The phenomenology of the telephone

"At first, no one knew exactly how to telephone. Alexander Graham Bell wanted people to start conversations by saying, “Ahoy-hoy!” AT&T tried to prevent people from saying “hello,” arguing in Telephone Engineer magazine that it was rude [...] Texting is fun, lightly asynchronous, and possible to do with many people simultaneously. It’s almost as immediate as a phone call, but not quite. You’ve got your Twitter, your Facebook, your work Slack, your email, FaceTimes incoming from family members. So many little dings have begun to make the rings obsolete." (Alexis C. Madrigal for The Atlantic)

"Respond as you would to the telephone, for the call of the telephone is incessant and unremitting. When you hang up, it does not disappear but goes into remission. This constitutes its Dasein. There is no off switch to the technological. Remember: When you’re on the telephone, there is always an electronic flow, even when that flow is unmarked." (Avital Ronell in The Telephone Book)

The Moral Machine (MIT Media Lab)

A twenty-first century adaptation of the Trolley Problem:

"From self-driving cars on public roads to self-piloting reusable rockets landing on self-sailing ships, machine intelligence is supporting or entirely taking over ever more complex human activities at an ever increasing pace. The greater autonomy given machine intelligence in these roles can result in situations where they have to make autonomous choices involving human life and limb. This calls for not just a clearer understanding of how humans make such choices, but also a clearer understanding of how humans perceive machine intelligence making such choices."

Paul Valéry, Pièces sur L’Art, 1931

“Our fine arts were developed, their types and uses were established, in times very different from the present, by men whose power of action upon things was insignificant in comparison with ours. But the amazing growth of our techniques, the adaptability and precision they have attained, the ideas and habits they are creating, make it a certainty that profound changes are impending in the ancient craft of the Beautiful. In all the arts there is a physical component which can no longer be considered or treated as it used to be, which cannot remain unaffected by our modern knowledge and power. For the last twenty years neither matter nor space nor time has been what it was from time immemorial. We must expect great innovations to transform the entire technique of the arts, thereby affecting artistic invention itself and perhaps even bringing about an amazing change in our very notion of art.”