technology is the key to realizing freedom and autonomy (56). As the authors put it, “the Californian Ideology promiscuously combines the free-wheeling spirit of the hippies and the entrepreneurial zeal of the yuppies. This amalgamation of opposites has been achieved through profound faith in the emancipatory potential of new information technologies” (45).

    My contribution will follow the argument of Barbrook and Cameron’s exemplary study. As good Marxists, they recognized that ideology was not merely an abstract belief system, but “offers a way of understanding the lived reality” (50) of a specific social base: “digital artisans” of programmers, software developers, hackers and other skilled technology workers who “not only tend to be well-paid, but also have considerable autonomy over their pace of work and place of employment” (49). Barbrook and Cameron located the antecedents of the Californian Ideology in Thomas Jefferson’s belief that democracy was best secured by self-sufficient individual farmers, a kind of freedom that, as the authors trenchantly note, “was based upon slavery for black people” (59).

    Thomas Jefferson is an oft-cited figure among the digital revolutionaries associated with copyright reform. Law professor James Boyle (2008) drafts Jefferson into the Free Culture movement as a fellow traveler who articulated “a skeptical recognition that intellectual property rights might be necessary, a careful explanation that they should not be treated as natural rights, and a warning of the monopolistic dangers that they pose” (21). Lawrence Lessig cites Jefferson’s remarks on intellectual property approvingly in Free Culture (2004, 84). “Thomas Jefferson and the other Founding Fathers were thoughtful, and got it right,” states Kembrew McLeod (2005) in his discussion of the U.S. Constitution’s clauses on patent and copyright (9).

    There is a deeper political and economic resonance between Jefferson and internet activists beyond his views on intellectual property. Jefferson’s ideal productive arrangement of society was small individual landowners and petty producers: the yeoman farmer. Jefferson believed that individual self-sufficiency guaranteed a democratic society. The abundance of land in the New World and the willingness to expropriate it from the indigenous peoples living there gave his fantasy a plausibility and attraction many Americans still feel today. It was this vision of America as a frontier, an empty space waiting to be filled by new social formations, that makes his philosophy resonate with the techno-adept described by Barbrook and Cameron, who viewed the Internet in a similar way. One of these Californians, John Perry Barlow (1996), who famously declared to “governments of the Industrial World” that “cyberspace does not lie within your borders,” even co-founded an organization dedicated to a deregulated internet called the “Electronic Frontier Foundation.”

    However, not everything online lent itself to the metaphor of a frontier. Particularly in the realm of music and video, artisans dealt with a field crowded with existing content, as well as thickets of intellectual property laws that attempted to regulate how that content was created and distributed. There could be no illusion of a blank canvas on which to project one’s ideal society: in fact, these artisans were noteworthy, not for producing work independently out of whole cloth, but for refashioning existing works through remix. Lawrence Lessig (2004) quotes mashup artist Girl Talk: “We’re living in this remix culture. This appropriation time where any grade-school kid has a copy of Photoshop and can download a picture of George Bush and manipulate his face how they want and send it to their friends” (14). The project of Lessig and others was not to create the conditions for erecting a new society upon a frontier, as a yeoman farmer might, but to politicize this class of artisans in order to challenge larger industrial concerns, such as record labels and film studios, who used copyright to protect their incumbent position. This very different terrain requires a different perspective from Jefferson’s.

    Thomas Jefferson’s vision is not the only expression of the fantasy of a society built on the basis of petty producers. In nineteenth-century Europe, where most land had long been tied up in hereditary estates, large and small, the yeoman farmer ideal held far less influence. Without a belief in abundant land, there could be no illusion of a blank canvas on which a new society could be created: some kind of revolutionary change would have to occur within and against the old one. And so a similar, yet distinct, political philosophy sprang up in France among a similar social base of artisans and craftsmen—those who tended to control their own work process and own their own tools—who made up a significant part of the French economy. As they were used to an individualized mode of production, they too believed that self-sufficiency guaranteed liberty and prosperity. The belief that society should be organized along the lines of petty individual commodity producers, without interference from the state—a belief remarkably consonant with a variety of digital utopians—found its most powerful expression in the ideas of Pierre-Joseph Proudhon. It is to his ideas that I now turn.

    What was Proudhonism?

    An anarchist and influential member of the International Workingmen’s Association of which Karl Marx was also a part, Proudhon’s ideas were especially popular in his native France, where the economy was rooted far more deeply in small-scale artisanal production than the industrial-scale capitalism Marx experienced in Britain. His first major work, What Is Property? ([1840] 2011) (Proudhon’s pithy answer: property is theft) caught the attention of Marx, who admired the work’s thrust and style, even while he criticized its grasp of the science of political economy. After attempting to win over Proudhon by teaching him political economy and Hegelian dialectics, Marx became a vehement critic of Proudhon’s ideas, which held more sway over the First International than Marx’s own.

    Proudhon was critical of the capitalism of his day, but made his criticisms, along with his ideas for a better society, from the perspective of a specific class. Rather than analyze, as Marx did, the contradictions of capitalism through the figure of the proletarian, who possesses nothing but their own capacity to work, Proudhon understood capitalism from the perspective of an artisanal small producer, who owns and labors with their own small-scale means of production. In David McNally’s (1993) survey of eighteenth- and nineteenth-century radical political economy, he summarizes Proudhon’s beliefs. Proudhon “envisages a society [of] small independent producers—peasants and artisans—who own the products of their personal labour, and then enter into a series of equal market exchanges. Such a society will, he insists, eliminate profit and property, and ‘pauperism, luxury, oppression, vice, crime and hunger will disappear from our midst’” (140).

    For Proudhon, massive property accumulation of large firms and accompanying state collusion distorts these market exchanges. Under the prevailing system, he asserts in The Philosophy of Poverty, “there is irregularity and dishonesty in exchange” ([1847] 2012, 124) a problem exemplified by monopoly and its perversion of “all notions of commutative justice” (297). Monopoly permits unjust property extraction: Proudhon states in General Idea of the Revolution in the Nineteenth Century ([1851] 2003) that “the price of things is not proportionate to their VALUE: it is larger or smaller according to an influence which justice condemns, but the existing economic chaos excuses” (228). Exploitation becomes thereby a consequence of market disequilibria—the upward and downward deviations of price from value. It is a faulty market, warped by state intervention and too-powerful entrenched interests that is the cause of injustice. The Philosophy of Poverty details all manner of economic disaster caused by monopoly: “the interminable hours, disease, deformity, degradation, debasement, and all the signs of industrial slavery: all these calamities are born of monopoly” (290).

    As McNally’s (1993) work shows, blaming economic woes on “monopolists” and “middlemen” ran rife in popular critiques of political economy during the seventeenth and eighteenth centuries, leading many radicals to call for free trade as a solution to widespread poverty. Proudhon’s anarchism was part of this general tendency. In General Idea of the Revolution in the Nineteenth Century ([1851] 2003), he railed against “middlemen, commission dealers, promoters, capitalists, etc., who, in the old order of things, stand in the way of producer and consumer” (90). The exploiters worked by obstructing and manipulating the exchange of goods and services on the market.

    Proudhon’s particular view of economic injustice begets its own version of how best to change it. His revolutionary vision centers on the end of monopolies and currency reform, two ways that “monopolists” intervened in the smooth functioning of the market. He remained dedicated to the belief that the ills of capitalism arose from the concentrations of ownership creating unjust political power that could further distort the functioning of the market, and envisioned a market-based society where “political functions have been reduced to industrial functions, and that social order arises from nothing but transactions and exchanges” (1979, 11).

    Proudhon evinced a technological optimism that Marx would later criticize. From his petty producer standpoint, he believed technology would empower workers by overcoming the division of labor:

    Every machine may be defined as a summary of several operations, a simplification of powers, a condensation of labor, a reduction of costs. In all these respects machinery is the counterpart of division. Therefore through machinery will come a restoration of the parcellaire laborer, a decrease of toil for the workman, a fall in the price of his product, a movement in the relation of values, progress towards new discoveries, advancement of the general welfare. ([1847] 2012, 167)

    While Proudhon recognized some of the dynamics by which machinery could immiserate workers through deskilling and automating their work, he remained strongly skeptical of organized measures to ameliorate this condition. He rejected compensating the unemployed through taxation because it would “visit ostracism upon new inventions and establish communism by means of the bayonet” ([1847] 2012, 207); he also criticized employing out-of-work laborers in public works programs. Technological development should remain unregulated, leading to eventual positive outcomes: “The guarantee of our liberty lies in the progress of our torture” (209).

    Marx’s Critique of Proudhon

    Marx, after attempting to influence Proudhon, became one of his most vehement critics, attacking his rival’s arguments, both major and marginal. Marx had a very different understanding of the new industrial society of the nineteenth century. Marx ([1865] 2016) diagnosed his rival’s misrepresentations of capitalism as derived from a particular class basis. Proudhon’s theories emanated “from the standpoint and with the eyes of a French small-holding peasant (later petit bourgeois)” rather than the proletarian, who possesses nothing but labor-power, which must be exchanged for a wage from the capitalist.

    Since small producers own their own tools and depend largely on their own labor, they do not perceive any conflict between ownership of the means of production and labor: analysis from this standpoint, such as Proudhon’s, tends to collapse these categories together. Marx’s theorization of capitalism centered an emergent class of industrial proletarians, who, unlike small producers, owned nothing but their ability to sell their labor-power for a wage. Without any other means of survival, the proletarian could not experience the “labor market” as a meeting of equals coming to a mutually beneficial exchange of commodities, but as an abstraction from the concrete truth that working for whatever wage offered was compulsory, rather than a voluntary contract. Further, it was this very market for labor-power that, in the guise of equal exchange of commodities, helped to obscure that capitalist profit depended on extracting value from workers beyond what their wages compensated. This surplus value emerged in the production process, not, as Proudhon argued, at a later point where the goods produced were bought and sold. Without a conception of a contradiction between ownership and labor, the petty producer standpoint cannot see exploitation occurring in production.

    Instead, Proudhon saw exploitation occurring after production, during exchanges on the market distorted by unfair monopolies held intact through state intervention, with which petty producers could not compete. However, Marx ([1867] 1992) demonstrated that “monopolies” were simply the outcome of the concentration of capital due to competition: in his memorable wording from Capital, “One capitalist always strikes down many others” (929). As producers compete and more and more producers fail and are proletarianized, capital is held in fewer and fewer hands. In other words, monopolies are a feature, not a bug, of market economies.

    Proudhon’s misplaced emphasis on villainous monopolies is part of a greater error in diagnosing the momentous changes in the nineteenth-century economy: a neglect of the centrality of massive industrial-scale production to mature capitalism. In the first volume of Capital, Marx ([1867] 1992) argues that petty production was a historical phenomenon that would give way to capitalist production: “Private property which is personally earned, i.e., which is based, as it were, on the fusing together of the isolated, independent working individual with the conditions of his labour, is supplanted by capitalist private property, which rests on exploitation of alien, but formally free labour” (928). As producers compete and more and more producers fail and are proletarianized, capital—and with it, labor—concentrates.

    However, petty production persisted alongside industrial capitalism in ways that masked how the continued existence of the former relies on the latter. Under capitalism, labor, through commodification of labor-power through the wage relationship, is transformed from concrete acts of labor into labor in the abstract in the system of industrial production for exchange. This abstract labor, the basis of surplus value, is for Marx the “specific social form of labour” in capitalism (Murray 2016, 124). Without understanding abstract labor, Proudhon could not perceive how capitalism functioned as not simply a means of producing profit, but a system of structuring all labor in society.

    The importance of abstract labor to capitalism also meant that Proudhon’s plans to reform currency by making it worth labor-time would fail. As Marx ([1847] 1973) puts it in his book-length critique of Proudhon, “in large-scale industry, Peter is not free to fix for himself the time of his labor, for Peter’s labor is nothing without the co-operation of all the Peters and all the Pauls who make up the workshop” (77). In other words, because commodities under capitalism are manufactured through a complex division of labor, with different workers exercising differing levels of labor productivity, it is impossible to apportion specific quantities of time to specific labors on individual commodities. Without an understanding of the role of abstract labor to capitalist production, Proudhon could simply not grapple with the actual mechanisms of capitalism’s structuring of labor in society, and so, could not develop plans to overcome it. This overcoming could only occur through a political intervention that sought to organize production from the point of view of its socialization, not, as Proudhon believed, reforming elements of the exchange system to preserve individual producers.

    The Roots of Digital Proudhonism

    Many of Proudhon’s arguments were revived among digital radicals and reformers during the battles over copyright precipitated by networked digital technologies during the 1990s, of which Napster is the exemplary case. The techno-optimistic belief that the Internet would provide radical democratic change in cultural production took on a highly Proudhonian cast. The internet would “empower creators” by eliminating “middlemen” and “gatekeepers” such as record labels and distributors, who were the ultimate source of exploitation, and allowing exchange to happen on a “peer-to-peer” basis. By subverting the “monopoly” granted by copyright protections, radical change would happen on the basis of increased potential for voluntary market exchange, not political or social revolution.

    Siva Vaidhyanathan’s Anarchist in the Library (2005) is a representative example of this argument, and made with explicit appeals to anarchist philosophy. According to Vaidhyanathan, “the new [peer-to-peer] technology evades the professional gatekeepers, flattening the production and distribution pyramid…. Digitization and networking have democratized the production of music” (48). This democratization by peer-to-peer distribution threatens “oligarchic forces such as global entertainment conglomerates” even as it works to “empower artists in new ways and connect communities of fans” (102).

    The seeds of Digital Proudhonism were planted earlier than Napster, derived from the beliefs and practices of the Free Software movement. Threatened by intellectual property protections that signaled the corporatization of software development, the academics and amateurs of the Free Software movement developed alternative licenses that would keep software code “open” and thus able to share and build upon by any interested coder. This successfully protected the autonomous and collaborative working practices of the group. The movement’s major success was the Linux operating system, collaboratively built by a distributed team of mostly voluntary programmers who created a free alternative to the proprietary systems of Microsoft and Apple.

    Linux indicated to those examining the front lines of technological development that, far from just a software development model, Free Software could actually be an alternative mode of production, and even a harbinger of democratic revolution. The triumph of an unpaid network-based community of programmers creating a free and open product in the face of the IP-dependent monopoly like Microsoft seemed to realize one of Marx’s ([1859] 1911) technologically determinist prophecies from A Contribution to the Critique of Political Economy:

    At a certain stage of their development, the material forces of production in society come into conflict with the existing relations of production or—what is but a legal expression of the same thing—with the property relations within which they had been at work before. From forms of development of the forces of production these relations turn into their fetters. Then comes the era of social revolution. (12)

    The Free Software movement provoked a wave of political initiatives and accompanying theorizations of a new digital economy based on what Yochai Benkler (2006) called “commons-based peer production.” With networked personal computers so widely distributed, “[t]he material requirements for effective information production and communication are now owned by numbers of individuals several orders of magnitude larger than the number of owners of the basic means of information production and exchange a mere two decades ago” (4). Suddenly, and almost as if by accident, the means of production were in the hands, not of corporations or states, but of individuals: a perfect encapsulation of the petty producer economy.

    The classification of file sharing technologies such as Napster as “peer-to-peer” solidified this view. Napster’s design allowed users to exchange MP3 files by linking “peers” to one another, without storing files on Napster’s own servers. This performed two useful functions. It dispersed the server load for hosting and exchanging files among the computers and connections of Napster’s user base, alleviating what would have been massive bandwidth expenses. It also provided Napster with a defense against charges of infringement, as its own servers were not involved in copying files. This design might offer it protection from the charges that had doomed the site MP3.com, which had hosted user files.

    While Napster’s suggestion that corporate structures for the distribution of culture could be supplanted by a voluntary federation of “peers” was important, it was ultimately a mystification. Not only did the courts find Napster liable for facilitating infringement, but the flat, “decentralized” topology of Napster still relied on the company’s central listing service to connect peers. Yet the ideological impact was profound. A law review article by Raymond Ku (2002), the then-director of the Institute of Law, Science & Technology, Seton Hall University School of Law is illustrative of both the nature of the arguments and how widespread and respectable they became in the post-Napster era: “the argument for copyright is primarily an argument for protecting content distributors in a world in which middlemen are obsolete. Copyright is no longer needed to encourage distribution because consumers themselves build and fund the distribution channels for digital content” (263). Clay Shirky’s (2008) paeans to “the mass amateurization of efforts previously reserved for media professionals” sound a similar note (55), presenting a technologically functionalist explanation for the existence of “gatekeeper” media industries: “It used to be hard to move words, images, and sounds from creator to consumer… The commercial viability of most media businesses involves providing those solutions, so preservation of the original problems became an economic imperative. Now, though, the problems of production, reproduction, and distribution are much less serious” (59). This narrative has remained persistent years after the brief flourishing of Napster: “the rise of peer-to-peer distribution systems… make middlemen hard to identify, if not cutting them out of the process altogether” (Kernfeld 2011, 217).

    This situation was given an emancipatory political valence by intellectuals associated with copyright reform. Eager to protect an emerging sector of cultural production founded on sampling, remixing and file sharing, they described the accumulation of digital information and media online as a “commons,” which could be treated in an alternative way from forms of private property. Due to the lack of rivalry among digital goods (Benkler 2006, 36), users do not deplete the common stock, and so should benefit from a laxer approach to property rights. Law professor Lawrence Lessig (2004) started an initiative, Creative Commons, dedicated to establishing new licenses that would “build a layer of reasonable copyright on top of the extremes that now reign” (282). Part of Lessig’s argument for Creative Commons classifies media production and distribution, such as making music videos or mashups, as a “form of speech.” Therefore, copyright acted as unjust government regulation, and so must be resisted. “It is always a bad deal for the government to get into the business of regulating speech markets,” Lessig argues, even going so far as to raise the specter of communist authoritarianism: “It is the Soviet Union under Brezhnev” (128). Here Lessig performs a delicate rhetorical sleight of hand: the positioning cultural production as speech, it reifies a vision of such production as emanating from a solitary, individual producer who must remain unencumbered when bringing that speech to market.

