22 minutes

14.8.08

22 minutes

"I don't pretend to understand my stuff. After all, my writing is very difficult." - Marshall McLuhan

"In the future, everyone will have privacy for 15 minutes." - Bob Dobbs

2 comments:

quantum retrocausality said...: A LAST LOOK AT THE TUBE

Marshall McLuhan

New York Magazine 17 March 1978

With TV, Shakespeare's "All the World's a stage"
flipsinto "all the stage is a world", in which there is no
audience and everybody has become an actor, or participant.

When one says that "the medium is the message", it is to
point out that every medium whatever creates an environment
of services and disservices which constitutes the special
effect and character of that medium. Tony Schwartz points
out that one of the major aspects of the TV image is that
it uses the eye as an ear, since it is a resonating
audile-tactile form of innumerable gaps that have to be
filled in by the viewer: In watching television, our eyes function like our
ears. They never see a picture, just as our ears never hear
a word. The eye receives a few dots of light during each
successive millisecond, and sends these impulses to the
brain.(1)

It is this open-mesh image that is so entirely
involving, even to the point of inducing semi-hypnotic
trance;and this raises a matter that confuses many people
notfamiliar with the structural character of our sensory
experience. It was the symbolists who had stressed the
character of the discontinuous as the key to tactility and
involvement: their structures were never continuous or
connected statements so much as suggestive juxtapositions.
As Mallarme put it: "To define is to kill. To suggest is to
create." The simultaneous world of electric information is
always lacking in visual connectedness and always structured
by resonant intervals. The resonant interval, as Heisenberg
explains, is the world of touch, so that acoustic space is
simultaneously tactile.

Any medium presents a figure whose ground is always
hidden, or subliminal. In the case of TV, as of the
telephone and radio, the subliminal ground could be called
the discarnate or disembodied user. This is to say that when
you are "on the telephone", or "on the air", you do not have a
physical body. In these media, the sender is sent, and is
instantaneously present everywhere. The disembodied user
extends to all those who are recipients of electric
information. It is these people who constitute the mass
audience, because mass is a factor of speed rather than
quantity, although popular speech permits the term mass to
be used with large publics.

Discarnate man, deprived of his physical body, is
also deprived of his relationship to Natural Law and
physical law. As a discarnate intelligence, he is as
weightless as an astronaut, but able to move very much
faster. Minus the physical mesh of Natural Laws, the user
of electronic services is largely deprived of his private
identity. The TV experience is an inner trip, and is as
addictive as many known drugs.The discarnate TV user lives
in a world between fantasy and dream, and is in a typically
hypnotic state which is the ultimate form and level of
participation.

The world of fantasy is an inner world whereas the
world of dreams tends toward outer orientation and
aspiration and deferred gratification. On the other hand,
fantasies are instant and are their own satisfaction. The
discarnate TV user, with a strong bias toward fantasy,
dispenses with the real world, even in the newscasts. The
news automatically becomes the real world for the TV user
and is not a substitute for reality, but is itself an
immediate reality.

Death on TV is a form of fantasy: On television,
violence is virtually the sole cause of death; it is only
on soap operas, and then very rarely,that anyone dies of
age or disease. But violence performs its death-dealing
service quickly, and then the victim is whisked off camera.
The connection of death to real people and real feelings is
anonymous, clinical, and forgotten in the time it takes to
spray on a new and longer-lasting deodorant.(2)

The fantasy violence on TV is a reminder that the
violence of the real world is much motivated by people
questing for lost identity. Rollo May and others have
pointed out that violence in the real world is the mark of
those questing for identity. On the frontier everybody is a
nobody,and therefore the frontier manifests the patterns of
toughness and vigorous action on the part of those trying
to find out who they are.

A more characteristic form of identity quest under
electric conditions is the universal theme of nostalgia.
When our world exists only in fantasy and memory, the
natural strategy for identity is nostalgia, so that today
revivals occur so frequently that they are now called
"recurrences" (in the recording industry).

In his book Do It, Jerry Rubin wrote after the trial:

Television creates myths bigger than reality.
Whereas a demo drags on for hours and hours, TV packs all
the action into two minutes - a commercial for the
revolution. On the television screen, news is not so much
reported as created. An event happens when it goes on TV
and becomes a myth...Television is a non-verbal instrument,
so turn off the sound, since no one ever remembers any
words that they hear,the mind being a technicolour movie of
images, not words. There's no such thing as bad coverage
for a demo. It makes no difference what's said: the pictures
are the stories.(3)

The social myth is a kind of mask of one's time, a
"put on" which is also a form of body language. It is this
body language which relates the TV form of the right
hemisphere of the brain and brings us directly into relation
to TV politics. Whereas the left hemisphere is sequential
and logical, verbally connected and syntactic, the right
hemisphere is simultaneous and acoustic, emotional and
intuitive. The electric environment tends to give a lot of
stress and power to the right hemisphere, just as the old
industrial and literate environment had given corresponding
dominance to the left hemisphere. The left hemisphere had
been favored by the words of literacy, and of market
organization with its quantitative goals and specialist
structure. These worlds have been increasingly obsolesced
by the instant environment and instant replays that enhance
the simultaneous character of the right hemisphere.

Electronic or discarnate man is automatically
committed to the primacy of the right hemisphere. In
political terms the instant mask, a mythic structure, gives
sudden prominence to the charismatic image of the political
leader. He must evoke nostalgic memories of many figures
that have been admired in the past. Policies and parties
yield to the magic of the leader's image. The arguments in
the Ford/Carter debates were as insignificant as the fact
of their party affiliation.

If discarnate man has a very weak awareness of
private identity and has been relieved of all commitments to
law and morals, he has also moved steadily toward
involvement in the occult, on one hand, and loyalty to the
superstate as a substitute for the supernatural on the other
hand. For discarnate man the only political regime that is
reasonable or in touch with him is totalitarian - the state
becomes religion. When loyalty to Natural Law declines, the
supernatural remains as an anchorage for discarnate man; and
the supernatural can even take the form of the sort of
megamachines of the state that Mumford talks about as
existing in Mesopotamia and Egypt some 5,000 years ago. The
megamachines of North America, for example, can take the
form of the fifty-three billion dollar ad industry for
manipulating our corporate psyches, or they can be the
equally vast security systems constituted by what Peter
Drucker calls our "pension fund socialism":

Through their pension funds, employees of American
business today own at least 25 percent of its equity capital,
which is more than enough for control. The pension funds of
the self-employed, of the public employees, and of school
and college teachers own at least another 10 percent, giving
the workers of America ownership of more than one-third of
the equity capital of American business.(4)

Meantime, our own megamachine for daily living
presents us with the world as "a sum of lifeless artifacts",
as Erich Fromm explains:

The world becomes a sum of lifeless artifacts; from
synthetic food to synthetic organs, the whole man becomes
part of the total machinery that he controls and is
simultaneously controlled by. He has no plan, no goal for
life, except doing what the logic of technique determines
him to do. He aspires to make robots as one of the greatest
achievements of his technical mind, and some specialists
assure us that the robot will hardly be distinguished from
living men. This achievement will not seem so astonishing
when man himself is hardly distinguishable from a robot.(5)

When the viewer himself becomes a kind of
discarnate information pattern, the saturation of that
pattern of an electric environment of similar patterns gives
us the world of the contemporary TV user. This is a parallel
to the computer - the only technology that lives on, and
produces, the same material.

___________________________________________

(1)-Tony Schwarz,"The Responsive Chord"[New York:Anchor
Press1973],14
(2)-Frank Mankiewicz and Joel Swerlow,"RemoteControl:
Television and the Manipulation of American Life" [New York,
Quadrangle/the New York Times Book company,1978,from
unrevised galley proofs.
(3)-Jerry Rubin "Do it",as quoted in Malcolm
Muggeridge,"Christ and the Media:London Lectures in
Contemporary Christianity"[Toronto:Ecclesia Books,Hodder
&Stoughton,1977) 67
(4)-Peter Drucker,"The Unseen Revolution"(New York, Harper &
Row,1976,1
(5)-Erich Fromm, "The Anatomy of Human
Destructiveness"[Greenwich:Fawcett 1975]389; March 5, 2009 at 1:59 PM
quantum retrocausality said...: The future of education: The class of 1989

BY MARSHALL McLUHAN AND GEORGE B. LEONARD

from: LOOK magazine, February 21, pp. 23-25.

