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What is euphemistically called production is really consumption. The gigantic technical apparatus, that masterpiece of human ingenuity, could not rea… - Friedrich Georg Jünger
" "What is euphemistically called production is really consumption. The gigantic technical apparatus, that masterpiece of human ingenuity, could not reach perfection if technological thought were to be contained within an economic scheme, if the destructive power of technical progress were to be arrested. But this progress becomes all the more impetuous, the larger the resources at its disposal, and the more energetically it devours them. This is shown by the concentration of men and machines in the great mining centers where the mechanization of work and the organization of man are most advanced. The rationality of technology, so impressively displayed here, becomes intelligible only when one has understood the conditions on which it depends. Its concomitant is waste and contempt for all rationality in the exploitation of the resources on whose existence technology depends, as the lungs depend on air.
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About Friedrich Georg Jünger
Friedrich Georg Jünger (1 September 1898 – 20 July 1977) was a German writer and lawyer. He wrote poetry, cultural criticism and novels. He was the younger brother of Ernst Jünger. TOC
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Additional quotes by Friedrich Georg Jünger
And the rational mind which stands behind the machine and keeps watch over its automatic, mechanical motion–it too is hungry, and hunger follows it everywhere. It cannot shake off hunger; it cannot free itself from it; it cannot be stilled, however hard it may try. And how, indeed, could that be possible! This mind itself is consuming, gluttonous, and it has no access to riches; it cannot conjure up abundance. No effort of ingenuity, not all the inventive power that is brought to bear here can do it. For rationalization only sharpens hunger and actually increases consumption. This growing consumption is a sign not of abundance but of poverty; it is bound up with worry, want, and toil.
The machine invades the landscape with destruction and transformation; it grows factories and whole manufacturing cities overnight, cities grotesquely hideous, where human misery is glaringly revealed; cities which, like Manchester, represent an entire stage of technology and which have become synonymous with hopeless dreariness. Technology darkens the air with smoke, poisons the water, destroys the plants and animals. It brings about a state in which nature has to be "preserved" from rationalized thinking, in which large tracts of land have to be set apart, fenced off, and placed under a taboo, like museum pieces. What all museum-like institutions make evident is that preservation is needed. The extension of protected areas, therefore, is an indication that destructive processes are at work.
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The tale becomes utopian only when the writer leaves the sphere of technical organization – when, for instance, he tries to make us believe that these cities are inhabited by better and more perfect human beings; that envy, murder, and adultery are unknown; that neither law nor a police force is needed. For in so doing he steps outside the technical scheme within which he is spinning his fantasies, and combines it in a utopian manner with something different and alien which can never be developed out of the scheme itself.
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