    Cory Doctorow (2014), a poster child of achievement in the new peer-to-peer world (in Free Culture, Lessig boasts of Doctorow’s successful promotional strategy of giving away electronic copies of his books for free), argues from a pro-market position against middlemen in his latest book: “copyright exists to protect middlemen, retailers, and distributors from being out-negotiated by creators and their investors” (48). While the argument remains the same, some targets have shifted: “investors” are “publishers, studios, record labels” while “intermediaries” are the platforms of distribution: “a distributor, a website like YouTube, a retailer, an e-commerce site like Amazon, a cinema owner, a cable operator, a TV station or network” (27).

    While the thrust of these critiques of copyright focus on egregious overreach by the culture industries and their assault upon all manner of benign noncommercial activity, they also reveal a vision of an alternative cultural economy of independent producers who, while not necessarily anti-capitalist, can escape the clutches of massive centralized corporations through networked digital technologies. This facilitates both economic and political freedom via independence from control and regulation, and maximum opportunities on the market. “By giving artists the tools and technologies to take charge of their own production, marketing, and distribution, digitization underscored the disequilibrium of traditional record contracts and offered what for many is a preferable alternative” (Sinnreich 2013, 124). As it so often does, the fusion of ownership and labor characteristic of the petty producer standpoint, the structure of feeling of the independent artisan, articulates itself through the mantra of “Do It Yourself.”

    These analyses and polemics reproduce the Proudhonist vision of an alternative to existing digital capitalism. Individual independent creators will achieve political autonomy and economic benefit through the embrace digital network technologies, as long as these creators are allowed to compete fairly with incumbents. Rather than insist on collective regulation of production, Digital Proudhonism seeks forms of deregulation, such as copyright reform, that will chip away at the existence of “monopoly” power of existing media corporations that fetters the market chances of these digital artisans.

    Digital Proudhonism Today

    Rooted in emergent digital methods of cultural production, the first wave of Digital Proudhonism shored up its petty producer standpoint through a rhetoric that centered the figure of the artist or “creator.” The contemporary term is the more expansive “the creative,” which lionizes a larger share of knowledge workers of the digital economy. As Sarah Brouillette (2009) notes, thinkers from management gurus such as Richard Florida to radical autonomist Marxist theorists such as Paolo Virno “broadly agree that over the past few decades more work has become comparable to artists’ work.” As a kind of practical consciousness, Digital Proudhonism easily spreads through the channels of the so-called “creative class,” its politics and worldview traveling under a host of other endeavors. These initiatives self-consciously seek to realize the ideals of Proudhonism in fields beyond the confines of music and film, with impact in manufacturing, social organization, and finance.

    The maker movement is one prominent translation of Digital Proudhonism into a challenge to the contemporary organization of production, with allegedly radical effects on politics and economics. With the advent of new production technologies, such as 3D printers and digital design tools, “makers” can take the democratizing promise of the digital commons into the physical world. Just as digital technology supposedly distributes the means of production of culture across a wider segment of the population, so too will it spread manufacturing blueprints, blowing apart the restrictions of patents the same way Napster tore copyright asunder. “The process of making physical stuff has started to look more like the process of making digital stuff,” claims Chris Anderson (2012), author of Makers: The New Industrial Revolution (25). This has a radical effect: a realization of the goals of socialism via the unfolding of technology and the granting of access. “If Karl Marx were here today, his jaw would be on the floor. Talk about ‘controlling the tools of production’: you (you!) can now set factories into motion with a mouse click” (26). The key to this revolution is the ability of open-source methods to lower costs, thereby fusing the roles of inventor and entrepreneur (27).

    Anderson’s “new industrial revolution” is one of a distinctly Proudhonian cast. Digital design tools are “extending manufacturing to a hugely expanded population of producers—the existing manufacturers plus a lot of regular folk who are becoming entrepreneurs” (41). The analogy to the rise of remix culture and amateur production lionized by Lessig is deliberate: “Sound familiar? It’s exactly what happened with the Web” (41). Anderson envisions the maker movement to be akin to the nineteenth century petty producers represented by Proudhon’s views: Cottage industries “were closer to what a Maker-driven New Industrial Revolution might be than are the big factories we normally associate with manufacturing” (49). Anderson’s preference for the small producer over the large factory echoes Proudhon. The subject of this revolution is not the proletarian at work in the large factory, but the artisan who owns their own tools.

    A more explicitly radical perspective comes from the avowedly Proudhonist Center for a Stateless Society (C4SS), a “left market anarchist think tank and media center” deeply conversant in libertarian and so-called anarcho-capitalist economic theory. As with Anderson, C4SS subscribes to the techno-utopian potentials for a new arrangement of production driven by digital technology, which has the potential to reduce prices on goods, making them within the reach of anyone (once again, music piracy is held up as a precursor). However, this potential has not been realized because “economic ruling classes are able to enclose the increased efficiencies from new technology as a source of rents mainly through artificial scarcities, artificial property rights, and entry barriers enforced by the state” (Carson 2015a). Monopolies, enforced by the state, have “artificially” distorted free market transactions.

    These monopolies, in the form of intellectual property rights, are preventing a proper Proudhonian revolution in which everyone would control their own individual production process. “The main source of continued corporate control of the production process is all those artificial property rights such as patents, trademarks, and business licenses, that give corporations a monopoly on the conditions under which the new technologies can be used” (Carson 2015a). However, once these artificial monopolies are removed, corporations will lose their power and we can have a world of “small neighborhood cooperative shops manufacturing for local barter-exchange networks in return for the output of other shops, of home microbakeries and microbreweries, surplus garden produce, babysitting and barbering, and the like” (Carson 2015a).

    This revolution is a quiet one, requiring no strikes or other confrontations with capitalists. Instead, the answer is to create this new economy within the larger one, and hollow it out from the inside:

    Seizing an old-style factory and holding it against the forces of the capitalist state is a lot harder than producing knockoffs in a garage factory serving the members of a neighborhood credit-clearing network, or manufacturing open-source spare parts to keep appliances running. As the scale of production shifts from dozens of giant factories owned by three or four manufacturing firms, to hundreds of thousands of independent neighborhood garage factories, patent law will become unenforceable. (Carson 2015b)

    As Marx pointed out long ago, such petty producer fantasies of individually owned and operated manufacturing ironically rely upon the massive amounts of surplus generated from proletarians working in large-scale factories. The devices and infrastructures of the internet itself, as described by Nick Dyer-Witheford (2015) in his appropriately titled Cyber-Proletariat, are an obvious example. But proletarian labor also appears in the Digital Proudhonists’ own utopian fantasies. Anderson, describing the change in innovation wrought by the internet, describes how his grandfather’s invention of a sprinkler system would have gone differently. “When it came time to make more than a handful of his designs, he wouldn’t have begged some manufacturer to license his ideas, he would have done it himself. He would have uploaded his design files to companies that could make anything from tens to tens of thousands for him, even drop-shipping them directly to customers” (15).  These “companies” of course are staffed by workers very different from “makers,” who work in facilities of mass production. Their labor is obscured by an influential ideology of artisans who believe themselves reliant on nothing but a personal computer and their own creativity.

    A recent Guardian column by Paul Mason, anti-capitalist journalist and author of the techno-optimistic Postcapitalism serves as a further example. Mason (2016) argues, similarly to the C4SS, that intellectual property is the glue holding together massive corporations, and the key to their power over production. Simply by giving up on patents, as recommended by Anderson, Proudhonists will outflank capitalism on the market. His example is the “revolutionary” business model of the craft brewery chain BrewDog, who “open-sourced its recipe collection” by releasing the information publicly, unlike its larger corporate competitors. For Mason, this is an astonishing act of economic democracy: armed with BrewDog’s recipes, “All you would need to convert them from homebrew approximations to the actual stuff is a factory, a skilled workforce, some raw materials and a sheaf of legal certifications.” In other words, all that is needed to achieve postcapitalism is capitalism precisely as Marx described it.

    The pirate fantasies of subverting monopolies extend beyond the initiatives of makers. The Digital Proudhonist belief in revolutionary change rooted in individual control of production and exchange on markets liberated from incumbents such as corporations and the state drives much of the innovation on the margins of tech. A recent treatise on the digital currency Bitcoin lauds Napster’s ability to “cut out the middlemen,” likening the currency to the file sharing technology (Kelly 2014, 11). “It is a quantum leap in the peer-to-peer network phenomenon. Bitcoin is to value transfer what Napster was to music” (33). Much like the advocates of digital currencies, Proudhon believed that state control of money was an unfair manipulation of the market, and sought to develop alternative currencies and banks rooted in labor-time, a belief that Marx criticized for its misunderstanding of the role of abstract labor in production.

    In this way, Proudhon and his beliefs fit naturally into the dominant ideologies surrounding Bitcoin and other cryptocurrencies: that economic problems stem from the conspiratorial manipulation of “fiat” currency by national governments and financial organizations such as the Federal Reserve. In light of recent analyses that suggest that Bitcoin functions less as a means of exchange than as a sociotechnical formation to which an array of faulty right-wing beliefs about economics adheres (Golumbia 2016), and the revelation that contemporary fascist groups rely on Bitcoin and other cryptocurrency to fund their activities (Ebner 2018), it is clear that Digital Proudhonism exists comfortably beside the most reactionary ideologies. Historically, this was true of Proudhon’s own work as well. As Zeev Sternhell (1996) describes, the early twentieth-century French political organization the Cercle Proudhon were captivated by Proudhon’s opposition to Marxism, his distaste for democracy, and his anti-Semitism. According to Sternhell, the group was an influential source of French proto-fascist thought.

    Alternatives

    The goal of this paper is not to question the creativity of remix culture or the maker movement, or to indict their potentials for artistic expression, or negate all their criticisms of intellectual property. What I wish to criticize is the outsized economic and political claims made about it. These claims have an impact on policy, such as Obama’s “Nation of Makers” initiative (The White House Office of the Press Secretary 2016), which draws upon numerous federal agencies, hundreds of schools, as well as educational product companies to spark “a renaissance of American manufacturing and hardware innovation.” But further, like Marx, I not only think Proudhonism rests on incorrect analyses of cultural labor, but that such ideas lead to bad politics. As Astra Taylor (2014) extensively documents in The People’s Platform, for all the exclamations of new opportunities with the end of middlemen and gatekeepers, the creative economy is as difficult as it ever was for artists to navigate, noting that writers like Lessig have replaced the critique of the commodification of culture with arguments about state and corporate control (26-7).  Meanwhile, many of the fruits of this disintermediation have been plucked by an exploitative “sharing economy” whose platforms use “peer-to-peer” to subvert all manner of regulations; at least one commentator has invoked Napster’s storied ability to “cut out the middlemen” to describe AirBnB and Uber (Karabel 2014).

    Digital Proudhonism and its vision of federations of independent individual producers and creators (perhaps now augmented with the latest cryptographic tools) dominates the imagination of a radical challenge to digital capitalism. Its critiques of the corporate internet have become common sense. What kind of alternative radical vision is possible? Here I believe it is useful to return to the core of Marx’s critique of Proudhon.

    Marx saw that the unromantic labor of proletarians, combining varying levels of individual productivity within the factory through machines which themselves are the product of social labor, capitalism’s dynamics create a historically novel form of production—social production—along with new forms of culture and social relations. For Marx ([1867] 1992), this was potentially the basis for an economy beyond capitalism. To attempt to move “back” to individual production was reactionary: “As soon as the workers are turned into proletarians, and their means of labour into capital, as soon as the capitalist mode of production stands on its own feet, then the further socialization of labour and further transformation of the soil and other means of production into socially exploited and, therefore, communal means of production takes on a new form” (928).

    The socialization of production under the development of the means of production—the necessity of greater collaboration and the reliance on past labors in the form of machines—gives way to a radical redefinition of the relationship to one’s output. No one can claim a product was made by them alone; rather, production demands to be recognized as social. Describing the socialization of labor through industrialization in Socialism: Utopian and Scientific, Engels ([1880] 2008) states, “The yarn, the cloth, the metal articles that now came out of the factory were the joint product of many workers, through whose hands they had successively to pass before they were ready. No one person could say of them: ‘I made that; this is my product’” (56). To put it in the language of cultural production, there can be no author. Or, in another implicit recognition that the work of today relies on the work of many others, past and present: everything is a remix.

    Or instead of a remix, a “vortex,” to use the language of Nick Dyer-Witheford (2015), whose Cyber-Proletariat reminds us that the often-romanticized labor of digital creators and makers is but one stratum among many that makes up digital culture. The creative economy is a relatively privileged sector in an immense global “factory” made up of layers of formal and informal workers operating at the point of production, distribution and consumption, from tantalum mining to device manufacture to call center work to app development. The romance of “DIY” obscures the reality that nothing digital is done by oneself: it is always already a component of a larger formation of socialized labor.

    The labor of digital creatives and innovators, sutured as it is to a technical apparatus fashioned from dead labor and meant for producing commodities for profit, is therefore already socialized. While some of this socialization is apparent in peer production, much of it is mystified through the real abstraction of commodity fetishism, which masks socialization under wage relations and contracts. Rather than further rely on these contracts to better benefit digital artisans, a Marxist politics of digital culture would begin from the fact of socialization, and as Radhika Desai (2011) argues, take seriously Marx’s call for “a general organization of labour in society” via political organizations such as unions and labor parties (212). Creative workers could align with others in the production chain as a class of laborers rather than as an assortment of individual producers, and form the kinds of organizations, such as unions, that have been the vehicles of class politics, with the aim of controlling society’s means of production, not simply one’s “own” tools or products. These would be bonds of solidarity, not bonds of market transactions. Then the apparatus of digital cultural production might be controlled democratically, rather than by the despotism of markets and private profit.

    _____

    Gavin Mueller Gavin Mueller holds a PhD in Cultural Studies from George Mason University. He teaches in the New Media and Digital Culture program at the University of Amsterdam.

    Back to the essay

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    Notes

    [1] The Pirate Bay, the largest and most antagonistic site of the peer-to-peer movement, has founders who identified as libertarian, socialist, and apolitical, respectively, and acquired funding from Carl Lundström, an entrepreneur associated with far-right movements (Schwartz 2014, 142).

    _____

    Works Cited

    • Anderson, Chris. 2012. Makers: The New Industrial Revolution. New York: Crown Business.
    • Barbrook, Richard and Andy Cameron. 1996. “The Californian Ideology.” Science as Culture 6:1. 44-72.
    • Barlow, John Perry. 1996. “A Declaration of the Independence of Cyberspace.” Electronic Frontier Foundation.
    • Benkler, Yochai. 2006. The Wealth of Networks. New Haven, CT: Yale University Press.
    • Boyle, James. 2008. Public Domain: Enclosing the Commons of the Mind. New Haven, CT: Yale University Press.
    • Brouillette, Sarah. 2009. “Creative Labor.” Mediations: Journal of the Marxist Literary Group 24:2. 140-149.
    • Carson, Kevin. 2015a. “Nothing to Fear from New Technologies if the Market is Free.” Center for a Stateless Society.
    • Carson, Kevin. 2015b. “Paul Mason and His Critics (Such As They Are).” Center for a Stateless Society.
    • Desai, Radhika. 2011. “The New Communists of the Commons: Twenty-First-Century Proudhonists.” International Critical Thought 1:2. 204-223.
    • Doctorow, Cory. 2014. Information Doesn’t Want to Be Free: Laws for the Internet Age. San Francisco: McSweeney’s.
    • Dyer-Witheford, Nick. 2015. Cyber-proletariat: Global Labour in the Digital Vortex. London: Pluto Press.
    • Ebner, Julia, 2018. “The Currency of the Far-Right: Why Neo-Nazis Love Bitcoin.” The Guardian (Jan 24).
    • Engels, Friedrich. (1880) 2008. Socialism: Utopian and Scientific. Trans. Edward Aveling. New York: Cosimo Books, 2008.
    • Golumbia, David. 2016. The Politics of Bitcoin: Software as Right-Wing Extremism. Minneapolis: University of Minnesota Press.
    • Karabel, Zachary. 2014. “Requiem for the Middleman.” Slate (Apr 25).
    • Kelly, Brian. 2014. The Bitcoin Big Bang: How Alternative Currencies Are About to Change the World. Hoboken: Wiley.
    • Kernfeld, Barry. 2011. Pop Song Piracy: Disobedient Music Distribution Since 1929. Chicago: University of Chicago Press.
    • Ku, Raymond Shih Ray. 2002. “The Creative Destruction of Copyright: Napster and the New Economics of Digital Technology.” The University of Chicago Law Review 69, no. 1: 263-324.
    • Lessig, Lawrence. 2004. Free Culture: The Nature and Future of Creativity. New York: Penguin Books.
    • Lessig, Lawrence. 2008. Remix: Making Art and Commerce Thrive in the New Economy. New York: Penguin.
    • Marx, Karl. (1847) 1973. The Poverty of Philosophy. New York: International Publishers.
    • Marx, Karl. (1859) 1911. A Contribution to the Critique of Political Economy. Translated by N.I. Stone. Chicago: Charles H. Kerr and Co.
    • Marx, Karl. (1865) 2016. “On Proudhon.” Marxists Internet Archive.
    • Marx, Karl. (1867) 1992. Capital: A Critique of Political Economy, Volume 1. Trans. Ben Fowkes. London: Penguin Books.
    • Mason, Paul. 2016, “BrewDog’s Open-Source Revolution is at the Vanguard of Postcapitalism.” The Guardian (Feb 29).
    • McLeod, Kembrew. 2005. Freedom of Expression: Overzealous Copyright Bozos and Other Enemies of Creativity. New York: Doubleday.
    • McNally, David. 1993. Against the Market: Political Economy, Market Socialism and the Marxist Critique. London: Verso.
    • Murray, Patrick. 2016. The Mismeasure of Wealth: Essays on Marx and Social Form. Leiden: Brill.
    • The White House Office of the Press Secretary. 2016. “New Commitments in Support of the President’s Nation of Makers Initiative to Kick Off 2016 National Week of Making.” June 17.
    • Proudhon, Pierre-Joseph. (1840) 2011. “What is Property.” In Property is Theft! A Pierre-Joseph Proudhon Reader, edited by Iain McKay. Translated by Benjamin R. Tucker. Edinburgh: AK Press.
    • Proudhon, Pierre-Joseph. (1847) 2012. The Philosophy of Poverty: The System of Economic Contradictions. Translated by Benjamin R. Tucker. Floating Press.
    • Proudhon, Pierre-Joseph. (1851) 2003. General Idea of the Revolution in the Nineteenth Century. Translated by John Beverly Robinson. Mineola, NY: Dover Publications, Inc.
    • Proudhon, Pierre-Joseph. (1863) 1979. The Principle of Federation. Translated by Richard Jordan. Toronto: University of Toronto Press.
    • Schwartz, Jonas Andersson. 2014. Online File Sharing: Innovations in Media Consumption. New York: Routledge.
    • Sinnreich, Aram. 2013. The Piracy Crusade: How the Music Industry’s War on Sharing Destroys Markets and Erodes Civil Liberties. Amherst, MA: University of Massachusetts Press.
    • Shirky, Clay. 2008. Here Comes Everybody: The Power of Organizing Without Organizations. New York: Penguin.
    • Sternhell, Zeev. 1996. Neither Right Nor Left: Fascist Ideology in France. Princeton, NJ: Princeton University Press.
    • Taylor, Astra. 2014. The People’s Platform: Taking Back Power and Culture in a Digital Age. New York: Metropolitan Books.
    • Vaidhyanathan, Siva. 2005. The Anarchist in the Library: How the Clash Between Freedom and Control is Hacking the Real World and Crashing the System. New York: Basic Books.
    • Williams, Raymond. 1977. Marxism and Literature. Oxford: Oxford University Press.
    • Winner, Langdon. 1997. “Cyberlibertarian Myths and The Prospects For Community.” Computers and Society 27:3. 14 – 19.