ABOUT THE AUTHORS [from: p. 24]
Marshall McLuhan is perhaps the most provocative and controversial thinker of this generation. His books, such as Understanding Media, have challenged many established notions about man and civilization. Now director of the Center for Culture and Technology at the University of Toronto, Professor McLuhan next fall will take the $100,000-a-year Albert Schweitzer Chair in the Humanities at Fordham University in New York. George B. Leonard, West Coast Editorial Manager and senior editor for LOOK, has received more national awards for education writing than anyone in the history of magazine journalism. Leonard often serves as an educational consultant on both the East and West Coast and has a book on education in progress. The authors' present collaboration grew from a series of intensive discussions in San Francisco and Toronto.

[p. 23] THE TIME IS COMING, if it is not already here, when children can learn far more, far faster in the outside world than within schoolhouse walls. "Why should I go back to school and interrupt my education?" the high-school dropout asks. His question is impudent but to the point. The modern urban environment is packed with energy and information --diverse, insistent, compelling. Four-year-olds, as school innovators are fond of saying, may spend their playtimes discussing the speed, range and flight characteristics of jet aircraft, only to return to a classroom and "string some more of those old beads." The 16-year-old who drops out of school may be risking his financial future, but he is not necessarily lacking in intelligence. One of the unexpected statistics of recent years comes from Dr. Louis Bright, Associate U.S. Commissioner of Education for Research. His studies show that, in large cities where figures are available, dropouts have higher average IQ scores than high-school graduates.

This danger signal is only one of many now flashing in school systems throughout the world. The signals say that something is out of phase, that most present-day schools may be lavishing vast and increasing amounts of time and energy preparing students for a world that no longer exists. Though this is a time of educational experiments, the real reforms that might be expected have as yet touched only a small proportion of our schools. In an age when even such staid institutions as banks and insurance companies have been altered almost beyond recognition, today's typical classroom --in physical layout, method and content of instruction-- still resembles the classroom of 30 or more years ago.

Resistance to change is understandable and perhaps unavoidable in an endeavor as complex as education, dealing as it does with human lives. But the status quo may not endure much longer. The demands, the very nature of this age of new technology and pervasive electric circuitry, barely perceived because so close at hand, will shape education's future. By the time this year's babies have become 1989's graduates (if college "graduation" then exists), schooling as we now know it may be only a memory.

Mass education is a child of a [p. 25] mechanical [next page] age. It grew up along with the production line. It reached maturity just at that historical moment when Western civilization had attained its final extreme of fragmentation and specialization, and had mastered the linear technique of stamping out products in the mass.

It was this civilization's genius to manipulate matter, energy and human life by breaking every useful process down into its functional parts, then producing any required number of each. Just as shaped pieces of metal became components of a locomotive, human specialists become components of the great social machine.

In this setting, education's task was fairly simple: decide what the social machine needs, then turn out people who match those needs. The school's function was not so much to encourage people to keep exploring, learning and, therefore, changing throughout life as to slow and control those very processes of personal growth and change. Providing useful career or job skills was only a small part of this educational matching game. All students, perhaps more so in the humanities than the sciences and technologies, were furnished standard "bodies of knowledge," vocabularies, concepts and ways of viewing the world. Scholarly or trade journals generally held a close check on standard perceptions in each special field.

Specialization and standardization produced close resemblance and, therefore, hot competition between individuals. Normally, the only way a person could differentiate himself from the fellow specialists next to him was by doing the same thing better and faster. Competition, as a matter of fact, became the chief motive force in mass education, as in society, with grades and tests of all sorts gathering about them a power and glory all out of proportion to their quite limited function as learning aids.

Then, too, just as the old mechanical production line pressed physical materials into preset and unvarying molds, so mass education tended to treat students as objects to be shaped, manipulated. "Instruction" generally meant pressing information onto passive students. Lectures, the most common mode of instruction in mass education, called for very little student involvement. This mode, one of the least effective ever devised by man, served well enough in an age that demanded only a specified
fragment of each human being's whole abilities. There was, however, no warranty on the human products of mass education.

That age has passed. More swiftly than we can realize, we are moving into an era dazzlingly different. Fragmentation, specialization and sameness will be replaced by wholeness, diversity and, above all, a deep involvement.

Already, mechanized production lines are yielding to electronically controlled, computerized devices that are quite capable of producing any number of varying things out of the same material. Even today, most U.S. automobiles are, in a sense, custom produced. Figuring all possible combinations of styles, options and colors available on a certain new family sports car, for example, a computer expert came up with 25 million different versions of it for a buyer. And that is only a beginning. When automated electronic production reaches full potential, it will be just about as cheap to turn out a million differing objects as a million exact duplicates. The only limits on production and consumption will be the human imagination.

Similarly, the new modes of instantaneous, long-distance human communication --radio, telephone, television--are linking the world's people in a vast net of electric circuitry that creates a new depth and breadth of personal involvement in events and breaks down the old, traditional boundaries that made specialization possible.

The very technology that now cries out for a new mode of education creates means for getting it. But new educational devices, though important, are not as central to tomorrow's schooling as are new roles for student and teacher. Citizens of the future will find much less need for sameness of function or vision. To the contrary, they will be rewarded for diversity and originality. Therefore, any real or imagined need for standardized classroom presentation may rapidly fade; the very first casualty of the present-day school system may well be the whole business of teacher-led instruction as we now know it.

Tomorrow's educator will be able to set about the exciting task of creating a new kind of learning environment. Students will rove freely through this place of learning, be it contained in a room, a building, a cluster of buildings or (as we shall see later) an even larger schoolhouse. There will be no distinction between work and play in the new school, for the student will be totally involved. Responsibility for the effectiveness of learning will be shifted from student to teacher.

As it is now, the teacher has a ready-made audience. He is assured of a full house and a long run. Those students who don't like the show get flunking grades. If students are free to move anywhere they please, however, there is an entirely new situation, and the quality of the experience called education will change drastically. The educator then will naturally have a high stake in generating interest and involvement for his students.

To be involved means to be drawn in, to interact. To go on interacting, the student must get some-where. In other words, the student and the learning environment (a person, a group of people, a book, a programmed course, an electronic learning console or whatever) must respond to each other in a pleasing and purposeful interplay. When a situation of involvement is set up, the student finds it hard to drag himself away.

The notion that free-roving students would loose chaos on a school comes only from thinking of education in the present mode --as teaching rather than learning-- and from thinking of learning as some-thing that goes on mostly in classrooms. A good example of education by free interaction with a responsive environment already exists, right before our eyes. Watch a child learn to talk or, for an even more striking case, watch a five-year-old learn a new language. If the child moves to a foreign country and is allowed to play intensely and freely with neighborhood children-with no language "instruction" whatever-he will learn the new tongue, ac-cent free, in two or three months. if instruction is attempted, however, the child is in trouble.

Imagine, if you will, what would happen if we set the five-year-old down in a classroom, allowed him to leave his seat only at prescribed times, presented only a few new words at a sitting, made him learn each group before going on to the next, drilled him on pronunciation, corrected his "mistakes," taught him grammar, gave him homework assignments, tested him and-wont of all-convinced him that the whole thing was work rather than play. In such a case, the child might learn the new language as slowly and painfully as do teenagers or adults. Should an adult try to learn a language by intense play and interaction, he would probably do much better than be would in a classroom, but still fall short of a young child's performance. Why? The adult has already learned the lessons that the old schooling teaches so well: inhibition, self-consciousness, categorization, rigidity and the deep conviction that learning is hard and painful work.

Indeed, the old education gives us a sure-fire prescription for creating dislike of any type of human activity, no matter how appealing it might seem. To stop children from reading comic books (which might be ill-advised), you would only have to assign and test them on their content every week.

Learning a new language is a giant feat, compared to which mastering most of the present school curriculum should prove relatively simple. Long before 1989, all sorts of equipment will be available for producing responsive environments in all the subject matter now commonly taught, and more. Programmed instruction, for example, creates high involvement, since it draws the student along in a sort of dialogue, letting him respond at frequent intervals. Programming at its best lets the student learn commonly-agreed-upon cultural techniques and knowledge-reading, spelling, arithmetic, geography and the like-in his own time, at his own pace. But present-day programming may soon seem crude in light of current developments. Computers will be able to understand students' written or spoken responses. (Already, they understand typed responses.) When these computers are hooked into learning consoles, the interplay between student and learning program can become even more intense.

