Here's the difficulty I have with Kondratiev waves: it really seems to take two waves to create a complete cycle. What Perez calls a "technological style" actually unfolds over two Kondratiev waves. Between the two there is a regulation crisis with some kind of "successful" resolution (although it is very hard to call WWII "successful"); and then at the end, a kind of chaotic period during which the technological style begins to change.
This text highlights relationships between different regimes of labour and how they are exploited by capital, in the context of textiles and clothes. Global inequalities are being exploited through the help of ICT and the general drive to labour saving techniques. What makes matters worse is that those participating as producers and consumers remain invisible to each other.
Industrial investment at the end of the Great Recession will likely be in the new generation of robots, used in both manufacturing and distribution.
Although we have thus far discussed P2P file-sharing in terms of its most representative instances, that is, the exchange of materials drawn from popular culture, other artefact classes are also swapped, from pornography to ‘serious’ publications. Sometimes genre-specific events can bring into focus larger issues arising from cultural commodification, public domain contraction, and resultant counter actions and movements. For example, recently American digital activist Aaron Swartz allegedly downloaded a massive number of papers from the JSTOR academic database. Subsequently the United States Government brought unprecedented charges against him, claiming that he planned to release the material through P2P networks. This case demonstrates how even the spectre of unsubstantiated file-sharing can trigger disordering responses across informational domains (academia, publishing, policing, justice), some of which which might be more rooted in emotions (anger, fear, revenge, spite, etc.) than in pragmatic circumspection.