     

  • Zachary Loeb – Shackles of Digital Freedom (Review of Qiu, Goodbye iSlave)

    Zachary Loeb – Shackles of Digital Freedom (Review of Qiu, Goodbye iSlave)

    a review of Jack Linchuan Qiu, Goodbye iSlave: a Manifesto for Digital Abolition (Illinois, 2016)

    by Zachary Loeb

    ~

    With bright pink hair and a rainbow horn, the disembodied head of a unicorn bobs back and forth to the opening beats of Big Boi’s “All Night.” Moments later, a pile of poop appears and mouths the song’s opening words, and various animated animal heads appear nodding along in sequence. Soon the unicorn returns, lip-synching the song, and it is quickly joined by a woman whose movements, facial expressions, and exaggerated enunciations sync with those of the unicorn. As a pig, a robot, a chicken, and a cat appear to sing in turn it becomes clear that the singing emojis are actually mimicking the woman – the cat blinks when she blinks, it raises its brow when she does. The ad ends by encouraging users to “Animoji” themselves, something which is evidently doable with Apple’s iPhone X. It is a silly ad, with a catchy song, and unsurprisingly it tells the viewer nothing about where, how, or by whom the iPhone X was made. The ad may playfully feature the ever-popular “pile of poop” emoji, but the ad is not intended to make potential purchasers feel like excrement.

    And yet there is much more to the iPhone X’s history than the words on the device’s back “Designed by Apple in California. Assembled in China.” In Goodbye iSlave: a Manifesto for Digital Abolition, Jack Linchuan Qiu removes the phone’s shiny case to explore what “assembled in China” really means. As Qiu demonstrates in discomforting detail this is a story that involves exploitative labor practices, enforced overtime, abusive managers, insufficient living quarters, and wage theft, in a system that he argues is similar to slavery.

    illustration
    First published by Greenpeace Switzerland

    Launched by activists in 2010, the “iSlave” campaign aimed to raise awareness about the labor conditions that had led to a wave of suicides amongst Foxconn workers; those performing the labor summed up neatly as “assembled in China.” Seizing upon the campaign’s key term, Qiu aims to expand it “figuratively and literally” to demonstrate that “iSlavery” is “a planetary system of domination, exploitation, and alienation…epitomized by the material and immaterial structures of capital accumulation” (9). This in turn underscores the “world system of gadgets” that Qiu refers to as “Appconn” (13); a system that encompasses those who “designed” the devices, those who “assembled” them, as well as those who use them. In engaging with the terminology of slavery, Qiu is consciously laying out a provocative argument, but it is a provocation that acknowledges that as smartphones have become commonplace many consumers have become inured to the injustices that allow them to “animoji” themselves. Indeed, it is a reminder that, “Technology does not guarantee progress. It is, instead, often abused to cause regress” (8).

    Surveying its history, Qiu notes that slavery has appeared in a variety of forms in many regions throughout history. Though he emphasizes that even today slavery “persists in its classic forms” (21), his focus remains on theoretically expanding the term. Qiu draws upon the League of Nation’s “1926 Slavery Convention” which still acts as the foundation for much contemporary legal thinking on slavery, including the 2012 Bellagio-Harvard Guidelines on the Legal Parameters of Slavery (which Qiu includes in his book as an appendix). These legal guidelines expand the definition of what constitutes slavery to include “institutions and practices similar to slavery” (42). The key element for this updated definition is an understanding that it is no longer legal for a person to be “formally and legally ‘owned’ in any jurisdiction” and thus the concept of slavery requires rethinking (45). In considering which elements from the history of slavery are particularly relevant for the story of “iSlavery,” Qiu emphasizes: how the slave trade made use of advanced technologies of its time (guns, magnetic compasses, slave ships); how the slave trade was linked to creating and satisfying consumer desires (sugar); and how the narrative of resistance and revolt is a key aspect of the history of slavery. For Qiu,  “iSlavery” is manifested in two forms: “manufacturing iSlaves” and “manufactured iSlaves.”

    In the process of creating high-tech gadgets there are many types of “manufacturing iSlaves,” in conditions similar to slavery “in its classic forms” including “Congolese mine workers” and “Indonesian child labor,” but Qiu focuses primarily on those working for Foxconn in China. Drawing upon news reports, NGO findings, interviews with former workers, underground publications produced by factor workers, and from his experiences visiting these assembly plants, Qiu investigates many ways in which “institutions and practices similar to slavery” shape the lives of Foxconn workers. Insufficient living conditions, low wages that are often not even paid, forced overtime, “student interns” being used as an even cheaper labor force, violently abusive security guards, the arrangement of life so as to maximize disorientation and alienation – these represent some of the common experiences of Foxconn workers. Foxconn found itself uncomfortably in the news in 2010 due to a string of worker suicides, and Qiu sympathetically portrays the conditions that gave rise to such acts, particularly in his interview with Tian Yu who survived her suicide attempt.

    As Qiu makes clear, Foxconn workers often have great difficulty leaving the factories, but what exits these factories at a considerable rate are mountains of gadgets that go on to be eagerly purchased and used by the “manufactured iSlaves.” The transition to the “manufactured iSlave” entails “a conceptual leap” (91) that moves away from the “practices similar to slavery” that define the “manufacturing iSlave” to instead signify “those who are constantly attached to their gadgets” (91). Here the compulsion takes on the form of a vicious consumerism that has resulted in an “addiction” to these gadgets, and a sense in which these gadgets have come to govern the lives of their users. Drawing upon the work of Judy Wajcman, Qiu notes that “manufactured iSlaves” (Qiu’s term) live under the aegis of “iTime” (Wajcman’s term), a world of “consumerist enslavement” into which they’ve been drawn by “Net Slaves” (Steve Baldwin and Bill Lessard’s term of “accusation and ridicule” for those whose jobs fit under the heading “Designed in California”). While some companies have made fortunes off the material labor of “manufacturing iSlaves,” Qiu emphasizes that many companies that have made their fortunes off the immaterial labor of legions of “manufactured iSlaves” dutifully clicking “like,” uploading photos, and hitting “tweet” all without any expectation that they will be paid for their labor. Indeed, in Qiu’s analysis, what keeps many “manufactured iSlaves” unaware of their shackles is that they don’t see what they are doing on their devices as labor.

    In his description of the history of slavery, Qiu emphasizes resistance, both in terms of acts of rebellion by enslaved peoples, and the broader abolition movement. This informs Qiu’s commentary on pushing back against the system of Appconn. While smartphones may be cast as the symbol of the exploitation of Foxconn workers, Qiu also notes that these devices allow for acts of resistance by these same workers “whose voices are increasingly heard online” (133). Foxconn factories may take great pains to remain closed off from prying eyes, but workers armed with smartphones are “breaching the lines of information lockdown” (148). Campaigns by national and international NGOs can also be important in raising awareness of the plight of Foxconn workers, after all the term “iSlave” was originally coined as part of such a campaign. In bringing awareness of the “manufacturing iSlave” to the “manufactured iSlave” Qiu points to “culture jamming” responses such as the “Phone Story” game which allows people to “play” through their phones vainglorious tale (ironically the game was banned from Apple’s app store). Qiu also points to the attempt to create ethical gadgets, such as the Fairphone which aims to responsibly source its minerals, pay those who assemble their phones a living wage, and push back against the drive of planned obsolescence. As Qiu makes clear, there are many working to fight against the oppression built into Appconn.

    “For too long,” Qiu notes, “the underbellies of the digital industries have been obscured and tucked away; too often, new media is assumed to represent modernity, and modernity assumed to represent freedom” (172). Qiu highlights the coercion and misery that are lurking below the surface of every silly cat picture uploaded on Instagram, and he questions whether the person doing the picture taking and uploading is also being exploited. A tough and confrontational book, Goodbye iSlave nevertheless maintains hope for meaningful resistance.

    Anyone who has used a smartphone, tablet, laptop computer, e-reader, video game console, or smart speaker would do well to read Goodbye iSlave. In tight effective prose, Qiu presents a gripping portrait of the lives of Foxconn workers and this description is made more confrontational by the uncompromising language Qiu deploys. And though Qiu begins his book by noting that “the outlook of manufacturing and manufactured iSlaves is rather bleak” (18), his focus on resistance gives his book the feeling of an activist manifesto as opposed to the bleak tonality of a woebegone dirge. By engaging with the exploitation of material labor and immaterial labor, Qiu is, furthermore, able to uncomfortably remind his readers not only that their digital freedom comes at a human cost, but that digital freedom may itself be a sort of shackle.

    In the book’s concluding chapter, Qiu notes that he is “fully aware that slavery is a very severe critique” (172), and this represents one of the greatest challenges the book poses. Namely: what to make of Qiu’s use of the term slavery? As Qiu demonstrates, it is not a term that he arrived at simply for shock value, nevertheless, “slavery” is itself a complicated concept. Slavery carries a history of horrors that make one hesitant to deploy it in a simplistic fashion even as it remains a basic term of international law. By couching his discussion of “iSlavery” both in terms of history and contemporary legal thinking, Qiu demonstrates a breadth of sensitivity and understanding regarding its nuances. And given the focus of current laws on “institutions and practices similar to slavery” (42) it is hard to dispute that this is a fair description of many of the conditions to which Foxconn workers are subjected – even as Qiu’s comments on coltan miners demonstrates other forms of slavery that lurk behind the shining screens of high-tech society.

    Nevertheless, there is frequently something about the use of the term “iSlavery” that seems to diminish the heft of Qiu’s argument. As the term often serves as a stumbling block that pulls a reader away from Qiu’s account; particularly when he tries to make the comparisons too direct such as juxtaposing Foxconn’s (admittedly wretched) dormitories to conditions on slave ships crossing the Atlantic. It’s difficult not to find the comparison hyperbolic. Similarly, Qiu notes that ethnic and regional divisions are often found within Foxconn factories; but these do not truly seem comparable to the racist views that undergirded (and was used to justify) the Atlantic slave trade. Unfortunately, this is a problem that Qiu sets for himself: had he only used “slave” in a theoretical sense it would have opened him to charges of historical insensitivity, but by engaging with the history of slavery many of Qiu’s comparisons seem to miss the mark – and this is exacerbated by the fact that he repeatedly refers to ongoing conditions of “classic” slavery involved in the making of gadgets (such as coltan mining). Qiu provides an important and compelling window into the current legal framing of slavery, and yet, something about the “iSlave” prevents it from fitting into the history of slavery. It is, unfortunately, too easy to imagine someone countering Qiu’s arguments by saying “but this isn’t really slavery” to which the retort of “current law defines slavery as…” will be unlikely to convince.

    The matter of “slavery” only gets thornier as Qiu shifts his attention from “manufacturing iSlaves” to “manufactured iSlaves.” In recent years there has been a wealth of writing in the academic and popular sphere that critically asks what our gadgets are doing to us, such as Sherry Turkle’s Alone Together and Judy Wacjman’s Pressed for Time (which Qiu cites). And the fear that technology turns people into “cogs” is hardly new: in his 1956 book The Sane Society, Erich Fromm warned “the danger of the past was that men became slaves. The danger of the future is that men may become robots” (Fromm, 352). Fromm’s anxiety is what one more commonly encounters in discussions about what gadgets turn their users into, but these “robots” are not identical with “slaves.” When Qiu discusses “manufactured iSlaves” he notes that it represents a “conceptual leap,” but by continuing to use the term “slave” this “conceptual leap” unfortunately hampers his broader points about Foxconn workers. The danger is that a sort of false equivalency risks being created in which smartphone users shrug off their complicity in the exploitation of assembly workers by saying, “hey, I’m exploited too.”

    Some of this challenge may ultimately simply be about word choice. The very term “iSlave,” despite its activist origins, seems somewhat silly through its linkage to all things to which a lowercase “i” has been affixed. Furthermore, the use of the “i” risks placing all of the focus on Apple. True, Apple products are manufactured in the exploitative Foxconn factories, and Qiu may be on to something in referring to the “Apple cult,” but as Qiu himself notes Foxconn manufactures products for a variety of companies. Just because a device isn’t an “i” gadget, doesn’t mean that it wasn’t manufactured by an “iSlave.” And while Appconn is a nice shorthand for the world that is built upon the backs of both kinds of “iSlaves” it risks being just another opaque neologism for computer dominated society that is undercut by the need for it to be defined.

    Given the grim focus of Qiu’s book, it is understandable why he should choose to emphasize rebellion and resistance, and these do allow readers to put down the book feeling energized. Yet some of these modes of resistance seem to risk more entanglement than escape. There is a risk that the argument that Foxconn workers can use smartphones to organize simply fits neatly back into the narrative that there is something “inherently liberating” about these devices. The “Phone Story” game may be a good teaching tool, but it seems to make a similar claim on the democratizing potential of the Internet. And while the Fairphone represents, perhaps, one of the more significant ways to get away from subsidizing Appconn it risks being just an alternative for concerned consumers not a legally mandated industry standard. At risk of an unfair comparison, a Fairphone seems like the technological equivalent of free range eggs purchased at the farmer’s market – it may genuinely be ethically preferable, but it risks reducing a major problem (iSlavery) into yet another site for consumerism (just buy the right phone). In fairness, these are the challenges inherent in critiquing the dominant order; as Theodor Adorno once put it “we live on the culture we criticize” (Adorno and Horkheimer, 105). It might be tempting to wish that Qiu had written an Appconn version of Jerry Mander’s Four Arguments for the Elimination of Television, but Qiu seems to recognize that simply telling people to turn it all off is probably just as efficacious as telling them not to do anything at all. After all, Mander’s “four arguments” may have convinced a few people – but not society as a whole. So, what then does “digital abolition” really mean?

    In describing Goodbye iSlave, Qiu notes that it is “nothing more than an invitation—for everyone to reflect on the enslaving tendencies of Appconn and the world system of gadgets” it is an opportunity for people to reflect on the ways in which “so many myths of liberation have been bundled with technological buzzwords, and they are often taken for granted” (173). It is a challenging book and an important one, and insofar as it forces readers to wrestle with Qiu’s choice of terminology it succeeds by making them seriously confront the regimes of material and immaterial labor that structure their lives. While the use of the term “slavery” may at times hamper Qiu’s larger argument, this unflinching look at the labor behind today’s gadgets should not be overlooked.

    Goodbye iSlave frames itself as “a manifesto for digital abolition,” but what it makes clear is that this struggle ultimately isn’t about “i” but about “us.”

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    Zachary Loeb is a writer, activist, librarian, and terrible accordion player. He earned his MSIS from the University of Texas at Austin, an MA from the Media, Culture, and Communications department at NYU, and is currently working towards a PhD in the History and Sociology of Science department at the University of Pennsylvania. His research areas include media refusal and resistance to technology, ideologies that develop in response to technological change, and the ways in which technology factors into ethical philosophy – particularly in regards of the way in which Jewish philosophers have written about ethics and technology. Using the moniker “The Luddbrarian,” Loeb writes at the blog Librarian Shipwreck, and is a frequent contributor to The b2 Review Digital Studies section.

