Alan Reid on philosophy, technology, and guns

Alan Reid author of book

Alan Reid, associate professor of English, is knowledgeable about technology and has a concern about guns and gun culture in the United States. These blended impulses led to the creation of his latest scholarly work, A Philosophy of Gun Violence.

In many ways a follow-up to his 2018 book The Smartphone Paradox: Our Ruinous Dependence in the Device Age, Reid applies the same philosophy of technology to guns.

Cover of book

“Our technological artifacts, like smart phones or guns, are non-neutral,” said Reid. “They are positively charged for a deliberate, specific use. Smart phones are intended for you to pick it up and scroll, and they are designed to hold your attention in those ways. Similarly, guns are designed for you to pick it up, hold it, and pull the trigger.”

In addition to his research background in the philosophy of technology, Reid’s interest in this topic generated from his concern as a citizen and a parent about increasing desensitization of gun violence, including nationwide increases in gun sales as a solution to that violence.

“It hit me after Sandy Hook in 2012 that we’ve really crossed a line in terms of normalization,” said Reid. “That, and the call for more firearms — more access to guns. It led me on a path of thinking, ‘This is not the approach we should take, and here’s why.’”

Reid incorporates concepts from a wide range of contemporary tech philosophers in presenting his case, including Bruno Latour’s Actor Network Theory (ANT) and the work of Peter-Paul Verbeek and Langdon Winner.

“Our technological artifacts, like smart phones or guns, are non-neutral. They are positively charged for a deliberate, specific use.”

Alan Reid

“The basic concept is that technologies invoke actions,” said Reid. “I’m not saying that guns make people kill people. But, they can change your perception of reality; they can distort your views of things. Especially when one is carrying a gun, open or concealed, it changes circumstances, and I think that’s really dangerous. I reference Latour, who said, ‘You are different with a gun in your hand, and the gun is different with you holding it.’”

Reid also offers a background on technology and how he defines it, incorporating concepts from the field of semiotics that categorize items as a thing, an object, and an artifact. A “thing” is an item with no prescribed meaning or definitive use. An “object” takes on meaning for the user because it has an identified particular use or purpose. An item becomes an “artifact” when individuals in society generally agree upon a single purpose for that item.

“What makes a gun an artifact is that we all collectively understand that it’s meant to be aimed and fired…. I’m interested in it as an artifact in that it drives you toward its use. It does have an agenda. It wants to be used, and it wants to be used in a specific way; that way is to fire a projectile. It does want you to use it in that way and in no other way.”

Reid consulted with numerous gun manufacturers and high-profile gun rights advocates in researching his book to learn their perspective and offer his philosophy.

“I wanted to understand their view and encourage them to understand mine, that a gun changes one’s perception when it’s in their hand,” said Reid.

In the end, a gun works as a technology just as a cell phone does, said Reid, and that technology has an effect on its user.

“People might say, ‘Oh, it’s just a smart phone; it’s an instrument.’ But so much research shows it’s not just an instrument. It persuades you to do things you might not otherwise have done. The difference is that using a gun is quite a bit more lethal than checking your smart phone.”

 

 

Rethinking the book

Emily Brooks, assistant professor of digital culture and design in the Department of English, shares her interests in multimodal composition, the digitization of books, and non-standard book objects.

To Emily Brooks, “book” has a wide definition. It’s not limited to the traditional bound paper item we all keep on our shelves.

Brooks’ teaching focuses on “critical making,” which includes traditional print books, but also interactive fiction. Her students have created photo-poetry books; 3D-printed books; and choose-your-own-adventure narratives using Twine, an open-source tool for telling non-linear stories. As a “makeademic,” Brooks also makes and creates digitizations of non-standard book objects, such as touch-and-feel books, movable books, and treasure bindings (books that include precious gemstones or ivory carvings).

Her scholarly interests, Brooks said in a recent interview, are rooted in the early days of her undergraduate experience. Having started college as a pre-med student, Brooks then considered photography and graphic design before settling on English as her major discipline. Discovering that English has a home outside of traditional media was a key moment in the commencement of her academic journey.

“My first English course as an undergraduate was a very non-traditional approach to studying English; it involved combining comics and science studies with Romantic poetry and printmaking… it really got me started with combining creative and making projects within more traditional literary studies.”

Brooks’ creative making involves books’ content and makeup, but also how a story’s topic affects its interpretation – a concept she applies in the classroom as well. Brooks is interested in giving students a new appreciation for the things that they may take for granted when evaluating creative works.

“The creative work itself can transform the creator as well as the viewer,” Brooks said. “Teaching through the creative process gives students a much more nuanced and richer understanding of the things that they’re viewing.” 

For the full interview of Emily Brooks and other new faculty , check out our Facebook page.

Learn more about Emily Brooks through her website.

Learn about about Emily Brooks through her CCU profile.

Top