Conspicuous Non-Consumption

The recent reveal by a number of Chinese companies that they were behind the manufacture of goods for high-end luxury brands like Hermes and Lululemon, and that consumers were vastly overpaying for the goods relative to the actual cost of materials and labour that went into their production led me to recall the idea of a Veblen Good, and the role that they play in Conspicuous Consumption.

Of course, the very idea of Conspicuous Consumption leads one to infer that we might have other versions of that formulation. What is the opposite of it? What would that look like? Much like our look last summer at Nescience and Excession, we can break it down…

Conspicuous Consumption: this is the place where your Veblen goods reside, items used for displaying ones membership in the leisure class (and up). The material goods that are part of this are fairly well-studied and understood, but there are some other “lifestyle” options that some might not recognize as Conspicuous Consumption as well. The whole “trad” movement (trad life, trad wife, etc.) would fall in here, as would various overconsumption movements like quiverful or polygamous groups.

And the form of Conspicuous Consumption can vary as well, based on culture: CC in urban areas, with designer goods, may look different than CC is rural ones, where an outsized RV or a boat, or even owning horses, serves the same purpose as having a backyard swimming pool or a kid in hockey (as opposed to soccer or something).

Inconspicuous Consumption: This is where basic needs are met, or if you’re in a luxury market or a higher tax bracket, you have the good sense not to let on too much. This can be where the consumption “just happens”, or it is subsumed in the background, and is just shown through use (I’m thinking of music instruments or computer gear here specifically) and lacks the branded hyper-specific consumption seen above.

Inconspicuous Non-consumption: The land of ghosts, the place of no comment and no return. Of people passing by and saying “not for me”, and go about their lives not doing things. This is fine of course, you’re not owed anything, but it can sometimes be tough on the producers’ side to understand why people aren’t picking up what you’re putting down. Still, this is relatively innocuous as far as positions go.

And finally, the worst:

Conspicuous Non-consumption: This is the the realm of aggro and internet arguments. The land of `1-star Yelp reviews. The place where the haters dwell, where hate-watching was born. A place where the vegan crossfitters who don’t even own a TV will let you know all about their life choices. This place is the worst.

I hate that I’m stuck here.*

But there’s so much of it. Because if consumption is a performative act, then not-consuming something becomes performative as well, as the antithesis of it. I feel like it arises from a desire, and a lack, so there’s likely something very Lacanian about all of it. The desire, of course, is in both wanting something to be better, so choosing not to use it becomes an element of identity, and then a desire for recognition of your explicit choice not to do something, which may be something that the Non-Consumer has chosen on what they perceive to be moral, ethical, ideological, or other grounds.

The decision not to watch TV (as an example), or eat meat, or any of these other actions that are assumed as something that everyone does, as part of the culture one belongs in, needs to be communicated to others (and sometimes reinforced for the self) to let them know about the “rightness” of one’s actions. If one truly didn’t care about using Generative AI (for a different example), one would just go about one’s day not using it, like with the rest of the Inconspicuous Non-consumption above.

It’s the telling that’s the key.

And because it takes on that tone of preaching and/or proselytization, it becomes irksome quickly. Hopefully it isn’t the sole defining fact about one’s identity, and that it can be something that is only mentioned in passing when relevant, rather than constantly shouted from the rooftop.


*: with respect to certain things, like Substack being awful, and Spotify too, and a fair few other things. Feel free to let me know if I get too preachy.

New on the Bookshelf – April 2025

A number of titles have come in, from the usual used and remaindered sources. Let’s have a look, and capture the theme and reasons why I got them.

24/7, Jonathan Crary (2013)

We’ve mentioned this a few times before, most notably in the “Cult of No-Sleep” in Issue 7 of the Implausibility Newsletter back in February, but I didn’t have a hardcopy in hand. So when this showed up as a deal, I had to grab a copy. It’s an insightful book; we’ll do a few review here soon.


The Devil in the White City, Erik Larson, (2003)

A historical non-fiction look at the Chicago World’s Fair, intertwined with the account of a serial killer during the Gilded Age. I grabbed this due to a recent mention of it somewhere (I’ll blame BlueSky), and I’m curious to how it reads, even though I’m not really enthused to read serial killer fiction. To be honest, this might site on the TBR pile for a while…


It’s Complicated, danah boyd (2014)

boyd’s work looks at the intersection of youth and online spaces, and this work is a more recent summary of the some of her earlier work, arguing that youth actually do find meaningful interactions online (contra to a lot of the doomer narratives that are presented in mass media), and are using the tools in ways that suit their needs. As the title suggests though, there’s a lot more nuance to the topic than is largely thought. Looking forward to reading this.