    Back to the essay
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    Works Cited

    • Adorno, Theodor and Horkheimer, Max. 2011. Towards a New Manifesto. London: Verso Books.
    • Fromm, Erich. 2002. The Sane Society. London: Routledge.
  • How We Think About Technology (Without Thinking About Politics)

    How We Think About Technology (Without Thinking About Politics)

    N. Katherine Hayles, How We Think: Digital Media and Contemporary Technogenesis (Chicago, 2012)a review of N. Katherine Hayles, How We Think: Digital Media and Contemporary Technogenesis (Chicago, 2012)
    by R. Joshua Scannell

    ~

    In How We Think, N Katherine Hayles addresses a number of increasingly urgent problems facing both the humanities in general and scholars of digital culture in particular. In keeping with the research interests she has explored at least since 2002’s Writing Machines (MIT Press), Hayles examines the intersection of digital technologies and humanities practice to argue that contemporary transformations in the orientation of the University (and elsewhere) are attributable to shifts that ubiquitous digital culture have engendered in embodied cognition. She calls this process of mutual evolution between the computer and the human technogenesis (a term that is mostly widely associated with the work of Bernard Stiegler, although Hayles’s theories often aim in a different direction from Stiegler’s). Hayles argues that technogenesis is the basis for the reorientation of the academy, including students, away from established humanistic practices like close reading. Put another way, not only have we become posthuman (as Hayles discusses in her landmark 1999 University of Chicago Press book, How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics), but our brains have begun to evolve to think with computers specifically and digital media generally. Rather than a rearguard eulogy for the humanities that was, Hayles advocates for an opening of the humanities to digital dromology; she sees the Digital Humanities as a particularly fertile ground from which to reimagine the humanities generally.

    Hayles is an exceptional scholar, and while her theory of technogenesis is not particularly novel, she articulates it with a clarity and elegance that are welcome and useful in a field that is often cluttered with good ideas, unintelligibly argued. Her close engagement with work across a range of disciplines – from Hegelian philosophy of mind (Catherine Malabou) to theories of semiosis and new media (Lev Manovich) to experimental literary production – grounds an argument about the necessity of transmedial engagement in an effective praxis. Moreover, she ably shifts generic gears over the course of a relatively short manuscript, moving from quasi-ethnographic engagement with University administrators, to media archaeology a la Friedrich Kittler, to contemporary literary theory, with grace. Her critique of the humanities that is, therefore, doubles as a praxis: she is actually producing the discipline-flouting work that she calls on her colleagues to pursue.

    The debate about the death and/or future of the humanities is weather worn, but Hayles’s theory of technogenesis as a platform for engaging in it is a welcome change. For Hayles, the technogenetic argument centers on temporality, and the multiple temporalities embedded in computer processing and human experience. She envisions this relation as cybernetic, in which computer and human are integrated as a system through the feedback loops of their coemergent temporalities. So, computers speed up human responses, which lag behind innovations, which prompt beta test cycles at quicker rates, which demand humans to behave affectively, nonconsciously. The recursive relationship between human duration and machine temporality effectively mutates both. Humanities professors might complain that their students cannot read “closely” like they used to, but for Hayles this is a fault of those disciplines to imagine methods in step with technological changes. Instead of digital media making us “dumber” by reducing our attention spans, as Nicholas Carr argues, Hayles claims that the movement towards what she calls “hyper reading” is an ontological and biological fact of embodied cognition in the age of digital media. If “how we think” were posed as a question, the answer would be: bodily, quickly, cursorily, affectively, non-consciously.

    Hayles argues that this doesn’t imply an eliminative teleology of human capacity, but rather an opportunity to think through novel, expansive interventions into this cyborg loop. We may be thinking (and feeling, and experiencing) differently than we used to, but this remains a fact of human existence. Digital media has shifted the ontics of our technogenetic reality, but it has not fundamentally altered its ontology. Morphological biology, in fact, entails ontological stability. To be human, and to think like one, is to be with machines, and to think with them. The kids, in other words, are all right.

    This sort of quasi-Derridean or Stieglerian Hegelianism is obviously not uncommon in media theory. As Hayles deploys it, this disposition provides a powerful framework for thinking through the relationship of humans and machines without ontological reductivism on either end. Moreover, she engages this theory in a resolutely material fashion, evading the enervating tendency of many theorists in the humanities to reduce actually existing material processes to metaphor and semiosis. Her engagement with Malabou’s work on brain plasticity is particularly useful here. Malabou has argued that the choice facing the intellectual in the age of contemporary capitalism is between plasticity and self-fashioning. Plasticity is a quintessential demand of contemporary capitalism, whereas self-fashioning opens up radical possibilities for intervention. The distinction between these two potentialities, however, is unclear – and therefore demands an ideological commitment to the latter. Hayles is right to point out that this dialectic insufficiently accounts for the myriad ways in which we are engaged with media, and are in fact produced, bodily, by it.

    But while Hayles’ critique is compelling, the responses she posits may be less so. Against what she sees as Malabou’s snide rejection of the potential of media, she argues

    It is precisely because contemporary technogenesis posits a strong connection between ongoing dynamic adaptation of technics and humans that multiple points of intervention open up. These include making new media…adapting present media to subversive ends…using digital media to reenvision academic practices, environments and strategies…and crafting reflexive representations of media self fashionings…that call attention to their own status as media, in the process raising our awareness of both the possibilities and dangers of such self-fashioning. (83)

    With the exception of the ambiguous labor done by the word “subversive,” this reads like a catalog of demands made by administrators seeking to offload ever-greater numbers of students into MOOCs. This is unfortunately indicative of what is, throughout the book, a basic failure to engage with the political economics of “digital media and contemporary technogenesis.” Not every book must explicitly be political, and there is little more ponderous than the obligatory, token consideration of “the political” that so many media scholars feel compelled to make. And yet, this is a text that claims to explain “how” “we” “think” under post-industrial, cognitive capitalism, and so the lack of this engagement cannot help but show.

    Universities across the country are collapsing due to lack of funding, students are practically reduced to debt bondage to cope with the costs of a desperately near-compulsory higher education that fails to deliver economic promises, “disruptive” deployment of digital media has conjured teratic corporate behemoths that all presume to “make the world a better place” on the backs of extraordinarily exploited workforces. There is no way for an account of the relationship between the human and the digital in this capitalist context not to be political. Given the general failure of the book to take these issues seriously, it is unsurprising that two of Hayles’ central suggestions for addressing the crisis in the humanities are 1) to use voluntary, hobbyist labor to do the intensive research that will serve as the data pool for digital humanities scholars and 2) to increasingly develop University partnerships with major digital conglomerates like Google.

    This reads like a cost-cutting administrator’s fever dream because, in the chapter in which Hayles promulgates novel (one might say “disruptive”) ideas for how best to move the humanities forward, she only speaks to administrators. There is no consideration of labor in this call for the reformation of the humanities. Given the enormous amount of writing that has been done on affective capitalism (Clough 2008), digital labor (Scholz 2012), emotional labor (Van Kleaf 2015), and so many other iterations of exploitation under digital capitalism, it boggles the mind a bit to see an embrace of the Mechanical Turk as a model for the future university.

    While it may be true that humanities education is in crisis – that it lacks funding, that its methods don’t connect with students, that it increasingly must justify its existence on economic grounds – it is unclear that any of these aspects of the crisis are attributable to a lack of engagement with the potentials of digital media, or the recognition that humans are evolving with our computers. All of these crises are just as plausibly attributable to what, among many others, Chandra Mohanty identified ten years ago as the emergence of the corporate university, and the concomitant transformation of the mission of the university from one of fostering democratic discourse to one of maximizing capital (Mohanty 2003). In other words, we might as easily attribute the crisis to the tightening command that contemporary capitalist institutions have over the logic of the university.

    Humanities departments are underfunded precisely because they cannot – almost by definition – justify their existence on monetary grounds. When students are not only acculturated, but are compelled by financial realities and debt, to understand the university as a credentialing institution capable of guaranteeing certain baseline waged occupations – then it is no surprise that they are uninterested in “close reading” of texts. Or, rather, it might be true that students’ “hyperreading” is a consequence of their cognitive evolution with machines. But it is also just as plausibly a consequence of the fact that students often are working full time jobs while taking on full time (or more) course loads. They do not have the time or inclination to read long, difficult texts closely. They do not have the time or inclination because of the consolidating paradigm around what labor, and particularly their labor, is worth. Why pay for a researcher when you can get a hobbyist to do it for free? Why pay for a humanities line when Google and Wikipedia can deliver everything an institution might need to know?

    In a political economy in which Amazon’s reduction of human employees to algorithmically-managed meat wagons is increasingly diagrammatic and “innovative” in industries from service to criminal justice to education, the proposals Hayles is making to ensure the future of the university seem more fifth columnary that emancipatory.

    This stance also evacuates much-needed context from what are otherwise thoroughly interesting, well-crafted arguments. This is particularly true of How We Think’s engagement with Lev Manovich’s claims regarding narrative and database. Speaking reductively, in The Language of New Media (MIT Press, 2001), Manovich argued that under there are two major communicative forms: narrative and database. Narrative, in his telling, is more or less linear, and dependent on human agency to be sensible. Novels and films, despite many modernist efforts to subvert this, tend toward narrative. The database, as opposed to the narrative, arranges information according to patterns, and does not depend on a diachronic point-to-point communicative flow to be intelligible. Rather, the database exists in multiple temporalities, with the accumulation of data for rhizomatic recall of seemingly unrelated information producing improbable patterns of knowledge production. Historically, he argues, narrative has dominated. But with the increasing digitization of cultural output, the database will more and more replace narrative.

    Manovich’s dichotomy of media has been both influential and roundly criticized (not least by Manovich himself in Software Takes Command, Bloomsbury 2013) Hayles convincingly takes it to task for being reductive and instituting a teleology of cultural forms that isn’t borne out by cultural practice. Narrative, obviously, hasn’t gone anywhere. Hayles extends this critique by considering the distinctive ways space and time are mobilized by database and narrative formations. Databases, she argues, depend on interoperability between different software platforms that need to access the stored information. In the case of geographical information services and global positioning services, this interoperability depends on some sort of universal standard against which all information can be measured. Thus, Cartesian space and time are inevitably inserted into database logics, depriving them of the capacity for liveliness. That is to say that the need to standardize the units that measure space and time in machine-readable databases imposes a conceptual grid on the world that is creatively limiting. Narrative, on the other hand, does not depend on interoperability, and therefore does not have an absolute referent against which it must make itself intelligible. Given this, it is capable of complex and variegated temporalities not available to databases. Databases, she concludes, can only operate within spatial parameters, while narrative can represent time in different, more creative ways.

    As an expansion and corrective to Manovich, this argument is compelling. Displacing his teleology and infusing it with a critique of the spatio-temporal work of database technologies and their organization of cultural knowledge is crucial. Hayles bases her claim on a detailed and fascinating comparison between the coding requirements of relational databanks and object-oriented databanks. But, somewhat surprisingly, she takes these different programming language models and metonymizes them as social realities. Temporality in the construction of objects transmutes into temporality as a philosophical category. It’s unclear how this leap holds without an attendant sociopolitical critique. But it is impossible to talk about the cultural logic of computation without talking about the social context in which this computation emerges. In other words, it is absolutely true that the “spatializing” techniques of coders (like clustering) render data points as spatial within the context of the data bank. But it is not an immediately logical leap to then claim that therefore databases as a cultural form are spatial and not temporal.

    Further, in the context of contemporary data science, Hayles’s claims about interoperability are at least somewhat puzzling. Interoperability and standardized referents might be a theoretical necessity for databases to be useful, but the ever-inflating markets around “big data,” data analytics, insights, overcoming data siloing, edge computing, etc, demonstrate quite categorically that interoperability-in-general is not only non-existent, but is productively non-existent. That is to say, there are enormous industries that have developed precisely around efforts to synthesize information generated and stored across non-interoperable datasets. Moreover, data analytics companies provide insights almost entirely based on their capacity to track improbably data patterns and resonances across unlikely temporalities.

    Far from a Cartesian world of absolute space and time, contemporary data science is a quite posthuman enterprise in committing machine learning to stretch, bend and strobe space and time in order to generate the possibility of bankable information. This is both theoretically true in the sense of setting algorithms to work sorting, sifting and analyzing truly incomprehensible amounts of data and materially true in the sense of the massive amount of capital and labor that is invested in building, powering, cooling, staffing and securing data centers. Moreover, the amount of data “in the cloud” has become so massive that analytics companies have quite literally reterritorialized information– particularly trades specializing in high frequency trading, which practice “co- location,” locating data centers geographically closer   the sites from which they will be accessed in order to maximize processing speed.

    Data science functions much like financial derivatives do (Martin 2015). Value in the present is hedged against the probable future spatiotemporal organization of software and material infrastructures capable of rendering a possibly profitable bundling of information in the immediate future. That may not be narrative, but it is certainly temporal. It is a temporality spurred by the queer fluxes of capital.

    All of which circles back to the title of the book. Hayles sets out to explain How We Think. A scholar with such an impeccable track record for pathbreaking analyses of the relationship of the human to technology is setting a high bar for herself with such a goal. In an era in which (in no small part due to her work) it is increasingly unclear who we are, what thinking is or how it happens, it may be an impossible bar to meet. Hayles does an admirable job of trying to inject new paradigms into a narrow academic debate about the future of the humanities. Ultimately, however, there is more resting on the question than the book can account for, not least the livelihoods and futures of her current and future colleagues.
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    R Joshua Scannell is a PhD candidate in sociology at the CUNY Graduate Center. His current research looks at the political economic relations between predictive policing programs and urban informatics systems in New York City. He is the author of Cities: Unauthorized Resistance and Uncertain Sovereignty in the Urban World (Paradigm/Routledge, 2012).

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    Patricia T. Clough. 2008. “The Affective Turn.” Theory Culture and Society 25(1) 1-22

    N. Katherine Hayles. 2002. Writing Machines. Cambridge: MIT Press

    N. Katherine Hayles. 1999. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. Chicago: University of Chicago Press

    Catherine Malabou. 2008. What Should We Do with Our Brain? New York: Fordham University Press

    Lev Manovich. 2001. The Language of New Media. Cambridge: MIT Press.

    Lev Manovich. 2009. Software Takes Command. London: Bloomsbury

    Randy Martin. 2015. Knowledge LTD: Toward a Social Logic of the Derivative. Philadelphia: Temple University Press

    Chandra Mohanty. 2003. Feminism Without Borders: Decolonizing Theory, Practicing Solidarity. Durham: Duke University Press.

    Trebor Scholz, ed. 2012. Digital Labor: The Internet as Playground and Factory. New York: Routledge

    Bernard Stiegler. 1998. Technics and Time, 1: The Fault of Epimetheus. Palo Alto: Stanford University Press

    Kara Van Cleaf. 2015. “Of Woman Born to Mommy Blogged: The Journey from the Personal as Political to the Personal as Commodity.” Women’s Studies Quarterly 43(3/4) 247-265

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  • The Ground Beneath the Screens

    The Ground Beneath the Screens

    Jussi Parikka, A Geology of Media (University of Minnesota Press, 2015)Jussi Parikka, The Anthrobscene (University of Minnesota Press, 2015)a review of Jussi Parikka, A Geology of Media (University of Minnesota Press, 2015) and The Anthrobscene (University of Minnesota Press, 2015)
    by Zachary Loeb

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    Despite the aura of ethereality that clings to the Internet, today’s technologies have not shed their material aspects. Digging into the materiality of such devices does much to trouble the adoring declarations of “The Internet Is the Answer.” What is unearthed by digging is the ecological and human destruction involved in the creation of the devices on which the Internet depends—a destruction that Jussi Parikka considers an obscenity at the core of contemporary media.

    Parikka’s tale begins deep below the Earth’s surface in deposits of a host of different minerals that are integral to the variety of devices without which you could not be reading these words on a screen. This story encompasses the labor conditions in which these minerals are extracted and eventually turned into finished devices, it tells of satellites, undersea cables, massive server farms, and it includes a dark premonition of the return to the Earth which will occur following the death (possibly a premature death due to planned obsolescence) of the screen at which you are currently looking.

    In a connected duo of new books, The Anthrobscene (referenced below as A) and A Geology of Media (referenced below as GM), media scholar Parikka wrestles with the materiality of the digital. Parikka examines the pathways by which planetary elements become technology, while considering the transformations entailed in the anthropocene, and artistic attempts to render all of this understandable. Drawing upon thinkers ranging from Lewis Mumford to Donna Haraway and from the Situationists to Siegfried Zielinski – Parikka constructs a way of approaching media that emphasizes that it is born of the Earth, borne upon the Earth, and fated eventually to return to its place of origin. Parikka’s work demands that materiality be taken seriously not only by those who study media but also by all of those who interact with media – it is a demand that the anthropocene must be made visible.

    Time is an important character in both The Anthrobscene and A Geology of Media for it provides the context in which one can understand the long history of the planet as well as the scale of the years required for media to truly decompose. Parikka argues that materiality needs to be considered beyond a simple focus upon machines and infrastructure, but instead should take into account “the idea of the earth, light, air, and time as media” (GM 3). Geology is harnessed as a method of ripping open the black box of technology and analyzing what the components inside are made of – copper, lithium, coltan, and so forth. The engagement with geological materiality is key for understanding the environmental implications of media, both in terms of the technologies currently in circulation and in terms of predicting the devices that will emerge in the coming years. Too often the planet is given short shrift in considerations of the technical, but “it is the earth that provides for media and enables it”, it is “the affordances of its geophysical reality that make technical media happen” (GM 13). Drawing upon Mumford’s writings about “paleotechnics” and “neotechnics” (concepts which Mumford had himself adapted from the work of Patrick Geddes), Parikka emphasizes that both the age of coal (paleotechnics) and the age of electricity (neotechnics) are “grounded in the wider mobilization of the materiality of the earth” (GM 15). Indeed, electric power is often still quite reliant upon the extraction and burning of coal.

