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" "Money is a wonderful thing. It started out in human history as hard currency, generally gold or silver. These are commodities that are deemed to have intrinsic value but also act as a means of abstractly representing wealth accumulated out of other real commodities. Relatively little hard currency ever circulated freely in the preindustrial world. In that world, most wealth was actual, existing in the form of land, palaces, fleets of boats, bolts of cloth, barrels of grain, standing timber, herds of cattle, and so forth. These were generally things that could be traded, and exchanges of these items were often facilitated through the medium of gold or silver, hence the term "medium of exchange." [The] hard currency could also be acquired by theft or plunder, though that did not necessarily affect its value. Note that the value of [the] hard currency is transcultural. Gold and silver had high value to the Europeans, the Chinese of the Sung dynasty, the Inca, the Aztecs, the ancient Egyptians, and the California Forty-niners.
The industrial experiment took the idea of currency (money) to the next level of abstraction—as hard currency can represent actual goods, so paper currency can represent hard currency and actual goods. As trade increased and took place over ever-greater distances, paper promises to pay hard currency began to steadily take the place of the hard stuff itself, which was cumbersome, hard to lug around in large quantities, and subject to theft in transit. So, to streamline these trades, all kinds of certificates were used as equivalents to hard currency: individual IOUs, bills of lading, letters of credit from rich people, [and] promissory notes issued by guilds. In time, the use of paper certificates became… more normative and conventionalized. Protocols of exchange were established. Institutions were created to process them. This process of managing monetary affairs—of wealth abstracted in [a] paper—was called finance.
James Howard Kunstler (born October 19, 1948, New York City, New York) is an American author, social critic, public speaker, and blogger.
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The old high school complex itself was a 1970s-vintage modernist monstrosity, a U-shaped set of low-slung rectilinear boxes like ten thousand other schools around the nation from the period. Seeing the building usually made me deeply sad and even a little angry, the way that old refrigerator in my garden did. Its vision of yesterday's tomorrow seemed pitiful. Children like my Daniel and Genna had sat in those very box buildings under buzzing fluorescent lights listening to their science teachers prattle about the wonders of space travel and gene splicing and how we were all going to live to be a hundred and twenty-five years old in "smart" computer-controlled houses where all we had to do was speak to bump up the heat or turn on giant home theater screens in a life of perpetual leisure and comfort. It made me sick to think about [it]. Not because there's something necessarily wrong with leisure or comfort, but because that's where our aspirations ended. And in the face of what had… happened to us, it seemed obscenely stupid. Thinking about all that got me so agitated, I took off up the road. Motion is a great tranquilizer.
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The last 150 years have amounted to such a cavalcade of wonders and technological marvels that we’ve literally programmed ourselves to expect it will continue indefinitely. This sequence of events — the telephone, the light bulb, electricity in every home, airplanes, motion pictures, television, the computer, and thousands of other conveniences to human life—programmed us to think there’s an endless supply of technological magic that can overcome anything. I think we’re heading into a time-out from technological progress as we’ve known it—and by that, I mean just the way I’ve described it, the expectation of endless magic. And I think that will come as an enormous shock to our culture.