Last time, I set up a topic by reading Brett Frischmann’s and Paul Ohm’s “Governance Seams.” Governance seams are frictions and inefficiencies that can be designed into technological systems for policy ends. In this regard, “Governance seams maintain separation and mediate interactions among components of sociotechnical systems and between different parties and contexts” (1117). Here I want to suggest that governance seams have a very close relation to phenomenological ones. To get there, let me take a detour into an older philosophy of technology paper, Albert Borgmann’s “Moral Significance of the Material Culture.” Borgmann is concerned with what he takes to be the way that moral and ethical theory ignore material culture, whether they emphasize theory or practice. Via a paper by Csikszentmihalyi and Rochberg-Halton, he arrives at a distinction between things that he calls “commanding” and “disposable.” The moral complaint is about the “decline of commanding and the prominence of disposable reality” (294). Following them, Borgmann distinguishes between a musical instrument and a stereo.
“A traditional musical instrument is surely a commanding thing,” he writes:
“It is such simply as a physical entity, finely crafted of wood or metal, embodying centuries of development and refinement, sometime showing the very traces of its service to many generations. An instrument particularly commands the attention of the student who, unless she is a prodigy, must through endless and painstaking practice adjust her body to the exacting requirements of this eminently sensitive thing.” (294)
After some more similar description, emphasizing the multisensory experience of witnessing someone play an instrument, he turns to the stereo. Certainly a “stereo produces music as well or, in fact, much better” and some stereos are big. Nonetheless, “as a thing to be operated, a stereo is certainly not demanding. Nor do we feel indebted to its presence the way we do when we listen to a musician. We respect a musician, we own a stereo” (295). The stereo is on the rise, perhaps because “the history of the technology of recorded music is the history of obliging ever more fully the complaint about the burden and confinement of live music,” or “more positively” it is a “promise to provide music freely and abundantly” which is tied to “the promise of general liberty and prosperity – the promise that inaugurated the modern era” (295).
