As for the various kinds of montage photography, they are in reality not photography at all but a kind of painting in which photography is used - as pastiches of textiles are used in crazy-quilts - to form a mosaic. Whatever value the montage may have derives from painting rather than the camera.
Western society has accepted as unquestionable a technological imperative that is quite as arbitrary as the most primitive taboo: not merely the duty to foster invention and constantly to create technological novelties, but equally the duty to surrender to these novelties unconditionally, just because they are offered, without respect to their human consequences.
Iron and coal dominated everywhere, from grey to black: the black boots, the black stove-pipe hat, the black coach or carriage, the black iron frame of the hearth, the black cooking pots and pans and stoves. Was it a mourning? Was it protective coloration? Was it mere depression of the senses? No matter what the original color of the paleotechnic milieu might be it was soon reduced by reason of the soot and cinders that accompanied its activities, to its characteristic tones, grey, dirty-brown, black.
Unfortunately, once an economy is geared to expansion, the means rapidly turn into an end and "the going becomes the goal." Even more unfortunately, the industries that are favored by such expansion must, to maintain their output, be devoted to goods that are readily consumable either by their nature, or because they are so shoddily fabricated that they must soon be replaced. By fashion and built-in obsolescence the economies of machine production, instead of producing leisure and durable wealth, are duly cancelled out by the mandatory consumption on an even larger scale.
Moment to moment, it turns out, is not God's conception, or nature's. It is man conversing with himself about and through a piece of machinery he created."We effectively became "time-keepers, and then time-savers, and now time-servers" with the invention of the clock."