But also homogeneous consumers by Nathan Jones

Mass production requires not only homogeneous goods and services, produced by the same molds and processes, but also homogeneous consumers, who cannot vary in their tastes, values, and patterns of consumption and who must consume if the planning of the corporations is to be effective. The comparatively compact and differentiated institutions of the bourgeois order sustain its heterogeneity and constrain the consumption of mass-produced goods and services. Managerial capitalism must therefore articulate and sponsor an ideology of cosmopolitanism that asserts universal identities, values, and loyalties, challenges the differentiations of the bourgeois order, and rationalizes the process of homogenization. In the cosmopolitan view of man, family, local community, religious sect, social class, sexual and racial identity, and moral character are at best subordinate considerations and are regarded as artificial, repressive, and obsolete barriers to the fulfillment of human potential. Cosmopolitanism thus rationalizes the adoption of the mass framework and collective disciplines that characterize the managerial regime and the homogenization of production and consumption through which the multinational organizations and economies of managerial capitalism operate.

– Samuel T. Francis in Leviathan and Its Enemies (2016)

Save that which death has put there by Nathan Jones

The old man went on to say that the hunter was a different thing than men supposed. He said that men believe the blood of the slain to be of no consequence but that the wolf knows better. He said that the wolf is a being of great order and that it knows what men do not: that there is no order in the world save that which death has put there. Finally he said that if men drink the blood of God yet they do not understand the seriousness of what they do. He said that men wish to be serious but they do not understand how to be so. Between their acts and their ceremonies lies the world and in this world the storms blow and the trees twist in the wind and all the animals that God has made go to and fro yet this world men do not see. They see the acts of their own hands or they see that which they name and call out to one another but the world between is invisible to them.
— Cormac McCarthy in The Crossing (1994)

My review of the Minolta XE now published by Nathan Jones

Several weeks ago, I was drawn to investigate Minolta cameras after learning about the  historical collaboration between the Japanese manufacturer and Leitz, which, beginning in the early 1970s and spanning approximately two decades, birthed the XE and XD cameras as well as the Leica R3-R7 series of SLRs. Having spent about 18 months shooting the R7 quite religiously—with varying results—and a couple experimenting—pleasantly—with the radically different R8 (review to come), I was intrigued to discover what the Japanese siblings of the R3 and R4 had to offer, both technically in their own rights as picture-making tools and as lessons in the history of Leica photography. Therefore, I went ahead and purchased decent, though not mint, copies of the Minolta XE-1 (1974; badged for the European market, marked XE in Japan and XE-7 in North America) and XD (1977; badged for the Japanese market, marked XD-7 in Europe and XD-11 in North America). I do not yet own R3 and R4 bodies with which to compare them (that’s a topic for another article), so I will review them independently of the Leica cameras. This article deals exclusively with the Minolta XE.

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