Tag Archives: Doctor Who

The author on a blue background wearing Apple AirPods.

On Machinery

This week, for the penultimate post of the Wednesday Blog, how machinery needs constant maintenance to keep functioning.—Click here to support the Wednesday Blog: https://www.patreon.com/sthosdkane—Sources:%5B1%5D Surekha Davies, “Walter Raleigh’s headless monsters and annotation as thinking,” in Strange and Wonderous: Notes from a Science Historian, (6 October 2025).[2] “Asking the Computer,” Wednesday Blog 5.26.


This week, for the penultimate post of the Wednesday Blog, how machinery needs constant maintenance to keep functioning.


I am just old enough to remember life before the ubiquity of computers. I had access to our family computer as long as I can remember, and to my grandparents’ computer at their condo when we stayed with them in the Northwest Suburbs of Chicago. Yet even then my computer usage was limited often to idle fascination. I did most of my schoolwork by hand through eighth grade, only switching from writing to typing most of my work when I started high school and was issued a MacBook by my school. I do think that a certain degree of whimsy and humanity has faded from daily life as we’ve so fully adopted our ever newly invented technologies. Those machines can do things that in my early childhood would’ve seemed wonderous. Recently, I thought how without knowing how powerful and far-reaching my computer is as a vehicle for my research and general curiosity, I would be happy, delighted in fact, if my computer could conduct one function, say if it had the ability to look up any street address in the United States as a device connected to the US Postal Service’s database. That alone would delight me. Yet that is the function of not just one application on my computer but merely one of many functions of several such programs I can load on this device, and not only can I look up addresses in the United States but I can look up addresses in any country on this planet.

With the right software downloaded onto this computer I can read any document printed or handwritten in all of human history and leave annotations and highlights without worrying about damaging the original source. Surekha Davies wrote warmly in favor of annotating in her newsletter this week, and I appreciated her take on the matter.[1] In high school, I was a bit of a prude when it came to annotating; I found that summer reading assignment in my freshman and sophomore English classes to be almost repulsive because I see a book as a work of art crafted by its author, editor, and publisher to be a very specific way. To annotate, I argued, was like drawing a curly-cue mustache on the Mona Lisa, a crude act at best. Because of this I process knowledge from books differently. I now often take photos of individual pages and organize them into albums on my computer which I can then consult if I’m writing about a particular book, in much the same fashion that I use when I’m in the archive or special collections room looking at a historical text.

All of these images can now not only be sorted into my computer’s photo library, now stored in the cloud and accessible on my computer and phone alike, but they can also be merged together into one common PDF file, the main file type I use for storing primary and secondary sources for my research. With advances in artificial intelligence, I can now use the common top-level search feature on my computer to look within files for specific characters, words, or phrases to varying levels of accuracy. This is something that was barely getting off the ground when I started working on my doctorate six years ago, and today it makes my job a lot easier; just my file folder containing all of the peer-reviewed articles I’ve used in my research since 2019 contains 349 files and is 887.1 MB in size.

Our computers are merely the latest iterations of machines. The first computer, Charles Babbage’s (1791–1871) counting machine worked in a fairly similar fashion to our own albeit built of mechanical levers and gears where ours have intricate electronics in their hard drives. I, like many others, was introduced to Babbage and his difference engine by seeing the original in the Science Museum in London. This difference engine was a mechanical calculator intended to compute mathematical functions. Blaise Pascal (1623–1662) and Gottfried Wilhelm Leibniz (1646–1716) both developed similar mechanisms in the seventeenth century and still older the Ancient Greek 2nd century BCE Antikythera mechanism can complete some of the same functions. Yet between all of these the basic idea that a computer works in mathematical terms remains the same even today. For all the linguistic foundations of computer code, the functions of any machine burn down to the binary operations of ones and zeros. I wrote last year in this blog about my befuddlement that artificial intelligence has largely been created on verbal linguistic models and was only in 2024 being trained on mathematical ones.[2] Yet even then those mathematical models were understood by the A.I. in English, making their computations fluent only in one specific dialect of the universal language of mathematics making their functionality mostly useless for the vast majority of humanity.

