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"The Twenty-first century is invisible. We were promised jetpacks but ended up with handlebar moustaches. The surface of things is the wrong place to find the 21st century. Instead, the unseen, the Infrathin—those tiny devices in our pockets or the thick data-haze which permeates the air we breathe — locates us in the present. And in this way, The New Aesthetic is not so much a movement as it is a marker, a moment of observation which informs us that culture—along with its means of production and reception —has radically shifted beneath our feet while we were looking the other way. As such, The New Aesthetic handily articulates the importance of the new writing, situating it and its modus operandi within broader cultural trends."
"Adam Smith and the ‘invisible hand’ are nearly synonymous in modern economic thinking. Adam Smith is strongly associated with the invisible hand, understood as a general rule that people in realising their self-interests unintentionally benefit the public good. The attribution to Smith is challengeable. Adam Smith’s use of the metaphor was much more modest; it was re-invented in the 1930s and 1940s onwards to bolster mathematical treatments of capitalism (Samuelson, Friedman) and to support innovative analysis by associating the metaphor with ‘spontaneous order’ (Hayek). The effect has been to ignore insightful explanations about how markets function as a process in favour of semi-mystical beliefs in imagined outcomes, wrapped in an isolated 18th-century literary metaphor, which does not explain anything."
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So, when did we start thinking of Smith as being the “theorist of the invisible hand” (and, around the same time, forget all his opposition to strict laissez-faire)? Gavin Kennedy’s historical work places the disjuncture in an oral tradition in England and the US in the late 19th to early 20th century. The myth remained somewhat confined until the publication of Samuelson’s extremely influential undergraduate text, Economics in 1948, which brought the myth to the masses (Kennedy 2010).
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