Explainer
AI - Artificial Intelligence
Culture
Digital
6 min read

Tech has changed: it’s no longer natural or neutral

The first in a three-part series exploring the implications of technology.

James is Canon Missioner at Blackburn Cathedral. He researches technology and theology at Oxford University.

A caveman holding a hammer looks at a bench on which are a broken bicycle and a laptop.
Nick Jones/Midjourney.ai.

My son was born in February last year and it seems that every day he is developing new skills or facial expressions and adorable quirks. Just the other day he was playing with some wooden blocks and when they inevitably fell over, he let out the most adorable giggle. As you can guess I immediately reached for my phone so that I could capture the moment. Moments like this happen all the time in the life of a modern parent- we want to share with our spouse, family, and friends or just capture the moment for ourselves because it’s something we treasure. And yet, in this series of articles I would like to consider this moment, and the thousands like it that take place in a technological society, and ask: is everything as benign as it seems? 

There are two ideas that often come up whenever people talk about technology. The first is that technology is basically ‘neutral’, that technology only becomes good or bad depending on what you are doing with it. “Look at a hammer,” someone might say, “there is nothing intrinsically good or bad about this hammer, only the end result is good or bad depending on whether I’m using it to hit nails or people!” On this reading of technology, the only important questions relate to the consequences of use.  

If technology is neutral, then the primary concern for users, legislators and technologists is the consequences of technology, and not the technology itself. The only way to ensure that the technology is used for good is to ensure, somehow, that more good people will use the technology for good things than bad people using it for bad things. Often this idea will present itself as a conversation about competing freedoms: very few people (with some important exceptions, see this article from Ezra Klein) are debating whether there is something intrinsically problematic about the app formerly known as Twitter, most discussion revolves around how to maintain the freedom of good users while curtailing the freedom of bad users. 

We assume that these tools of social interaction like Facebook and Instagram are, in and of themselves, perfectly benign. We are encouraged to think this by massive corporations who have a vested interest in maintaining our use of their platforms, and at first glance, they seem completely harmless: what could possibly be the problem with a website in which grandma can share photos of her cat? And while the dark underbelly of these platforms has violent real-world consequences – like the rise of antisemitism and anti-Muslim hatred – the solution is primarily imagined as a matter of dealing with ‘bad actors’ rather than anything intrinsically problematic with the platforms themselves. 

Jobs here draws a straight-line comparison between the bicycle and the PC. As far as Jobs is concerned, there is no quantitative difference in kind between the two tools.

The second idea is related but somewhat different: Advocates of modern technology will suggest that humanity has been using technology ever since there were humans and therefore all this modern technology is not really anything to worry about. “Yes, modern technology looks scary,” someone might say, “but it’s really nothing to worry about, humans have been using tools since the Stone Age don’t you know!” This view proposes that because hammers are technology, and all technology is the same, there is, therefore, no difference between a hammer and the internet, or between the internet and a cyborg.  

This second idea tends to be accompanied by an emphasis on the slow and steady evolution of technology and by highlighting the fact that at every major technological advancement there have been naysayers decrying the latest innovation. (Even Plato was suspicious of writing when that was invented). Taken as part of a very long view of human history, the technological innovations of the last 100 years seem to be a normal and natural part of the evolution of our species which has always set itself apart from the rest of the animal kingdom in its use of technology. 

Steve Jobs gives a good example of this in an interview he gave about the development PC: 

“I think one of the things that really separates us from the high primates is that we’re tool builders. I read a study that measured the efficiency of locomotion for various species on the planet. The condors used the least energy to move a kilometer. And humans came in with a rather unimpressive showing about a third of the way down the list… not too proud of a showing for the crown of creation… But then somebody at Scientific American had the insight to test the efficiency of locomotion for a man on a bicycle. And a human on a bicycle blew the condor away – completely off the top of the charts. 

And that’s what a computer is to me… It’s the most remarkable tool we’ve ever come up with… It’s the equivalent of a bicycle for our minds”  

Notice that Jobs here draws a straight-line comparison between the bicycle and the PC. As far as Jobs is concerned, there is no quantitative difference in kind between the two tools: one is more complex than the other but otherwise, they are just technologies that expand human capacity. “A Bicycle for our minds” is a fascinating way to describe a computer because it implies that nothing about our minds will be changed, they’ll just be a little bit faster. 

And yet, despite the attempts of thought leaders like Jobs to convince us that modern technology is entirely benign, many of us are left with a natural suspicion that there is more going on. As a priest in the Church of England, I often have conversations with parishioners and members of the public who are looking for language or a framework which describes the instinctive recognition that something has changed at some point (fairly recently) about the nature of the technology that we use, or the way that it influences our lives. That modern technology is not simply the natural extension of the sorts of tools that humans have been using since the Stone Age and that modern technology is not neutral but in significant ways has already had an effect regardless of how we might use it. How do we respond to such articulate and thoughtful people such as Steve Jobs who make a compelling case that modern technology is neutral and natural?  

I often have conversations with parishioners who are looking for language or a framework which describes the instinctive recognition that something has changed about the nature of the technology that we use, or the way that it influences our lives.

Thinking back to that moment with my son when he giggles and I take a photo of him, at first glance it seems completely innocuous. But what resources are available if I did want to think more carefully about that moment (and the many like it) which suffuse my daily life? Thankfully there is a growing body of literature from philosophers and theologians who are thinking about the impact of modern technology on the human condition.  In the next two articles I would like to introduce the work of Martin Heidegger, outline his criticism of modern technology, showing how he challenges the idea that technology is simply a natural extension of human capacity or a neutral tool.  

