When you apply power with higher-than-normal voltage to electric kids toys, they tend to move faster. When you apply 30V instead of the usual 2.5V or 5V, they move really fast:
This reminds me of when I was in grade school. Does anyone remember Stompers? They were battery-operated cars and trucks that were bigger than HotWheels and, while not remote-controlled, were able to move around under their own power. But they weren’t that speedy…maybe they could do 1-2 mph.
Anyway, some kid at school figured out that you could remove the AA battery, connect wires to the battery terminals, and then connect those wires to as many C- and D-cell batteries as you could gang together in a series. So instead of the usual 1.5V, you could pump 4.5V, 6V, 7.5V, or even 9V into those tiny cars. And boy, did they go. We could barely keep up as we raced them against each other down the halls, running behind them holding our battery packs. But the thrills were short-lived — I think the school banned them and all that current burned the tiny Stomper motors out after awhile. Fun while it lasted though! (via waxy)
So I am something of a philosophy nerd, with a particular affection for late 19th/early 20th century European philosophers, who had a lamentable habit of either turning out to be Nazis or becoming victims of the Nazis. One important strand of this Nazi/Nazi-victim movement in European thought is phenomenology, which tried to describe in painful detail and using all-original categories what the experience of everyday life for both persons and things was like. As it happened, the experience of everyday life was in deep flux at this time, so a lot of their categories/arguments/distinctions turn out to actually capture that historical moment particularly well, which is not at all what they thought they were trying to do.
If you want to try out a light version of phenomenology, applied to both that historical moment and our own, you could do a lot worse than reading Dan Hill’s essay “Let There Be Light Switches: From Dark Living Rooms To Dark Ecology.” Hill takes something extremely ordinary—the experience of looking for, finding, and flipping a light switch—and finds the philosophy in it:
Pallasmaa, in his The Eyes of the Skin, noted that touch is a key part of remembering and understanding, that “tactile sense connects us with time and tradition: through impressions of touch we shake the hands of countless generations”. Is this reach for the switch merely functional, then? A light switch can stick around for decades, as with the doorhandle. When you touch the switch, you are subconsciously sensing the presence of others who have done so before you, and all those yet to do so. You are also directly touching infrastructure, the network of cables twisting out from our houses, from the writhing wires under our fingertips to the thicker fibres of cables, like limbs wrapped around each other, out into the countryside, into the National Grid.
If we always replace touch with voice activation, or simply by our presence entering a room, we are barely thinking or understanding, placing things out of mind. While data about those interactions exist, it is elsewhere, perceptible only to the eyes of the algorithm. We lose another element of our physicality, leaving no mark, literally. No sense of patina develops, except in invisible lines of code, datapoints feeding imperceptible learning systems of unknown provenance. As is often the case with unthinking smart systems, it is a highly individualising interface, revealing no trace of others.
This is… not easy to read. But there’s a lot going on here! I particularly like the invocation of Martin “I Was, Like, Extra-Nazi” Heidegger’s useful distinction between “zuhanden” (to-hand? at-hand?) and “vorhanden” (something like “present-at-hand”? Oh, German is impossible!) to describe categories of objects.
Or, hey; how about this: when it’s “zuhanden,” it’s a thing, and when it’s “vorhanden,” it’s an object.
Heidegger’s word for how light switches seem to peer out at you like minor characters in an Expressionist painting is vorhanden, which means present-at-hand. Normally things kind of disappear as you concentrate on your tasks. The light switch is just part of your daily routine, you flick it on, you want to boil the kettle for some coffee—you are stumbling around, in other words, stumbling around your kitchen in the early morning light of truthiness. (From Being Ecological, Timothy Morton)
That thing when things “disappear” is zuhanden; they just kind of melt into the environment, and so do you, just a being among beings, all working together. The ultimate expression of zuhanden is “flow,” which Heidegger and Csikszentmihalyi both ripped off from Tolstoy in Anna Karenina, with Levin mowing the hay with his peasants:
He thought of nothing, wished for nothing, but not to be left behind the peasants, and to do his work as well as possible. He heard nothing but the swish of scythes, and saw before him Tit’s upright figure mowing away, the crescent-shaped curve of the cut grass, the grass and flower heads slowly and rhythmically falling before the blade of his scythe, and ahead of him the end of the row, where would come the rest.
Suddenly, in the midst of his toil, without understanding what it was or whence it came, he felt a pleasant sensation of chill on his hot, moist shoulders. He glanced at the sky in the interval for whetting the scythes. A heavy, lowering storm cloud had blown up, and big raindrops were falling. Some of the peasants went to their coats and put them on; others—just like Levin himself—merely shrugged their shoulders, enjoying the pleasant coolness of it.
