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The last post considered the fetish of hand-crafted goods. Pondering this more yesterday, I wondered how this idea mapped onto environmental values. New Zealand trades on and worries about its environmental ‘brand’, and there seems to be a conflict between pretty green hills and contaminated streams.

Then I saw the news reports about Dr Mike Joy from Massey University:

Just nine days before Wellington’s world premiere of The Hobbit film, an environmentalist has launched a scathing attack on a tourism campaign depicting New Zealand as ’100% Pure’.

Senior Lecturer in Environmental Science at Massey University Mike Joy told The New York Times that New Zealand’s image as a clean, green nation is as “fantastical as dragons and wizards.”

“There are almost two worlds in New Zealand… there is the picture-postcard world, and then there is the reality,” Joy told America’s most well-read daily newspaper.

I can see how he has set this up. On the one had, we have reality — that which is really happening and we can show and demonstrate and measure. The rivers have X amount of nitrogen and Y faecal count. The greenhouse gas inventory is up to Z. On the other hand, we have the story we tell the world, the picture-postcards we send through blockbuster films and the post.

This description doesn’t account for the power of the New Zealand environmental brand. It doesn’t account for why we believe it. To do that, we have to understand how and why the brand functions. I really do think that the fetish provides a way to understand it.

We have imbued ’100% Pure’ with both the utopia of our one-ness — a time before the fall, before language, when we could live at peace with the world. If only we could be 100% Pure, we would be living rightly. We have also imbued it with the power of the destroyer — Shiva, or Yahweh who brought the flood. If we are forced to be 100% Pure, the our economy will be ruined.

But at the same time as we do not actually live it — and know that we do not — we also act as if it contains an essential truth about New Zealand. The rest of the world does, too. This isn’t a New Zealand fetish; it is a global fetish. The whole world wants New Zealand to be 100% Pure, or should I say ’100% Pure’. That fetish allows the industrialised world to recognise the power of industrialisation and mass production, while at the same time providing a place (an English-speaking place in a temperate climate) where we imagine it has not already happened.

As I am trying to describe this, it starts to sound like the logic of the feminine in Lacan’s Seminar XX/Encore: not all countries are subject to industrialisation, even while we know that there does not exist a country that is not subject to industrialisation.

’100% Pure’ is thus a fetish that resolves an economic hysteria. We ask the question, are we an industrial nation or not? The fetish allows us to answer, we are both and neither.