    More than just a pithy neologism, Parikka introduces the term “anthrobscene” to highlight the ecological violence inherent in “the massive changes human practices, technologies, and existence have brought across the ecological board” (GM 16-17) shifts that often go under the more morally vague title of “the anthropocene.” For Parikka, “the addition of the obscene is self-explanatory when one starts to consider the unsustainable, politically dubious, and ethically suspicious practices that maintain technological culture and its corporate networks” (A 6). Like a curse word beeped out by television censors, much of the obscenity of the anthropocene goes unheard even as governments and corporations compete with ever greater élan for the privilege of pillaging portions of the planet – Parikka seeks to reinscribe the obscenity.

    The world of high tech media still relies upon the extraction of metals from the earth and, as Parikka shows, a significant portion of the minerals mined today are destined to become part of media technologies. Therefore, in contemplating geology and media it can be fruitful to approach media using Zielinski’s notion of “deep time” wherein “durations become a theoretical strategy of resistance against the linear progress myths that impose a limited context for understanding technological change” (GM 37, A 23). Deploying the notion of “deep time” demonstrates the ways in which a “metallic materiality links the earth to the media technological” while also emphasizing the temporality “linked to the nonhuman earth times of decay and renewal” (GM 44, A 30). Thus, the concept of “deep time” can be particularly useful in thinking through the nonhuman scales of time involved in media, such as the centuries required for e-waste to decompose.

    Whereas “deep time” provides insight into media’s temporal quality, “psychogeophysics” presents a method for thinking through the spatial. “Psychogeophysics” is a variation of the Situationist idea of “the psychogeographical,” but where the Situationists focused upon the exploration of the urban environment, “psychogeophysics” (which appeared as a concept in a manifesto in Mute magazine) moves beyond the urban sphere to contemplate the oblate spheroid that is the planet. What the “geophysical twist brings is a stronger nonhuman element that is nonetheless aware of the current forms of exploitation but takes a strategic point of view on the nonorganic too” (GM 64). Whereas an emphasis on the urban winds up privileging the world built by humans, the shift brought by “psychogeophysics” allows people to bear witness to “a cartography of architecture of the technological that is embedded in the geophysical” (GM 79).

    The material aspects of media technology consist of many areas where visibility has broken down. In many cases this is suggestive of an almost willful disregard (ignoring exploitative mining and labor conditions as well as the harm caused by e-waste), but in still other cases it is reflective of the minute scales that materiality can assume (such as metallic dust that dangerously fills workers’ lungs after they shine iPad cases). The devices that are surrounded by an optimistic aura in some nations, thus obtain this sheen at the literal expense of others: “the residue of the utopian promise is registered in the soft tissue of a globally distributed cheap labor force” (GM 89). Indeed, those who fawn with religious adoration over the newest high-tech gizmo may simply be demonstrating that nobody they know personally will be sickened in assembling it, or be poisoned by it when it becomes e-waste. An emphasis on geology and materiality, as Parikka demonstrates, shows that the era of digital capitalism contains many echoes of the exploitation characteristic of bygone periods – appropriation of resources, despoiling of the environment, mistreatment of workers, exportation of waste, these tragedies have never ceased.

    Digital media is excellent at creating a futuristic veneer of “smart” devices and immaterial sounding aspects such as “the cloud,” and yet a material analysis demonstrates the validity of the old adage “the more things change the more they stay the same.” Despite efforts to “green” digital technology, “computer culture never really left the fossil (fuel) age anyway” (GM 111). But beyond relying on fossil fuels for energy, these devices can themselves be considered as fossils-to-be as they go to rest in dumps wherein they slowly degrade, so that “we can now ask what sort of fossil layer is defined by the technical media condition…our future fossils layers are piling up slowly but steadily as an emblem of an apocalypse in slow motion” (GM 119). We may not be surrounded by dinosaurs and trilobites, but the digital media that we encounter are tomorrow’s fossils – which may be quite mysterious and confounding to those who, thousands of years hence, dig them up. Businesses that make and sell digital media thrive on a sense of time that consists of planned obsolescence, regular updates, and new products, but to take responsibility for the materiality of these devices requires that “notions of temporality must escape any human-obsessed vocabulary and enter into a closer proximity with the fossil” (GM 135). It requires a woebegone recognition that our technological detritus may be present on the planet long after humanity has vanished.

    The living dead that lurch alongside humanity today are not the zombies of popular entertainment, but the undead media devices that provide the screens for consuming such distractions. Already fossils, bound to be disposed of long before they stop working, it is vital “to be able to remember that media never dies, but remains as toxic residue,” and thus “we should be able to repurpose and reuse solutions in new ways, as circuit bending and hardware hacking practices imply” (A 41). We live with these zombies, we live among them, and even when we attempt to pack them off to unseen graveyards they survive under the surface. A Geology of Media is thus “a call for further materialization of media not only as media but as that bit which it consists of: the list of the geophysical elements that give us digital culture” (GM 139).

    It is not simply that “machines themselves contain a planet” (GM 139) but that the very materiality of the planet is becoming riddled with a layer of fossilized machines.

    * * *

    The image of the world conjured up by Parikka in A Geology of Media and The Anthrobscene is far from comforting – after all, Parikka’s preference for talking about “the anthrobscene” does much to set a funereal tone. Nevertheless, these two books by Parikka do much to demonstrate that “obscene” may be a very fair word to use when discussing today’s digital media. By emphasizing the materiality of media, Parikka avoids the thorny discussions of the benefits and shortfalls of various platforms to instead pose a more challenging ethical puzzle: even if a given social media platform can be used for ethical ends, to what extent is this irrevocably tainted by the materiality of the device used to access these platforms? It is a dark assessment which Parikka describes without much in the way of optimistic varnish, as he describes the anthropocene (on the first page of The Anthrobscene) as “a concept that also marks the various violations of environmental and human life in corporate practices and technological culture that are ensuring that there won’t be much of humans in the future scene of life” (A 1).

    And yet both books manage to avoid the pitfall of simply coming across as wallowing in doom. Parikka is not pining for a primal pastoral fantasy, but is instead seeking to provide new theoretical tools with which his readers can attempt to think through the materiality of media. Here, Parikka’s emphasis on the way that digital technology is still heavily reliant upon mining and fossil fuels acts as an important counter to gee-whiz futurism. Similarly Parikka’s mobilization of the notion of “deep time” and fossils acts as an important contribution to thinking through the lifecycles of digital media. Dwelling on the undeath of a smartphone slowly decaying in an e-waste dump over centuries is less about evoking a fearful horror than it is about making clear the horribleness of technological waste. The discussion of “deep time” seems like it can function as a sort of geological brake on accelerationist thinking, by emphasizing that no matter how fast humans go, the planet has its own sense of temporality. Throughout these two slim books, Parikka draws upon a variety of cultural works to strengthen his argument: ranging from the earth-pillaging mad scientist of Arthur Conan Doyle’s Professor Challenger, to the Coal Fired Computers of Yokokoji-Harwood (YoHa), to Molleindustria’s smartphone game “Phone Story” which plays out on a smartphone’s screen the tangles of extraction, assembly, and disposal that are as much a part of the smartphone’s story as whatever uses for which the final device is eventually used. Cultural and artistic works, when they intend to, may be able to draw attention to the obscenity of the anthropocene.

    The Anthrobscene and A Geology of Media are complementary texts, but one need not read both in order to understand the other. As part of the University of Minnesota Press’s “Forerunners” series, The Anthrobscene is a small book (in terms of page count and physical size) which moves at a brisk pace, in some ways it functions as a sort of greatest hits version of A Geology of Media – containing many of the essential high points, but lacking some of the elements that ultimately make A Geology of Media a satisfying and challenging book. Yet the duo of books work wonderfully together as The Anthrobscene acts as a sort of primer – that a reader of both books will detect many similarities between the two is not a major detraction, for these books tell a story that often goes unheard today.

    Those looking for neat solutions to the anthropocene’s quagmire will not find them in either of these books – and as these texts are primarily aimed at an academic audience this is not particularly surprising. These books are not caught up in offering hope – be it false or genuine. At the close of A Geology of Media when Parikka discusses the need “to repurpose and reuse solutions in new ways, as circuit bending and hardware hacking practices imply” (A 41) – this does not appear as a perfect panacea but as way of possibly adjusting. Parikka is correct in emphasizing the ways in which the extractive regimes that characterized the paleotechnic continue on in the neotechnic era, and this is a point which Mumford himself made regarding the way that the various “technic” eras do not represent clean breaks from each other. As Mumford put it, “the new machines followed, not their own pattern, but the pattern laid down by previous economic and technical structures” (Mumford 2010, 236) – in other words, just as Parikka explains, the paleotechnic survives well into the neotechnic. The reason this is worth mentioning is not to challenge Parikka, but to highlight that the “neotechnic” is not meant as a characterization of a utopian technical epoch that has parted ways with the exploitation that had characterized the preceding period. For Mumford the need was to move beyond the anthropocentrism of the neotechnic period and move towards what he called (in The Culture of Cities) the “biotechnic” a period wherein “technology itself will be oriented toward the culture of life” (Mumford 1938, 495). Granted, as Mumford’s later work and as these books by Parikka make clear – instead of arriving at the “biotechnic” what we might get is instead the anthrobscene. And reading these books by Parikka makes it clear that one could not characterize the anthrobscene as being “oriented toward the culture of life” – indeed, it may be exactly the opposite. Or, to stick with Mumford a bit longer, it may be that the anthrobscene is the result of the triumph of “authoritarian technics” over “democratic” ones. Nevertheless, the true dirge like element of Parikka’s books is that they raise the possibility that it may well be too late to shift paths – that the neotechnic was perhaps just a coat of fresh paint applied to hide the rusting edifice of paleotechnics.

    A Geology of Media and The Anthrobscene are conceptual toolkits, they provide the reader with the drills and shovels they need to dig into the materiality of digital media. But what these books make clear is that along with the pickaxe and the archeologist’s brush, if one is going to dig into the materiality of media one also needs a gasmask if one is to endure the noxious fumes. Ultimately, what Parikka shows is that the Situationist inspired graffiti of May 1968 “beneath the streets – the beach” needs to be rewritten in the anthrobscene.

    Perhaps a fitting variation for today would read: “beneath the streets – the graveyard.”
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    Zachary Loeb is a writer, activist, librarian, and terrible accordion player. He earned his MSIS from the University of Texas at Austin, and is currently working towards an MA in the Media, Culture, and Communications department at NYU. His research areas include media refusal and resistance to technology, ethical implications of technology, infrastructure and e-waste, as well as the intersection of library science with the STS field. Using the moniker “The Luddbrarian,” Loeb writes at the blog Librarian Shipwreck. He is a frequent contributor to The b2 Review Digital Studies section.

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    Works Cited

    Mumford, Lewis. 2010. Technics and Civilization. Chicago: University of Chicago Press.

    Mumford, Lewis. 1938. The Culture of Cities. New York: Harcourt, Brace and Company.

  • Curatorialism as New Left Politics

    Curatorialism as New Left Politics

    by David Berry

    ~
    It is often argued that the left is left increasingly unable to speak a convincing narrative in the digital age. Caught between the neoliberal language of contemporary capitalism and its political articulations linked to economic freedom and choice, and a welfare statism that appears counter-intuitively unappealing to modern political voters and supporters, there is often claimed to be a lacuna in the political imaginary of the left. Here, I want to explore a possible new articulation for a left politics that moves beyond the seeming technophilic and technological determinisms of left accelerationisms and the related contradictions of “fully automated luxury communism”. Broadly speaking, these positions tend to argue for a post-work, post-scarcity economy within a post-capitalist society based on automation, technology and cognitive labour. Accepting these are simplifications of the arguments of the proponents of these two positions the aim is to move beyond the assertion that the embracing of technology itself solves the problem of a political articulation that has to be accepted and embraced by a broader constituency within the population. Technophilic politics is not, of itself, going to be enough to convince an electorate, nor a population, to move towards leftist conceptualisations of possible restructuring or post-capitalist economics. However, it seems to me that the abolition of work is not a desirable political programme for the majority of the population, nor does a seemingly utopian notion of post-scarcity economics make much sense under conditions of neoliberal economics. Thus these programmes are simultaneously too radical and not radical enough. I also want to move beyond the staid and unproductive arguments often articulated in the UK between a left-Blairism and a more statist orientation associated with a return to traditional left concerns personified in Ed Miliband.

    Instead, I want to consider what a politics of the singularity might be, that is, to follow Fredric Jameson’s conceptualisation of the singularity as “a pure present without a past or a future” such that,

    today we no longer speak of monopolies but of transnational corporations, and our robber barons have mutated into the great financiers and bankers, themselves de-individualized by the massive institutions they manage. This is why, as our system becomes ever more abstract, it is appropriate to substitute a more abstract diagnosis, namely the displacement of time by space as a systemic dominant, and the effacement of traditional temporality by those multiple forms of spatiality we call globalization. This is the framework in which we can now review the fortunes of singularity as a cultural and psychological experience (Jameson 2015: 128).

    That is the removal of temporality of a specific site of politics as such, or the successful ideological deployment of a new framework of understand of oneself within temporality, whether through the activities of the media industries, or through the mediation of digital technologies and computational media. This has the effect of the transformation of temporal experience into new spatial experiences, whether through translating media, or through the intensification of a now that constantly presses upon us and pushes away both historical time, but also the possibility for political articulations of new forms of futurity. Thus the politics of singularity point to spatiality as the key site of political deployment within neoliberalism, and by this process undercuts the left’s arguments which draw simultaneously on a shared historical memory of hard-won rights and benefits, but also the notion of political action to fight for a better future. Indeed, one might ask if green critique of the anthropocene, with its often misanthropic articulations, in some senses draws on some notion of a singularity produced by humanity which has undercut the time of geological or planetary scale change. The only option remaining then is to seek to radically circumscribe, if not outline a radical social imaginary that does not include humans in its conception, and hence to return the planet to the stability of a geological time structure no longer undermined by human activity. Similarly, neoliberal arguments over political imaginaries highlight the intensity and simultaneity of the present mode of capitalist competition and the individualised (often debt-funded) means of engagement with economic life.

    What then might be a politics of the singularity which moved beyond politics that drew on forms of temporality for its legitimation? In other words, how could a politics of spatiality be articulated and deployed which re-enabled the kind of historical project towards a better future for all that was traditionally associated with leftist thought?

    To do this I want to think through the notion of the “curator” that Jameson disparagingly thinks is an outcome of the singularity in terms of artistic practice and experience. He argues, that today we are faced with the “emblematic figure of the curator, who now becomes the demiurge of those floating and dissolving constellations of strange objects we still call art.” Further,

    there is a nastier side of the curator yet to be mentioned, which can be easily grasped if we look at installations, and indeed entire exhibits in the newer postmodern museums, as having their distant and more primitive ancestors in the happenings of the 1960s—artistic phenomena equally spatial, equally ephemeral. The difference lies not only in the absence of humans from the installation and, save for the curator, from the newer museums as such. It lies in the very presence of the institution itself: everything is subsumed under it, indeed the curator may be said to be something like its embodiment, its allegorical personification. In postmodernity, we no longer exist in a world of human scale: institutions certainly have in some sense become autonomous, but in another they transcend the dimensions of any individual, whether master or servant; something that can also be grasped by reminding ourselves of the dimension of globalization in which institutions today exist, the museum very much included (Jameson 2015: 110-111).

    However, Jameson himself makes an important link between spatiality as the site of a contestation and the making-possible of new spaces, something curatorial practice, with its emphasis on the construction, deployment and design of new forms of space points towards. Indeed, Jameson argues in relation to theoretical constructions, “perhaps a kind of curatorial practice, selecting named bits from our various theoretical or philosophical sources and putting them all together in a kind of conceptual installation, in which we marvel at the new intellectual space thereby momentarily produced” (Jameson 2015: 110).

    In contrast, the question for me is the radical possibilities suggested by this event-like construction of new spaces, and how they can be used to reverse or destabilise the time-axis manipulation of the singularity. The question then becomes: could we tentatively think in terms of a curatorial political practice, which we might call curatorialism? Indeed, could we fill out the ways in which this practice could aim to articulate, assemble and more importantly provide a site for a renewal and (re)articulation of left politics? How could this politics be mobilised into the nitty-gritty of actual political practice, policy, and activist politics, and engender the affective relation that inspires passion around a political programme and suggests itself to the kinds of singularities that inhabit contemporary society? To borrow the language of the singularity itself, how could one articulate a new disruptive left politics?

    dostoevsky on curation
    image source: Curate Meme

    At this early stage of thinking, it seems to me that in the first case we might think about how curatorialism points towards the need to move away from concern with internal consistency in the development of a political programme. Curatorialism gathers its strength from the way in which it provides a political pluralism, an assembling of multiple moments into a political constellation that takes into account and articulates its constituent moments. This is the first step in the mapping of the space of a disruptive left politics. This is the development of a spatial politics in as much as, crucially, the programme calls for a weaving together of multiplicity into this constellational form. Secondly, we might think about the way in which this spatial diagram can then be  translated into a temporal project, that is the transformation of a mapping program into a political programme linked to social change. This requires the capture and illumination of the multiple movements of each moment and re-articulation through a process of reframing the condition of possibility in each constellational movement in terms of a political economy that draws from the historical possibilities that the left has made possible previously, but also the need for new concepts and ideas to link the political of necessity to the huge capacity of a left project towards mitigating/and or replacement of a neoliberal capitalist economic system. Lastly, it seems to me that to be a truly curatorial politics means to link to the singularity itself as a force of strength for left politics, such that the development of a mode of the articulation of individual political needs, is made possible through the curatorial mode, and through the development of disruptive left frameworks that links individual need, social justice, institutional support, and left politics that reconnects the passions of interests to the passion for justice and equality with the singularity’s concern with intensification.[1] This can, perhaps, be thought of as the replacement of a left project of ideological purity with a return to the Gramscian notions of strategy and tactics through the deployment of what he called a passive revolution, mobilised partially in the new forms of civil society created through collectivities of singularities within social media, computational devices and the new infrastructures of digital capitalism but also within the through older forms of social institutions, political contestations and education.[2]
    _____

    David M. Berry is Reader in the School of Media, Film and Music at the University of Sussex. He writes widely on computation and the digital and blogs at Stunlaw. He is the author of Critical Theory and the Digital, The Philosophy of Software: Code and Mediation in the Digital Age , Copy, Rip, Burn: The Politics of Copyleft and Open Source, editor of Understanding Digital Humanities and co-editor of Postdigital Aesthetics: Art, Computation And Design. He is also a Director of the Sussex Humanities Lab.