Yet I wonder how true that last statement really is? After all, I a native English speaker with recent roots in Irish learned grammar like many generations of my ancestors through learning to read and write in Latin. English grammar generally made no sense to me in elementary school, it is after all very irregular in a lot of ways, and so it was only after my introduction to a very orderly language, the one for which our Roman alphabet was first adapted, that I began to understand how English works. The ways in which we understand language in a Western European and American context rely on the classical roots of our pedagogy influenced in their own time by medieval scholasticism, Renaissance humanism, and Enlightenment notions of the interconnectedness of the individual and society alike. I do not know how many students today in countries around the globe are learning their mathematics through English in order to compete in one of the largest linguistic job markets of our time. All of this may well be rendered moot by the latest technological leap announced by Apple several weeks ago that their new AirPods will include a live translation feature acting as a sort of Babel Fish or universal translator depending on which science fiction reference you prefer.

Yet those AirPods will break down eventually. They are physical objects, and nothing which exists in physical space is eternal. Shakespeare wrote it well in The Temepst that 

“The solemn temples, the great globe itself,

Yea, all which it inherit, shall dissolve,

And, like this insubstantial pageant faded,

Leave not a rack behind. We are such stuff

As dreams are made on, and our little life

Is rounded with a sleep.” (4.1.170-175)

For our machines to last, they must be maintained, cleaned, given breaks just like the workers who operate them lest they lose all stamina and face exhaustion most grave. Nothing lasts forever, and the more those things are allowed to rest and recuperate the more they are then able to work to their fullest. So much of our literature from the last few centuries has been about fearing the machines and the threat they pose. If we are made in the Image of God then machines, our creation, are made in the image of us. They are the products of human invention and reflect back to us ourselves yet without the emotion that makes us human. Can a machine ever feel emotion? Could HAL-9000 feel fear or sorrow, could Data feel joy or curiosity? And what of the living beings who in our science fiction retrofitted their bodies with machinery in some cases to the extent that they became more machine than human? What emotion could they then feel? One of the most tragic reveals for me in Doctor Who was that the Daleks (the Doctor’s main adversaries) are living beings who felt so afraid and threatened that they decided to encase the most vital parts of their physical bodies in wheelchair tanks, shaped like pepper shakers no less, rendering them resilient adversaries for anyone who crossed them. Yet what remained of the being inside? I urge caution with suggestions of the metaverse or other technological advances that draw us further from our lived experiences and more into the computer. These allow us to communicate yet real human emotion is difficult to express beyond living, breathing, face-to-face interactions.

After a while these machines which have our attention distract us from our lives and render us blind to the world around us. I liked to bring this up when I taught Plato’s allegory of the cave to college freshmen in my Western Civilization class. I conclude the lesson by remarking that in the twenty-first century we don’t need a cave to isolate ourselves from the real world, all we need is a smartphone and a set of headphones and nothing else will exist. I tried to make this humorous, in an admittedly dark fashion, by reminding them to at least keep the headphones on a lighter mode so they can hear their surroundings and to look up from their phone screen when crossing streets lest they find themselves flattened like the proverbial cartoon coyote on the front of a city bus. 

If we focus too much on our machines, we lose ourselves in the mechanism, we forget to care for ourselves and attend to our needs. The human body is the blueprint for all human inventions whether physical ones like the machine or abstract like society itself. As I think further about the problems our society faces, I conclude that at the core there is a deep neglect of the human at the heart of everything. I see this in the way that disasters are reported on in the press: often the financial toll is covered before the human cost, clearly demonstrating that the value of the dollar outweighs the value of the human. In abdicating ourselves to our own abstractions and social ideals we lose the potential to change our course, repair the machinery, or update the software to a better version with new security patches and fixes for glitches old and new. In spite of our immense societal wealth, ever advancing scientific threshold, and technological achievement we still haven’t gotten around to solving hunger, illiteracy, or poverty. In spite of our best intentions our worst instincts keep drawing us into wars that only a few of us want.The Mazda Rua, my car, is getting older and I expect if I keep driving it for a few years or more it’ll eventually need more and more replacement parts until it becomes a Ship of Theseus, yet is not the idea of a machine the same even if its parts are replaced? That idea is the closest I can come to imagining a machine having a soul as natural things like us have. The Mazda Rua remained the Mazda Rua even after its brakes were replaced in January and its slow leaking tire was patched in May. Yet as it moves into its second decade, that old friend of mine continues to work in spite of the long drives and all the adventures I’ve put it through. Our machinery is in desperate need of repair, yet a few of us see greater profit from disfunction than they figure they would get if they actually put in the effort, money, and time to fix things. If problems are left unattended to for long periods of time they will eventually lead to mechanical failure. The same is true for the machinery of the body and of the state. Sometimes a good repair is called for, reform to the mechanisms of power which will make the machine work better for its constituent parts. In this moment that need for reform is being met with the advice of a bad mechanic looking more at his bottom line than at the need of the mechanism he’s agreed to repair. Only on this level the consequences of mechanical failure are dire.


