Grasping Employed Devices (04.20.2002)
In order to focus this inquisition, certain knowledge must be assumed and presuppositions made. Without these things assumed, it would be a distraction of far too great a magnitude towards this essay. Therefore, it is to be taken as a matter of course that the following information is to be known in the proceeding paragraphs. A familiarity with the work of Albert Borgmann is the key here, particularly his Technology and the Character of Contemporary Life, as that is a major support in this argumentation.
More specifically, it is to be presupposed that some of Borgmann’s points are agreed upon. Borgmann argues that an asymmetry exists between humans and technology, as “the most common critique of technology alleges an unhappy imbalance to technological means and ends,” (Borgmann 57). Furthermore, he also states that the remedy to such an asymmetrical existence lies in the disclosure of focal things via the use of deictic discourse. This is most evident when Borgmann writes that:
Seeing these difficulties clearly, we can hope to speak in a principled and forceful way about the good life when we allow ourselves to be guided by focal things, matters of ultimate concern that are other and greater than ourselves. (Borgmann 169)
Any other explication towards the furthering of these notions are to be assumed as agreed to. This does not mean, however, that these points are of little significance, as a disagreement with them is to result in a disagreement with the remaining conjectures herein. Thus, it is vital that these be understood and believed to be true.
The notion of focal things is a powerful one and may indeed be a force that will shape the future of our technological existence. Still, it may not be enough. It is important to have a back-up plan, if you will, in order to sustain the ideology of focal things and to help in furthering it. The conjecture here is that focal things may not be sufficient in breaking the barrier of disengagement from the world through an existence in technological reality. Moreover, it is argued here that the assistant facilitator to things is to be an understanding of technology.
In other words, this understanding of technology is to be of a specific kind. It is a diminished ignorance of technology, a comprehension, or grasp, of the specific type of technologies that are being utilized. This use of technology is also to be of a specific nature. The inference is to the employment of the exact kind of devices, as Borgmann uses the term, that are at the forefront of our life’s pursuits. It is this type of grasp of the devices in our employment that is to facilitate the focal practice, and that notion is to be explained in greater detail as we proceed.
The grasp of employed devices, as stated, is to be specified by the very devices in our employment. This means that, in the same way in which a restriction is imposed on ourselves, and by ourselves, in the direction we wish to take our lives in terms of study and career, we are to impose those same restrictions on the devices that are to be comprehended as dictated by our employment of them in those same things we study and pursue as careers.
In order to proceed, however, an examination of focal practice is necessary. The demonstration Borgmann’s theory of focal things, or practices, is to be examined in light of Tai Chi.
First, Tai Chi, the old Chinese art that is a culmination of martial art and a form of exercise for both body and mind, can be applied to Borgmann’s general characterization of a focal thing. He states that focal things are “inconspicuous and humble,” “scattered and of yesterday,” and they “flourish at the margins of public attention,” Borgmann 199). Tai Chi is humble, in that its chief focus is not self-defense, but a fortification of the body’s general well-being. It is inconspicuous because it is not something that people boast about, and it is not something which is as widely known of; while at the same time being something which is practiced by many, in small groups, or in privacy, or at hours during which the technological world is quiet. Thus, it is also scattered, as it is practiced by people all over the world, and in the most mundane of times and places. Tai Chi is of yesterday, as it is an art which has its origins hundreds of years ago, and only those who have come to a maturity of thought within them see the true value in it and have the patience to do it. The practice is not glamorized by the entertainment industry, and is not a high point of controversial debate. It is not in the focus of the media, and so it is at the margins of public attention.
Also, Borgmann goes further to say that things “neither rival nor deny technology,” and that they “attain a new splendor in today’s technological context,” Borgmann (200). So too, the art of Tai Chi does not impose a new system of rules for technology to function under, and so does not rival it. It has no statement to the negativity of technology, in which it does not deny it.
The practice “attains a new splendor in today’s technological context,” in that it provides respite from a technologically stressful existence, and promotes one’s well-being (200). Tai Chi stands in contrast to the tumultuous amounts of information, errands, and responsibilities of the busy technological citizen with its simplicity, focus, and guidance through the former. Borgmann claims that things “can prosper in human practices only,” (Borgmann 200). This is obviously true of Tai Chi, as only humans can undertake in such an activity, and without humanity the practice has no essence and does not exits.
Furthermore, as Tai Chi provides respite from technology, it can “stand in a fruitful counter-position to technology,” (Borgmann 200). It demonstrates an existence not dictated by technology, and challenges us to realize our potential within its context. As stated earlier, it also functions as guidance through the technological conundrum of impositions. Tai Chi is “beyond the procurement of technology,” as technology has no value in its practice (Borgmann 200). Though, even if one endeavors to assimilate the practice into technological servitude, it is quickly realized that all the benefits of the art are lost and its essence vanishes.
Borgmann notes that focal things can “teach us to accept and appropriate technology,” and the regular practice of Tai Chi can do so in a realization of the benefits of true disburdenment technology provides (Borgmann 200). Thus, in turn, enabling us to engage in the practice of Tai Chi if so desired.
So too, in returning to the discussion of employed devices, the provision of a definitive instance of what is meant by employment of devices dictated by study and work, is an examination of the musician. The career pursuit of a musician, which can certainly take many turns, is to be related to devices no matter its course. The choice of the musician as an instance here is in part due to the fact that music can be deemed as a focal practice in accordance to the preceding examination of focal practice.