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    _____

    Notes

    [1] This remains a tentative articulation that is inspired by the power of knowledge-based economies both to create the conditions of singularity through the action of time-axis manipulation (media technologies), but also their (arguably) countervailing power to provide the tools, spaces and practices for the contestation of the singularity connected only with a neoliberal political moment. That is, how can these new concept and ideas, together with the frameworks that are suggested in their mobilisation, provide new means of contestation, sociality and broader connections of commonality and political praxis.

    [2] I leave to a later paper the detailed discussion of the possible subjectivities both in and for themselves within a framework of a curatorial politics. But here I am gesturing towards political parties as the curators of programmes of political goals and ends, able then to use the state as a curatorial enabler of such a political programme. This includes the active development of the individuation of political singularities within such a curatorial framework.

    Bibliography

    Jameson, Fredric. 2015. “The Aesthetics of Singularity.” New Left Review, No. 92 (March-April 2015).

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  • Good Wives: Algorithmic Architectures as Metabolization

    Good Wives: Algorithmic Architectures as Metabolization

    by Karen Gregory

    ~

    Text of a talk delivered at Digital Labor: Sweatshops, Picket Lines, and Barricade, New York, November 14th-16th, 2014.

    This talk has a few different starting points, which include a forum I held last March on Angela Mitropoulos’ work Contract and Contagion that explored the expansions and reconfigurations of capital, time, and work through the language of Oikonomics or the “properly productive household”, as well as the work that I was doing with Patricia Clough, Josh Scannell, and Benjamin Haber on a paper called “The Datalogical Turn”, which explores how the coupling of large scale databases and adaptive algorithms “are calling forth a new onto-logic of sociality or the social itself” as well as, I confess, no small share of binge-watching the TV show The Good Wife. So, please bear with me as I take you through my thinking here. What I am trying to do in my work of late is a form of feminist thinking that can take quite seriously not only the onto-sociality of data and the ways in which bodily practices are made to extend far and wide beyond the body, but a form of thinking that can also understand the paradox of our times: How and why has digital abundance been ushered in on the heels of massive income inequality and political dispossession? In some ways, the last part of that sentence (why inequality and political dispossession) is actually easier to account for than understanding the role that such “abundance” has played in the reconfiguration or transfers of wealth and power.

    So, let me back up her for a minute… Already in 1992, Deleuze wrote that a disciplinary society had give way to a control society. Writing, “we are in a generalized crisis in relation to all the environments of enclosure—prison, hospital, factory, school, family” and that “everyone knows that these institutions are finished, whatever the length of their expiration periods. It’s only a matter of administering their last rites and of keeping people employed until the installation of the new forces knocking at the door. These are the societies of control, which are in the process of replacing the disciplinary societies.” For Deleuze, whereas the disciplinary man was a “discontinuous producer of energy, the man of control is undulatory, in orbit, in a continuous network.” For such a human, Deleuze wrote, “surfing” has “replaced older sports.”

    We know, despite Marx’s theorization of “dead labor”, that digital, networked infrastructures have been active, even “vital”, agents of this shift from discipline to control or the shift from a capitalism of production and property to a capitalism of dispersion, a capitalism fit for circulation, relay, response, and feedback. As Deleuze writes, this is a capitalism fit for a “higher order” of production. I want to intentionally play on the words “higher word”, with their invocations of a religiosity, faith, and hierarchy, because much of our theoretical work of late has been specifically developed to help us understand the ways in which such a “higher order” has been very successful in affectively reconfiguring and reformatting bodies and environments for its own purposes. We talk often of the modulation, pre-emption, extraction, and subsumption of elements once thought to be “immaterial” or spiritual, if you will, the some-“things” that lacked a full instantiation in the material world. I do understand that I am twisting Deleuze’s words here a bit (what he meant in the Postscript was a form of production that we now think as flexible production, production on demand, or JIT production), but my thinking here is that very notion of a higher order, a form of production considered progress in itself, has been very good at making us pray toward the light and at replacing the audial sensations of the church bell/factory clock with the blinding temporality of the speed of light itself. This blinding speed of light is related to what Marx called “circulation time,” or the annihilation of space through time, and it is this black hole of capital, this higher order of production and the ways in which we have theorized its metaphysics, which I want to argue, have become the Via Negativa to a Capital that transcends thought. What I mean here is that this form of theorizing has really left us with a capital beyond reproach, a capital reinstated in and through the effects of what it is not—it is not a wage, it is not found in commodities, it is not ultimately a substance humans have access or rights to…

    In such a rapture of the higher order of the light, there has been a tendency to look away from concepts such as “foundations” or “limits” or quaint theories of units such as the “household”, but in Angela Mitropoulos’ work Contract and Contagion we find those concepts as the heart of her reading of the collapse of the time of work into that of life. For Mitropoulos, it is through the performativity and probalistic terms of “the contract” (and not simply the contract of liberal sociality, but a contract as a terms of agreement to the “right” genealogical transfer of wealth) that we should visualize the flights of capital. This broadened notion of the contract is a necessary term for fully grasping what is being brought into being on the heels of “the datalogical turn.”

    For Mitropoulos, it is the contract, which she links to the oath, the promise, the covenant, the bargain, and even faith in general, that “transforms contingency into necessity.” Contracts’ “ensuing contractualism” has been “amplified as an ontological precept.” Here, contract is fundamentally a precept that transforms life into a game (and I don’t mean simply game-ifyed, but obviously we could talk about what gameification means for our sense of what is implied in contractual relations. Liberal contracts have tended to evoke their authority from the notion of autonomous and rational subjects—this is not exactly the same subject being invoked when you’re prompted to like every picture of a cat on the internet or have your attention directed to tiny little numbers in the corner of screen to see who faved your post, although those Facebook numbers are micro-contracts. One’s you haven’t signed up for exactly.) For Mitropoulos, it is not just that contracts transform life into contingency; it is that they transform life into a game that must be played out of necessity. Taking up Pascal’s wager Mitropoulos writes,

    the materiality of contractualism is that of a performativity installed by its presumption of the inexorable necessity of contingency; a presumption established by what I refer to here as the Pascalian premise that one must ‘play the game’ necessarily, that this is the only game available. This invalidates all idealist explanations of contract, including those which echo contractualism’s voluntarism in their understanding of (revolutionary) subjectivity. Performativity is the temporality of contract, and the temporal continuity of capitalism is uncertain.

    In other words, one has no choice but to gamble. God either exists or God does not exist. Both may be possible/virtual, but only one will be real/actual and it is via the wager that one must, out of necessity, come to understand God with and through contingency. It is through such wagering that the contract—as a form of measurable risk—comes into being. Measurable risk—measure and risk as entangled in speculation— became, we might say, the Via Affirmativa of early and industrializing capital.

    This transmutation of contingency into measure sits not only at the heart the contract, but is as Mitropoulos writes, “crucial to the legitimatized forms of subjectivity and relation that have accompanied the rise and expansion of capitalism across the world.” Yet, in addition to the historical project of situating an authorial, egalitarian, liberal, willful, and autonomous subject as a universal subject, contract is also interested in something that looks much more like geometric, matrixial, spatializing, and impersonal. Contract does not solely care about “subject formation”, but also the development of positions that compose a matrix— so that the matrix is made to be an engine of production and circulation. It is interested in the creation of an infrastructure of contracts, or points of contact that reconfigure a “divine” order in the face of contingency.

    The production of such a divine order is what Mitropolous will link back to Oikonomia or the economics of the household, whereby bodies are parsed both spatially and socially into those who may enter into contract and those who may not. While contract becomes increasingly a narrow domain of human relations, Oikonomia is the intentional distribution and classification of bodies—humans, animal, mineral— to ensure the “proper” (i.e. moral, economic, and political) functioning of the household, which functions like molar node within the larger matrix. Given that contingency has been installed as the game that must be played, contract then comes to enforces a chain of being predicated on forms of naturalized servitude and obligation to the game. These are forms of naturalized servitude that are simultaneously built into the architecture of the household, as well as made invisible. As Anne Boyer has written in regard to the Greek household it, probably looked like this:

    In the front of the household were the women’s rooms—the gynaikonitis. Behind these were the common areas and the living quarters for the men—the andronitis. It was there one could find the libraries. The men’s area, along with the household, was also wherever was outside of the household—that is, the free man’s area was the oikos and the polis and was the world. The oikos was always at least a double space, and doubly perceived, just as what is outside of it was always a singular territory on which slaves and women trespassed. The singular nature of the outside was enforced by violence or the threat of it. The free men’s home was the women’s factory; also—for women and slaves—their factory was a home on its knees.

    This is not simply a division of labor, but as Boyer writes, “God made of women an indoor body, and made of men an outdoor one. And this scheme—what becomes, in future iterations, public and private, of production and reproduction, of waged work and unpaid servitude—is the order agreed upon to attend to the risk posed by those who make the oikos.”

    This is the order that we believe has given way as Fordism morphed into Post-Fordism and as the walls of these architectures have been smoothed by the flows of endlessly circulated, derivative, financialized capital. Yet, what Mitropoulos’ work points us toward is the persistence of the contract. Walls may crumble, but the foundations of contract re-instantiate, if not proliferate, in the wake of capital’s discovery of new terrains. The gynaikonitis with its function to parse and delineate the labor of the household into a hierarchy of care work—from the wifely householding of management to the slave-like labor of “being ready to hand”— does not simply evaporate, but rather finds new instantiations among the flights of capital and new instantiations within its very infrastructure. Following Mitropoulos, we can argue that while certain forms of disciplinary seemingly come to an end, there is no shift to control without a proliferating matrix of contract whose function is to re-impose the very meaning—or rather, the very ontological necessity, of measure. It is through the persistent re-imposition of measure that a logic of the Oikos is never lost, ensuring—despite new configurations of capital—the genealogical transfer of wealth and the fundamentally dispossessing relations of servitude.

    Let me shift a gear here ever so slightly and enter Alicia Florrick. Alicia is “The Good Wife”, who many of you know from the TV show of the same name. She is the white fantasy super-hero and upper middle class working mother and ruthless lawyer who has successfully exploded onto the job market after years of raising her children and who is not only capable of leaning in after all those years, but of taking command of her own law firm and running for political office. Alicia is a “good wife” not solely because she has stood beside her philandering politician husband, but because as a white, upper-class mother and lawyer, she is nonetheless responsible for the utmost of feminized and invisible labor—that of (re)producing the very conditions of sociality. Her “womanly” or “wife-ish” goodness is predicated on her ability to transform what are essentially, in the show, a series of shitty experiences and shitty conditions, into conditions of possibility and potential. Alicia works endlessly, tirelessly (Does she ever sleep?) to find new avenues of possibility and configurations of the law in order to create a very specific form of “liberal” order and organization, believing as she does in the “power of rules” (in distinction to her religious daughter, a necessary trope used to highlight the fundamentally “moral” underpinning of secular order.)

    While the show is incredibly popular, no doubt because viewers desire to identify with Alicia’s capacity for labor and domination, to me the show is less about a real or even possible human figure than it is about a “good wife” and the social function that such a wife plays. In Oikonomic logic, a good wife is essential to the maintenance of contract because she is what metabolizes the worlds of inner and outer, simultaneously managing the inner domestic world of care within while parsing or keeping distinct its contagion from the outer world of contract. That Alicia is white, heternormative, upper middle class, as well as upwardly mobile and legally powerful is essential to aligning her with the power of contract, yet her work is fundamentally that of parsing contagions to the system. Prison bodies and prison as a site of the “general population” haunt the show as though we are meant to forget that Alicia’s labor and its value are predicated on the existence of space beyond contract—a space of being removed from visibility. The figure of the good wife therefore not only operates as a shared boundary, but reproduces the distinctions between contractable relations and invisible, obligated labor or what I will call metabolization. Our increasing digitized, datafied, networked, and surveilled world is fully populated by such good wives. We call them interfaces. But they should also be seen as a proliferation of contracts, which are rewriting the nature of who and what may participate.

    I would like to argue that good wives—or interfaces—and their necessary shadow world of obligated labor are useful frameworks for understanding the paradox I mentioned when I first began: how and why has digital abundance been ushered on the heels of massive income inequality and political dispossession? In the logic of the Oikos, the good wife of the interface stands in both contradistinction and harmony with the metabolizing labor of the system she manages, which is comprised of those specifically removed from “the labor” relation— domestic workers, care workers, prisoner laborers—those who must be “present” yet without recognition. The interface stands in both contradistinction and harmony with the algorithm that is made to be present and made to adapt. I want to argue that the “marriage” of the proliferation of interfaces and with the ubiquitous, and adaptive computation of digital algorithms is an Oikonomic infrastructure. It is a proliferation of contracts meant to insure that the “contagion” of the algorithm, which I explore in a moment, remain “black boxed” or removed from visibility, while nonetheless ensuring that such contagious invisible work shore up the power of contract and its ability to redirect capital along genealogical lines. While Piketty doesn’t uses the language of the Oikos, we might read the arrival of his work as a confirmation that we are in a moment re-establishing such a “household logic”—an expansion of capital that comes with quite a new foundation of the transfer of wealth.

    While the good wife or interface is a boundary, which borrowing from Celia Lury, that marks a frame for the simultaneous capture and redeployment of data, it is the digital algorithm that undergirds or makes possible the interfaces’ ontological authority to “measure.” However, algorithms, if we follow Luciana Parisi are not simple executing a string of code, not simply providing the interface with a “measure” of an existing world. Rather, algorithms are, as Luciana Parisi writes in her work on contagious architecture, performing entities that are “not simply representations of data, but are occasions of experience insofar as they prehend information in their own way.” Here Parisi is ascribing to the algorithm a Whiteheadian ontology of process, which sees the algorithm as its own spatio-temporal entity capable of grasping, including, or excluding data. Prehension implies not so much a choice, but a relation of allure by which all entities (not only algorithms) call one another into being, or come into being as events or what Whitehead calls “occasions of experience.” For Parisi, via Whitehead, the algorithm is no longer simply a tool to accomplish a task, but an “actuality, defined by an automated prehension of data in the computational processing of probability.”

    greek wedding
    Wedding in Ancient Greece. image source

    Much like the good wife of the Greek household, who must manage and organize—but is nonetheless dependent on— the contagious (and therefore made to be invisible) domestic labor of servants and slave, the good wife of the interface manages and organizes the prehensive capacities of the algorithm, which are then misrecognized as simply “doing their job” or executing their code in a divine order of being. However, if we follow Parisi, prehension does not simply imply the direct “reproduction of that which is prehended”, rather prehension should be understood itself be understood as a “contagion.” Writing, “infinite amounts of data irreversibly enter and determine the function of algorithmic procedures. It follows that contagion describes the immanence of randomness in programming.” This contagion, for Parisi, means that “algorithmic prehensions are quantifications of infinite qualities that produce new qualities.” Rather than simply “doing their job”, as it were, algorithms are fundamentally generative. They are, for Parisi, producing not only new digital spaces, but also programmed architectural forms and urban infrastructures that “expose us to new mode of living, but new modes of thinking.” Algorithms are metabolizing a world of infinite and incomputable data that is then mistaken by the interfaces as a “measure” of that world—a measure that can not only stand in for contract, but can give rise to a proliferation of micro contracts that populate the circulations of sociality.

    Control then, if we can return to that idea, has come not simply about as an undulation or a demise of discipline, but through an architecture of metabolization and measure that has never disavowed the function of contract. It is, in fact, an architecture quite successful at re-writing the very terms of contract arrangements. Algorithmic architectures may no longer seek to maintain the walls of the household, but they are nonetheless in the rapid production of an Oikos all the same.


    _____

    Karen Gregory (@claudiakincaid) is the Title V Lecturer in Sociology in the Department of Interdisciplinary Arts and Sciences/Center for Worker Education at the City College of New York, where she is also the faculty head of City Lab. Her work explores the intersection of digital labor, affect, and contemporary spirituality, with an emphasis on the role of the laboring body. Karen is a founding member of CUNY Graduate Center’s Digital Labor Working Group and her writings have appeared in Women’s Studies Quarterly, Women and Performance, Visual Studies, Contexts, The New Inquiry, and Dis Magazine.

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  • Frank Pasquale — To Replace or Respect: Futurology as if People Mattered

    Frank Pasquale — To Replace or Respect: Futurology as if People Mattered

    a review of Erik Brynjolfsson and Andrew McAfee, The Second Machine Age: Work, Progress, and Prosperity in a Time of Brilliant Technologies (W.W. Norton, 2014)

    by Frank Pasquale

    ~

    Business futurism is a grim discipline. Workers must either adapt to the new economic realities, or be replaced by software. There is a “race between education and technology,” as two of Harvard’s most liberal economists insist. Managers should replace labor with machines that require neither breaks nor sick leave. Superstar talents can win outsize rewards in the new digital economy, as they now enjoy global reach, but they will replace thousands or millions of also-rans. Whatever can be automated, will be, as competitive pressures make fairly paid labor a luxury.

