Understanding how recorded and amplified stage musics contribute towards producing the Anthropocene necessitates attending to complex transnational flows of material, capital and labor, and how they coalesce into technological objects. This is complicated by the wide array of sites, practices and knowledges involved during various stages of the production process, from initial resource extraction, to smelting, component manufacturing, technology assembly, and distribution. To develop a suitable technological ethics, and to understand what happens to environments and to human, animal and plant lifeworlds, requires one to resist abstraction and undertake a global accounting of resource ecologies with recourse to planetary-scale political economy. Towards this goal, I provide a partial account of an early 2000s mic preamp, a mundane but nonetheless fetishised recording studio technological object. I focus on two metals, tin and tantalum, that are primarily extracted for electronics manufacturing, and two building blocks of electronics, solder and capacitors, which are essential for making contemporary electronics.

中文翻译：

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人类世的资源生态、政治经济和音频技术伦理

了解录制和放大的舞台音乐如何有助于产生人类世，需要关注复杂的跨国物质、资本和劳动力流动，以及它们如何融合成技术对象。生产过程的各个阶段（从最初的资源开采到冶炼、部件制造、技术组装和分销）涉及广泛的场地、实践和知识，这使情况变得复杂。要发展一种合适的技术伦理，并了解环境和人类、动物和植物生活世界会发生什么，需要人们抵制抽象，并借助行星规模的政治经济学对资源生态进行全球核算。为了实现这个目标，我提供了 2000 年代早期麦克风前置放大器的部分说明，一个平凡但仍然被迷恋的录音室技术对象。我专注于两种金属，锡和钽，主要用于电子制造，以及电子产品的两种组成部分，焊料和电容器，这对于制造当代电子产品至关重要。