Technology Quotes

I use technologies all the time and so do the member of my family. I happened to be on vacation last week with my family and I had the opportunity to discuss the topics with them. The image that received the most attention was that of technology as a dragon. In The Earth Has a Soul Jung states, “Dragons are in our day great machines, cars, big guns, these are the archetypes now, simply new terms for old things.” (p. 147)

This was particularly relevant because we were at Burning Man where the machines of oversized moving cars were in fact transformed to look like dragons. It was a delight to read that the idea of making machines, such as the train, look like dragons is one that has not gone away. Out in the desert this community of creative people is doing just that – animating machines.

In my conversation the discussion centered on the idea of exploring the unknown. We discussed how the image of the dragon, such as the features and details, range in aspects for earth, air, fire and water. Historically the ‘there be dragons’ was a warning to others of the possible dangers in a wild landscape. How then have things changed and what does it mean when we ride around, as entertainment, in the belly of the mechanical dragon as pet?

The resulting idea was that, due to the necessity of dangers like the car, we have embraced the dragon. We know that, statistically, the chances of being killed or injured in a car are extremely high and yet we do it. We do it because we have to – or do we? In this case the machine has one over on us – forcing the psyche to mask the real dangers of our daily commutes.

Image source:

Technolog Quotes

Technology as Symptom and Dream. (1989). London ; New York: Routledge.
  1. The cultural world mirrors or  reflects the changing nature of humanity. page 32
  2. Architecture is a visible expression of how a specific historical – cultural era shapes it’s space and draws its boundaries between the inside and the outside. Page 32
  3. Painting also provides this kind of mirror through which we can read the image which an age has of itself and of the world. page 32
  4. The invention of linear perspective painting in fifteenth–century Italy is one such moment of change, and the tale to be told in this chapter concerns how the invention and development of this artistic technique became the cultural vision which is shaped our contemporary technological world. page 32
  5. It is the transformation of the eye into a technology and a redefinition of the world to suit the eye, a world of maps and charts, blueprints and diagrams, the world in which we are, among other things, silent readers of the printed word and users of the camera, the world, finally, in which we have all become astronauts. Page 33
  6. In continuing our story in this fashion we shall hear how linear perspective vision, and making the eyes the worlds measure, has transformed the self into a spectator, the world into a spectacle, and the body into a specimen. Page 33
  7. Edgerton notes that this concordance a vanishing point and horizon line, the viewer’s eye level, was Brunelleschi’s most important discovery. p39
  8. Nothing like it appears earlier in medieval painting, for example, suggesting that men and women of earlier ages simply did not see in this fashion. Page 40
  9. That’s a linear perspective vision is a historical invention recommends, therefore, that we pay close attention to its conditions and implications, four in creating it we have also designed and invented ourselves and our world. 41
  10. The condition of the window implies a boundary between the perceiver and the perceived. It establishes a condition for perception a formal separation between the subject who sees the world and the world that it sees, and in so doing it sets the stage, as it were, for the retreat or withdrawal of the self from the world which characterizes the dawn of the modern age. p42
  11. In other words a linear perspective vision is one which places everything on the same level and in this respect the imaginal eye of the artist has already prepared the space for the 16th century emergence of the scientific world of explanations. p43
  12. Vision which precedes all things as belonging to the same plane as a vision which transforms the depth of the world. p43
  13. World of clarity and of light opened up on the other side of the window is complemented by the world of shadows end of night on the side of the window. page 44
  14. I becomes a symbol of a new vision of humanity and reality and the relationship between them. Page 44
  15. They are reciprocal items: the further removed the more central one is in the scheme of things. In this respect, moreover, the central position which now settled upon humanity accomplishes a reversal. Page 47
  16. It is an eye fixed in its place, a staring eye, and eye focus straight ahead on the world. Such an eye by definition does not wander over the landscape of the world nor does it get distracted to wander over and about things which light off to the side of its vision. p47
  17. At the vanishing point at that ideal distance of infinity from the viewer opposite the vanishing point behind the window, the body has been abandoned. Page 48
  18. The corpse is the body invented in and for the space of linear perspective vision page 48
  19. The map projects a birds eye view of the whole trip in advance of taking it, and while there are numerous advantages to such mapping not the least of which is again inefficiency a tragic air can occur if and when the map is mistaken for the journey. p51
  20. Much of this mapping of the world in advance of our experience of it has meant the substitution of quantitative measures for the worlds qualities. It has meant the projection of a world without qualities. Page 51
  21. Depth as a matter of levels is eclipsed by depth as a matter of spatial distance from the viewer, and with this change we exchange depth as an index of the world mysteries for a distance which, in placing the world before us, opens to a explanations. page 52
  22. Camera is the technological incarnation of the linear perspective eye. 57

