From ProcessedWorld.com’s “About” page:
“Processed World magazine was founded in 1981 by a small group of dissidents, mostly in their twenties, who were then working in San Francisco’s financial district. The magazine’s creators found themselves using their only marketable skill after years of university education: ‘handling information.’ … [T]he choice to work ‘temp’ was also a refusal to join the rush toward business/yuppie professionalism. Instead of 40-70 hour weeks at thankless corporate career climbing, they sought more free time to pursue their creative instincts. Nevertheless, day after day, they found themselves cramming into public transit en route to the ever-expanding Abusement Park of the financial district. Thus, from the start, the project’s expressed purpose was twofold: to serve as a contact point and forum for malcontent office workers (and wage-workers in general) and to provide a creative outlet for people whose talents were blocked by what they were doing for money.
The idea for a new magazine struck one of these people, Chris Carlsson, while he was on vacation in the summer of 1980. The sources of this brainstorm were simultaneously a certain socio-economic layer of late twentieth century U.S. society, a group of friends, and certain obscure artistic and political tendencies comprising both post-New Left, post-situationist libertarian radicalism and the dissident cultural movement whose most public expression was punk and new wave music.
In the late seventies, a number of radicals around San Francisco and New York who had ridden out the decline of the social opposition with brains unscrambled, principles more or less intact and rage intensified, found themselves drawn to the punk/new wave milieu. Incoherent and often crude as it was, it looked like the only game in town-the only place where fundamentals of the ruling ideology like Work, Family, Country, Obedience, and Niceness were being challenged with real panache and real venom. Some of these people formed bands while others organized shows. And still others worked in graphic media such as posters, fanzines and comic books, or revived street theater and other kinds of political performance. Between these people, numbering at most a few thousand around the country, images, ideas, jokes, slogans and techniques circulated like amphetamines in the cultural bloodstream. Before the founding of Processed World, several participants had already shared in such activities. Chris Carlsson, in fact, first encountered PW co-founder Caitlin Manning and early collaborator Adam Cornford in a Bay Area agit-prop group called the Union of Concerned Commies. The UCC began in early 1979 as a left-libertarian intervention into the anti-nuke movement, then at the height of its strength and militancy.
This intervention involved a serious attempt to present radical critique with attention-grabbing style and innovative use of media. For instance, the same cartoon graphics (usually by Jay Kinney and Paul Mavrides of Anarchy Comix) appeared on leaflets, posters, and T-shirts distributed at antinuke events. Some of the UCCers settled in for a sustained effort within the movement, mostly through the Abalone Alliance newspaper It's About Times.
Others, with lower tolerance for the somewhat sanctimonious neohippie antinuker culture, looked around for more exciting terrain.”

Folder contains articles on Carlsson’s other project, “Critical Mass,” “a monthly gather of cyclists in cities across the continent, from Seattle to Montreal,” in which “cyclists in the hundreds take to the streets to promote cycling and protest treatment of bicyclists by automobile drivers; pamphlet catalogue of videos distributed by Carlsson’s side project the Bay Area Center for Art & Technology, “a California non-profit corporation which sponsors numerous projects in literary, media, and performance arts” (http://www.chriscarlsson.com/resume/); Critical Mass flyers;
anti-nuclear power flyer produced by Berkeley-based kindred spirits the Union of Concerned Dummies;
“New World Odor” prank poster, author unknown;
“Beware Greeks Bearing Gifts,” flyer decrying Democrats’ collusion with the Right and American hegemony, by Shock Troupe;
flyers, posters by Processed World;
anti-war posters by “Arch D. Bunker” (“Arch D. Bunker was an anonymous artists’ collective that mobilized in the early 1990s in response to the First Gulf War. The short-lived group detourned and criticized the distant and calculating language of military officials, arms dealers, politicians, and corporate media pundits. Produced in the first decade of cable news and the 24-hour news cycle, these prints also brought attention to the distorted ways in which most Americans were being shown the conflict, on television—the spectacle of war. Though there is little recorded information about the group itself or the artists behind the initiative, we do know that Arch D. Bunker grew out of Processed World, the anti-authoritarian, anti-capitalist magazine directed at office workers, produced in San Francisco in the 1980s and ‘90s. Their pointed criticism of the mainstream media’s complicity in the everyday spectacle of modern war is prescient in the age of media overdrive, riot porn, and social media.” (https://www.fugitivematerials.com/shop/p/you-are-the-target-audience); stickers for Union of Time Thieves, flyers for various groups (Nasty Secretary Liberation Front, Unprofessional League of Silicon Valley, the Anti-Economy League of San Francisco, Committee for Full Enjoyment, etc.), all of which are alter egos of Processed World (which is to say: Carlsson).