And so the story goes that a perfect gentleman, surrounded by animals – those that he kills for fun, those that keep him company, those that provide him with entertainment, those that he uses for sport, and those that he eats, all of them never to be moved from one category to the other – refuses one day to be deferential to power. he didn't just challenge a more powerful person than himself – he had done that a lot in his heyday. what he did was to confront power itself. the power that doesn't allow horses to be eaten, and accepts guinea pigs to be tortured for the advancement of knowledge, and doesn't encourage dressage with cows, or the abattoir to be turned into a bettable spectacle. And so he refused to be painted in this scene, surrounded by all these animals in their very strict functions of service to himself so as to avoid contributing to the food chain of power.
“So it was I had my first experience with the Accelerator. Practically we had been running about and saying and doing all sorts of things in the space of a second or so of time. (…) But the effect it had upon us was that the whole world had stopped for our convenient inspection.” H.G.Wells, 1901, The New Accelerator in Modern Short Stories, The growth of cities has created bigger opportunities for (and was in many ways led by) the production of new needs. With consequent increase in waste production. Part of this waste is the result of consumption: composed by materials and objects that were destroyed by human use or have decayed over time. But an increasing part of this waste is generated through symbolic processes, i.e., created by the production of consumption, by industries whose main products are new forms of desire. Since innovation is the main drive of economy, commodities are produced for worlds that do not exist yet, worlds which they will help shape. This power of transforma