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
Music
6 min read

The biblical undercurrent that the Bob Dylan biopics missed

In the best of Dylan’s work is a contemporary Pilgrim, Dante or Rimbaud on a compassionate journey.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A colorful mural depicts the eyes of Bob Dylan staring to the side.
Dylan mural, Minneapolis.
Nikoloz Gachechiladze on Unsplash.

The Bob Dylan biopic A Complete Unknown begins with his arrival in New York and concludes with his performance at the Newport Folk Festival in 1965. He begins the film as a complete unknown, as he arrives with no backstory to share or, where he does, one that he has invented. He ends it as a complete unknown, because he consistently refuses all the boxes or labels in which others want to imprison him. 

This aspect of Dylan’s life and career has also characterised many of the earlier biopics, such as 2007’s I’m Not There which features six different versions of Dylan as poet, born-again Christian, outlaw, actor, folk singer, and electrified troubadour. Suze Rotolo, his girlfriend throughout much of the time covered by A Complete Unknown, described the way in which he absorbed influences at this time like a sponge:  

“He had an incredible ability to see and sponge – there was a genius in that. The ability to create out of everything that’s flying around. To synthesize it. To put it in words and music.” 

Focusing on this aspect of Dylan’s life and practice can, however, lead to a minimising of his upbringing and also to a misleading sense of brilliant but entirely disconnected phases – essentially a series of rejections – as having characterised his career. There are some important elements of Dylan’s life and ideas that are overlooked, underplayed or simply lost as a result. Many of these involve the particular expression of spirituality that has informed his work from the beginning. 

As Rabbi James Rosenberg has explained: “Robert Allen Zimmerman was born in Duluth, Minnesota, on May 24, 1941. He spent the majority of his childhood, including his high school years, in Hibbing, about 60 miles northwest of Duluth. His father and mother, Abram and Beatie, whose parents were immigrants from Eastern Europe, sent both him and his younger brother David to the local synagogue for their Jewish education leading to Bar Mitzvah at age 13.”  

As a result, Dylan’s songs have from the beginning of his career been suffused with the phrases and imagery of the Bible; interestingly, not just the Hebrew Bible, but the Christian Bible too. Whether it’s the references to Judas in “Masters of War” and “With God on Our Side” or quoting Jesus in ‘the first one now will later be last’ (“The Times They Are A-Changin’”) or the Old Testament stories that feature at the end of “When the Ship Comes In”, wherever you look within Dylan’s lyrics the influence of the Bible is apparent. 

Follow that thought with another which notes the prevalence of apocalyptic images (storms, hurricanes etc) and events (‘The hour when the ship comes in’, the moment when “The Times They Are A-Changin’” or the night when the “Chimes of Freedom” ring, for example). Then think from where images of apocalyptic events primarily derive in the Western imagination and you’ll be circling back to the Bible, and the Books of Daniel and Revelation in particular. That is of course what Dylan himself did following his born-again experiences in the late ‘70s and early ‘80s, but the Bible was always the original seedbed for his images and ideas. 

Then, look deeply into one of the most apocalyptic of his early songs – “A Hard Rain’s A-Gonna Fall” – and you’ll see a manifesto to which he has held throughout his career and which illuminates his work in every decade and every change of direction within his lengthy career. The central character in “A Hard Rain’s A-Gonna Fall” commits to walking through an apocalyptic world in order to tell and think and speak and breathe and reflect what he sees in order that all souls might see it too. In a much later manifesto song – “Ain’t Talkin’” – he puts it like this:    

Ain’t talkin’, just walkin’ 

Through this weary world of woe … 

Heart burnin’, still yearnin’ 

In the last outback, at the world’s end 

Throughout Dylan’s career, he writes songs about people travelling through life in the face of apocalyptic storms seeking some form of relief or salvation or entry to heaven. So, what we have in the best of Dylan’s work is a contemporary Pilgrim, Dante or Rimbaud on a compassionate journey, undertaken in the eye of the Apocalypse, to stand with the damned at the heart of the darkness that is twentieth century (and then twenty-first century) culture. 

It's actually all there right at the beginning in the song that he wrote for and sang to his hero Woody Guthrie:  

I’m out here a thousand miles from my home 

Walkin’ a road other men have gone down 

I’m seein’ your world of people and things 

Your paupers and peasants and princes and kings 

  

Hey, hey, Woody Guthrie, I wrote you a song 

’Bout a funny ol’ world that’s a-comin’ along 

Seems sick an’ it’s hungry, it’s tired an’ it’s torn 

It looks like it’s a-dyin’ an’ it’s hardly been born

(“Song to Woody”) 

Dylan’s songs, from that point onwards, have documented where his pilgrim journey in the eye of the apocalypse has taken him; often with imagery of storms lighting his way. He has travelled the paths of political protest, urban surrealism, country contentment, gospel conversion and world-weary blues. On his journey he: saw seven breezes blowing around the cabin door where victims despair (“Ballad of Hollis Brown”); lightning flashing for those who are confused, accused and misused (“Chimes of Freedom”); surveyed “Desolation Road”; talked truth with a thief as the wind began to howl (“All Along the Watchtower”); sheltered with an un-named woman from the apocalyptic storm (“Shelter from the Storm”); felt the idiot wind blowing through the buttons on his coat, recognised himself as an idiot and felt sorry (“Idiot Wind”); found a pathway to the stars and couldn't believe he'd survived (“Where Are You Tonight? Journey Through Deep Heat”); rode the slow train up around the bend (“Slow Train”); was driven out of town into the driving rain because of belief (“I Believe in You”); heard the ancient footsteps join him on his path (“Every Grain of Sand”); felt the Caribbean Winds, fanning desire, bringing him nearer to the fire (“Caribbean Wind”); betrayed his commitment, felt the breath of the storm and went searching for his first love (“Tight Connection to My Heart”); then, at the final moment, it's not quite dark yet but he’s walking through the middle of nowhere trying to get to heaven before the door is closed (“Tryin' To Get To Heaven”): 

The air is getting hotter, there's a rumbling in the skies 

I've been wading through the high muddy water 

With the heat rising in my eyes. 

Everyday your memory grows dimmer. 

It don't haunt me, like it did before. 

I been walking through the middle of nowhere 

Tryin' to get to heaven before they close the door.

(“Tryin' To Get To Heaven”) 

Whatever the crises we face, whether personal or political, there’s a Dylan song that says there’s light at the end of the tunnel if you keep walking toward it and, whatever the song, there’s a depth of insight and compassion for those who are struggling along the way. 

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