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lifeworld,” when artifacts are conceived as more than mute instruments. Technology is not
only “invading” the lifeworld structures, but it always has a constitutive dimension within it.
8
There is reason to believe that Habermas himself thought implicitly along the lines of such a
distinction – at least in the first layer, i.e. between pure technique and concrete, non-neutral
technology. He was not completely naive about the fact that societal interests penetrate tech-
nological design. In the 1954 essay Dialectic of rationalization, a young Habermas revises
Marx’s idea of pauperism and alienation; there he disagrees with the “popular conclusion” that
technology is a purely neutral instrument, whose good or bad directions are entirely up to
humans’ moral energy (Voskuhl 2014, 486). Similarly, in TSI, he acknowledges that, along-
side the general human interest of modifying nature, there are specific interests that influence
technological development: “It is true that social interests still determine the direction, func-
tions, and pace of technical progress” (1968, 105). Moreover, when he explains the connection
between productive forces and rational-instrumental action, his claim that “the knowledge im-
plemented in forces of production” is “embodied in technologies, organisations and competen-
cies” (my emphasis) seems to precisely presuppose a distinction between abstract technical
rationality and the concrete process of construction of technologies (Habermas 1982, 267).
The process of concretization allows for non-neutral penetration of interests from social actors.
This separation between the pure procedure of technical rationality and the socially embedded
construction of technologies can save Habermas’ theory from a commitment to the neutrality
of technology, regardless of the commitment to an idea of technical neutrality.
Moreover, a separation between technical rationality and technology allows for the expansion
of the general interest behind technology as a double interest: one towards material control,
and one towards symbolic expression. Broadening Habermas’ focus on technical action as the
general interest behind technology paves the way to overcoming technological instrumental-
ism. Though elaborating such a project fully requires a separate inquiry, the following exam-
ples indicate how the symbolic dimension of artifacts makes the instrumentalist conception of
technology inadequate. The coexistence between technical mediation and symbolic activity
applies to several art and communication forms such as writing, cinema, and music. Commu-
nication technologies, especially when combined with digital technology, make an instrumen-
talist interpretation too simplistic. There is a qualitative difference between a hammer and
online social networks: the notion of “cyberspace” embodies the idea that such technologies