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[56]Commentary [57]Cory Doctorow [58]Features [59]Slider

Cory Doctorow: Science Fiction is a Luddite Literature

[60]January 3, 2022December 29, 2021 [61]locusmag [62]0 Comments
[63]Cory Doctorow
Headshot of Cory Doctorow outdoors Photo by Paula Mariel Salischiker

From 1811-1816, a secret society styling themselves “the Luddites”
smashed textile machinery in the mills of England. Today, we use
“Luddite” as a pejorative referring to backwards, anti-technology
reactionaries.

This proves that history really is written by the winners.

In truth, the Luddites’ cause wasn’t the destruction of technology – no
more than the Boston Tea Party’s cause was the elimination of tea, or
Al Qaeda’s cause was the end of civilian aviation. Smashing looms and
stocking frames was the Luddites’ tactic, not their goal.

In truth, their goal was something closely related to science fiction:
to challenge not the technology itself, but rather the social relations
that governed its use.

The critique of Luddism as anti-technology is as shallow a reading of
the Luddites as the critique of science fiction as nothing more than
speculation about the design of gadgets of varying degrees of
plausibility.

In truth, Luddism and science fiction concern themselves with the same
questions: not merely what the technology does, but who it does it for
and who it does it to.

The Luddites were textile workers – skilled tradespeople who enjoyed
comfortable lifestyles because they commanded a hefty portion of the
money generated by the product of their labor. What’s more, it took a
lot of labor to weave fabric, and as a result, cloth was incredibly
expensive, as were clothes, naturally.

The advent of textile automation upended everything. It didn’t just
reduce the amount of labor that went into a yard of cloth – it also
created unprecedented demand for wool (leading to the mass eviction of
the tenant farmers to make way for sheep) and cotton (supercharging
global slavery).

Textile automation also produced a lot of textiles (obviously). These
were cheaper and often finer than the textiles they replaced, and
transformed ready access to clothing of all sorts from a luxury for
elites into something working people came to expect.

You really couldn’t ask for a more science-fictional setup: someone
invents a couple of gadgets and everything changes. A whole industry of
skilled workers is threatened. Ancient settlements are razed and
replaced by sheep, their residents turned into internal refugees,
wandering the land. Slavers sail around the world, murdering and
enslaving distant strangers to feed the machine. The entire material
culture of a nation is transformed. Guerilla warfare breaks out.
Machines are smashed. Factories are put to the torch. Guerrillas are
captured and publicly executed. Blood runs through the streets.

The Luddites weren’t exercised about automation. They didn’t mind the
proliferation of cheap textiles. History is mostly silent on whether
they gave thought to the plight of tenant farmers at home or enslaved
people abroad.

What were they fighting about? The social relations governing the use
of the new machines. These new machines could have allowed the existing
workforce to produce far more cloth, in far fewer hours, at a much
lower price, while still paying these workers well (the lower per-unit
cost of finished cloth would be offset by the higher sales volume, and
that volume could be produced in fewer hours).

Instead, the owners of the factories – whose fortunes had been built on
the labor of textile workers – chose to employ fewer workers, working
the same long hours as before, at a lower rate than before, and
pocketed the substantial savings.

There is nothing natural about this arrangement. A Martian watching the
Industrial Revolution unfold through the eyepiece of a powerful
telescope could not tell you why the dividends from these machines
should favor factory owners, rather than factory workers.

The Luddites did what every science fiction writer does: they took a
technology and imagined all the different ways it could be used – who
it could be used for and whom it could be used against. They demanded
the creation of a parallel universe in which the left fork was taken,
rather than the right.

That is many things, but it is not technophobic. Using “Luddite” as a
synonym for technophobe is an historically insupportable libel.

We’re living in quite a Luddite moment, as it happens. Many of us are
contesting the social relations surrounding our technologies: should we
continue to subsidize big agriculture? Should our cities continue to be
organized around cars? Should tech giants be permitted to continue to
gobble up each other and their small competitors, reducing the internet
to “five giant websites, each filled with screenshots of the other
four?” (to quote Tom Eastman).

Some of that contestation is taking place in the streets, some at the
ballot-box, some in boardrooms; some is happening at high-level
meetings like COP26 in Glasgow. To mangle William Gibson’s rallying
cry, the street is desperately asserting its right to find its own use
for things.

Luddism is the key to resolving the tension in some of our most
important labor and technology debates. For example, labor economists
have long decried automation as “de-skilling” – a way to decompose
skilled labor into a series of easy tasks, which weakens the bargaining
position of workers by allowing employers to replace them more easily.

But automation isn’t solely disempowering: it also lifts people up.
Today, thanks to automated machining tools like CNC mills, someone with
very little training can do a lot of fine machining for themselves,
without having to bother a skilled machinist. Democratizing access to
the means of production isn’t intrinsically anti-labor – it’s only bad
for workers when the bounty of automation is disproportionally
allocated to a small number of capital owners, and not workers.

The history of science fiction is rife with stories of people who seize
the means of production. The classical “problem story” – in which an
engineer has to figure out how to repurpose some machine or system to
make it work in ways its creator never intended – is, at root, a story
about technological self-determination. It’s a story that says that the
person who uses the machine matters more than the person who designed
it or bought it.

You don’t have to go turn to cyberpunk to find this ethic: when a
Heinlein character like Kip Russell uses duct-tape and ingenuity to
save his friend’s life on the lunar surface in Have Spacesuit, Will
Travel, he’s unilaterally remapping the social relations of the
technology he depends on, as a matter of life and death. Kip Russell is
a Luddite, convinced that his own welfare is more important than the
intentions and choices of the company that made his spacesuit.

The difference between de-skilling and democratizing isn’t what the
gadget does – it’s who it does it for and who it does it to. Imagining
new ways of arranging those factors is profoundly science fictional.

The Luddites weren’t merely science fictional, either. They took their
name from King Ludd, or Captain (or General!) Ludd, a mythological
titan who supposedly led their shadow army. The Luddites spun tall
tales about this leader and signed his name to letters to the
newspapers and to factory owners. King Ludd was a creature out of
fantasy – an imaginary giant who was often depicted as towering over
the factories that were the object of the Luddites’ rage.

A secret society bent on remaking the social relations for technology,
who claimed to be led by a mythological giant? That’s fannish as hell,
a Golden Age fantasy/SF crossover worthy of an Ace Double.
__________________________________________________________________

Cory Doctorow is the author of Walkaway, Little Brother, and
Information Doesn’t Want to Be Free (among many others); he is the
co-owner of Boing Boing, a special consultant to the Electronic
Frontier Foundation, a visiting professor of Computer Science at the
Open University and an MIT Media Lab Research Affiliate.
__________________________________________________________________

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reflect the opinions of Locus.

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