Another row, and yet another row, followed—long rows and short rows, with good grass and with poor grass. Levin lost all sense of time, and could not have told whether it was late or early now. A change began to come over his work, which gave him immense satisfaction. In the midst of his toil there were moments during which he forgot what he was doing, and it came all easy to him, and at those same moments his row was almost as smooth and well cut as Tit’s. But so soon as he recollected what he was doing, and began trying to do better, he was at once conscious of all the difficulty of his task, and the row was badly mown.
On finishing yet another row he would have gone back to the top of the meadow again to begin the next, but Tit stopped, and going up to the old man said something in a low voice to him. They both looked at the sun. “What are they talking about, and why doesn’t he go back?” thought Levin, not guessing that the peasants had been mowing no less than four hours without stopping, and it was time for their lunch.
“Lunch, sir,” said the old man.
So we’ve had light switches long enough that they pass into our ordinary, everyday zuhanden state (or its extraordinary flow variation), except when we stumble over them and have to think about them, like these newfangled smart lights and voice switches. This means these everyday things are becoming objects again, until we can incorporate them into a new paradigm.
The light switch when jetlagged is vorhanden — suddenly present-at-hand, “oppressively obvious” —where usually its everyday resilience means it is zuhanden, simply ready-at-hand, normalised, routine. When “stumbling around”, he notes that we don’t pay attention to the object itself — here, the irreducible thing that is the light switch —and so nor do we stand any chance of paying attention to the broader systems of living, of infrastructure, that it is connected to, and part of - and, for Morton, our understanding of mass extinction due to climate change. And given Pallasmaa’s fundamental emphasis on touch as understanding, in order to truly sense and interact, this deleterious situation is hardly likely to improve when the analogue light switch disappears, when the object becomes further detached, and so may we.
More prosaically, how dull rooms will become if they are always automatically bright upon entering, just as the over-lit streets of our towns are increasingly sanitised of their mystery. The cornerstone of most horror movies, vanished overnight. Fortunately, smart homes will not work any more effectively than smart cities do, and a different sub-genre of horror movies will emerge, domestic versions of Stephen King’s Christine or 2001’s HAL.
Maybe this is all thinking too hard about an ordinary experience that is changing, sure, but not in some fundamental way that changes our relationship to things as such. But at the same time, what if it’s not thinking too hard enough?
There isn’t much more basic to our experience of the world, in the 20th century or the 21st, than our use of artificial light to take back the night, transform our work and our play, indeed, change the fundamental nature of communication and experience itself. It’s worth marveling at the change of experience, the change in expectation that that was, precisely now when those experiences and expectations are on the verge of changing again, first by the thousands, and then by the millions.
How do we find the light? How do we see? What do we need to see? What do we know by doing? These are basic questions any philosophy of experience, and any technology of experience, has to answer. Well, our technology of experience is changing. Maybe our philosophy of experience needs to first go back before it can go forward to something new.
“It’s too dark in here. Mommy, I want you to turn my nightlight back on, please,” my daughter said matter-of-factly.
I realized I needed to explain. This was not her first power outage — ah, aging St. Louis utility lines — but it was the first one she would experience, as opposed to ignoring as an oblivious infant. I wondered what it must feel like to suddenly go without a thing you have never lacked. It would be weird to be bereft of something so ever-present, it is practically a nutrient. A thing you can’t really understand but have never been unable to access, since the second you arrived in your own skin.
On Twitter, Rebecca notes that her essay is also not-so-covertly about the tragic inevitability of death, and so forth. A power outage is definitely a strong metaphor for thinking about death: it happens suddenly, inevitably, disruptively, and repeatedly, but each time feels uncanny and fresh. And as much as you’d like to just wait it out, there’s always work to do: someone has to get the children to sleep, someone has to pump the water out of the basement.
…From the past. It doesn’t take much to look at this book and imagine the pitch meeting at how Sterling Cooper Draper Price would pitch this.
In 1964 United States Steel called upon the nation’s electric utility companies to reconsider the current look of our power stations and transmission towers to be both functional and beautiful. Two years later, Henry Dreyfuss and Associates were commissioned to investigate possible design alternatives, and I believe they were documented in a book entitled “Power Styling” which was produced by United States Steel in the mid-to-late 1960s.
Bare is a skin-safe conductive ink that you can paint on your body to create “custom electronic circuitry”.
This innovative material allows users to interact with electronics through gesture, movement, and touch. Bare can be applied with a brush, stamp or spray and is non-toxic and temporary. Application areas include dance, music, computer interfaces, communication and medical devices. Bare is an intuitive and non-invasive technology which will allow users to bridge the gap between electronics and the body.
The TTF-TCNQ interface conducts electricity much better than standard semiconductors. “The electron concentration there is an order of magnitude higher,” Mannhart says. “That has the power to create new effects, from magnetism to superconductivity.”
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