  23. Perhaps herein lies the voyeurism of modern consciousness, which in its detached passion for spying on the world wishes to remain invisible, hidden, disembodied. Page 60
  24. Ensconced behind a window, cut off from the world, separated and distant from it, we are much more likely to forget that the world matters. And forgetting that it matters we are much more likely to destroy it. We have to break the window, return to the world, Hockney says, “because if we don’t, I think will blow ourselves up.” p63
  25. The window as membrane becomes the boundary, the place where the world is divided into exterior and interior domains. page 69
  26. Window transformed as vail indicates that the window between self and world is more than a boundary of separation, and that the self behind this window is more than a mere spectator. The window as self – chosen veil is a threshold which changes the world and which reflects a self which is the maker of its own visions. 76
  27. For the moment, however, it is sufficient to note that in so far as the way one looks reflects who one is, the geometrization of vision means not only the fragmentation of the world into its parts but also other fragmentation of the self. The window as a grid we have also the genesis of the fragment itself, the self of analyzable parts, this self which is capable of dissecting it’s attitudes, emotions, and beliefs. Page 77
  28. The space into which we launch ourselves as astronauts is, therefore, a world of our own making, or universe which, through the window – veil as grid, is primarily a mathematical space, space of points and plotted trajectories. Page 79
  29. Or unease, are dis-ease, however, maybe the very vehicle of return, the means by which we are restored to ourselves, to our bodies, to the world. Page 81
  30. The window – veil as grid which was originally something to see you through has become for us a map to look at. Page 82
  31. To love one’s a label as oneself, however, is, and requires, a kind of violence, in much the same way as the mapping of the world and our acceptance of the map as the world is, and requires, a kind of violence. It is the violence of a reductive vision. Page 82
  32. The vanishing point, the point where the world as texture, quality, and difference has shrunk to a geometric dot, has no sound, no taste, no smell, no color, no feel, no quality. It is only measure. Page 89
  33. Efficiency wedded to indifferences a cold abstraction of a human being. page 91

  34. Surrounded by specialists and expertise, we had ourselves over to others, and handing ourselves over this way we created distance even within ourselves. Page 92
  35. Indeed the daring of Copernicus’ imagination, “which lifted him from the earth and enable him to look down upon her as though he actually work and inhabitant of the sun”, lies and this willingness to displace with the body in order to achieve a vision of things no longer misled by appearances. It is dairy because in principle of acknowledges that the body deceives us, that the appearance of things as carried by the senses is an illusion, and so ethnology this requires one to announce the body. p95
  36. The sound of time is inexact to the same degree that the vision of time is exact, a difference which changes the conduct of life in several ways. 101
  37. You are there as a reproduced, disembodied voice, a self without substance, a self which has no shadow. Page 102
  38. She (witch) is the dark, shadow side of our flight from the abandoned corpse, a frightening image of the undesirable of our dreams of departure. Page 150
  39. It’s the 15th century according to Foucault, the face of madness has hunted the imagination of western humanity page 151
  40. In shutting away this animal body we take another step toward the bodies mechanization page 153
  41. I close, therefore, with these two images of the medical and the pornographic bodies to remind us of the ambiguity of our inheritance. Together these two bodies might help us to remember not to forget that they abandoned body cast a shadow. 175