Radical changes of our cultural values in the near future are inevitable, since the current culture is ecologically unsustainable. The present proposal, radical as it may seem to some, is accordingly offered as worthy of consideration. The main section of this article is on a proposed scheme, named Asset and Income Limits, for instituting maxima to the legitimate incomes and assets of individuals. This scheme involves every individual being associated with two bank accounts, an asset account (their own property) and (...) a holding account (held in escrow). Other parts of the advocated change in economic landscape are a radically different understanding of the concept of work and the introduction of a basic income. The roles of technology and culture, in creating both the opportunities and the obstacles to a transformation of society, are discussed. Non-monetary, non-convertible rewards for exceptional contributions to society are described. The scheme enhances freedom, being neutral in relation to many other value systems, such as the secular/sacred spectrum. The qualitative versus quantitative dichotomy is addressed, and it is concluded that the most that can be said of a just and sustainable society that has yet to be created is that the maximum income should be no more than one order of magnitude greater than the basic income, that is ~10 times at the most. Incentives for profitable employment would still be sufficient, and paying the basic income out of taxes on sales and/or non-basic income would be feasible. (shrink)

Using theories by Pierre Bourdieu and the Frankfurt School that causally link art to class interests, this article examines the differential development of modern architecture in the United States and central Europe during the early 20th century. Modern architecture was the aesthetic expression of technocracy, a movement of the new class of professionals, managers and engineers to place itself at the center of rationalized capitalism. The aesthetic of modernism, which glorified technology and instrumental reason, was weak and undeveloped in the (...) US, because this class defined by its cultural capital was quickly integrated into modernizing corporations, where it was compelled to cater to the emerging mass market and drop its distinctive aesthetic. Modern architecture emerged mainly in interwar central Europe, because here industrial modernization was blocked, forcing the new class to pursue an alliance with state managers pushing modernization. Thus unencumbered by the demands of the mass market, modern architects were free to express their machine aesthetic in state-financed housing projects. (shrink)

The ArgumentThe avant-garde's fascination with technology around 1900 grew out of several motivations: to shock the antitechnological bourgeois public; to experience a sense of mastery toward the material world, especially with cars, airplanes, and other machines; and to overcome the nineteenth-century separation of art and technology. The article highlights the radical shifts in the perception of technology that correspond with the emerging hands-on encounter with technological objects in homes, cities and at the workplace at the turn of the century. This (...) technological fundamentalism differed sharply from the anxious and symbolically mediated approach to the “materialism” of the machine in the nineteenth century. It was accompanied by a concept of liberation through technological purity which is reflected by the fact that Gropius, Mies van der Rohe and Corbusier did not just design functional objects but also made special efforts to accentuate their functionalism as part of the aesthetic experience of modernity. As French and Italian artists, especially the Futurists, incorporated speed, virility, and the experience of the elementary in the metaphoric construction of technology, they even expressed a kinship with those painters and sculptors who shifted their focus to the rediscovery of the “primitive” magic in the art works from Africa and Polynesia. (shrink)

This essay traces the increased centrality of technology to social life across the period of modernity. It examines major shifts in thinking about technology which underpin the shift from industrial to post-industrial society, and the emergence of concepts such as ‘technoscience’ and ‘technoculture’. It argues that a critical analysis of technology must probe the way that histories of technological progress have been implicated in colonial hierarchies privileging the West. In examining the extension of technology from machines that make things to (...) ‘machines that think’, including biotechnology and computerized ‘aritificial life’, something implied in every historical iteration of technology is laid bare: defining the technological activates the border between nature and culture, and goes to the heart of what it means to be human. (shrink)

This text reflects cultural techniques in relation to other concepts in cultural and media studies by addressing their relation to selected Anglo-American and French discussions. It also investigates the relation of cultural techniques to more recent material and speculative turns. Suggesting that the cultural techniques approaches introduce their own important material dimension to media-specific analysis of culture, the article argues that cultural techniques should be read in relation to recent post-Fordist political theory and explorations of the post-human in order to (...) develop conceptual hybrids that are able to inject politics into media theoretical accounts, as well as excavate histories of cultural techniques of cognitive capitalism. (shrink)

People tell stories. In stories, the narrator and the receiver can perceive meanings. These meanings can be analyzed again through larger interpretative framings. In this article, different ethical uses of the golem story are analyzed by making use of some of Jörn Rüsen’s ideas concerning historical thinking and narration and with a focus on the uses of the golem myth in studies and discussions on new and emerging science and technology.