Walter Benjamin’s massive torso, The Arcades Project (1999), was one of the fi rst works to actively theorize the relationship between space, aesthetics and consumption. The architecture of the arcade, popularized by the Parisian Haussmann architecture, precedes the late modern aesthetic of consumer space. In the arcade, the goods are on display at the same times as the fl âneur is capable of passing through the arcade as an autonomous, enterprising and choosing subject. Consumption becomes an aesthetic experience; space and consumption are merged in the special practice producing spaces of consumption. The visual qualities of the arcade architecture enable a spatialization of the goods, a displacement and spatial distribution in consumer space. [I later added everything else before this, for context.] Therefore, the arcade is one of the first distinct urban spaces; spaces of production are characterized by rural aesthetics and ethics emphasizing accumulation, the physical transformation of nature. The spaces of production are paradoxically rural spaces located within urban environments... The arcade is overturning this assemblage of aesthetics and ethics and makes consumption a spatial practice distinguished from that of the spaces of production. The space of consumption is thus characterized by its loss of facticity; its ontological status is never once and for all determined – a certain degree of uncertainty is always present in consumption because of its symbolic qualities.
How does it make sense for ethics (moral principles) to feature in 'spaces of production'? Funnily enough, I find this use paradoxical. But for what does the passage use paradoxically? Please explain the steps or thought processes, so that I can try to resolve by myself in the future?
Source: 40% down para 1, p 146, Mastering the National Admissions Test for Law, Mark Shepherd