Technological utopianism is always self-aggrandizing. “We stand at the high peak between ages!” the poet Filippo Tommaso Marinetti wrote in his “Manifeste du Futurisme” in 1909, predicting, among other things, that the Futurist cinema would spell the end of drama and the book. Every other modern era has seen itself in exactly the same way, poised at the brink of an epochal transformation wrought by its newly dominant technology, which, as Carr notes, is always seen as “a benevolent, self-healing, autonomous force […] on the path to the human race’s eventual emancipation.”