Three machines constitute the complex known as the Cyborgtailor:
1) physical desire, whose nature is a mouth that needs feeding,
2) a technological (cultural) field (a meta-machine), manifested as capitalist machines (the machine of Islam, the machine of European philosophy, the machine of post 60s new age mysticism, etc)
3) a miraculous conduit, a transubstantiation device (an impossible machine, a sublime/fetish machine), turning the ephemeral binary waters of 2) into physical satisfaction of 1).
The device is a trope that is generated by virtue of a given technological assemblage, by virtue of its field of production, it is this technology’s dependent product. Its valuative property ought to be entirely self contained within the system from which it is produced (albeit exchangeable currency between allied technologies).
But somehow (as a fetish) it also has a physical significance to the body: the product gains a degree of independence as it satiates/permeates the appetite of the Tailor complex.
We say “transubstantiation” – but the nature is fetish. It’s not as if some deeper truth behind a cultural tradition is uncovered. It’s that cultural product and bodily need synchronize, synergize, excite: and the result is the product rendered totem, rendered fetish. This is the miraculous conduit between body and technology: there is no fetish but this fetish.
This is what is behind the Tailor’s “vision” or “experience” of the “essence” of a particular religious trope (a rainbow, a woman, gold, Israel, medina, etc). It’s product as synergy between body and technology, physical need excited by cultural-technological capital. It is commercial advertising.