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Fetishism of Digital Commodities and Hidden Exploitation: the cases of Amazon and Apple | Mute - The Silence of the Lambs anagrams

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The piece had already received a lot of attention, backlinks and comments when the news arrived. However, it obviously sky-rocketed to the status of "crucial" text as soon as the media landscape was filled with iGrief, and it kept attracting people when anonymous cultural activists "displaced" the discussion on iGrief by creating the "Steve Workers [4]" persona. The present English translation was done collectively on a Wiki page on Mauro Vanetti [5]'s website.

Many thanks to Mauro, SandorKrasna and all the guys who gave a hand. This version retains some additional mini-explanations Wu Ming 1 wrote for the French readers. We also inserted a few additional links that weren't in the original text but came up during the discussion. The article, resulting from months of interviews and direct checks, is being spread around the world and has gotten coverage from the New York Times and other mainstream media.

The picture is grim: And there is more. Read the whole piece, it is worth it. The key sentence was said by a former Amazon warehouseman: Judging by online comments, many people were taken by surprise, finding out for the first time that Amazon is a mega-corporation and Jeff Bezos is a boss who — as bosses customarily do — seeks profits at the expenses of any consideration for dignity, justice, and safety.

What I just wrote should be obvious, but it is not. These revelations are not about a company whatsoever: The Morning Call broke a charm. From now on, perhaps there will be more fact-checking, assertions will be properly verified, potential bluffs will be called. With the crisis getting worse and worse, the ranks of skeptics seem to increase.

Another typical case is Apple. Foxconn is a corporation in whose Chinese plants many digital devices are assembled, including iPads, iPhones and iPods. Last year, a wave of suicides among Humiliation fetish lesbian workers caused a brief sensation all over the world, before being silenced and covered up.

Actually, suicides started inand the phenomenon is not over the last confirmed suicide dates to last May; another worker allegedly killed himself in July. On the whole, about twenty Formal fetish event have committed suicide. Various inquiries and reports cited as likely causes the unbearable work pace, lack of human relationships in the workplace and psychological pressure from the management.

Sometimes things went beyond psychological pressure: He was suspected of the loss or theft of an iPhone prototype. What kind of solutions did Foxconn implement to prevent further tragic events? Well, they installed anti-suicide nets [9], for example. Military Management at Foxconn [10], the links collected in the Wikipedia page [11] and the video Deconstructing Strippers fetish sites [12]].

In that circumstance, many people spent the night in front of the store, in order to be admitted among the first into the Temple. Those people ignore the entanglement of work and death lying upstream of the brand they worship. Putting the largest possible distance between upstream and downstream is the quintessential ideological operation under capitalism.

Somebody even had the great idea of nominating the internet which, just like any other infrastructure and network, can be used for every purpose, including war for the Nobel Prize for Peace. This rhetoric conceals class, property, and production relations: Like the computers interconnected to form the Porn cartoons fetish babysitter. Behind the Virtual foot fetish of the Internet lies a set of definite social relations, and Marx means production relations, exploitation relations.

The net rhetoric hides these relations. It is indeed possible to talk about the Internet for hours, days, months, touching only marginally the issue of who owns it, who is really in control of the nodes, the infrastructure, the hardware. The pyramid of labour — including slave-like labour — incorporated into the devices we use computers, smartphones, ereaders etc.

Eveyday, corporations expropriate social wealth on the net, and oppress the working class at each Raquel fetish tv of the Earth behind the scenes.

I do have a Mac, and I work well with it. I also own an iPod, a smartphone with Android, and a Kindle. My job requires me to know and investigate the ways in which culture is shared and the net is used. As I will explain later, this essay does not focus on the behaviour of the individual consumer -- on which a diverting rhetoric has been built in the latest years -- nor it implies any accusation of moral "incoherence" against him or her.

What I am discussing here is the necessity of connecting online activism to the struggles that are taking place upstream, during the material production phase. Because of net-fetishism, the spotlight is always on the practices of liberation pervading the Internet — ie the kind of practices we Wu Ming have put time and effort into for twenty years —, which are customarily described as the rule. On the net, the Asian fetish tube of subjugation are the rule as much as the others.

In fact, if we want to nitpick, we should consider them the rule more than the others, if we take into account the genesis of the internet, which evolved from ARPAnet, a military computer network.

The question is not whether the net produces liberation or subjugation: Capitalism developed itself by setting individuals free from the old feudal bonds, and at the same time by imposing new kinds of subjugation to the controlled time of the factory, to the production of surplus value etc. Under capitalism, everything works like this: Therefore, the struggle should consist in fostering practices of liberation to be played against the practices of subjugation.

This can be done only if we stop considering technology as an autonomous force and realize that it is moulded and driven by property relations, power relations, and production relations.

If technology could develop outside of these relations, thanks only to its being innovative, the steam engine would have been adopted in the 1st Free anagram software fetish AD, when Heron of Alexandria invented the aeolipile [15]—-but the antique mode of production did not need machines, since all the necessary workforce was provided by slaves, and nobody could or wanted to imagine any concrete development of that invention.