Heidegger is a complex character in philosophy and in Western history. There is no getting around the fact that he was a supporter of the Nazi Party during the second world war. His politics have been widely condemned and rightly so, nevertheless, his insights on the nature of modern technology continue to this day to provide insights that are useful. His claim is that modern technology essentially and inevitably changes our relationship with the world in which we live and even with ourselves. It is this claim, and Heidegger’s suggested solution, that I will unpack in the next two articles. 

Review
Culture
Film & TV
Monsters
Sport
5 min read

Horror turns pro: when greatness demands blood

The pursuit of sporting glory turns into a fever-dream of sacrifice, madness, and mythic violence
A player holding a finger to his lips stands in front of an indoor American football pitch.
Marlon Wayans.
Universal Pictures.

October is here…spooky season. Naturally, I’ve decided to pivot exclusively to the horror genre, beginning with HIM

The promotion for the film has placed Jordan Peele (who stormed onto the scene with Get Out) front and centre, so much so that one might be forgiven for assuming that he is the writer/director. He isn’t. His Monkeypaw Productions have produced the picture, and so one can assume he has had some creative input, but the film is helmed by Justin Tipping. This is Tipping’s second feature film. He co-wrote it and directed it. Sophomore, but no slump here. The film is superb! 

All horror fiction explores contemporary themes in the mode of the ‘unnerving’, and often by adopting and then playing with the conventions of another genre. In the case of HIM it is ‘sport’ that takes a horrifying turn. We begin by meeting our protagonist, Cameron ‘Cam’ Cade, as a young boy. He is watching his favourite American football star, Isaiah White, take lead the ‘San Antonio Saviours’ to victory. In the process Isaiah is injured. Cam looks away. His father forces him to look at the television screen and take in the violent scenes, while giving a speech about the necessity of ‘sacrifice’. 

A decade or so later the father has died, and Cam is a rising star in the sport, tipped to be the next ‘GOAT’ (Greatest Of All Time), the most worthy successor to Isaiah White’s legacy. While practicing late one night he is violently assaulted by a figure in a goat costume. The resulting head injury puts his prospects into question. It is doubtful that he can even play football going forward. He and his family are devastated.  

‘Salvation’ seems to come when his agent calls him with an offer that seems too good to be true. The ‘Saviours’ are seeking to sign him as their quarterback, replacing Isaiah. All he must do to earn this great opportunity is to spend a week with Isaiah at his specialised training compound, to demonstrate his potential and win Isaiah’s blessing. He accepts, and travels to the remote compound. As his car pulls up, he encounters a number of Isaiah’s demented ‘fans’ (who operate more akin to the Manson Family) decrying him in violent screams. He brushes this off and enters to meet Isaiah. He finds him engaged in an odd form of taxidermy with the skulls and skins of goats. The two embrace and share warm words of respect and welcome. The training begins.  

What follows is a rapid descent into bloody madness. 

I won’t say much more for set-up; only that the following week quickly becomes less a training camp, and more a psychedelic fever-dream of physical and psychological torture. The film is gruelling to watch in the best way. Tipping directs this masterfully, disorientating the viewer with sudden jumps from wide shots to close-ups to X-ray inflected visions of the appalling damage endured by athletes seeking to achieve their best. The cinematography of Kira Kelly keeps this relentless confusion running throughout the entire film, playing with angles and stillness and sudden swoops. 

These visuals are supplemented by some terrific performances. From the exceptionally creepy ‘fans’, led by Naomi Grossman, to Jim Jeffries reigning his comedic persona in to play Isaiah’s jaded and sardonic personal doctor (who is constantly drawing Isaiah’s blood…uh oh!), to Tim Heidecker’s unctuous agent always grasping for more. The standouts, however, are Tyriq Withers as Cam and Marlon Wayans as Isaiah. Wayans, of the ‘comedy’ dynasty, is best known for dreadful ‘funny’ (not ‘dreadfully funny’) films, including the Scary Movie franchise. Every now and then he has demonstrated his serious acting chops, shining in Requiem for a Dream, but this performance ought to cement his reputation as a genuine talent.  

He is mesmerising as Isaiah, switching in an instant from quiet melancholy, when reflecting on this past glory and the nature of sporting sacrifice, to outright unhinged menace – screaming directly in Cam’s face when trying to motivate him to go further and further. He dominates every scene he is in and is the lynchpin of the film’s mood, his performance (effortlessly walking the tightrope above measured and manic) driving the bewilderment the film seeks to force upon its audience. He is aided by Withers’ straight-man, who masterfully maintains a quiet yearning in the face of bafflement. He is muted and introverted without ever disappearing into the background, and so is instrumental in supporting Wayans as he gives the performance of his career. 

In spite of all of this brilliance, I have one small critique. The film’s theme is…messy. It is also far less subtle than it thinks it is. Its focus on the pain and suffering of sporting excellence – which is displayed in the literal brutality of injury – and the idea of selling one’s body, health, and even soul for glory, is often undermined by supernatural and theological symbolism which interrupts the dramatic thematic force. The use of the goat, both as a verbal and visual symbol, is overdone, and is rather obvious to anyone who knows even a little of biblical or esoteric literature.  

Added to this, the constant reference to sacrifice, and to behaviour resembling the cultic, continues the on-the-nose hammering; cemented at the end when an actual pentagram is emblazoned on a football field. This is a shame, as the final scene is a well-earned, wonderfully slapstick celebration of horror-movie gore and splatter, undermined by the symbolic silliness. None of this is enough to ruin the film – I still think it is superb – but I would have preferred Tipping to make a choice: subtle realism, or all-out commitment to the supernaturally sinister. In trying to have-its-cake-and-eat-it the film compromises the bake…a slight soggy bottom of a denouement. 

The film just fails to be the GOAT of this year’s horror fare. Still, a jolly entertaining cinematic experience which I highly recommend for October viewing. 

4.5 stars. 

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