American Cosmic, D.W. Pasulka, (2019)

This remaindered title looked interesting, an ethnographic study with those who believe in extraterrestrial intelligence, and how it is more mainstream of a belief that commonly suspected, and how media like the X-Files drives the spread and normalizes the assumptions. This ticks a lot of boxes for me, so I’m interested in checking it out.


Robot Proof, Joseph Aoun, (2018)

Written prior to the explosion in AI-related work in academia since the public introduction of ChatGPT and other LLMs, this book anticipates the coming changes to academia with the automation of education, and proposes where educators can focus their time and energy to ensure the students are prepared for what that future world looks like. I’m curious how much this overlaps with the elements of echanger we’ve already discussed.


Battlestar Galactica and Philosophy, Steiff and Tamplin, eds., (2008)

A rather lengthy anthology of articles on the theme of BSG and Philosophy. (There was a bunch of [Blank] and Phil books in the early 2000s, as I guess it sold books.) With the renewed focus on agentive robots and the push towards AGI by a number of companies, this showing up in the pile for $5 had a bit of serendipity to it, and I think it’s well worth another look.


Computing and Technology Ethics, Swiatek, Burton, Goldsmith, Mattei, Siler, eds., (2023)

Created as a textbook for a college class, this looks at key questions in ethics for a computer science class, and uses excerpts from several sci-fi stories to unpack them. I got it mostly for this last reason, as we’ve done similar things with the podcast and in our academic career, though not on this specific subject. Looking forward to a full read of this.


and Careless People, Sarah Wynn-Williams, (2025).

When I heard that promotion of this book was being suppressed by Meta, I figured it was worth grabbing a copy in case it eventually became harder to get. A memoir about the behind-the-scenes operations of Facebook in the pre-Meta era, this ended up being a collection of anecdotes and scenes that covered the authors time at the company. I was somewhat disappointed in it, as much I didn’t find anything really “new” or revealing, and spending that much time with the background of awful people wasn’t necessarily endearing either.


As always, as we get through them we’ll share the full review or notes about them in future posts.

Record Store Day 2025

April 12th, 2025 was Record Store Day once again, and I managed to make it out to my FLRS to grab a couple titles this time around. There wasn’t a ton of stuff I was looking for from the RSD ’25 exclusives, though I did have my eye on a few, and ended up getting one. Also added a few from my backlog, and a couple that I grabbed on a whim, and I ended up noticing a recurring theme. Let’s have a look at the haul (roughly chronologically):

Gil Scott-Heron – The Revolution Will Not Be Televised (1974)

The lead track is an all-time classic, repeated here on what is essentially an early “greatest hits” collection, and one that I’ve wanted for a long time. This wasn’t a RSD special, but I couldn’t pass it up. Required listening, but how does it fit in the post-television era?

Judas Priest: Live In Atlanta ’82 (2025)

The vinyl edition to a set that was previously included in a box set (that I don’t have). A legendary band that basically formed a genre, at pretty much their peak. Fantastic set list from their “Screaming For Vengeance” era. “The Hellion/Electric Eye” is one of the best opener’s ever.

Corrosion of Conformity – Blind (1991)

The pivot point, where CoC started moving from their hardcore roots to something recognizably metal. One that I’ve listened to lots but didn’t have on the shelf. And as a reflection on the current era, it is as a fierce condemnation as other better known albums from their early 90s contemporaries.

My Chemical Romance – The Black Parade (2006)

What has become an all-time pop punk classic for the millenial generation, I saw it for a discount, and thought it was worth trying out. And I’m glad to, as it is a varied and fun album that far exceeds the usual ambitions of its genre.

Kendrick Lamar – DAMN (2017)

And much like the MCR, this was on at a discount, and I thought I could expand the range of what I listen to. Given the recent SuperBowl halftime show and dissing on Drake, this seemed a worthy choice.

And.. well, I’ll give it a bit of time. This one is far outside my usual listening, and a bit challenging for that.


Have we found the theme yet? It’s a pretty angry set; the rage seethes throughout the riffs and vocals across the tracks and decades. It is a setlist for the current age.

But as for Record Store Day: Overall, it was a fun experience, despite the 30 minute wait outside with snow slowly starting to fall (because April). We’ll be back.

Implausi-Tube

And furthering our reach on the POSSE, we have started a small hosted Peertube instance through fedihost.co

Welcome to the Implausi-Tube!

For now, this is just mirroring our videos that are currently on YouTube (which are themselves just there because Google shut down Google Podcasts and migrated everything there). So if you want the original material, you can always get it my subscribing to the ImplausiPod, available on select podcast services.

But we recognize that not everyone likes or has access to YouTube, or consumes media in the same way, so we’ll make it available here as well.

As we get a little better with the video editing, this will be the first site for original video content. Hope to bring you more here soon as well.

Mickey 17 (Bong Joon-Ho, 2025)

There will be some spoilers in this review and commentary about the recent film.


