and repairing, testing and improving, applies at first only to the systems of an extended self, not driven by an autopoietic ‘l’art pour l’art’ but a self-suf.ciant digital craftmanship aiming at the expansion and optimisation of the entirety of the productive process through the recon.gurations, explorations and improvements of the individual units.
The power user is also a power consumer: she participates in an actual economy of cash to enjoy the updating of her
gadgetry, credit card payments of fiights and services, of storage and bandwidth costs. Checking prices online and evaluating the potential of new goods, reselling used equipment on online auctions, recommending and even customising to find new uses. The legal greyzones populated by power users, are an expression of opportunity and parasitical subversion of brutal market growth.
By joining peer-to-peer networks or fan-groups and exchanging warez and tips and tricks, the power user enhances the mere distribution of commodities, and turns them into a participatory, economically reproductive form of digital lifestyle.