The history of a product is told by the marks of its making. The stamps and seals of an object once encoded an originary identity connected to an individual craft hall and craftsperson, promising that an object had been “made in” Sheffield, for example, or Solingen. But beyond these obvious indications was the language of assembly itself: The unfinished sides, unraveled threads, and slips of hammer and chisel that until recently marked our manufacture. Heavily accented and regional, this was a kind of communication visible to all but comprehensible only to craftspeople. These were the human signs of production.
I recently came across an interesting post Andrew James Myers produced as part of his participation in Henry Jenkin’s PhD seminar on Public Intellectuals. Myers writes about the visual representations Apple deploys to narrate that consummate object of modern consumption, the iPhone. As Myers writes: Apple’s recent release of two new iPhone models — the […]