I mostly skimmed this book, and I would have some quibbles with it if I got more into the details, but I found it really good. Musical theater is far, faaaar outside of my research interests, but this book articulates a fascinating “theology of voice” within Mormonism that will be helpful as I look to write something on Ellul and Mormon Studies.

Ça fait plusieurs mois que je m’intéresse aux écrits de Jacques Ellul comme base théorique pour comprendre les techniques et technologies de nos jours. En fait, j’ai déjà écrit en février au sujet de l’intelligence artificielle générative et combien l’œuvre d’Ellul semble utile pour les critiques de l’IA malgré le fait qu’Ellul a vécu et écrit bien avant l’ère de l’IA comme nous la connaissons aujourd’hui.

Je suis en train de lire son livre posthume Théologie et technique (bien lentement, il faut l’avouer—j’avais commencé le livre en mai avant de devoir recommencer il y a quelques jours), et je trouve qu’il y a plusieurs passages qui me semblent utile lors des débats actuels au sujet de l’IA générative.

Yesterday afternoon, I was explaining (poorly) to some friends that I had been thinking about what the story of the Liahona in the Book of Mormon has to teach readers of that volume of scripture about (generative) AI. So, that connection was naturally on my mind when I was reading more of Jacques Ellul’s Presence in the Modern World over breakfast.

I continue to be pleasantly surprised by how relevant Ellul’s writing feels for today. Presence in the Modern World was first written in 1948, and even if you consider that the translation I’m reading is based on a 1988 second edition, that’s still enough time to earn the description “prescient.” (I’ve been reading Ellul in a mix of translated English and original French, depending on what’s more practical for the book in question.) Here’s a passage that particularly stood out to me this morning: