Risk-averse businesspeople and technophobic unions ensured that Britain failed to catch up in the 2020s.
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"Technology is horrible" is hardly an unusual premise, but Bahrani's Fahrenheit 451 doesn't even stay consistently technophobic.
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If you are wondering whether an elderly or technophobic person can handle setup, the answer is yes.
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That was partly because Mrs Clinton is so technophobic she does not know how to use a desktop computer.
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To cast our recurring panics as technophobic reruns is to misidentify what animates them most: Not fear, but helplessness.
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So, let's get into this deeply upsetting, technophobic 70 minutes of television, which closes with a haunting and deadly shooting.
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And, we olders, I mean I'm not technophobic, I'm not technophilic, but it is, I do think, incumbent ... I'm both.
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The answer to that question depends on what you define as an effective episode of Charlie Brooker's technophobic, dystopian anthology series.
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Although Room 104 actually shares very little in common with technophobic Black Mirror, it does probably owe its existence to the Emmy-nominated series.
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It strikes me as the most technophobic, but in the end, it's designed to highlight how important it is to rely on your gut.
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In general, my most liberal and tech-savvy friends exercise the most control and are weirdly technophobic when it comes to their children's screen time.
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And because it repeats, it seems to point to a larger philosophy: both movies feature villains whose evil deeds give the franchise a markedly technophobic outlook.
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Hell, even the notoriously technophobic Tolkien created a fictional meal-replacing superfood, Lembas, that is eerily analogous to the concept of a meal-in-a-pill.
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Frigid Forms cast a long shadow, with all its predictions of technophobic numbness and the breakdown of society as we know it into lonely, flash-frozen units.
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And the film leans hard into dark comedy rather than outright horror, which saves it from seeming like technophobic scaremongering or a "kids these days" moral panic.
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"One of the biggest misunderstandings is that Orthodox Jews are somehow technophobic or avoid technology, and that's not and has never been a part of Orthodox culture," he said.
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Something really wrong must have happened that hundreds of cool kids staring at their smartphone screen would come together to cheer at technophobic lectures in which Google was the sole equivalent of technology.
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The computing power it took to render Will Smith's digitally augmented performance as the blue genie in Disney's just-released live-action "Aladdin" would probably make his technophobic character in this movie nervous.
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Last week, Andrew Yang, the dark-horse presidential candidate who has positioned himself as at once the most tech-savvy and the most technophobic candidate in the race, released a plan for regulating Big Tech.
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Finding the right balanceA liberal approach to facial recognition that respects civil liberties without being technophobic would require that facial recognition databases queried by law enforcement should only include data related to people with outstanding warrants for violent and other serious crimes.
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Google's new Clips camera takes short looping videos of your kids and your pets, and it does it all using AI. Sure, that sounds like some weird technophobic nightmare—Google, one of the most data-thirsty companies on the planet, pointing a camera at your kids?
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Will the technophobic mob win again, or is early 2017 (Blincam's projected ship date) finally the time when making weird blinking gestures can finally become the universal gesture for "I just totally took a picture of you and what are you going to do about it?"
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There are pros and cons to this policy, for sure, and for what it's worth, I think just putting up a few posters, and having the artist onstage ask people to use their phones less is much better than literally sealing phones off from their owners like a technophobic dictator.
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Hollywood has always sported a technophobic streak, and its tendency to treat the online world as cause for concern goes back almost as far as mainstream awareness of the internet — think of Sandra Bullock in 1995's The Net, ordering pizza from a website in a scene that was supposed to underscore her unfathomable isolation.
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Whether out of loyalty or technophobic inertia, the fifty-to-sixty-five-and-overs could still be counted on as a captive audience inside their vehicles, while the eighteen-to-forty-fives refused to be prisoners of locality and preferred to have their cultural sustenance delivered to their phones by someone as endearingly neurotic as they believed themselves to be.
