A grid appears, at first sight, a very trivial thing, and easily understood. Its analysis shows that it is, in reality, a very queer thing, abounding in metaphysical subtleties and theological niceties. The mystical character of grids does not originate in their use value.
A grid is a mysterious thing, simply because in it the social character of the designers’ labour appears to them as an objective character stamped upon the product of that labour.
The fetishism of grids has its origin in the peculiar social character of the labour that produces them.