The former accusation resounds in such phrases as: The latter is expressed in the form of such useless preaches as: Let us always remember Heron of Alexandria. His story teaches us that, whenever we talk about technology and about the Internet in particularwe are actually talking about something else, ie social relations.

Let us ask again then: And who are the exploited of the Net, and by the Net? It is not that difficult to find out: The Future of Politics [17]. Let us not deceive ourselves: Such work is elusive, unmeasurable in terms hours of work. Maybe the labour theory of value is liquidated too hurriedly. And yet, those who give this example shorten the cycle and single out the act of assembling an individual iPad.

It sounds like a serious methodological mistake to me. We should take into account the mass of work along the whole productive cycle of an entire batch of tablets or laptop computers, smartphones, e-readers, whatever. As Tuco correctly said [18] in the discussion thread in which this essay started to take shape:.

At first glance it could look like the intellectual work needed to develop the iPad software generates value by itself, irrespective of the rest of the productive cycle. But this would imply that the value generated by this intellectual work is independent from the number of iPads being produced.

Were it not part of a cycle that involves the production with Fordist methods of a hundred million iPads, this intellectual work would generate virtually no value at all. Start from the retrieval of raw materials like lithium. Without lithium there would be no rechargeable batteries in our gadgets. Apart from geopolitical issues, even earthquakes contribute to the mess [19]. This primary stage of the cycle is bound to get more complicated and require more and more labour.

Take into account the work and the harm suffered by those who work in the petrochemical industry producing the necessary polymers. Being these rapidly obsolescent commodities, and particularly, commodities whose obsolescence is planned, this work is already embodied in them since the beginning of the cycle. Taking all this into consideration, we will notice that a batch of iPads does indeed embody a large amount of labour shitty, exploited, underpaid, toxic toiland a large quantity of working time.

Without a doubt, the latter is socially necessary working time: Without this work, the applied general intellect that creates and updates software just could not exist. Therefore, it could not produce any value. It takes a tree to make a table, and it takes a factory worker to make a tablet —-and a miner before him, etc.

Without factory workers and their labour, no valorisation of digital commodities, no Apple stock quote would be possible. Whether a precise counting in terms of working hours is still possible, I cannot tell.

Let me repeat myself: I am not a political economist. The excerpt is particularly dense, since it was never edited for publication my italics and underlining:. This development of the productive power of socialised labour, as opposed to the more or less isolated labour of the individual, etc.

The mystification which lies in the capital-relation in general is now much more developed than it was, or could be, in the case of the merely formal subsumption of labour under capital. Let us look now for some current examples of this formulation: The best example of this subdued cooperation — and at the same time of an invisible work that is nor perceived as such — is offered by social media.

I am going to use Facebook as an example. It looks like Facebook wants to engulf the whole net to replace it. It is the social networking site par excellence, and therefore it offers us the clearest example.

Are you one of the and-something million Facebook users? Well, it means that you produce contents for the network every day: To put it short, Facebook exists and works thanks to all the people like you.

In fact, you actually work on Facebook. You work and do not earn—-others are making money with your work.

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He is best known for his style of harsh, confrontational noise exemplified on his release, Pulse Demon. Since , he has released over recordings, and has collaborated with various artists. The name Merzbow comes from the German dada artist Kurt Schwitters ' artwork Merzbau , in which Schwitters transformed the interior of his house using found objects.

The name was chosen to reflect Akita's dada influence and junk art aesthetic. In addition to this, Akita has cited a wide range of musical influences from progressive rock , heavy metal , free jazz , and early electronic music [1] to non-musical influences like dadaism, surrealism , and fetish culture.

As well as being a prolific musician, he has been a writer and editor for several books and magazines in Japan, and has written several books of his own.

He has written about a variety of subjects, mostly about music, modern art , and underground culture. Other art forms Akita has been interested in include painting, photography, filmmaking, and Butoh dance. Akita's work has been the subject of several remix albums and at least one tribute album.

This, among other achievements, has helped Merzbow to be regarded by some as the "most important artist in noise". Masami Akita was born in Tokyo , Japan on December 19, He listened to psychedelic music , progressive rock , and later free jazz in his youth, all of which have influenced his noise.

He later attended Tamagawa University to study fine art , at which he majored in painting and art theory. The earliest recording he made was Metal Acoustic Music. Various other early releases included Remblandt Assemblage and Solonoise 1. So, Akita released them himself, and recorded five more at home. Akita's earliest music was made with tape loops and creatively recorded percussion and metal.

I threw all my past music career in the garbage. There was no longer any need for concepts like 'career' and 'skill'. I stopped playing music and went in search of an alternative. Early methods included what he referred to as "material action", in which he would closely amplify small sounds so as to distort them through the microphone. Akita explained this as trying to "create the same feeling as the secret porn customer for the people buying my cassettes in the early 80s". During this era, Merzbow found much wider recognition and began making recordings for various international labels.

