Standing before Paul Klee’s Twittering Machine (1922) at the Museum of Modern Art, I recall Marshall McLuhan’s words and consider how we shape our tools and in turn how our tools shape us. In Klee’s day, the painting could have served as a social commentary on the forces of nature and industry colliding. Today, perhaps we should look again. The bird’s are shackled to the wire. The crank turns, we stand in our chains to sing songs of relentless cacophony.