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Meanwhile, many of media's technophobic éminences grises, long spooked by anything that dings and therefore feeling pretty smug about the current techlash, now see fit to indulge in and promote their analog fantasies at tedious length in national publications, as if we, the hopelessly hyperconnected hoi polloi, care about cows in the countryside, silent retreats at which tears are cathartically shed, or—please, no—the original off-gridder himself and resurgent icon of the new tech-dystopian dark age, Henry David "Friends Totally Joined Me at the Pond All the Time, Guys" Thoreau.
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Rao is technophobic and he never checks his email by himself. He also said that he uses the mobile phone only to talk to his wife.
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A study published in the journal Computers in Human Behavior was conducted between 1992 and 1994 surveying first-year college students across various countries. The overall percentage of the 3,392 students who responded with high-level technophobic fears was 29%.; several points are worth noting from Table 2. First, a group of countries including Indonesia, Poland, India, Kenya, Saudi Arabia, Japan, Mexico and Thailand show large percentages (over 50%) of technophobic students.
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The Leader of the Luddites, engraving of 1812 Several societal groups are considered technophobic, the most recognisable of which are the Luddites. Many technophobic groups revolt against modern technology because of their beliefs that these technologies are threatening their ways of life and livelihoods. The Luddites were a social movement of British artisans in the 19th century who organized in opposition to technological advances in the textile industry. These advances replaced many skilled textile artisans with comparatively unskilled machine operators.
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In some of these cases, the new technologies conflict with established beliefs, such as the personal values of simplicity and modest lifestyles. Examples of technophobic ideas can be found in multiple forms of art, ranging from literary works such as Frankenstein to films like Metropolis. Many of these works portray a darker side to technology, as perceived by those who are technophobic. As technologies become increasingly complex and difficult to understand, people are more likely to harbor anxieties relating to their use of modern technologies.
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Scalzi said that the cover is illustrative of the album's technophobic concerns with impact of digital technology upon society, which were informed by his experiences as a philosophy teacher.Bowar, Chad. "Slough Feg Interview: A Conversation with Vocalist/Guitarist Mike Scalzi". About.com. Retrieved March 1, 2014.
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Lawther stopped using social media as he began to take more high profile roles and considers himself to be "technophobic". He divides his time between Paris, France and London, England. He has described himself as politically left-wing and generally tries to avoid talking about his personal life. Lawther is a smoker.
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The book generally received positive reviews from critics. Publishers Weekly described it as "a glib, technophobic but compelling look at the end of civilization" and full of "jaunty and witty" sociological observations. Stephen King scholar Bev Vincent said "It's a dark, gritty, pessimistic novel in many ways and stands in stark contrast to the fundamental optimism of The Stand".
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The first phase of her career as a science fiction author ended. She did produce other stories over the next decade, and revised and published some as novels. A new production of this period was The Long Tomorrow (1955), one of Brackett's more critically acclaimed science fiction novels. This novel describes an agrarian, technophobic society that develops after a nuclear war.
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The novel is a fixup of two novellas, "Jury Duty" and "Appeals Court", along with a new third section, "Parole Board". The book, set in the late 21st century, takes a generally comic look at the technological singularity through the eyes of Huw, a technophobic member of a "Tech Jury Service" tasked with determining the value of various technological innovations and deciding whether to release them.
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In contrast, there are five countries which show under 30% technophobes (USA, Yugoslavia - Croatia, Singapore, Israel and Hungary). The remaining countries were in between these two groupings. In comparison, Japan had 58% high-level technophobes and Mexico had 53%. A published report in 2000 stated that roughly 85-90% of new employees at an organization may be uncomfortable with new technology, and are technophobic to some degree.
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It was originally published in 1970 by Harry N. Abrams, Inc. in association with the Whitney Museum of American Art and again in January 1977, with a second revised edition published in 1994. The psychiatrist Janet Ross owned a copy of the painting Numbers by Jasper Johns in Crichton's later novel The Terminal Man. The technophobic antagonist of the story found it odd that a person would paint numbers as they were inorganic.