    Thankfully, Erik Brynjolfsson and Andrew McAfee’s The Second Machine Age (2MA)  downplays these zero-sum tropes. Brynjolffson & McAfee (B&M) argue that the question of distribution of the gains from automation is just as important as the competitions for dominance it accelerates. 2MA invites readers to consider how societies will decide what type of bounty from automation they want, and what is wanted first.  The standard, supposedly neutral economic response (“whatever the people demand, via consumer sovereignty”) is unconvincing. As inequality accelerates, the top 5% (of income earners) do 35% of the consumption. The top 1% is responsible for an even more disproportionate share of investment. Its richest members can just as easily decide to accelerate the automation of the wealth defense industry as they can allocate money to robotic construction, transportation, or mining.

    A humane agenda for automation would prioritize innovations that complement (jobs that ought to be) fulfilling vocations, and substitute machines for dangerous or degrading work. Robotic meat-cutters make sense; robot day care is something to be far more cautious about. Most importantly, retarding automation that controls, stigmatizes, and cheats innocent people, or sets up arms races with zero productive gains, should be a much bigger part of public discussions of the role of machines and software in ordering human affairs.

    2MA may set the stage for such a human-centered automation agenda. Its diagnosis of the problem of rapid automation (described in Part I below) is compelling. Its normative principles (II) are eclectic and often humane. But its policy vision (III) is not up to the challenge of channeling and sequencing automation. This review offers an alternative, while acknowledging the prescience and insight of B&M’s work.

    I. Automation’s Discontents

    For B&M, the acceleration of automation ranks with the development of agriculture, or the industrial revolution, as one of the “big stories” of human history (10-12). They offer an account of the “bounty and spread” to come from automation. “Bounty” refers to the increasing “volume, variety, and velocity” of any imaginable service or good, thanks to its digital reproduction or simulation (via, say, 3-D printing or robots). “Spread” is “ever-bigger differences among people in economic success” that they believe to be just as much an “economic consequence” of automation as bounty.[1]

    2MA briskly describes various human workers recently replaced by computers.  The poor souls who once penned corporate earnings reports for newspapers? Some are now replaced by Narrative Science, which seamlessly integrates new data into ready-made templates (35). Concierges should watch out for Siri (65). Forecasters of all kinds (weather, home sales, stock prices) are being shoved aside by the verdicts of “big data” (68). “Quirky,” a startup, raised $90 million by splitting the work of making products between a “crowd” that “votes on submissions, conducts research, suggest improvements, names and brands products, and drives sales” (87), and Quirky itself, which “handles engineering, manufacturing, and distribution.” 3D printing might even disintermediate firms like Quirky (36).

    In short, 2MA presents a kaleidoscope of automation realities and opportunities. B&M skillfully describe the many ways automation both increases the “size of the pie,” economically, and concentrates the resulting bounty among the talented, the lucky, and the ruthless. B&M emphasize that automation is creeping up the value chain, potentially substituting machines for workers paid better than the average.

    What’s missing from the book are the new wave of conflicts that would arise if those at very top of the value chain (or, less charitably, the rent and tribute chain) were to be replaced by robots and algorithms. When BART workers went on strike, Silicon Valley worthies threatened to replace them with robots. But one could just as easily call for the venture capitalists to be replaced with algorithms. Indeed, one venture capital firm added an algorithm to its board in 2013.  Travis Kalanick, the CEO of Uber, responded to a question on driver wage demands by bringing up the prospect of robotic drivers. But given Uber’s multiple legal and PR fails in 2014, a robot would probably would have done a better job running the company than Kalanick.

    That’s not “crazy talk” of communistic visions along the lines of Marx’s “expropriate the expropriators,” or Chile’s failed Cybersyn.[2]  Thiel Fellow and computer programming prodigy Vitaly Bukherin has stated that automation of the top management functions at firms like Uber and AirBnB would be “trivially easy.”[3] Automating the automators may sound like a fantasy, but it is a natural outgrowth of mantras (e.g., “maximize shareholder value”) that are commonplaces among the corporate elite. To attract and retain the support of investors, a firm must obtain certain results, and the short-run paths to attaining them (such as cutting wages, or financial engineering) are increasingly narrow.  And in today’s investment environment of rampant short-termism, the short is often the only term there is.

    In the long run, a secure firm can tolerate experiments. Little wonder, then, that the largest firm at the cutting edge of automation—Google—has a secure near-monopoly in search advertising in numerous markets. As Peter Thiel points out in his recent From Zero to One, today’s capitalism rewards the best monopolist, not the best competitor. Indeed, even the Department of Justice’s Antitrust Division appeared to agree with Thiel in its 1995 guidelines on antitrust enforcement in innovation markets. It viewed intellectual property as a good monopoly, the rightful reward to innovators for developing a uniquely effective process or product. And its partner in federal antitrust enforcement, the Federal Trade Commission, has been remarkably quiescent in response to emerging data monopolies.

    II. Propertizing Data

    For B&M, intellectual property—or, at least, the returns accruing to intellectual insight or labor—plays a critical role in legitimating inequalities arising out of advanced technologies.  They argue that “in the future, ideas will be the real scarce inputs in the world—scarcer than both labor and capital—and the few who provide good ideas will reap huge rewards.”[4] But many of the leading examples of profitable automation are not “ideas” per se, or even particularly ingenious algorithms. They are brute force feats of pattern recognition: for example, Google’s studying past patterns of clicks to see what search results, and what ads, are personalized to delight and persuade each of its hundreds of millions of users. The critical advantage there is the data, not the skill in working with it.[5] Google will demur, but if they were really confident, they’d license the data to other firms, confident that others couldn’t best their algorithmic prowess.  They don’t, because the data is their critical, self-reinforcing advantage. It is a commonplace in big data literatures to say that the more data one has, the more valuable any piece of it becomes—something Googlers would agree with, as long as antitrust authorities aren’t within earshot.

    As sensors become more powerful and ubiquitous, feats of automated service provision and manufacture become more easily imaginable.  The Baxter robot, for example, merely needs to have a trainer show it how to move in order to ape the trainer’s own job. (One is reminded of the stories of US workers flying to India to train their replacements how to do their job, back in the day when outsourcing was the threat du jour to U.S. living standards.)

    how to train a robot
    How to train a Baxter robot. Image source: Inc. 

    From direct physical interaction with a robot, it is a short step to, say, programmed holographic or data-driven programming.  For example, a surveillance camera on a worker could, after a period of days, months, or years, potentially record every movement or statement of the worker, and replicate it, in response to whatever stimuli led to the prior movements or statements of the worker.

    B&M appear to assume that such data will be owned by the corporations that monitor their own workers.  For example, McDonalds could train a camera on every cook and cashier, then download the contents into robotic replicas. But it’s just as easy to imagine a legal regime where, say, workers’ rights to the data describing their movements would be their property, and firms would need to negotiate to purchase the rights to it.  If dance movements can be copyrighted, so too can the sweeps and wipes of a janitor. Consider, too, that the extraordinary advances in translation accomplished by programs like Google Translate are in part based on translations by humans of United Nations’ documents released into the public domain.[6] Had the translators’ work not been covered by “work-made-for-hire” or similar doctrines, they might well have kept their copyrights, and shared in the bounty now enjoyed by Google.[7]

    Of course, the creativity of translation may be greater than that displayed by a janitor or cashier. Copyright purists might thus reason that the merger doctrine denies copyrightability to the one best way (or small suite of ways) of doing something, since the idea of the movement and its expression cannot be separated. Grant that, and one could still imagine privacy laws giving workers the right to negotiate over how, and how pervasively, they are watched. There are myriad legal regimes governing, in minute detail, how information flows and who has control over it.

    I do not mean to appropriate here Jaron Lanier’s ideas about micropayments, promising as they may be in areas like music or journalism. A CEO could find some critical mass of stockers or cooks or cashiers to mimic even if those at 99% of stores demanded royalties for the work (of) being watched. But the flexibility of legal regimes of credit, control, and compensation is under-recognized. Living in a world where employers can simply record everything their employees do, or Google can simply copy every website that fails to adopt “robots.txt” protection, is not inevitable. Indeed, according to renowned intellectual property scholar Oren Bracha, Google had to “stand copyright on its head” to win that default.[8]

    Thus B&M are wise to acknowledge the contestability of value in the contemporary economy.  For example, they build on the work of MIT economists Daron Acemoglu and David Autor to demonstrate that “skill biased technical change” is a misleading moniker for trends in wage levels.  The “tasks that machines can do better than humans” are not always “low-skill” ones (139). There is a fair amount of play in the joints in the sequencing of automation: sometimes highly skilled workers get replaced before those with a less complex and difficult-to-learn repertoire of abilities.  B&M also show that the bounty predictably achieved via automation could compensate the “losers” (of jobs or other functions in society) in the transition to a more fully computerized society. By seriously considering the possibility of a basic income (232), they evince a moral sensibility light years ahead of the “devil-take-the-hindmost” school of cyberlibertarianism.

    III. Proposals for Reform

    Unfortunately, some of B&M’s other ideas for addressing the possibility of mass unemployment in the wake of automation are less than convincing.  They praise platforms like Lyft for providing new opportunities for work (244), perhaps forgetting that, earlier in the book, they described the imminent arrival of the self-driving car (14-15). Of course, one can imagine decades of tiered driving, where the wealthy get self-driving cars first, and car-less masses turn to the scrambling drivers of Uber and Lyft to catch rides. But such a future seems more likely to end in a deflationary spiral than  sustainable growth and equitable distribution of purchasing power. Like the generation traumatized by the Great Depression, millions subjected to reverse auctions for their labor power, forced to price themselves ever lower to beat back the bids of the technologically unemployed, are not going to be in a mood to spend. Learned helplessness, retrenchment, and miserliness are just as likely a consequence as buoyant “re-skilling” and self-reinvention.

    Thus B&M’s optimism about what they call the “peer economy” of platform-arranged production is unconvincing.  A premier platform of digital labor matching—Amazon’s Mechanical Turk—has occasionally driven down the wage for “human intelligence tasks” to a penny each. Scholars like Trebor Scholz and Miriam Cherry have discussed the sociological and legal implications of platforms that try to disclaim all responsibility for labor law or other regulations. Lilly Irani’s important review of 2MA shows just how corrosive platform capitalism has become. “With workers hidden in the technology, programmers can treat [them] like bits of code and continue to think of themselves as builders, not managers,” she observes in a cutting aside on the self-image of many “maker” enthusiasts.

    The “sharing economy” is a glidepath to precarity, accelerating the same fate for labor in general as “music sharing services” sealed for most musicians. The lived experience of many “TaskRabbits,” which B&M boast about using to make charts for their book, cautions against reliance on disintermediation as a key to opportunity in the new digital economy. Sarah Kessler describes making $1.94 an hour labeling images for a researcher who put the task for bid on Mturk.  The median active TaskRabbit in her neighborhood made $120 a week; Kessler cleared $11 an hour on her best day.

    Resistance is building, and may create fairer terms online.  For example, Irani has helped develop a “Turkopticon” to help Turkers rate and rank employers on the site. Both Scholz and Mike Konczal have proposed worker cooperatives as feasible alternatives to Uber, offering drivers both a fairer share of revenues, and more say in their conditions of work. But for now, the peer economy, as organized by Silicon Valley and start-ups, is not an encouraging alternative to traditional employment. It may, in fact, be worse.

    Therefore, I hope B&M are serious when they say “Wild Ideas [are] Welcomed” (245), and mention the following:

    • Provide vouchers for basic necessities. . . .
    • Create a national mutual fund distributing the ownership of capital widely and perhaps inalienably, providing a dividend stream to all citizens and assuring the capital returns do not become too highly concentrated.
    • Depression-era Civilian Conservation Corps to clean up the environment, build infrastructure.

    Speaking of the non-automatable, we could add the Works Progress Administration (WPA) to the CCC suggestion above.  Revalue the arts properly, and the transition may even add to GDP.

    Soyer, Artists on the WPA
    Moses Soyer, “Artists on WPA” (1935). Image source: Smithsonian American Art Museum

    Unfortunately, B&M distance themselves from the ideas, saying, “we include them not necessarily to endorse them, but instead to spur further thinking about what kinds of interventions will be necessary as machines continue to race ahead” (246).  That is problematic, on at least two levels.

    First, a sophisticated discussion of capital should be at the core of an account of automation,  not its periphery. The authors are right to call for greater investment in education, infrastructure, and basic services, but they need a more sophisticated account of how that is to be arranged in an era when capital is extraordinarily concentrated, its owners have power over the political process, and most show little to no interest in long-term investment in the skills and abilities of the 99%. Even the purchasing power of the vast majority of consumers is of little import to those who can live off lightly taxed capital gains.

    Second, assuming that “machines continue to race ahead” is a dodge, a refusal to name the responsible parties running the machines.  Someone is designing and purchasing algorithms and robots. Illah Reza Nourbaksh’s Robot Futures suggests another metaphor:

    Today most nonspecialists have little say in charting the role that robots will play in our lives.  We are simply watching a new version of Star Wars scripted by research and business interests in real time, except that this script will become our actual world. . . . Familiar devices will become more aware, more interactive and more proactive; and entirely new robot creatures will share our spaces, public and private, physical and digital. . . .Eventually, we will need to read what they write, we will have to interact with them to conduct our business transactions, and we will often mediate our friendships through them.  We will even compete with them in sports, at jobs, and in business. [9]

    Nourbaksh nudges us closer to the truth, focusing on the competitive angle. But the “we” he describes is also inaccurate. There is a group that will never have to “compete” with robots at jobs or in business—rentiers. Too many of them are narrowly focused on how quickly they can replace needy workers with undemanding machines.

    For the rest of us, another question concerning automation is more appropriate: how much can we be stuck with? A black-card-toting bigshot will get the white glove treatment from AmEx; the rest are shunted into automated phone trees. An algorithm determines the shifts of retail and restaurant workers, oblivious to their needs for rest, a living wage, or time with their families.  Automated security guards, police, and prison guards are on the horizon. And for many of the “expelled,” the homines sacres, automation is a matter of life and death: drone technology can keep small planes on their tracks for hours, days, months—as long as it takes to execute orders.

    B&M focus on “brilliant technologies,” rather than the brutal or bumbling instances of automation.  It is fun to imagine a souped-up Roomba making the drudgery of housecleaning a thing of the past.  But domestic robots have been around since 2000, and the median wage-earner in the U.S. does not appear to be on a fast track to a Jetsons-style life of ease.[10] They are just as likely to be targeted by the algorithms of the everyday, as they are to be helped by them. Mysterious scoring systems routinely stigmatize persons, without them even knowing. They reflect the dark side of automation—and we are in the dark about them, given the protections that trade secrecy law affords their developers.

    IV. Conclusion

    Debates about robots and the workers “struggling to keep up” with them are becoming stereotyped and stale. There is the standard economic narrative of “skill-biased technical change,” which acts more as a tautological, post hoc, retrodictive, just-so story than a coherent explanation of how wages are actually shifting. There is cyberlibertarian cornucopianism, as Google’s Ray Kurzweil and Eric Schmidt promise there is nothing to fear from an automated future. There is dystopianism, whether intended as a self-preventing prophecy, or entertainment. Each side tends to talk past the other, taking for granted assumptions and values that its putative interlocutors reject out of hand.

    Set amidst this grim field, 2MA is a clear advance. B&M are attuned to possibilities for the near and far future, and write about each in accessible and insightful ways.  The authors of The Second Machine Age claim even more for it, billing it as a guide to epochal change in our economy. But it is better understood as the kind of “big idea” book that can name a social problem, underscore its magnitude, and still dodge the elaboration of solutions controversial enough to scare off celebrity blurbers.

    One of 2MA’s blurbers, Clayton Christensen, offers a backhanded compliment that exposes the core weakness of the book. “[L]earners and teachers alike are in a perpetual mode of catching up with what is possible. [The Second Machine Age] frames a future that is genuinely exciting!” gushes Christensen, eager to fold automation into his grand theory of disruption. Such a future may be exciting for someone like Christensen, a millionaire many times over who won’t lack for food, medical care, or housing if his forays fail. But most people do not want to be in “perpetually catching up” mode. They want secure and stable employment, a roof over their heads, decent health care and schooling, and some other accoutrements of middle class life. Meaning is found outside the economic sphere.

    Automation could help stabilize and cheapen the supply of necessities, giving more persons the time and space to enjoy pursuits of their own choosing. Or it could accelerate arms races of various kinds: for money, political power, armaments, spying, stock trading. As long as purchasing power alone—whether of persons or corporations—drives the scope and pace of automation, there is little hope that the “brilliant technologies” B&M describe will reliably lighten burdens that the average person experiences. They may just as easily entrench already great divides.

    All too often, the automation literature is focused on replacing humans, rather than respecting their hopes, duties, and aspirations. A central task of educators, managers, and business leaders should be finding ways to complement a workforce’s existing skills, rather than sweeping that workforce aside. That does not simply mean creating workers with skill sets that better “plug into” the needs of machines, but also, doing the opposite: creating machines that better enhance and respect the abilities and needs of workers.  That would be a “machine age” welcoming for all, rather than one calibrated to reflect and extend the power of machine owners.

