The mechanical whir of the motor is exactly 48 decibels of performative ambition. It’s a polite, electric sigh that signals to the entire open-plan floor that Kyle is transitioning. He’s no longer a sitting man; he is now a standing man, a vertical warrior of the corporate landscape. I’m currently nursing a sharp, metallic tang on the left side of my tongue-I bit it three minutes ago while aggressively chewing a sourdough crust, and the irritation is radiating up toward my ear. It makes the sound of Kyle’s desk feel like a personal affront. He adjusts the surface to exactly 48 inches, takes a long, audible pull from a mason jar filled with something the color of a stagnant pond, and whispers, “Time to crush it,” just loud enough for the three nearest workstations to hear.
Then, he spends the next 58 minutes color-coding his Asana tasks.
We have reached a strange inflection point in the modern white-collar world where the tools of work have become a substitute for the work itself. It is a form of aesthetic consumerism that we’ve collectively agreed to call “professional development.” If you have the $888 mechanical keyboard with the tactile switches that sound like a hailstorm on a tin roof, and you have the $1288 chair that looks like it was harvested from