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Shan-Wei tries to defy this plan but is labeled a traitor and killed, along with most of her followers, by the orbital bombardment of their Alexandria settlement. Shan-Wei's side retaliates, killing Langhorne and most of his allies, sparking the "War Against the Fallen" among the survivors. Langhorne's "Church of God Awaiting" eventually prevails and sets up a militantly technophobic global theocracy, which deifies and worships Langhorne and demonizes Shan-Wei. Centuries pass before Shan-Wei's backup plan comes into being.
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The psychiatrist Janet Ross owned a copy of the painting Numbers by Jasper Johns in The Terminal Man, a 1972 novel by Crichton. The technophobic antagonist of the story found it odd that a person would paint numbers as they were inorganic.Michael Crichton The Terminal Man New York; Avon Books 2002 p.181 Michael Crichton himself had a superb art collection, including several important works by Jasper Johns. Most of them were sold at an auction in Christie’s in 2010.
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Initially introduced as the Yuuzhan Vong in the book series The New Jedi Order (1999–2003), the species were an extragalactic, technophobic, fanatically religious species who were intent upon conquering the galaxy, which they attempted during the Yuuzhan Vong War (25–29 ABY). They were both invisible to direct Force sight and unaffected by direct Force powers. The Yuuzhan Vong used biotechnology instead of mechanical technology. Their homeworld was at first in a different galaxy and was called Yuuzhan'tar, which was destroyed in the Cremlevian War.
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The Yuuzhan Vong were introduced as the main antagonists of the book series The New Jedi Order (1999–2003) depicted as an extragalactic, technophobic, fanatically religious species who were intent upon conquering the galaxy, which they attempted during the Yuuzhan Vong War (25–29 ABY). They were both invisible to direct Force sight and unaffected by direct Force powers. The Yuuzhan Vong used biotechnology instead of mechanical technology. Their homeworld was at first in a different galaxy and was called Yuuzhan'tar, which was destroyed in the Cremlevian War.
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Groups considered by some people to be technophobic are the Amish and other Old Order Anabaptists. The Amish follow a set of moral codes outlined in the Ordnung, which rejects the use of certain forms of technology for personal use. Donald B. Kraybill, Karen M. Johnson-Weiner and Steven M. Nolt state in their book The Amish: What the Amish do, is selective use of modern technologies in order to maintain their belief and culture.Look Who's Talking - an article about the selective use of technologies among the Amish.
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He is a father figure to Buffy and her friends Xander Harris and Willow Rosenberg, together forming the "core four" of the Scooby Gang. Giles is often portrayed as something of a "straight man" and his "stuffy" Oxford sensibility serves as counterpoint to the stereotypical Southern Californian characters and setting. He makes a "weird cluck-cluck sound with his tongue" when he is angry but is "too English to say anything" ("Faith, Hope & Trick"). He admits to being technophobic, a fact which often brings him into conflict with technopagan and computer science teacher, Jenny Calendar.
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An example is in "Summer Camp" when Socks convinces Robot to go camping and Robot discovers the ability to feel jealous. Due to his polite nature and short stature, students at his school tend to ignore Robot or are oblivious to his existence. His good grades, poor social skills, and status as a robot are at odds with Principal Madman, a technophobic principal, Mr. McMcMc, a jealous and insecure math teacher, and Lenny and Denny Yogman, two genius twin brothers. At the end of an episode, Robot reads a "data log entry" about what he learned that day and what conclusions he has arrived at on humanity.
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Critical reception of the novel has focused on the thematic centrality of technology, yet critics disagree on the novel's stance towards technology. The Glass Bees has variously been characterized as dystopic, technophobic, technologically prescient, and skeptical of technology.; Marcus Bullock, Professor Emeritus of English at the University of Wisconsin–Milwaukee, sees the novel as a reversal of Jünger's earlier technological optimism, exemplified in a text like The Worker (1932) which speculates "on the potential of industrial technology to transform human society into an absolute expression of collective organization and total power." The novel's portrayal of technology is closely tied to a nostalgic lament for the perceived loss of a natural, idyllic past, contrasted to a mechanistic, technologically determined present.