The musician employs various devices for recording, sampling, digital enhancement, composition, and as a direct instrument for live performance. Specific devices employed by musicians include a number of electric instruments such as electric guitars and violins, synthesizers, amplifiers, and software for composition and editing. In the May 2002 issue of Wired magazine, Pat Blashill writes an article entitled “Six Machines That Changed The Music World.” What concerns this inquiry is that the article produces six examples consisting of a synthesizer, drum machine, turntable, equalizer, and a sampler. The first of these came onto the music scene in 1982, and all of them are commonplace in the professional musicians studio. Nevertheless, ability to actually use these tools is certainly subject to a learning curve.
In this particular case, the musician employs these devices with his knowledge of music and a specific grasp of these devices that are of very complex nature. The musician, however, can employ these devices, and usually does, to further the focal practice of music that engages the musician.
As another instance of how this comes about, another focal practice can be taken into consideration. An artist, engaged in the focal practice of creative art making, also employs numerous devices at work. In fact, the artist relies on technology more directly than the musician, as the very mediums used are technological in nature. A painter employs paint which has been manufactured. Especially today, most painters use acrylic paints more than oils, tempera, watercolor, or other paints. Acrylic paints, specifically, are manufactured from fossil fuels, as they are synthetic, and a form of plastics. The device of a camera is one which has brought about an entirely new art form, namely photography. Sculptors depend on electric tools in the contemporary setting of using contemporary materials that are technologically available, which include metals, plastics, as well as various refuse. However, all artist that make art their profession use photography as a means of representing their artwork to the world. Whether this photography is in analog or digital form, the artist employs its service in the making of slides, prints, multimedia presentations, online portfolios, and storage of images for archival purposes. The utility of the reproductive image, though it is true that it is made more available, it also allows for a greater amount of people to become exposed to this material. Such and exposure may at times be the only exposure certain individuals may ever get.
Other specific devices employed by the artist include scanners, printers, a number of chemical solutions for film development and as mediums in mixed media artwork, as well as software for photo-editing, rendering, and web creation tools. In this case, once again, only the knowledge of art being pursued by the artist lends the proper knowledge to employ the devices in question. Here too, the devices employed are used so towards the betterment and improvement of the focal practice of the art, and are employed as a means only and not an end in themselves. The artist knows that it is not the device that is the creator of the art, as it is no less a tool than the paintbrush or the pottery wheel.
Borgmann states the bifurcation between means and ends in modern technological society. He writes that “the critics of the machine made their point by saying that the machine had emancipated itself from the position of a servant or means to that of a master or an end,” (Borgmann 57). His analysis goes to provide the understanding of means and ends in terms of machine and commodity. As technology advances, our digital cameras become smaller and can increasingly take more and better quality pictures. And, as stated initially, this presents an asymmetry between the machine that is the ungrasped means towards the always familiar end. Thus it is to be the grasping of the employed device that is to help in disseminating the bifurcation between the means and the ends. This grasp of the employed device whose very employment is dictated by the course of study and career in an individual’s life, the same study and career which facilitates the grasp of the device, is to be the facilitator of dissemination of the machine and commodity asymmetry. As this asymmetry is disseminated and returned to a more symmetrical relationship, the grasp of employed devices is also to facilitate the focal practice itself. The facilitation is to be a sustaining force and an assistant of the focal practice.
In other words, as we choose to study a field, and then choose to work in that field, certain technologies become prevalent in that particular field of work or study. These technologies require a definite knowledge of the field being worked in or studied, which enables the employment of these technologies. However, those technologies are learned and employed toward an end which is one of independent nature out of the particular field. Thus the technologies are employed towards the betterment and improvement of the field in question.
Though it is true that not all fields of work and study are of a focal nature, a number, such as the previous examples of the musician and the artist, are focal practices. So it is to be understood that the grasp of employed devices is to facilitate a focal practice, given that a focal practice is being pursued in the first place. To those who care not for focal practice, even if a grasp of employed devices is attained, it will not initiate a disclosure of the focal thing or practice. As written first off, an agreement is to exist that focal things are disclosed by use of Borgmann’s deictic discourse. It is only this discourse of revelatory nature that initiates the understanding and care for the focal thing, and the grasp of employed device is a facilitator of the focal thing. In the case that deictic discourse does not provide enough disclosure, the grasp of employed device may be a facilitator in that disclosure, but its main achievement is the leveling of the machine and commodity bifurcation.
However, the leveling of this bifurcation, or asymmetry, has another purpose. Ultimately, through the grasp of employed devices, as the technologies that are being utilized are understood more fully, a greater appreciation for those technologies is fostered. This fostering also includes a gratitude for those technologies, and a gratitude for the things which we are being disburdened from. As in the case of information technology in application for the artist, an online portfolio is a disburdenment from the necessity to carry large amounts of hard copies of works to galleries or employers. These works can be easily shared with everyone. Many artist can appreciate this availability and are grateful for it. With such a development of appreciation and gratitude, technology can ultimately be appropriated in the way which Borgmann finds in to be necessary. “The turn to things cannot be a setting aside and even less an escape from technology but a kind of affirmation of it,” says Borgmann (Borgmann 200). The ultimate goal of such a reformation of our society is to produce technology in the service of things, enabling us to live focal lives with focal things and practices as the groundwork of our existence in this world.
Works Cited
Borgmann, Albert. Technology and the Character of Contemporary Life. Chicago: The University of Chicago Press, 1984.
Blashill, Pat. “Six Machines That Changed The Music World.” Wired 10.05 May 2002: 105-109.
