Explainer
AI
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. 

Article
Culture
Film & TV
Monsters
5 min read

Cartoon villains: who's the real baddie?

What kind of villain do we want?

James Cary is a writer of situation comedy for BBC TV (Miranda, Bluestone 42) and Radio (Think the Unthinkable, Hut 33).

 A cartoon chase sees a car driven by a cow escaping from a car of baddies under a giant poster of their villainous boss.
Jazz Cow vs. Dr Popp.

“Nobody thinks they’re the bad guy”. That’s a phrase I often use when helping people write situation comedies. It’s always useful to have a strong antagonist who gets in the way of our hero. But the villains tend not to consider themselves to be evil. In fact, they are offended at the suggestion. 

The Batman universe has turned the interesting villain to new levels. The Penguin is Gotham’s latest production, a brand-new TV series on HBO. Colin Farrell plays a highly nuanced anti-hero, exploring The Penguin’s “awkwardness, and his strength, and his villainy, yes, his propensity for violence”. Farrell told Comicbook.com he was attracted to the role because “there's also a heartbroken man inside there you know, which just makes it really tasty.” Audiences are often invited to have sympathy for the devil. Should we be worried about the blurring of the lines between good and evil? 

I’ve been asking myself this question as I’ve been writing a new animation which involves a villain called Dr Popp who is trying to take over a city. But what kind of villain do we want in 2024? 

Jack Nicholson’s portrayal of The Joker back in 1989 feels like pop-culture ancient history. His Joker was an embittered agent of chaos without many redeeming qualities but mercifully lacked the nihilism of later versions. It was an old-fashioned story of cops and robbers which has its own simplistic charm. But have those days gone forever, having been shot in the head and dropped off a bridge into a river? 

The problem is it is so easy to humanise evil. You just give it a human face. The arch-villains of the twentieth century – the Nazi members of the SS – are rather sweet when portrayed by comedians Mitchell and Webb. A nervous member of the SS Unit (Mitchell) waiting for an attack from the Russians looks at the skull on his cap and asks his fellow comrade-in-arms (Webb): “Hans, are we the baddies?” 

Any student of World War Two will know that it’s never as simple as good versus evil. Many terrible things were done by people who felt justified in their behaviour. Moreover, ‘the goodies’ also felt compelled to do morally dubious things – like the bombing of civilians in cities – in order to defeat ‘the baddies. After all, they started it.’ The truth is always far more complicated than the war films suggest. 

Dr Popp is the very worst kind of villain: he has great power and he wants to help. In his own mind, he’s completely clear about his mission. 

Ten years ago, I was researching real life baddies for my sitcom Bluestone 42 about a bomb disposal team set in Afghanistan. At times, I had to think like the Taliban who, in their own minds, were entirely justified in leaving bombs by the side of the road, to be triggered by British soldiers or Afghan children. They were pretty relaxed about the outcome. It’s hard to sympathise with this way of thinking, but it made sense to them. 

My internet search history from that time probably put me on some sort of Home Office watchlist. Maybe a small dossier was started on me. More recently, that dossier would have become thicker as I’ve moved sideways from sitcom into murder mysteries, having recently worked on Death in Paradise and Shakespeare and Hathaway. To work on shows like these, you need to be thinking of good reasons for good people to commit murder. Someone would need a very strong motive to commit a murder on an idyllic Caribbean island where the local detective has a 100 per cent resolution rate. You also need to research ingenuous methods for murdering people in a way that escapes detection. I’m surprised I’ve not yet had a knock on my door, or enquiries made to the neighbours to call a number if they see anything suspicious. 

But what about cartoon villains where nothing is real? The bold colours and the larger-than-life characters might suggest that there is more clarity about goodies and baddies. But there isn’t. Evil villains – that is, villains who realise they are evil – are extremely rare. Skeletor from He-Man and the Masters of the Universe comes to mind. This kind of demonic baddie can be entertaining with wit and charm, like Hades in the Disney movie, Hercules. This character had some brilliant one-liners and was superbly brought to life by the voice of James Woods. Overall, however, purely evil characters are hard to write. 

Cartoon villains need proper motivation. This is either a character flaw or a backstory. In The Lion King, Scar is consumed with envy that his brother is king – and a good one at that. In The Incredibles, Syndrome is playing out his sense of injustice that he was not allowed to be Mr Incredible’s sidekick, Incrediboy. In The Simpsons, Mr Burns is essentially Mr Potter from It’s a Wonderful Life. He’s a Scrooge-type figure who doesn’t care about love and respect. He just wants to own the town. 

The cartoon villain I’ve been thinking about is for a new animation project I’ve been working on called Jazz Cow. The eponymous hero is a saxophone-playing cow and a reluctant Bogart-style leader of a bohemian band of misfits. They are trying resist the advance of the all-consuming algorithm created by Dr Popp, the villain. But what’s his motivation? 

Dr Popp is the very worst kind of villain: he has great power and he wants to help. In his own mind, he’s completely clear about his mission. He’s trying to make the world better, easier, safer, cheaper, more efficient and convenient. Why would anyone want to refuse his technology, reject his software and keep away from his algorithm? 

This is why Dr Popp has to silence Jazz Cow, literally, by stealing his saxophone. He simply cannot allow Jazz Cow to delight audiences at Connie Snott’s with live improvised music. There’s no need for this music! Dr Popp has all the music you could possibly need, want or imagine. Why improvise when we have artificial intelligence? 

Dr Popp is a cartoon villain for today when relativism is still alive and well. ‘Good’ and ‘Evil’ are still concepts or points of view rather than absolutes. However, there is good and evil in Jazz Cow. But the evil doesn’t come from Doctor Popp. It comes from the user or consumer.  That would be us. 

‘The Algorithm’ is always learning and always trying to give us our hearts’ desire. And that’s the problem: our hearts frequently desire that which they cannot – and should not – have. Dr Popp’s algorithm is like a mirror held up to our faces. In it, we see the real baddie: ourselves. Not even Jazz Cow can save us from that. But what this horn-playing cow can do is to make the world a more humane place. 

  

For more information about Jazz Cow, and information on how you can make the show happen, take a look at our Kickstarter – and don’t worry. Jazz Cow would approve, as it’s the creative’s way of sticking IT to the man.