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According to Metacritic, the album has received "universal acclaim". Grayson Currin of Pitchfork praised the album's songs for "overflow[ing] with two-guitar pirouettes and resplendent hooks, dynamic surges and appropriate aggression", in which Scalzi's maturity has become an asset that illuminates the album's theme: "Age is the real omnipresent apparition of Digital Resistance, the mechanism by which cell phones become a threat and sci-fi fantasies morph into Orwellian nightmares". James Christopher Monger of Allmusic also picked up on the technophobic theme, as well as the band's veneration of tradition, which did not detract from the originality of the band's approach: "As Luddite metal albums go, it's a gem, and while it's certainly deserving of the retro tag, it never feels derivative".
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Since the technophobic (remember that bug?) ushering in of the new millennium, the AUFC has enjoyed the normal delights and frustrations of suburban football in Adelaide: some A-Grade glory and plenty of special lower grade tomfoolery. Andrew ‘Dog' Muir made it to 300 games and retirement while Darren ‘The Jerk' Graetz made it to 400 games, well beyond 1,000 goals and waddled on to the SAAFL goal-kicking record before (perhaps) calling it a day. The historic Park 10 change rooms and grandstand did what all rich old ladies do these days - got a full body makeover. The As ploughed through coaches, lower grade coach Richard Foster cranked out a long series of Premierships with his splendid old'n'new mix, while coaches such as Anthony ‘Dima' Dimarzo and ‘Dirty' Darien O'Reilly entrenched themselves into Uni folklore.
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His moderate proficiency in magic combined with his natural acumen and intelligence still make him quite formidable; in Season Eight's "No Future for You", he kills the warlock Roden, who could fly and conjure easily, through using a spell inventively. After being resurrected in the form of an adolescent, Giles displays much more magical aptitude, which is briefly lost when Willow temporarily ages him back into an adult form. Sophronia and Lavinia theorised that if Giles had been tutored in magic by them rather than being trained as a Watcher at the wishes of his father and grandmother, he would have become an extremely powerful magician, and could achieve this potential in his new life. Despite his vast intelligence, Giles is not what one would call technology-savvy and is, by his own admission, somewhat technophobic.
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The formation of aerial military photography was down to the determination of a small number of men who were in the Royal Flying Corps (RFC) but it was mostly down to Frederick Charles Victor Laws (affectionately known as 'Daddy Laws' by photographers). Laws was initially a Sergeant in the RFC and had a passion for photography. Despite Field Marshall Haig's reputed maxim that reconnaissance was best achieved by the Cavalry,There is some doubt that Haig actually said this; in the citation from Air Power Review, it mentions that it is more likely to be attributable to a technophobic officer under Haigh's command or part of his headquarters staff. Laws and his cohort proved that aerial photography could provide information at a level of accuracy unseen before in theatres of war. In January 1915, Laws, Lieutenant J T C Moore-Brabazon, Lieutenant C D M Campbell and 2nd Air Mechanic W D Corse were sent to test and report back on aerial photography.
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His belief in the power of libraries as valuable community institutions was enormous. During a speech he remarked, > I have always felt that I could go into any town, community, hamlet anywhere > in this country, and if you blindfolded me so I didn’t know what community I > was in, took me into the public library and suddenly took the blindfold off > and let me look around for about ten minutes I think I could tell you more > about the values of that community than I could derive from countless hours > spent poring over census tracts and other sources of statistical information > about it. Why? Because a library is a representative of intangible values > and those intangible values more than ever are important to us as a society > at this time..Curley, 65 Despite his love of the cultural aspects a library can provide, Curley was in no way technophobic. He encouraged librarians to see their work and especially their role as a key part of the information revolution.
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