In the eternal struggle between God and Mammon, the clock quite unpredictably favored the latter.

From Technopoly by Neil Postman.

But such prejudices are not always apparent at the start of a technology’s journey, which is why no one can safely conspire to be a winner in technological change. Who would have imagined, for example, whose interests and what world-view would be ultimately advanced by the invention of the mechanical clock? The clock had its origin in the Benedictine monasteries of the twelfth and thirteenth centuries. The impetus behind the invention was to provide a more or less precise regularity to the routines of the monasteries, which required, among other things, seven periods of devotion during the course of the day. The bells of the monastery were to be rung to signal the canonical hours; the mechanical clock was the technology that could provide precision to these rituals of devotion. And indeed it did. But what the monks did not foresee was that the clock is a means not merely of keeping track of the hours but also of synchronizing and controlling the actions of men. And thus, by the middle of the fourteenth century, the clock had moved outside the walls of the monastery, and brought a new and precise regularity to the life of the workman and the merchant.

“The mechanical clock;’ as Lewis Mumford wrote, “made possible the idea of regular production, regular working hours and a standardized product.” In short, without the clock, capitalism would have been quite impossible. The paradox, the surprise, and the wonder are that the clock was invented by men who wanted to devote themselves more rigorously to God; it ended as the technology of greatest use to men who wished to devote themselves to the accumulation of money. In the eternal struggle between God and Mammon, the clock quite unpredictably favored the latter.

Unforeseen consequences stand in the way of all those who think they see clearly the direction in which a new technology will take us. Not even those who invent a technology can be assumed to be reliable prophets, as Thamus warned. Gutenberg, for example, was by all accounts a devout Catholic who would have been horrified to hear that accursed heretic Luther describe printing as “God’s highest act of grace, whereby the business of the Gospel is driven forward.” Luther understood, as Gutenberg did not, that the mass-produced book, by placing the Word of God on every kitchen table, makes each Christian his own theologian—one might even say his own priest, or, better, from Luther’s point of view, his own pope. In the struggle between unity and diversity of religious belief, the press favored the latter, and we can assume that this possibility never occurred to Gutenberg.

Thamus understood well the limitations of inventors in grasping the social and psychological—that is, ideological— bias of their own inventions. We can imagine him addressing Gutenberg in the following way: “Gutenberg, my paragon of inventors, the discoverer of an art is not the best judge of the good or harm which will accrue to those who practice it. So it is in this; you, who are the father of printing, have out of fondness for your off-spring come to believe it will advance the cause of the Holy Roman See, whereas in fact it will sow discord among believers; it will damage the authenticity of your beloved Church and destroy its monopoly.”

We can imagine that Thamus would also have pointed out to Gutenberg, as he did to Theuth, that the new invention would create a vast population of readers who “will receive a quantity of information without proper instruction... [who will be] filled with the conceit of wisdom instead of real wisdom”; that reading, in other words, will compete with older forms of learning. This is yet another principle of technological change we may infer from the judgment of Thamus: new technologies compete with old ones—for time, for attention, for money, for prestige, but mostly for dominance of their worldview. This competition is implicit once we acknowledge that a medium contains an ideological bias. And it is a fierce competition, as only ideological competitions can be. It is not merely a matter of tool against tool—the alphabet attacking ideographic writing, the printing press attacking the illuminated manuscript, the photograph attacking the art of painting, television attacking the printed word. When media make war against each other, it is a case of world-views in collision.