[1] Surekha Davies, “Walter Raleigh’s headless monsters and annotation as thinking,” in Strange and Wonderous: Notes from a Science Historian, (6 October 2025).

[2] “Asking the Computer,” Wednesday Blog 5.26.


Metropolis

When I returned home to Kansas City about a month ago, I saw an email from the Nelson-Atkins Museum of Art that the Tivoli Cinema, which since 2020 has been housed in the Nelson’s auditorium, would be holding two showings of Fritz Lang’s 1927 silent masterpiece Metropolis. I jumped at the opportunity and immediately bought a ticket for the opportunity to watch this film on a big screen with an audience around me. So, this past Sunday afternoon I showed up for the matinee screening and was even more dazzled by the experience than I’d expected.

I had seen Metropolis once before when it was on Netflix about a decade ago. I remember feeling a bit wary of the film and its story when I first watched it that time. Now I know that watching a movie as monumental as this one on a screen as small as my laptop does a disservice to the whole experience. Metropolis was made to be seen on the big screen with a live orchestra, or at least a live organist, adding a whole extra dimension of music to this already vivid story. In the case of this weekend’s showings, Metropolis was accompanied by a 2010 recording of the original Gottfried Huppertz score performed by Berlin Radio Symphony Orchestra conducted by Frank Strobel. I’ve since played that recording again on iTunes while grading essays this week and have felt just as profoundly moved by it as I was in the theatre on Sunday.

It occurred to me while listening to that album again this week that as much as this score is a film score, listening to it on its own it feels far more like ballet music. In the past I’ve written about how I feel that ballet and silent film share similar characteristics born out of their mutual need for wordless expression to tell their stories. As I listened to Huppertz’s score without seeing the images in front of me I found myself thinking back to each particular scene in Metropolis as I’d seen them the day before. Yet in the moment as I sat in the third row of the Atkins Auditorium watching this spectacle unfold before me, I felt that Metropolis was more operatic than balletic in its very character. These were actors performing at a time when the quantity of film influences were far fewer on their lives thanks to the relatively recent invention of motion pictures, film at that point was only about 40 years old. 

In Metropolis I saw echoes of Wagner and Strauss as well as hints of the future, all the films and television shows that would follow it. There is a scene near the beginning of the film’s first act, the 45-minute prelude, where a shift change of the underground workers occurs that seemed strikingly similar to several scenes from the new Star Wars: Andor series released on Disney+ this Fall. Don’t worry, no spoilers here. There are many elements of Metropolis that certainly have been influential, look no further than the Machine-Man, the poster child of Metropolis that wreaks havoc on the city and nearly destroys it and all who live within it. There perhaps we see the ancestor of Doctor Who‘s cybermen, Star Trek‘s Borg, or Alicia Vikander’s character in Ex Machina.

In the last few days, I read in Variety that there’s a TV series remake of Metropolis in the works for Apple TV+. While I’m normally hesitant about remakes of classic films or shows, the new Star Trek: Strange New Worlds which sees the adventures of the original 23rd century USS Enterprise before it was captained by James T. Kirk, has made the idea more amenable to me, though that’s likely because Strange New Worlds does the whole reboot idea perfectly. I’m most curious to see how Apple TV+’s new Metropolis will depict the city of tomorrow. In 1927 Fritz Lang’s original film used the great art deco skyscrapers of New York built of brick and steel as his model. Will this new series seek to depict the sort of futuristic architecture that I’ve collected on my architecture Pintrest board, filled with gentle curves, evocative colors, and dramatic lines? That remains to be seen.

Metropolis was a gripping film to see, and while long, with some aspects perhaps a bit old fashioned to our tastes, notably the over-the-top heart-gripping that happens throughout that made the crowd around me laugh from time to time, it still has my attention caught even now a few days later. Silent films speak to us in a way that their talking counterparts created after 1927 simply don’t. They tell stories in different ways, adjusting their style to fit the technical limitations of their time. I’ve always been drawn to silent films for this reason, and perhaps I’m drawn to ballet for much the same reason. After all, Chaplin was as much a dancer as he was a slapstick comic. Metropolis is a testament to the time and place in which it was made, Weimar Germany in the 1920s. In Joh Fredersen, the master of Metropolis I see Henry Ford, both in his character and in his physical appearance. I see fears about extremism on all fronts, and a call for unity and dialogue in the face of anger. I wonder what the new Metropolis will be like?