    _____

    Frank Pasquale (@FrankPasquale) is a Professor of Law at the University of Maryland Carey School of Law. His recent book, The Black Box Society: The Secret Algorithms that Control Money and Information (Harvard University Press, 2015), develops a social theory of reputation, search, and finance.  He blogs regularly at Concurring Opinions. He has received a commission from Triple Canopy to write and present on the political economy of automation. He is a member of the Council for Big Data, Ethics, and Society, and an Affiliate Fellow of Yale Law School’s Information Society Project. He is a frequent contributor to The b2 Review Digital Studies section.

    Back to the essay
    _____

    [1] One can quibble with the idea of automation as necessarily entailing “bounty”—as Yves Smith has repeatedly demonstrated, computer systems can just as easily “crapify” a process once managed well by humans. Nor is “spread” a necessary consequence of automation; well-distributed tools could well counteract it. It is merely a predictable consequence, given current finance and business norms and laws.

    [2] For a definition of “crazy talk,” see Neil Postman, Stupid Talk, Crazy Talk: How We Defeat Ourselves by the Way We Talk and What to Do About It (Delacorte, 1976). For Postman, “stupid talk” can be corrected via facts, whereas “crazy talk” “establishes different purposes and functions than the ones we normally expect.” If we accept the premise of labor as a cost to be minimized, what better to cut than the compensation of the highest paid persons?

    [3] Conversation with Sam Frank at the Swiss Institute, Dec. 16, 2014, sponsored by Triple Canopy.

    [4] In Brynjolfsson, McAfee, and Michael Spence, “New World Order: Labor, Capital, and Ideas in the Power Law Economy,” an article promoting the book. Unfortunately, as with most statements in this vein, B&M&S give us little idea how to identify a “good idea” other than one that “reap[s] huge rewards”—a tautology all too common in economic and business writing.

    [5] Frank Pasquale, The Black Box Society (Harvard University Press, 2015).

    [6] Programs, both in the sense of particular software regimes, and the program of human and technical efforts to collect and analyze the translations that were the critical data enabling the writing of the software programs behind Google Translate.

    [9] Illah Reza Nourbaksh, Robot Futures (MIT Press, 2013), pp. xix-xx.

    [10] Erwin Prassler and Kazuhiro Kosuge, “Domestic Robotics,” in Bruno Siciliano and Oussama Khatib, eds., Springer Handbook of Robotics (Springer, 2008), p. 1258.

  • All Hitherto Existing Social Media

    All Hitherto Existing Social Media

    Social Media: A Critical Introduction (Sage, 2013)a review of Christian Fuchs, Social Media: A Critical Introduction
    by Zachary Loeb
    ~
    Legion are the books and articles describing the social media that has come before. Yet the tracts focusing on Friendster, LiveJournal, or MySpace now appear as throwbacks, nostalgically immortalizing the internet that was and is now gone. On the cusp of the next great amoeba-like expansion of the internet (wearable technology and the “internet of things”) it is a challenging task to analyze social media as a concept while recognizing that the platforms being focused upon—regardless of how permanent they seem—may go the way of Friendster by the end of the month. Granted, social media (and the companies whose monikers act as convenient shorthand for it) is an important topic today. Those living in highly digitized societies can hardly avoid the tendrils of social media (even if a person does not use a particular platform it may still be tracking them), but this does not mean that any of us fully understand these platforms, let alone have a critical conception of them. It is into this confused and confusing territory that Christian Fuchs steps with his Social Media: A Critical Introduction.

    It is a book ostensibly targeted at students. Though when it comes to social media—as Fuchs makes clear—everybody has quite a bit to learn.

    By deploying an analysis couched in Marxist and Critical Theory, Fuchs aims not simply to describe social media as it appears today, but to consider its hidden functions and biases, and along the way to describe what social media could become. The goal of Fuchs’s book is to provide readers—the target audience is students, after all—with the critical tools and proper questions with which to approach social media. While Fuchs devotes much of the book to discussing specific platforms (Google, Facebook, Twitter, WikiLeaks, Wikipedia), these case studies are used to establish a larger theoretical framework which can be applied to social media beyond these examples. Affirming the continued usefulness of Marxist and Frankfurt School critiques, Fuchs defines the aim of his text as being “to engage with the different forms of sociality on the internet in the context of society” (6) and emphasizes that the “critical” questions to be asked are those that “are concerned with questions of power” (7).

    Thus a critical analysis of social media demands a careful accounting of the power structures involved not just in specific platforms, but in the larger society as a whole. So though Fuchs regularly returns to the examples of the Arab Spring and the Occupy Movement, he emphasizes that the narratives that dub these “Twitter revolutions” often come from a rather non-critical and generally pro-capitalist perspective that fail to embed adequately uses of digital technology in their larger contexts.

    Social media is portrayed as an example, like other media, of “techno-social systems” (37) wherein the online platforms may receive the most attention but where the, oft-ignored, layer of material technologies is equally important. Social media, in Fuchs’s estimation, developed and expanded with the growth of “Web 2.0” and functions as part of the rebranding effort that revitalized (made safe for investments) the internet after the initial dot.com bubble. As Fuchs puts it, “the talk about novelty was aimed at attracting novel capital investments” (33). What makes social media a topic of such interest—and invested with so much hope and dread—is the degree to which social media users are considered as active creators instead of simply consumers of this content (Fuchs follows much recent scholarship and industry marketing in using the term “prosumers” to describe this phenomenon; the term originates from the 1970s business-friendly futurology of Alvin Toffler’s The Third Wave). Social media, in Fuchs’s description, represents a shift in the way that value is generated through labor, and as a result an alteration in the way that large capitalist firms appropriate surplus value from workers. The social media user is not laboring in a factory, but with every tap of the button they are performing work from which value (and profit) is skimmed.

    Without disavowing the hope that social media (and by extension the internet) has liberating potential, Fuchs emphasizes that such hopes often function as a way of hiding profit motives and capitalist ideologies. It is not that social media cannot potentially lead to “participatory democracy” but that “participatory culture” does not necessarily have much to do with democracy. Indeed, as Fuchs humorously notes: “participatory culture is a rather harmless concept mainly created by white boys with toys who love their toys” (58). This “love their toys” sentiment is part of the ideology that undergirds much of the optimism around social media—which allows for complex political occurrences (such as the Arab Spring) to be reduced to events that can be credited to software platforms.

    What Fuchs demonstrates at multiple junctures is the importance of recognizing that the usage of a given communication tool by a social movement does not mean that this tool brought about the movement: intersecting social, political and economic factors are the causes of social movements. In seeking to provide a “critical introduction” to social media, Fuchs rejects arguments that he sees as not suitably critical (including those of Henry Jenkins and Manuel Castells), arguments that at best have been insufficient and at worst have been advertisements masquerading as scholarship.

    Though the time people spend on social media is often portrayed as “fun” or “creative,” Fuchs recasts these tasks as work in order to demonstrate how that time is exploited by the owners of social media platforms. By clicking on links, writing comments, performing web searches, sending tweets, uploading videos, and posting on Facebook, social media users are performing unpaid labor that generates a product (in the form of information about users) that can then be sold to advertisers and data aggregators; this sale generates profits for the platform owner which do not accrue back to the original user. Though social media users are granted “free” access to a service, it is their labor on that platform that makes the platform have any value—Facebook and Twitter would not have a commodity to sell to advertisers if they did not have millions of users working for them for free. As Fuchs describes it, “the outsourcing of work to consumers is a general tendency of contemporary capitalism” (111).

    screen shot of Karl Marx Community Facebook Page
    screen shot of a Karl Marx Community Page on Facebook

    While miners of raw materials and workers in assembly plants are still brutally exploited—and this unseen exploitation forms a critical part of the economic base of computer technology—the exploitation of social media users is given a gloss of “fun” and “creativity.” Fuchs does not suggest that social media use is fully akin to working in a factory, but that users carry the factory with them at all times (a smart phone, for example) and are creating surplus value as long as they are interacting with social media. Instead of being a post-work utopia, Fuchs emphasizes that “the existence of the internet in its current dominant capitalist form is based on various forms of labour” (121) and the enrichment of internet firms is reliant upon the exploitation of those various forms of labor—central amongst these being the social media user.

    Fuchs considers five specific platforms in detail so as to illustrate not simply the current state of affairs but also to point towards possible alternatives. Fuchs analyzes Google, Facebook, Twitter, WikiLeaks and Wikipedia as case studies of trends to encourage and trends of which to take wary notice. In his analysis of the three corporate platforms (Google, Facebook and Twitter) Fuchs emphasizes the ways in which these social media companies (and the moguls who run them) have become wealthy and powerful by extracting value from the labor of users and by subjecting users to constant surveillance. The corporate platforms give Fuchs the opportunity to consider various social media issues in sharper relief: labor and monopolization in terms of Google, surveillance and privacy issues with Facebook, the potential for an online public sphere and Twitter. Despite his criticisms, Fuchs does not dismiss the value and utility of what these platforms offer, as is captured in his claim that “Google is at the same time the best and the worst thing that has ever happened on the internet” (147). The corporate platforms’ successes are owed at least partly to their delivering desirable functions to users. The corrective for which Fuchs argues is increased democratic control of these platforms—for the labor to be compensated and for privacy to pertain to individual humans instead of to businesses’ proprietary methods of control. Indeed, one cannot get far with a “participatory culture” unless there is a similarly robust “participatory democracy,” and part of Fuchs’s goal is to show that these are not at all the same.

    WikiLeaks and Wikipedia both serve as real examples that demonstrate the potential of an “alternative” internet for Fuchs. Though these Wiki platforms are not ideal they contain within themselves the seeds for their own adaptive development (“WikiLeaks is its own alternative”—232), and serve for Fuchs as proof that the internet can move in a direction akin to a “commons.” As Fuchs puts it, “the primary political task for concerned citizens should therefore be to resist the commodification of everything and to strive for democratizing the economy and the internet” (248), a goal he sees as at least partly realized in Wikipedia.

    While the outlines of the internet’s future may seem to have been written already, Fuchs’s book is an argument in favor of the view that the code can still be altered. A different future relies upon confronting the reality of the online world as it currently is and recognizing that the battles waged for control of the internet are proxy battles in the conflict between capitalism and an alternative approach. In the conclusion of the book Fuchs eloquently condenses his view and the argument that follows from it in two simple sentences: “A just society is a classless society. A just internet is a classless internet” (257). It is a sentiment likely to spark an invigorating discussion, be it in a classroom, at a kitchen table, or in a café.

    * * *

    While Social Media: A Critical Introduction is clearly intended as a text book (each chapter ends with a “recommended readings and exercises” section), it is written in an impassioned and engaging style that will appeal to anyone who would like to see a critical gaze turned towards social media. Fuchs structures his book so that his arguments will remain relevant even if some of the platforms about which he writes vanish. Even the chapters in which Fuchs focuses on a specific platform are filled with larger arguments that transcend that platform. Indeed one of the primary strengths of Social Media is that Fuchs skillfully uses the familiar examples of social media platforms as a way of introducing the reader to complex theories and thinkers (from Marx to Habermas).

    Whereas Fuchs accuses some other scholars of subtly hiding their ideological agendas, no such argument can be made regarding Fuchs himself. Social Media is a Marxist critique of the major online platforms—not simply because Fuchs deploys Marx (and other Marxist theorists) to construct his arguments, but because of his assumption that the desirable alternative for the internet is part and parcel of a desirable alternative to capitalism. Such a sentiment can be found at several points throughout the book, but is made particularly evident by lines such as these from the book’s conclusion: “There seem to be only two options today: (a) continuance and intensification of the 200-year-old barbarity of capitalism or (b) socialism” (259)—it is a rather stark choice. It is precisely due to Fuchs’s willingness to stake out, and stick to, such political positions that this text is so effective.

    And yet, it is the very allegiance to such positions that also presents something of a problem. While much has been written of late—in the popular press in addition to by scholars—regarding issues of privacy and surveillance, Fuchs’s arguments about the need to consider users as exploited workers will likely strike many readers as new, and thus worthwhile in their novelty if nothing else. Granted, to fully go along with Fuchs’s critique requires readers to already be in agreement or at least relatively sympathetic with Fuchs political and ethical positions. This is particularly true as Fuchs excels at making an argument about media and technology, but devotes significantly fewer pages to ethical argumentation.

    The lines (quoted earlier) “A just society is a classless society. A just internet is a classless internet” (257) serve as much as a provocation as a conclusion. For those who ascribe to a similar notion of “a just society” Fuchs book will likely function as an important guide to thinking about the internet; however, to those whose vision of “a just society” is fundamentally different from his, Fuchs’s book may be less than convincing. Social Media does not present a complete argument about how one defines a “just society.” Indeed, the danger may be that Fuchs’s statements in praise of a “classless society” may lead to some dismissing his arguments regarding the way in which the internet has replicated a “class society.” Likewise, it is easy to imagine a retort being offered that the new platforms of “the sharing economy” represent the birth of this “classless society” (though it is easy to imagine Fuchs pointing out, as have other critics from the left, that the “sharing economy” is simply more advertising lingo being used to hide the same old capitalist relations). This represents something of a peculiar challenge when it comes to Social Media, as the political commitment of the book is simultaneously what makes it so effective and that which threatens the book’s potential political efficacy.

    Thus Social Media presents something of a conundrum: how effective is a critical introduction if its conclusion offers a heads-and-tails choice between “barbarity of capitalism or…socialism”? Such a choice feels slightly as though Fuchs is begging the question. While it is curious that Fuchs does not draw upon critical theorists’ writings about the culture industry, the main issues with Social Media seem to be reflections of this black-and-white choice. Thus it is something of a missed chance that Fuchs does not draw upon some of the more serious critics of technology (such as Ellul or Mumford)—whose hard edged skepticism would nevertheless likely not accept Fuchs’s Marxist orientation. Such thinkers might provide a very different perspective on the choice between “capitalism” and “socialism”—arguing that “technique” or “the megamachine” can function quite effectively in either. Though Fuchs draws heavily upon thinkers in the Marxist tradition it may be that another set of insights and critiques might have been gained by bringing in other critics of technology (Hans Jonas, Peter Kropotkin, Albert Borgmann)—especially as some of these thinkers had warned that Marxism may overvalue the technological as much as capitalism does. This is not to argue in favor of any of these particular theorists, but to suggest that Fuchs’s claims would have been strengthened by devoting more time to considering the views of those who were critical of technology, capitalism and of Marxism. Social Media does an excellent job of confronting the ideological forces on its right flank; it could have benefited from at least acknowledging the critics to its left.

    Two other areas that remain somewhat troubling are in regards to Fuchs’s treatment of Wiki platforms and of the materiality of technology. The optimism with which Fuchs approaches WikiLeaks and Wikipedia is understandable given the dourness with which he approaches the corporate platforms, and yet his hopes for them seem somewhat exaggerated. Fuchs claims “Wikipedians are prototypical contemporary communists” (243), partially to suggest that many people are already engaged in commons based online activities and yet it is an argument that he simultaneously undermines by admitting (importantly) the fact that Wikipedia’s editor base is hardly representative of all of the platform’s users (it’s back to the “white boys with toys who love their toys”), and some have alleged that putatively structureless models of organization like Wikipedia’s actually encourage oligarchical forms of order. Which is itself not to say anything about the role that editing “bots” play on the platform or the degree to which Wikipedia is reliant upon corporate platforms (like Google) for promotion. Similarly, without ignoring its value, the example of WikiLeaks seems odd at a moment when the organization seems primarily engaged in a rearguard self-defense whilst the leaks that have generated the most interest of late has been made to journalists at traditional news sources (Edward Snowden’s leaks to Glenn Greenwald, who was writing for The Guardian when the leaks began).

    The further challenge—and this is one that Fuchs is not alone in contending with—is the trouble posed by the materiality of technology. An important aspect of Social Media is that Fuchs considers the often-unseen exploitation and repression upon which the internet relies: miners, laborers who build devices, those who recycle or live among toxic e-waste. Yet these workers seem to disappear from the arguments in the later part of the book, which in turn raises the following question: even if every social media platform were to be transformed into a non-profit commons-based platform that resists surveillance, manipulation, and the exploitation of its users, is such a platform genuinely just if to use it one must rely on devices whose minerals were mined in warzones, assembled in sweatshops, and which will eventually go to an early grave in a toxic dump? What good is a “classless (digital) society” without a “classless world?” Perhaps the question of a “capitalist internet” is itself a distraction from the fact that the “capitalist internet” is what one gets from capitalist technology. Granted, given Fuchs’s larger argument it may be fair to infer that he would portray “capitalist technology” as part of the problem. Yet, if the statement “a just society is a classless society” is to be genuinely meaningful than this must extend not just to those who use a social media platform but to all of those involved from the miner to the manufacturer to the programmer to the user to the recycler. To pose the matter as a question, can there be participatory (digital) democracy that relies on serious exploitation of labor and resources?

    Social Media: A Critical Introduction provides exactly what its title promises—a critical introduction. Fuchs has constructed an engaging and interesting text that shows the continuing validity of older theories and skillfully demonstrates the way in which the seeming newness of the internet is itself simply a new face on an old system. While Fuchs has constructed an argument that resolutely holds its position it is from a stance that one does not encounter often enough in debates around social media and which will provide readers with a range of new questions with which to wrestle.

    It remains unclear in what ways social media will develop in the future, but Christian Fuchs’s book will be an important tool for interpreting these changes—even if what is in store is more “barbarity.”
    _____

    Zachary Loeb is a writer, activist, librarian, and terrible accordion player. He earned his MSIS from the University of Texas at Austin, and is currently working towards an MA in the Media, Culture, and Communications department at NYU. His research areas include media refusal and resistance to technology, ethical implications of technology, alternative forms of technology, and libraries as models of resistance. Using the moniker “The Luddbrarian” Loeb writes at the blog librarianshipwreck. He previously reviewed The People’s Platform by Astra Taylor for boundary2.org.
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