He also started touring abroad with the help of various collaborators. During the European tour in September—October , Merzbow could only bring simple and portable gear; this led to the harsh noise style Merzbow became known for in the s. It also includes live material recorded during the tour.

But when I started live in late s I didn't like to use tape on stage. I like only live electronics. So, my studio works changed to more live composition style. I'm still using many tapes in studio works, but difference is I treat tapes and instruments. Before, I used tapes as overdubbing concept. But now tapes are crashing together, no static overdub.

Beginning in the mids, Merzbow began to be influenced by death metal and grindcore. From , plans were made to release a "10 or maybe 12 " CD box set on Extreme Records. Throughout most of the s, Merzbow live was a trio with Reiko A.

Masami Akita occasionally played drums for Hijokaidan during the early—mid s. Return of the Dead Man. Uneasy Listening by Merzbow in Since , Akita has used computers in his recordings, having first acquired a Macintosh to work on art for the Merzbox.

Also at this time he began referring to his home studio as "Bedroom, Tokyo". Since , Akita started utilising samples of animal sounds in various releases starting with Frog. Around , Akita became a vegan , he stated how it began:. I started raising four bantams , the little ornamental chickens. With this experience as a start, I gradually started to be concerned and care about chickens and all the barn animals I used to eat without giving it a second thought before.

So I started reading books and researching on the internet about Animal Rights and that triggered an awareness of "evil" that human society has done.

During this period, Akita also became a supporter of PETA which is reflected in his animal-themed releases. Also in , Akita released Merzbeat , which was seen as a significant departure from his trademark abstract style in that it contains beat-oriented pieces. This has sparked some controversy among fans, [31] though some reviewers pointed out that it sounded very similar to Aqua Necromancer which features samples of progressive rock drumming. Starting in the mids, Masami Akita began to reintroduce junk metal and effects pedals back into his setup.

By the earlys, he was using a large number of pedals, oscillators and tone generators, and reduced to a single laptop running granular synthesis software.

In , Akita reintroduced the drum kit , his first instrument. At this time he changed the name of his home studio to Munemihouse.

Beginning in November , Merzbow started releasing archival material from the s and s, both reissues and previously unreleased material, several of which were released on cassette.

The Kibbutz cassette was reissued on vinyl by Urashima. Live in NYC , and Katowice. It is a double album, one disc is by Boris and one by Merzbow, that are meant to be played at the same time. Merzbow's sounds employ the use of distortion, feedback, and noises from synthesizers, machinery, and home-made noisemakers. While much of Merzbow's output is intensely harsh in character, Akita does occasionally make forays into ambient music.

Vocals are employed sometimes, but never in a lyrical sense. Contrary to most harsh noise music , Akita also occasionally uses elements of melody and rhythm. Akita's early work consisted of industrial noise music made from tape loops and conventional instruments. Similar to his present albums, he produced lengthy, disorienting pieces. He also became famous for the sheer volume of his releases. The avant-garde nature of Akita's work made acceptance by mainstream and unprepared audiences difficult.

When he performed with Kiyoshi Mizutani in at the Jazz-on-Amur festival in Khabarovsk, the Far East of USSR , his improvised, experimental electroacoustic set was praised by fellow musicians as well as the festival's producer.

The number of the - jazz-oriented and - even just curious - crowd, however, had been expecting a more traditional and much-much more quiet performance, and started walking out. Prior to his second performance at the festival — which was to be made to an even more conservative audience— [38] Akita was asked to play "more musically.

During the s Akita's work became much harsher and was generally mastered at a louder volume than usual. These were heavily influenced by death metal and grindcore bands of the time a prime example is the Venereology album. In addition to Merzbow, Masami Akita has been involved in a number of side projects and groups. After completing his degree, Akita became a freelance writer and editor for various magazines in Japan.

Excerpts appear in the Music for Bondage Performance album notes , underground and extreme culture including music and art , architecture, and animal rights.

None have been published in English. English title refers to English writing on the cover, sometimes it's a translation of the Japanese title, or a completely different phrase.

From Wikipedia, the free encyclopedia. Merzbow Masami Akita performing live at Moers Festival in Noise dark ambient drone free improvisation sound collage industrial. Effects units junk metal contact mic laptop synthesizer tape guitar drums percussion.

The Pleasuredome of Noise. Archived from the original on Archived from the original on March 14, Archived from the original on March 2, Archived from the original on May 15, Archived from the original on February 1, Retrieved August 9, Archived from the original on November 30, Retrieved April 24, Continuum International Publishing Group Inc. Uneasy Listening by Merzbow ".

Retrieved July 17, An Interview With Merzbow". Retrieved 18 July Eastern Noise of Perestroika"], manuscript, June 21, Archived from the original on July 18, Retrieved July 23, Retrieved July 11, Material Action 2 N. Batztoutai with Memorial Gadgets Antimonument. Ecobondage Enclosure Vratya Southward.

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