The Producer as A Power User
The order which controls the life of the power user derives from a computerised form of self-discipline. In exchange for her submission she is granted access to the platforms of free exchange.
Her daily routines are structured by networked environments, the rhythm of digital media such as mobile phones, news blogs,
the permanent build-up of private archives, interrupted only by technical malfunctions, which are happily accepted as welcome challenges for individual creativity.
The power user is a voluntary fille clerk in the global open archives; her singularity is embedded into a truly encyclopaedic digital commons. Her contributions to the means of production are a necessary part of the general media architecture, which she keeps alive as a cultural infrastructure. To be productive, her contributions, private or public, critical or af.rmative, need to
remain free gifts to generate the surplus on which other advanced services and enclosures can be built upon.
The ambiguity of this low end info-communism in the eye of the hurricane of world wide integrated capitalism, has become
one of the major resources of the neo-liberal knowledge economy and can be described as both revolutionary and reactionary.