From the dawn of fire to the invention of the wheel, our agricultural revolution, and the latter industrial revolution, humankind’s unprecedented lust for advancement has changed the world beyond recognition. Whilst largely understood that societal advancement is a trade to the determinant of ecology and nature. In reality, what tends to be largely misunderstood by the majority of mainstream consumers, is the deeper, more eclipsed and far more complex inner mechanisms regarding the effects of consumption, and how far away humanity truly is from sustainability. All findings in this chapter will be examined through the lens of critical realism and will incorporate a series of mixed methodological findings where questions will be raised and data presented. Through these means, a more elaborate tapestry is to be formed and by the chapter’s end a greater understanding of social format consumption, through the lens of music mediums is to be unveiled. Moreover, no medium or technology is exempt from equal blame; you see it is our human condition that compels us with the desire for new. Nevertheless, dialogue in this chapter will primarily center around the music sector, predominantly that of data, suitability and the desuetude of contemporary technologies. All things change as all things must, and advancement is of unparalleled importance, and essential for our growth as a species, this can be seen from the humble piano sheet roll to the mobile listening devices that litter the pockets of billions. Yet with all our understanding, how is it that new mediums, mediums that created billions in tons of CO2, cannot be used with or interface with newer digital services? In what way did society accept that our far older technologies such as the VHS or vinyl can still complete their baseline function? Whereas devices little over 10 years old cannot. Even the Edison Tube or Reel-to-Reel video can deliver their data with the right perquisites. What changed? This leaves questions; Is this the plan? Part of the scheme of innovation? Or just a stark warning in the footnote of humankind’s urge for discovery, whilst leaving the pile of antediluvian technological waste in the review view mirror, hoping that future generations could clean up the clutter when the time is right. Or perhaps worse, when the end is nigh. You see it is paradoxical in nature, it is humankind’s desire for the qualities of faster, quicker, easier, simpler, and more intelligent, coupled with a misunderstanding of everlasting abundance, which facilitates the great misunderstanding of our time.

Our Obtuse Obsolescence: A Medium Theory Analysis of Format Consumption

章节
发表日期：

2026年

查看全文

Christopher Cohen

摘要

From the dawn of fire to the invention of the wheel, our agricultural revolution, and the latter industrial revolution, humankind’s unprecedented lust for advancement has changed the world beyond recognition. Whilst largely understood that societal advancement is a trade to the determinant of ecology and nature. In reality, what tends to be largely misunderstood by the majority of mainstream consumers, is the deeper, more eclipsed and far more complex inner mechanisms regarding the effects of consumption, and how far away humanity truly is from sustainability. All findings in this chapter will be examined through the lens of critical realism and will incorporate a series of mixed methodological findings where questions will be raised and data presented. Through these means, a more elaborate tapestry is to be formed and by the chapter’s end a greater understanding of social format consumption, through the lens of music mediums is to be unveiled. Moreover, no medium or technology is exempt from equal blame; you see it is our human condition that compels us with the desire for new. Nevertheless, dialogue in this chapter will primarily center around the music sector, predominantly that of data, suitability and the desuetude of contemporary technologies. All things change as all things must, and advancement is of unparalleled importance, and essential for our growth as a species, this can be seen from the humble piano sheet roll to the mobile listening devices that litter the pockets of billions. Yet with all our understanding, how is it that new mediums, mediums that created billions in tons of CO2, cannot be used with or interface with newer digital services? In what way did society accept that our far older technologies such as the VHS or vinyl can still complete their baseline function? Whereas devices little over 10 years old cannot. Even the Edison Tube or Reel-to-Reel video can deliver their data with the right perquisites. What changed? This leaves questions; Is this the plan? Part of the scheme of innovation? Or just a stark warning in the footnote of humankind’s urge for discovery, whilst leaving the pile of antediluvian technological waste in the review view mirror, hoping that future generations could clean up the clutter when the time is right. Or perhaps worse, when the end is nigh. You see it is paradoxical in nature, it is humankind’s desire for the qualities of faster, quicker, easier, simpler, and more intelligent, coupled with a misunderstanding of everlasting abundance, which facilitates the great misunderstanding of our time.