Do you ever go to a theatre and see a movie with incredible potential but it doesn’t quite reach it, it doesn’t take that next step to get where it needs to be to reach that level of greatness?

Mickey 17 (2025) movie poster

That was my experience with Mickey 17 (2025), a movie I enjoyed, with a great concept and cast, and had so many things go for it, but it felt like it was holding back, and this made it a “smaller” film than it could have been, if it really wanted to take some of the ideas that it was exploring up to the next level.

The political commentary in the film was on the nose, which is remarkable given how long ago this would have likely been in pre-production* and development to nail that, but it seems almost restrained compared to current events that we’re dealing with right now (in April of 2025).

We also see continuing elements of class and social commentary that Bong Joon Ho has had in his other films like Parasite (2019) and Snowpiercer (2013), and there’s a lot of similarities with Snowpiercer in this film. They’re both deeply chilling movie in the same way, and this only is in part due to the winter environment that’s an existential threat that forces humanity in on itself. Hmmm. Probably a paper there needed to unpack all that.

However, the part where the movie hit a wall for me is with the implications of the 3D printing tech and the memory storage: it didn’t take it far enough and explore what it could actually do – it took it to a certain point and just stopped, which is unfortunate, as other movies with similar themes like Edge of Tomorrow (2014) or Westworld (1973) and Futureworld (1976) (or the 2016 HBO series) where we have that printing technology going on explored it better, and I think that speaks to some of the films limitations.

One of the ways Mickey 17 falls short is in the portrayal of the 3D-printing technology and the way it is integrated within society. The tech itself comes across as both silly and kinda dorky in the way it’s implemented, with the slow emergence like from a dot matrix printer in the 1990s to the fully-completed form. This is where Leeloo’s build in The Fifth Element (1997) or the hosts emerging from the vat in Westworld (2016) feel more fully realized. The silliness of the process works, in so far that it also highlight the somewhat bizarre way that this future society treats the implications of this tech. So many questions remain poorly answered by the film: why only one person per ship as an Expendable? Why not multiples for each role on the ship (or at least for the combat, exploration, and scout crews?) Why limit what is essentially nigh-immortality to a very limited underclass? Why would the ultra-wealthy not jump on this very tech? (Though this last point is kinda hinted at in the dream sequence in the epilogue). This silliness brings Mickey 17 more in line with other films like Prometheus (2012), and to be honest, I’ve never really enjoyed movies that kick around the idiot ball.

Some of this is answered, though not to my satisfaction, in the presentation of the Expendables and Multiples in the film. The religious proscription against having more than one, and the way they are treated. And of course, the use of the gun as the final commitment to the process (similar to dog in Kingsman (2015)) may be a bridge too far, though one that the crews of Starfleet have long since overcome. (The argument about whether the transporter kills the user or not having gone on for ages.) If one is already on the upper tier of society, would one be willing to risk it all to achieve this pseudo-immortality?

It might be too much to give up, as the process isn’t exactly perfect. We learn in the second act that there are variations in various duplicates, as they emerge from the printer. Whether this is due to the somewhat less that rigorous process of printing and downloading that occurs by the medical team – who remind one of a collection of grad students in a lab, rather than the most top-notch team out there – or due to some natural variations in the printing process is unexplained. There is a lot of difference in the repetition, and this variance might not be appealing to the ultra-wealthy that would be demanding a greater degree to fidelity in the transfers, much as was seen in the aforementioned Westworld in its later seasons.

Ultimately Mickey 17 is a love story. Despite the difference in each iteration of the various Mickeys, each one of them is loved by Nasha, who he loves in turn. Their meet cute happens early in the movie, and it’s love at first site, a love that endures through each reprinting of Mickey. His love for her is constant (and she does change and grow through the movie too – the role she plays at the end of the film is not who we see at the beginning – as is her love for him, throughout all the different foibles and flaws of the many personalities that are printed.

Though there some throughlines, some continuity in the bedrock personality, which is why Mickey 18 makes the sacrifice play late in the film, despite the wildly different personality from 17. Props to Robert Pattinson for pulling off making the same character feel different in Mickey’s varied iterations.

Final thoughts: Mickey 17 is well crafted, there isn’t any misses in the production aspects of it, though some of the satire misses due to the low-key nature of it. I want to see the Luc Besson version of Mickey 17, that takes the premise and goes all out.


*: apparently this is an adaptation**, which I had heard about going in but hadn’t checked the book out. Also, the book was published in 2022, and adapted shortly after, and was originally delayed in release from it’s original set date in 2024. So the political stuff is even more poignant, or perhaps sadly, more eternal.

**: also, in looking at the wiki after writing the above, the short story was also an exploration of the Star Trek teleporter paradox, so… hmm, yeah.