When computers are properly used, in fact, they are almost certain to increase individual diversity. A worldwide network of computers will make all of mankind's factual knowledge available to students everywhere in a matter of minutes or seconds. Then, the human brain will not have to serve as a repository of specific facts, and the uses of memory will shift in the new education, breaking the timeworn, rigid chains of memory may have greater priority than forging new links. New materials may be learned just as were the great myths of [p. 25] past cultures-as fully integrated systems that resonate on several levels and share the qualities of poetry and song.

Central school computers can also help keep track of students as they move freely from one activity to another, whenever moment-by-moment or year-by-year records of students' progress are needed. This will wipe out even the administrative justification for schedules and regular periods, with all their anti-educational effects, and will free teachers to get on with the real business of education. Even without computers, however, experimental schools (see The Moment of Learning, LOOK, December 27, 1966) are now finding that fixed schedules and restrictions on students' movements are artificial and unnecessary.

Television will aid students in exploring and interacting with a wide-ranging environment. It will, for example, let them see into the atom or out into space; visualize their own brainwaves; create artistic patterns of light and sound; become involved with unfamiliar old or new ways of living, feeling, perceiving; communicate with other learners, wherever in the world they may be.
Television will be used for involvement, for two-way communication, whether with other people or other environmental systems. It will most certainly not be used to present conventional lectures, to imitate the old classroom. That lectures frequently do appear on educational television points up mankind's common practice of driving pell-mell into the future with eyes fixed firmly on the rearview mirror. The content of each brand new medium thus far has always been the ordinary stuff of the past environment.
The student of the future will truly be an explorer, a researcher, a huntsman who ranges through the new educational world of electric circuitry and heightened human interaction just as the tribal huntsman ranged the wilds. Children, even little children, working alone or in groups, will seek their own solutions to problems that perhaps have never been solved or even conceived as problems. It is necessary here to distinguish this explore story activity from that of the so-called "discovery method," championed by some theorists, which is simply a way of leading children around to standard perceptions and approved solutions.

Future educators will value, not fear, fresh approaches, new solutions. Among their first tasks, in fact, may be unlearning the old, unacknowledged taboos on true originality. After that, they may well pick up a new driving style in which they glance into the rearview mirror when guidance from the past is needed but spend far more time looking forward into the unfamiliar, untested country of the present and future.

In a sense, the mass-produced student of the present and past always turned out to be a commodity-replaceable, expendable. The new student who makes his own educational space, his own curriculum and even develops many of his own learning methods will be unique, irreplaceable.

What will motivate the new student? Wide variations between individuals will make competition as we now know it irrelevant and, indeed, impossible. Unstandardized life will not provide the narrow measures needed for tight competition, and schools will find it not only unnecessary but nearly impossible to give ordinary tests or grades. Motivation will come from accomplishment itself; no one has to be forced to play. Form and discipline will spring from the very nature of the matter being explored, just as it does in artistic creation. If the student of the future may be compared with the child at play, he also resembles the artist at work.
The little red schoolhouse will become the little round schoolhouse.

A strange dilemma seems to arise: It appears that, with the new modes of learning, all the stuff of present-day education can be mastered much more quickly and easily than ever before. Right now, good programmed instruction is cutting the time for learning certain basic material by one-half or one-third. What will students do with all the time that is going to be gained? The problem is not a real one. With students constantly researching and exploring, each discovery will on up a new area for study. There is no limit on learning.

We are only beginning to realize what a tiny slice of human possibilities we now educate. In fragmenting all of existence, Western civilization hit upon one aspect, the literate and rational, to develop at the expense of the rest. Along with this went a lopsided development of one of the senses, the visual. Such personal and sensory specialization was useful in a mechanical age, but is fast becoming outmoded. Education will be more concerned with training the senses and perceptions than with stuffing brains. And this will be at no loss for the "intellect." Studies show a high correlation between sensory, bodily development --now largely neglected-- and intelligence.

Already, school experimenters are teaching written composition with tape recorders (just as students play with these marvelous devices) in an attempt to retrain the auditory sense, to recapture the neglected rhythms of speech. Already, experimental institutes are working out new ways to educate people's neglected capacities to relate, to feel, to sense, to create. Future schooling may well move into many unexplored domains of human existence. People will learn much in 1989 that today does not even have a commonly accepted name.

Can we view this future, the hard and fast of it? Never, for it will always come around a corner we never noticed, take us by surprise. But studying the future helps us toward understanding the present. And the present offers us glimpses, just glimpses: Seven-year-olds (the slowest of them) sitting at electronic consoles finishing off, at their own pace, all they'll ever need in the basic skills of reading, writing and the like: eight-year-olds playing games that teach what we might call math or logic in terms of, say, music and the sense of touch; nine-year-olds joining together in large plastic tents to build environments that give one the experience of living in the Stone Age or in a spaceship or in an even more exotic place-say, 19th-century America: ten-year-olds interacting with five-year olds, showing them the basics (now unknown) of human relations or of the relationships between physical movements and mental states. In all of this, the school --that is, an institution of learning confined to a building or buildings-- can continue to hold a central position only if it changes fast enough to keep pace with the seemingly inevitable changes in the outside world. The school experience can well become so rich and compelling that there will be no dropouts, only determined drop-ins. Even so, the walls between school and world will continue to blur.

Already it is becoming clear that the main "work" of the future will be education. that people will not so much earn a living as learn a living. Close to 30 million people in the U.S. are now pursuing some form of adult education, and the number shoots skyward. Industry and the military, as well as the arts and sciences, are beginning to consider education their main business.

The university is fast becoming not an isolated bastion but an integral part of the community. Eventually, nearly every member of a community may be drawn into its affairs. The university of the future could offer several degrees of "membership," from everyday full-time participation to subscriptions to its "news service," which would be received in the home on electronic consoles.

Already, though not many journalists or college presidents realize it, the biggest news of our times is coming from research in the institutions of higher learning --new scientific discoveries, new ways of putting together the webs of past and current history, new means for apprehending and enjoying the stuff of sensory input, of interpersonal relations, of involvement with all of life.

The world communications net, the all-involving linkage of electric circuitry, will grow and become more sensitive. It will also develop new modes of feedback so that communication can become dialogue instead of monologue. It will breach the wall between "in" and "out" of school. It will join all people everywhere. When this has happened, we may at last realize that our place of learning is the world itself, the entire planet we live on. The little red schoolhouse is already well on its way toward becoming the little round schoolhouse.

Someday, all of us will spend our lives in our own school, the world. And education --in the sense of learning to love, to grow, to change-- can become not the woeful preparation for some job that makes us less than we could be but the very essence, the joyful whole of existence itself. END

FULL CITATION: McLuhan, M., & Leonard, G. B. (1967). The future of education: The class of 1989. Look, February 21, 23-24.; May 14, 2009 at 4:12 PM

POST-EUCLIDEAN GRUNGE

The chief mark of Menippean style was unconventional 'diction'. Neologisms, portmanteau words, macaronics, preciosity, coarse vulgarity, catalogues, bombast, mixed languages, and protracted sentences were typical of the genre, sometimes appearing all together in the same work. In outward structure, Menippean satire was a medley – usually a medley of alternative prose and verse, sometimes a jumble of flagrantly digressive narrative, or again a potpourri of tales, songs, dialogues, orations, letters, lists, and other brief forms, mixed together. Menippean topical elements included outlandish fictions (i.e. fantastic voyages, dreams, visions, talking beasts) and extreme distortions of argument (often ‘paradoxes.’)

As an active form, a Menippean satire goes to any extreme necessary in order to frustrate objectivity or detachment on the part of the reader ...

will not be televised ...

Electronics as E.S.P., Explorations Magazine, Volume 8, Section 3, October, 1957

et cetera : LOVE [1977]

"The artist is engaged constantly in building anti-environments. (And, by the way, the Courtly Love people were engaged in making love itself into an art form.) The artist is engaged typically in creating situations and images that will vivify or revivify the ordinary scene. The ordinary scene tends to dull and numb the sensibilities. If you think of art as primarily concerned with perception and awareness, you can easily see why, when ordinary routinized forms tend to numb awareness, the role of art is to keep faculties alert."

Junkyard and Museum

Recipe : Mix aesthetics, rhetoric, paradox, mimesis, and parody ... Blend well.

