"Technology is us. There is no separation. It's a pure expression of human creative will. It doesn't exist anywhere else in the universe. I'm rather sure of that"
About this Quote
Technology is a mirror held up to humanity, not an alien force imposing itself from outside. David Cronenberg insists on that intimacy: machines, media, and algorithms are extensions of flesh and psyche, shaped by desire, fear, curiosity, and the will to make. To speak of technology as a pure expression of human creative will is to refuse the comforting myth that gadgets go rogue on their own. Responsibility and authorship stay with us. When a tool amplifies violence or connection, it reveals what we valued and chose to scale.
Cronenberg has been dramatizing this entanglement for decades. Videodrome fuses broadcast signal and body, collapsing the boundary between image and organism. The Fly exposes the biological cost of ambition, where a machine does not corrupt a pure man but uncovers vulnerabilities already present. Crash eroticizes car wrecks to show how technology can rewire intimacy without ceasing to be human; it simply maps our drives onto steel and asphalt. eXistenZ turns game consoles into wetware, suggesting that virtual worlds are not escapes but continuations of our inner landscapes. Across these films, technology is neither salvation nor damnation; it is a conduit for what we already are.
The claim that technology does not exist anywhere else in the universe is a provocation that sharpens the point. Whether or not extraterrestrials tinker, what makes technology meaningful is its origin in human imagination and culture. Media theorist Marshall McLuhan, a clear influence on Cronenberg, called media extensions of man; Cronenberg pushes further, showing how those extensions loop back to reshape the body and self. If there is no separation, then ethical debates about AI, social platforms, or biotech cannot be outsourced to fate or the market. They are debates about human character, attention, and power. Owning that fact is less comfortable than blaming the machine, but it is the only way to steer what we build.
Cronenberg has been dramatizing this entanglement for decades. Videodrome fuses broadcast signal and body, collapsing the boundary between image and organism. The Fly exposes the biological cost of ambition, where a machine does not corrupt a pure man but uncovers vulnerabilities already present. Crash eroticizes car wrecks to show how technology can rewire intimacy without ceasing to be human; it simply maps our drives onto steel and asphalt. eXistenZ turns game consoles into wetware, suggesting that virtual worlds are not escapes but continuations of our inner landscapes. Across these films, technology is neither salvation nor damnation; it is a conduit for what we already are.
The claim that technology does not exist anywhere else in the universe is a provocation that sharpens the point. Whether or not extraterrestrials tinker, what makes technology meaningful is its origin in human imagination and culture. Media theorist Marshall McLuhan, a clear influence on Cronenberg, called media extensions of man; Cronenberg pushes further, showing how those extensions loop back to reshape the body and self. If there is no separation, then ethical debates about AI, social platforms, or biotech cannot be outsourced to fate or the market. They are debates about human character, attention, and power. Owning that fact is less comfortable than blaming the machine, but it is the only way to steer what we build.
Quote Details
| Topic | Technology |
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