From Cliché to Archetype (McLuhan & Watson, 1970) satirizes both readers and the effects of the phonetic alphabet – and hence the book form itself – in yet a new way. The book’s chapters are arranged in alphabetical order according to the chapter title. As a broad signal indicating what should be expected, the book commences with “Absurd, Theatre of the” and positions the “Introduction” and “Table of Contents” deep within. The last chapter, fittingly, is “Theatre,” a reminder that the entire opus, from beginning to end, is a staged put on.

poètes maudits

Symbolism was a late nineteenth-century style of French, Russian and Belgian origin in poetry and other arts. In literature, the style had its beginnings with the publication Les Fleurs du mal (The Flowers of Evil, 1857) by Charles Baudelaire. The works of Edgar Allan Poe, which Baudelaire admired greatly and translated into French, were a significant influence and the source of many stock tropes and images. The aesthetic was developed by Stéphane Mallarmé and Paul Verlaine during the 1860s and '70s. During the 1880s, the aesthetic was articulated by a series of manifestoes and attracted a generation of writers. The name "symbolist" itself was first applied by the critic Jean Moréas, who invented the term to distinguish the symbolists from the related decadents of literature and art.

Walter Glanze: “though I wasn’t based in New York until the following year, I believe that the process was not unlike that followed in War and Peace [which I experienced first hand]: Jerry would sketch out units, draw up questions, assemble and edit textual fragments from McLuhan and other sources, as well as generating copy of his own, which he submitted to McLuhan for approval before sending them on to Quentin. At a second stage, Quentin added his own materials and touches, both visual and verbal, in the process of roughing out page layout sequences which were then worked over with Jerry. These were then submitted to McLuhan, who, naturally, had the right of final approval.”

Eric McLuhan: “As I recall, Jerry proposed the book and he and Dad worked up a list of topics. That list became the head[ing]s in the book. Jerry started the list; Dad added to it and revised it and so on. Dad then took the list and wrote a small essay under each heading. I was present at several meetings between the three of them. Those meetings always went smoothly and amiably. Quentin was quite professional about his work, not the emotional artiste; so he was easy to work with. Jerry, too, was full of suggestions. Consequently, meetings tended to become lively idea sessions, until Jerry broke in with an item of business.”

EGG-zactly !

" By contrast, a point of view is merely a way of looking at something. But an insight is a sudden awareness of a complex process of interaction. An insight is a contact with the life of forms. Students of computer programming have had to learn how to approach all knowledge structurally. In order to transfer any kind of knowledge to tapes it is necessary to understand the form of that knowledge. This has led to the discovery of the basic difference between classified knowledge and pattern recognition. It is a helpful distinction to keep in mind when reading Innis since he is above all a recognizer of patterns."

Symballein — to throw together

Innis changed his procedure from working with a “point of view” to that of the generating of insights by the method of “interface” as it is named in chemistry. “Interface” refers to the interaction of substances in a kind of mutual irritation. In art and poetry this is precisely the technique of “symbolism” (Greek, symballein—to throw together) with its paratactic procedure of juxtaposing without connectives. It is the natural form of conversation or dialogue rather than of written discourse. In writing, the tendency is to isolate an aspect of some matter and to direct steady attention upon that aspect. In dialogue, there is an equally natural interplay of multiple aspects of any matter.

Les Yeux De Nadja [unpublished]

" ... I have no theories whatever about anything. I make observations by way of discovering contours, lines of force and pressures. I satirize at all times and my hyperboles are as nothing compared to the events to which they refer. If you study symbolism you will discover that it is a technique of rip-off by which figures are deliberately deprived of their ground. You do not seem to have grasped that the message as it relates to the medium, is never the content, but the corporate effects of the medium as an environment of service and disservice ... "

Explorations Five : Studies in Culture and Communication

Issue Five (June 1955) of the tri-annual periodical edited by Edmund Carpenter. Associate editor Marshall McLuhan and others. Contributions by Marshall McLuhan, Edmund Carpenter, Daisetz T. Suzuki, W.R. Rodgers, E.R. Rodgers, E.R. Leach, Rhoda Métraux, Roy Campbell, Claire Holt, Joan Rayfield, D. Lerner, D. Riesman, J. Tyrwhitt, D. Williams, Kenneth Boulding, W.T. Easterbrook, Jean Piaget, and Harcourt Brown. "Explorations is designed, not as a permanent reference journal that embalms truth for posterity, but as a publication that explores and searches and questions. We envisage a series that will cut across the humanities and social sciences by treating them as a continuum. We believe anthropology and communication are approaches, not bodies of data, and that within each the four winds of humanities, the physical, the biological and the social sciences intermingle to form a science of man." -- Editors statement.

Explorations Three : Studies in Culture and Communication

Issue Three (August 1954) of the tri-annual periodical edited by Edmund Carpenter. Associate editor Marshall McLuhan and others. Contributions by H.J. Chaytor, Kamo Chomei, Ray Birdwhistell, Martha Wolfenstein, Dorothy Lee, Kenneth MacLean, D.C. Williams, I. Potekin, M. Lewin, H. A. Innis, W.H. McCulloch, Marshall McLuhan, Anthony F.C. Wallace, G.L. Trager, and E.T. Hall. "Explorations is designed, not as a permanent reference journal that embalms truth for posterity, but as a publication that explores and searches and questions. We envisage a series that will cut across the humanities and social sciences by treating them as a continuum. We believe anthropology and communication are approaches, not bodies of data, and that within each the four winds of humanities, the physical, the biological and the social sciences intermingle to form a science of man." -- Editors statement.

Explorations Two : Studies in Culture and Communication

Issue Two (April 1954) of the tri-annual periodical edited by Edmund Carpenter. Associate editor Marshall McLuhan and others. Contributions by Marshall McLuhan, Edmund Carpenter, D.S. Savage, Jacqueline Tyrwhitt, Dorothy Lee, Donald Theall, Lord Raglan, David Riesman, Stanley Edgar Hyman, and A. Irving Hallowell. "Explorations is designed, not as a permanent reference journal that embalms truth for posterity, but as a publication that explores and searches and questions. We envisage a series that will cut across the humanities and social sciences by treating them as a continuum. We believe anthropology and communication are approaches, not bodies of data, and that within each the four winds of humanities, the physical, the biological and the social sciences intermingle to form a science of man." -- Editors statement.

no objection

" At present the entire mammalian world has become the microoganismic. It is the total individual cultures of the world, linguistically and politically, that have become the mammals, according to the old classifications of evolutionary hypothesis. It is the cultural habitat in which we have long been accustomed to think that people were contained that has become the mammal itself, now contained in a new macrocosm or 'connubium' of a super-terrestrial kind. Our technologies or self- amputations, and the environments or habitats which they create, must become that matrix of that macrocosm connubial bliss derided by the evolutionist."

"If it seems to good to be true, it probably is" : A MEDIA APPROACH TO 'THE BIG CON' ...

" A peak in a poke and a pig in a pew " : When money itself becomes an irresistible form of arbitrary taxation, a situation develops which feeds the gambling mania to anticipate events by trading in futures and promises and "intervals." Again, it is the speed and "replay" of information movement which creates a new kind of pattern recognition which, in turn, makes it possible to see innumerable "software" gaps (information gaps) in the old "hardware" situation of goods and services. To fill in these gaps speculatively is one aspect of the passion for "Development," an aspect which has become inseparable from The Big Con. • The new economic situation, in which the game is to anticipate events at every turn and at every level, using the interval between the present and the coming events as if this interval were a tangible thing, this new situation in comparison with the older nuts-and-bolts economy presents a contrast somewhat similar to the "old journalism" and the "new journalism."

PIED PIPERS [MARSH] ALL

" The user of any medium or any technology is the content of that form. The reader is the content of any poem or of the language he employs, and in order to use any of these forms, he must put them on. The process of putting these on involves the reader in an imaginative exploration by which he discovers the possible extent and limitations of a medium. To the specialist or visual man, this put-on or play that is inherent in every moment of consciousness appears unreal, a sham. It is very easy for the Pirandellos or Genets to startle the literal-minded visual man with the evidence that his life is necessarily faking and making."

BEATNIK GUEST SPEAKER ...

"When President Kennedy was newly elected, the editor of the Christian Science Monitor said to Philip Deane, 'We now have our first beatnik President.' I am sure that when I was chosen as guest speaker for this occasion many felt inspired to observe that 'We now have our first beatnik guest speaker.' McLuhan will not only show the relation between electronics and the Humanities, but between the small car and Bridget Bardot. He will take off in all directions at once, proving that since the disappearance of seams from nylons there is no value in lineality. The disappearance of the line in hosiery he will make to appear to be related to the disappearance of the chorus line, the receiving line, the stag line, and the party-line. He may point to the dread omen that no child would roll the hula hoop. He will probably suggest that skin-diving and TV-viewing are the same thing. That the teaching machines perfect the procedure of archetypal criticism. That the wrap-around space of the small car and the wrap-around audience of the new platform stage are not only the same form, but that North America is undergoing a massive Bauhaus program of haptic innovation which causes the leering teenager to spring up where before had grown the docile adolescent."

- from a transcription of a speech McLuhan delivered to the Learned Societies Canada conference in Montreal in June, 1961

POST TACTILE : the interplay between synaesthesia and coenaesthesia as hendiadys

" tactile" meant not so much the sense of touch as
the interplay of all the senses ... "

"The new art form of our time is the media themselves, not painting, not movies, not drama, but the media themselves have become the new art forms.... I write cartoons.... I have wanted to write a play, for a long time, on the media. And the media themselves are the avant-garde area of our society. Avant-garde no longer exists in painting and music and poetry, it's in the media themselves. Not in the programs. Avant-garde is not in hockey, not in baseball or any of these entertainments. It's in the media themselves."
- McLuhan, Forces Magazine, Hydro-Quebec, No.22, p.68, 1973

ENTER THE DRAGON : SOMETHING WICKED THIS WAY COMES ...

HEYOKA : the Lakota concept of a contrarian, jester, satirist or sacred clown.

The Heyókȟa symbolize and portray many aspects of the sacred, the Wakȟáŋ. Their satire presents important questions by fooling around. They ask difficult questions, and say things others are too afraid to say. By reading between the lines, the audience is able to think about things not usually thought about, or to look at things in a different way.

Principally, the Heyókȟa functions both as a mirror and a teacher, using extreme behaviors to mirror others, thereby forcing them to examine their own doubts, fears, hatreds, and weaknesses.

SKELETON KEY : "APPLIED JOYCE"

Don Theall : " The irony of all the complex contradictions of Marshall McLuhan's variegated career apparently is that he failed to successfully communicate the insights of contemporary poetry and art to communications researchers. Whatever else McLuhan was up to in his sometimes exasperating and often enigmatic writings, he developed a theory of communication which he considered to be "applied Joyce," in the same sense that he had analyzed Joyce as developing an aesthetic which was "applied Aquinas." http://www.cjc-online.ca/index.php/journal/article/download/531/437

" I do some of my best work lying down ... "

charge of the light brigade : "WITH IT" + "IN TOUCH"

Television completes the cycle of the human sensorium. With the omnipresent ear and the moving eye, we have abolished writing, the specialized acoustic-visual metaphor that established the dynamics of Western civilization. By surpassing writing, we have regained our WHOLENESS, not on a national or cultural, but cosmic plane. We have evoked a super-civilized subprimitive man. NOBODY yet knows the language inherent in the new technological culture; we are all deaf-blind mutes in terms of the new situation. Our most impressive words and thoughts betray us by referring to the previously existent, not to the present. We are back in acoustic space. We begin again to structure the primordial feelings and emotions from which 3,000 years of literacy divorced

In television there occurs an extension of the sense of active, exploratory touch which involves all the senses simultaneously, rather than that of sight alone. You have to be "with" it. But in all electric phenomena, the visual is only one component in a complex interplay. Since, in the age of information, most transactions are managed electrically, the electric technology has meant for Western man a considerable drop in the visual component, in his experience, and a corresponding increase in the activity of his other senses.

" Assuary as there's a bonum in your ossthealogy ! "

Sheep In Wolfe's Clothing ... McLuhan's alternate title for Wolfe's essay " What If He's Right ? " :
" I'd Rather Be Wrong. "

The experience with Wolfe held forth the pattern for future reversionings of the McLuhan myth by future pundits. Theall says it well. "Wolfe is indicative of what McLuhanism was to become, since he creates a virtual McLuhan, who will be re-created again and again, a situation McLuhan invites because, a pop poet, he is also crafting Marshall McLuhan as the pop poem. While others who follow may produce differing McLuhan’s, in a way they will all be different, as most of the varying exegeses of a modernist poem differ."

metheg in your midness, this man is mountain and unto changeth doth one ascend...

more Hidden ground [re:Bride] : the "flippancy" of tone seemed just "right"

McLuhan observed that our technological society [1950] vitiated family life and the free human expression of thought and feelings. The plan for The Mechanical Bride, which was to reproduce an ad or comic strip as an exhibit and then attach a short essay analyzing it, was a printed form of McLuhan's 'slide-and-lecture' series on the same subject; ultimately the plan was inspired by Leavis's Culture and Environment and reinforced by the use of similar exhibits in Wyndham Lewis's 1932 book The Doom of Youth.

SPOT THE LOONEY !

Carpenter : " Each medium, if its bias is properly exploited, reveals and communicates a unique aspect of reality, of truth. Each offers a different perspective, a way of seeing an otherwise hidden dimension of reality. It's not a question of one reality being true, and others distortions. One allows us to see from here, another from there, a third from still another perspective....New essentials are brought to the fore, including those made invisible by the "blinders" of the old language....This is why the preservation of book culture is as important as the development of TV. This is why new languages, instead of destroying old ones, serve as a stimulant to them. Only monopoly is destroyed....The appearance of a new medium often frees older media for creative effort."

CUB REPORTER 1930 -1934

Macaulay: What a Man! 28 October 1930.
Public School Education. 17 October 1933.
Germany and Internationalism. 27 October 1933.
Germany's Development. 3 November 1933.
German Character. 7 November 1933.
George Meredith. 21 November 1933.
Canada and Internationalism. 1 December 1933.
De Valera. 9 January 1934.
Not Spiritualism but Spiritism. 19 January 1934.
The Groupers. 23 January 1934.
Adult Education. 16 February 1934.
Morticians and Cosmeticians. 2 March 1934.
Tomorrow and Tomorrow. 16 May 1934.

“a light bulb creates an environment by its mere presence.”

NO BASE

Carpenter from Eskimo Realities : " A distinctive mark of the traditional art is that many of the carvings, generally of sea mammals, won't stand up, but roll clumsily about. Each lacks a single, favored point of view, hence, a base. Indeed, they aren't intended to be set in place and viewed, but rather to be worn or handled, turned this way and that. I knew a trader with a fine, show-piece collection of such carvings who solved this problem by lightly filing each piece on "the bottom" to make it stand up, but alas he also made them stationary, something the carver never intended."

ESKIMO REALITIES + acoustic space

In their co-authored piece “Acoustic Space,” Carpenter and McLuhan discussed how pre-literate tribal societies such as the Inuit primarily rely on speech in their interactions. Depending upon the harmonious balance of all five senses, such oral cultures exist in “acoustic space.” Such space “isn’t pictorial, boxed-in, framed: it’s resonating, in flux, creating its own dimensions moment by moment. It’s a world in which the eye hears, the ear sees, & all the five & country senses join in a concert of interweaving rhythms” (Carpenter 1972:31). When the phonetic alphabet was introduced, this allenveloping sense of space was breached and a more detached, linear perspective emerged—the eye, as opposed to the ear, became the dominant sensory organ.

FIRE HOSE

Carpenter : " Nothing could stop him.… I tell you, the ideas would just start pouring out. People used to shun him on the campus, because even though he was extremely friendly, when he would capture someone, it would be like a fire hose of the ideas coming out.... Marshall couldn’t stop talking. He couldn’t stop thinking. I mean, it just went on from one thing after another. You had to skip to keep up with him. And, of course, you can imagine the chaos that created in this conventional faculty in Toronto”

“If a few details here and there are wacky,… it doesn’t matter a hoot.”

At the University of Toronto in particular, the reaction to McLuhan’s celebrity was most intense. It got to the point that McLuhan warned his graduate students to erase any trace of his work in their theses and dissertations for fear of reprisals by their review committees. According to Eric McLuhan, “there were at least two concerted efforts (quiet ones, of course) to collect enough signatures to have his tenure revoked.” Such efforts would seem to put the lie to the shopworn contention of the academy that the rationale for the institution of tenure is the protection of freedom of thought; in reality, there is no more hidebound apparat devoted to thought control than the self-perpetuating survival of the medieval guild known as the academic tenure committee.

The "extremely important message" was "Please BUY this Magazine !"

" Relativity theory in 1905 announced the dissolution of uniform Newtonian space as an illusion or fiction, however useful. Einstein pronounced the doom of continuous or "rational" space, and the way was made clear for Picasso and the Marx brothers and MAD Magazine."

An agent of screwball subversion : " MAD magazine instilled in me a habit of mind, a way of thinking about a world rife with false fronts, small print, deceptive ads, booby traps, treacherous language, double standards, half truths, subliminal pitches and product placements; it warned me that I was often merely the target of people who claimed to be my friend; it prompted me to mistrust authority, to read between the lines, to take nothing at face value, to see patterns in the often shoddy construction of movies and TV shows; and it got me to think critically in a way that few actual humans charged with my care ever bothered to."

DISINFOTAINMENT + ITS POST INFORMATION DISCONTENTS

Michael Moore : We were taken to war in Iraq on a lie. Hundreds of thousands are now dead. Just imagine if the men who planned this war crime back in 2002 had had a WikiLeaks to deal with. They might not have been able to pull it off. The only reason they thought they could get away with it was because they had a guaranteed cloak of secrecy. That guarantee has now been ripped from them, and I hope they are never able to operate in secret again.

So why is WikiLeaks, after performing such an important public service, under such vicious attack? Because they have outed and embarrassed those who have covered up the truth.

But some in the corporate-owned press have dismissed the importance of WikiLeaks ("they've released little that's new!") or have painted them as simple anarchists ("WikiLeaks just releases everything without any editorial control!"). WikiLeaks exists, in part, because the mainstream media has failed to live up to its responsibility. The corporate owners have decimated newsrooms, making it impossible for good journalists to do their job. There's no time or money anymore for investigative journalism. Simply put, investors don't want those stories exposed. They like their secrets kept ... as secrets.

What if the public in 2003 had been able to read "secret" memos from Dick Cheney as he pressured the CIA to give him the "facts" he wanted in order to build his false case for war? If a WikiLeaks had revealed at that time that there were, in fact, no weapons of mass destruction, do you think that the war would have been launched -- or rather, wouldn't there have been calls for Cheney's arrest?

Might WikiLeaks cause some unintended harm to diplomatic negotiations and U.S. interests around the world? Perhaps. But that's the price you pay when you and your government take us into a war based on a lie. Your punishment for misbehaving is that someone has to turn on all the lights in the room so that we can see what you're up to. You simply can't be trusted. So every cable, every email you write is now fair game. Sorry, but you brought this upon yourself. No one can hide from the truth now. No one can plot the next Big Lie if they know that they might be exposed.

Post Euclidean Space has a 'centre without margins'

"Acoustic space" as a McLuhan percept originally emerged from the description of "auditory space" in the behavioural psychology of E.A. Bott of the University of Toronto, which was brought to McLuhan's attention by a colleague in the Ford Foundation Culture and Communication seminars, psychologist Karl Williams. Bott's idea, that auditory space "has no centre or no margins since we hear from all directions simultaneously," immediately attracted McLuhan, who had already been immersed in then-contemporary writers concerned with space, including art and architecture historian Sigfried Giedion, visual artist and designer Laszlo Mohly-Nagy and classicist Francis Cornford, author of "The Invention of Space." With Ted Carpenter, co-founder of the seminars and of the early multidisciplinary journal Explorations, McLuhan gradually expanded the idea of auditory space, christening it "acoustic space" to dramatize its abstract nature. Carpenter contributed Aboriginal, especially Inuit, conceptions of an acoustic space; McLuhan worked out its relation to the contemporary arts and poetry affected by four-dimensional geometry and the new physics.

McLuhan's toolkit

McLuhan's toolkit includes a firm knowledge of the entire written tradition, the translatio studii, from Homer to the present. Add to that a firm knowledge of the Trivium (Rhetoric, Dialectic and Grammar), an extensive knowledge of English Literature, prose and poetry, a profound knowledge of the English language, an immense vocabulary, and a deep and abiding curiosity about etymology, nourished by a knowledge of French, Latin, German, Greek, etc. The aphoristic style, learned from Bacon and from modern ad-men, provided much more than a way of expressing things. It supplied a way of thinking in outlines and seeing whole structures. Being able to perform traditional multi-level exegesis made short work of assessing complexity in prose and verse, old and new, and gave swift entry into a range of texts. Equally, long practice with Practical Criticism meant a quick and sure means of entry into any human “text” product or service.

Practical Criticism ... the ideal Grammarian’s tool !

Practical Criticism is not theory-based. It is performance-based. ... Practical Criticism relies on observation and critical judgment — learned skills ... Without a theory as a guide McLuhan was influenced by artists and poets in developing the analytical and conceptual tools he relied upon to examine media and communication. He referred to his procedure as starting with a problem and digging into the toolkit for something to open the matter up for elucidation. Chief among his tools of analysis was Practical Criticism, which he viewed as a kind of critic’s Swiss-Army Knife that worked equally incisively across all of the arts and through all areas of culture, from high-brow to low. The argument that emerges from this analysis of McLuhan’s investigative techniques is that many of the conundrums of modern media and culture are understood most effectively through research that transcends the constraints imposed by seeking to make the case for or against the truth of a particular theory. Begin with theory, you begin with the answer; begin with observation, you begin with questions.

zombie stance of the technological idiot

Because of today's terrific speed-up of information moving, we have a chance to apprehend, predict and influence the environmental forces shaping us--and thus win back control of our own destinies. The new extensions of man and the environment they generate are the central manifestations of the evolutionary process, and yet we still cannot free ourselves of the delusion that it is how a medium is used that counts, rather than what it does to us and with us. This is the zombie stance of the technological idiot. It's to escape this Narcissus trance that I've tried to trace and reveal the impact of media on man, from the beginning of recorded time to the present.

420

"TV intensifies the already numerous forms of inner-tripping. Colour TV is psychedelic input. The kids are simply putting jam on jam when they take to drugs. ... In the 20's booze created a huge police state as we tried to prop up the old form of social arrangements. Drugs likewise provide a field-day for the Mafia as we try to maintain the patterns of the pre-electric age while the kids are miming electric speeds and the externalization of their nervous systems created by electric circuitry"

a short cut into the electric vortex

The upsurge in drug taking is intimately related to the impact of the electric media. Look at the metaphor for getting high: turning on. One turns on his consciousness through drugs just as he opens up all his senses to a total depth involvement by turning on the TV dial. Drug taking is stimulated by today's pervasive environment of instant information, with its feedback mechanism of the inner trip. The inner trip is not the sole prerogative of the LSD traveler; it's the universal experience of TV watchers. LSD is a way of miming the invisible electronic world; it releases a person from acquired verbal and visual habits and reactions, and gives the potential of instant and total involvement, both all-at-onceness and all-at-oneness, which are the basic needs of people translated by electric extensions of their central nervous systems out of the old rational, sequential value system. The attraction to hallucinogenic drugs is a means of achieving empathy with our penetrating electric environment, an environment that in itself is a drugless inner trip.

Mikhail Bakhtin, Russian literary theorist and critic

Mikhail Bakhtin, a Russian literary theorist and critic, identified fourteen distinct characteristics that are typical of Menippean satire throughout the ages. These include a comic or “carnival” element; freedom from accuracy with inventive plots and philosophical approaches; absurd situations used to seek, reveal, and test the truth of ideas rather than the human character; altered observational standpoints or states of consciousness that enable new perspectives on situations and life; deliberate violations of social conventions to create new awareness of old forms; mixed media forms and genres in which the medium itself assumes a significance beyond its content; and a heightened concern for contemporary issues and salient topics of the day.

NEW MEDIA creates NEW 'NEWS', NEW SPEEDS, NEW RELATIONSHIPS, NEW PATTERNS

“A spectacular paradigm of the information revolution has been developed for the world at large by the Watergate affair. While it seems to specialize in matters of political espionage and image- building, it also draws attention to the fact that the entire educational and commercial establishments, as much as the political and military establishments, depend on data banks of total information concerning both producers and consumers, both the governors and the governed. The Watergate affair makes it quite plain that the entire planet has become a whispering gallery, with a large portion of mankind engaged in making its living by keeping the rest of mankind under surveillance. The FBI includes among its responsibilities keeping under surveillance individual members of the CIA. We thus have a complete scheme of baby-sitters for the baby-sitters — chaperons for chaperons — and it is the business of every commercial establishment to keep all other commercial establishments under surveillance as a minimal condition of survival.”

wikileaks as "scientific journalism" + "information activism" vs "information terrorism"

“Position papers are secret or confidential documents for the attention of committees, and any office boy can publish these, no matter how top secret they may be. The Pentagon Papers were position papers which may or may not have been studied or discussed by a Congressional committee. They are “the news behind the news”, which used to be considered muckraking but has now become an ordinary dimension of journalism, such as nourishes the underground press and which, in turn, affects the forms and publics of the regular press. What has happened since the old muckraking days of the 1920′s is that espionage, whether political or commercial, has become the largest business in the world, and we take it for granted that the modern newspaper depends on “bugging” the whole community. In fact, we expect the press to “bug” the world and to challenge and penetrate all privacy and identity, whether private or corporate.”

Ww3 will be a global information war with no division between civilian and military participation

INSIDE THE FIREWALL

The 22 year old was described by former classmates as a "trouble-making, authority-hating computer geek"

" Manning : I would come in with music on a CD-RW labelled with something like "Lady Gaga"… erase the music… then write a compressed split file ... no-one suspected a thing ... perfect example of how not to do INFOSEC ... listened and lip-synced to Lady Gaga's Telephone while exfiltratrating possibly the largest data spillage in american history ... pretty simple, and unglamorous ... weak servers, weak logging, weak physical security, weak counter-intelligence, inattentive signal analysis … a perfect storm."

Thomas Nashe : Pierce Penilesse, His Svpplication to the Divell (1592)

" Nor so, nor so, good brother bottle-ale, for there are other places besides where money can bestow it selfe: the signe of the smock will wipe your mouth cleane; and yet I haue heard yee haue made her a tenant to your tap-houses. But what shall hee doo that hath spent himselfe? where shall hee haunt? Faith, when Dice, Lust, and Drunkennesse, and all haue dealt vpon him, if there be neuer a Playe for him to goe too for his pennie, he sits melancholie in his Chamber, deuising vpon felonie or treason, and howe he may best exalt himselfe by mischiefe."

TORONTO IS A HAPPENING ! ?

Toronto in the 50s personified McLuhan’s technophobia. It was a boring, forgotten city of three-quarters of a million people. Theall calls it an "overgrown village" adding it was a "somewhat idyllic…still semi-colonial, marginally contemporary city…a sedate, stuffy city where on Sundays the major department store drew curtains across its windows, stores did not sell cigarettes, and people could not have wine or other alcoholic beverages with a restaurant meal…There was no television; the only radio network, the Canadian Broadcasting Corporation (CBC)…was government owned."

The Tool Kit

Literally, Understanding Media is a kit of tools for analysis and perception. It is to begin an operation of discovery. It is not the completed work of discovery. It is intended for practical use. Most of my work in the media is like that of a safecracker. In the beginning I don’t know what’s inside. I just set myself down in front of the problem and begin to work. I grope, I probe, I listen, I test — until the tumblers fall and I’m in. That’s the way I work with all these media.

I’m perfectly prepared to scrap any statement I ever made about any subject once I find that it isn’t getting me into the problem. I have no devotion to any of my probes as if they were sacred opinions. I have no proprietary interest in my ideas and no pride of authorship as such. You have to push any idea to an extreme, you have to probe. Exaggeration, in the sense of hyperbole, is a major artistic device in all modes of art. No painter, no musician ever did anything without extreme exaggeration of a form or a mode, until he had exaggerated those qualities that interested him.
- McLuhan Hot + Cool, Stearn, 1967: 58, 62-63

' The Tool Kit ' in Understanding Media: The Extensions of Man consists of the seven chapters in Part One. They detail seven general principles of media in shaping culture and society. Understanding Media was conceived and written as a companion to a volume that had appeared a short while earlier, Understanding Poetry (1960) by Cleanth Brooks and Robert Penn Warren. It was the first American text to employ techniques of Practical Criticism. From the first, McLuhan continued to insist that Understanding Media was not a finished product but a group of beginnings, a tool kit and some preliminary forays into new territory.

Les prolongements technologiques de l'homme

Le fait essentiel de la communication, c'est la communication elle-même et ses " média " (langage, argent, imprimé, mode, télévision ou cybernétique), plutôt que le message communiqué. Le "message", c'est à dire le contenu de la communication, n'est qu'un leurre qui détourne l'attention pendant que le "médium" exerce une action d'autant plus profonde qu'elle nous échappe. Cet ouvrage analyse d'une façon intuitive et parfois familière la nature des technologies qui constituent notre "environnement"; elles sont les prolongements de nos organes physiques et de notre système nerveux, destinés à en accroître la force et la rapidité.
"Nous sommes tout à coup désireux de voir les gens et les choses se montrer tels qu'ils sont. Il faut voir dans cette attitude nouvelle une foi profonde en l'harmonie fondamentale de tout l'être. C'est avec cette foi que j'ai écrit le livre que voici". - Marshall McLuhan

magical priesthood : ELIOT, JOYCE, LEWIS + POUND

" Talk about blind spots in regions of maximal impact! Looking at The Diabolical Principle just now I read loud and clear that art must be totally environmental. It must be the content of nothing whatever. Ergo, the VORTEX = the totally environmental .… Lewis wants nothing less for Art than the power to create total environments for Life and Death. There must be no art as content of some other set of skills or interest.…I find it a bit staggering to confront Lewis as a man who really wanted to be Pontifex maximus of a magical priesthood. I suppose Yeats, Joyce and Pound had similar aspirations. Their priesthood was to create new worlds of perception. They were to be world engineers who shaped the totality of human awareness. Their pigments and materials were not to be paint or words but all the resources of the age. Such were the Pharaohs. They made of the world a perception Lab .… The mode of great Art. The environment as ultimate artefact."
McLuhan to Wilfred Watson, 4 October 1964

“ There’s Money In Comics ”

Stan Lee : " DON’T WRITE DOWN TO YOUR READERS! It is common knowledge that a large portion of comic magazine readers are adults, and the rest of the readers who may be kids are pretty sharp characters. They are used to seeing movies and listening to radio shows… a great deal of thought goes into every story; and there are plenty of gimmicks, sub-plots, human interest angles…. "

McLuhan : " This happens to be true. In the matter of intellectual quality there is little to choose between Dare Devil Comics and Gone With the Wind and between the claims made for the romantic movie of our day, just as in the emotional pattern there is little or no difference between the ‘middle-brow’ and the ‘low-brow.’ The difference is mainly in the amount of lush verbiage and opulence of turnout. There is no question of perception or taste in the genteel movie or novel or in the pulps. But the superiority of the pulps is in their absence of pretentiousness, and the readers of this form of entertainment are altogether undeceived by it. They are never under the impression of having bought or read anything with ‘class.’ "

MEME HOUSE

Eric McLuhan is more specific about the role Menippean satire plays in creating awareness among an otherwise oblivious public.

As an active form, a Menippean satire goes to any extreme necessary in order to frustrate objectivity or detachment on the part of the reader. … Cynics, and Diogenes in particular … were often referred to as ‘laughing philosophers,’ for they refused to take seriously any political, private, social, intellectual, or other kind of pretentiousness. (McLuhan, 1997, p. 5)

Instead they create what Eric McLuhan calls the “cynic effect” – a satirical response that creates new awareness by awakening the dulled perception of the reader. Thus, Menippean satire is not merely humour or irony, but humour or irony with a specific intentionality.

VORTOGRAPHS - Alvin Langdon Coburn

In 1916, Coburn met Ezra Pound, who introduced him to the short-lived Vorticism movement in Britain. These new visual aesthetics intrigued Coburn and, provoked by his growing spiritual quest, he began to re-examine his photographic style. He responded by making a bold and distinctive portrait of Pound, showing three over-lapping images of differing sizes. Within a brief period he moved from this semi-representative image to a series of abstract images that are among the first completely non-representative photographs ever made.

To make these images Coburn invented a kaleidoscope-like instrument with three mirrors clamped together, which when fitted over the lens of the camera would reflect and fracture the image. Pound called this instrument a "Vortescope" and the resulting photographs "Vortographs". He made only about 18 different Vortographs, taken over a period of just one month, yet they remain among the most striking images in early 20th century photography.

turntablism

" In his own case, Edison's determination to give the phonograph, like the telephone, a direct practical use in business procedures led to his neglect of the instrument as a means of entertainment. Failure to foresee the phonograph as a means of entertainment was really a failure to grasp the meaning of the electric revolution in general. In our time we are reconciled to the phonograph as a toy and a solace; but press, radio, and TV have also acquired the same dimension of entertainment. Meantime, entertainment pushed to an extreme becomes the main form of business and politics. Electric media, because of their total "field" character, tend to eliminate the fragmented specialities of form and function that we have long accepted as the heritage of alphabet, printing, and mechanization. The brief and compressed history of the phonograph includes all phases of the written, the printed, and the mechanized word. It was the advent of the electric tape recorder that only a few years ago released the phonograph from its temporary involvement in mechanical culture. Tape and the l.p. record suddenly made the phonograph a means of access to all the music and speech of the world. Before turning to the l.p. and tape-recording revolution, we should note that the earlier period of mechanical recording and sound reproduction had one large factor in common with the silent picture. The early phonograph produced a brisk and raucous experience not unlike that of a Mack Sennett movie."

post information studies

"Deception is the new discourse. Electric light only offers a convincing illusion of daylight, its 'content' being all the activities that are now permitted to take place after dark. As such it represents a complex simulation of experience that passes virtually unnoticed at a time when digital technology is in the process of rendering itself invisible. Hardware and software are converging to the point of total dematerialization. The old configurations of data streaming will eventually vanish into one another, leaving the replication of sound and vision as the sole industry standard for communication. Information ceases to be an intelligible part of the environment, but functions as an element instead: boundless, formless, creating vast artificial ecosystems out of networked systems."
from "The Future is Back" by Ken Hollings 19 Feb 2010

services, disservices, 'allatonceness', figures 'detached' from ground + side effects

All situations are composed of an area of attention [figure] and a very much larger (subliminal) area of inattention [ground] ….Figures rise out of, and recede back into, ground….for example, at a lecture, the attention will shift from the speaker’s words to his gestures, to the hum of the lighting or street sounds, or to the feel of the chair or a memory or association or smell, each new figure alternatively displaces the others into ground…The ground of any technology is both the situation that gives rise to it as well as the whole environment (medium) of services and disservices that the technology brings with it. These are side effects and impose themselves willy-nilly as a new form of culture.

"The sounds we utter are structured in acoustic space by noise spaced in silence."

Explorations explored the grammars of such languages as print, the newspaper format and television. It argued that revolutions in the packaging and distribution of ideas and feelings modified not only human relations but also sensibilities. It further argued that we are largely ignorant of literacy's role in shaping Western man [and woman], and equally unaware of the role of electronic media in shaping modern values. Literacy's vested interests were so deep that literacy itself was never examined. And the current electronic revolution is already so pervasive that we have difficulty in stepping outside of it and scrutinizing it objectively. But it can be done, and a fruitful approach is to examine one medium through another..."

RADICAL SOFTWARE = BERYL KOROT

SONY PORT-A-PAK = PORTABLE VIDEO
1967 : the first portable video recording device was the Sony CV-2400 Video Rover.
" The Portapak would seem to have been invented specifically for use by artists. Just when pure formalism had run its course; just when it became politically embarrassing to make objects, but ludicrous to make nothing; just when many artists were doing performance works but had nowhere to perform, or felt the need to keep a record of their performances; just when it began to seem silly to ask the same old Berkleean question, 'If you build a sculpture in the desert where no one can see it, does it exist?'; just when it became clear that TV communicates more information to more people than large walls do; just when we understood that in order to define space it is necessary to encompass time; just when many established ideas in other disciplines were being questioned and new models were proposed - just then the Portapak became available."

"I'm not really here, I just stick around for my friends."

"Consequently, the steady announcement of new telematic 'discoveries' - such as, molecular computer chips, cell-sized nano bio-engines for 'invisible travel' through the blood stream, new genetic hybrids from the labs of all the recombinant geneticists - attracts not a ripple of discontent nor a muted cry of ideological discord because these manifestations of 'technology outreach' into the body electronic are less a brave new horizon of telematic wilderness clear-cutting, than an already nostalgic sign of our (wired) past."
Arthur Kroker and Michael A. Weinstein, Data Trash, 1994, p.74

Revolution for the hell of it !

NO DOME FOR HOME

Gerald O'Grady : " The American Pavilion was a celebration of Pop Art housed in a resplendent geodesic dome designed by R. Buckminister Fuller, a structure which McLuhan tried to purchase to house his Centre for Culture and Technology in Toronto. "

Unfortunately, funding was nowhere to be found. McLuhan was undaunted: "We shall concentrate upon achieving an intellectual identity rather than a physical one," he maintained. Thus, the Centre's physical incarnation remained McLuhan's small office in the English Department at St. Michael's College until Professor Arthur Porter, the acting director of the Centre while McLuhan was at Fordham U. in 1967 - 68, obtained the Coach House for McLuhan's Centre.

UNPUBLISHED 1952

"If we grant that human existence is the state of damnation, two possibilities follow. Either we can learn to retrace the stages of our fall into matter, and so escape, or we can devise some means of extinction of personality. The pagan art and culture of the world, past and present, is divided in the pursuit of these alternatives. On one hand art is followed as a continuous labyrinth in which by blind, dogged persistence we may struggle upward by means of will power and ethical struggle. On the other hand there is the intellectual course presented by Mr. Eliot, in which we move from one intensity to another, towards a final flash of awareness and extinction. In the one art - that linked with Plato's cave man - Time, continuity, dialectic, are of the essence. In the other, time is lost in simultaneities and juxtapositions."

Master of Implosion

" Less an idiot than intellectual jester in the humanist tradition of Erasmus's folly, Joyce's wit, and Rabelais's bawdiness, McLuhan played the clown in order to infiltrate specialist discourses and cross the wires of disciplines and satirise them in a mode he called 'anti-environmental'. While McLuhan may have lacked the sense of folly as a philosophical vocation, by playing the clown he was also playing at being an artist. He chose eclecticism over the effort to synthesize. He used probes, puns, blasts and counterblasts, and the mosaic method instead of interrative strategies. He was a media artist who created the new form that Donald Theall (1971) dubbed "the concrete essay" with its collide-oscopic principles of typographic play, surrealistic juxtaposition of images, and unfortunately, heavy doses of technological mystification."

boom !

BababadalgharaghtakamminarronnkonnbronntonnerronntuonnthunntrovarrhounawnskawntoohoohoordenenthurnukPerkodhuskurunbarggruauyagokgorlayorgromgremmitghundhurthrumathunaradidillifaititillibumullunukkununKlikkaklakkaklaskaklopatzklatschabattacreppycrottygraddaghsemmihsammihnouithappluddyappladdypkonpkotBladyughfoulmoecklenburgwhurawhorascortastrumpapornanennykocksapastippatappatupperstrippuckputtanachThingcrooklyexineverypasturesixdixlikencehimaroundhersthemaggerbykinkinkankanwithdownmindlookingatedLukkedoerendunandurraskewdylooshoofermoyportertooryzooysphalnabortansporthaokansakroidverjkapakkapukBothallchoractorschumminaroundgansumuminarumdrumstrumtruminahumptadumpwaultopoofoolooderamaunsturnupPappappapparrassannuaragheallachnatullaghmonganmacmacmacwhackfalltherdebblenonthedubblandaddydoodledHusstenhasstencaffincoffintussemtossemdamandamnacosaghcusaghhobixhatouxpeswchbechoscashlcarcarcaractUllhodturdenweirmudgaardgringnirurdrmolnirfenrirlukkilokkibaugimandodrrerinsurtkrinmgernrackinarockar

McLuhan = " Applied Joyce "

" Listening to the simultaneous messages of Dublin, James Joyce released the greatest flood of oral linguistic music that was ever manipulated into art. «The prouts who will invent a writirig there ultimately is the poeta, still more learned, who discovered the raiding there originally. That's the point of eschatology our book of kills reaches for now in soandso many counterpoint words. What can't be coded can be decorded if an ear aye sieze what no eye ere grieved for. Now, the doctrine obtains, we have occasioning cause causing effects and affects occasionally recausing altereffects. Joyce is, in the «Wake,» making his own Altamira cave drawings of the entire history of the human mind, in terms of its basic gestures and postures during all the phases of human culture and technology. As his title indicates, he saw that the wake of human progress can disappear again into the night of sacral or auditory man. The Finn cycle of tribal institutions can return in the electric age, but if again, then let's make it a wake or awake or both, Joyce could see no advantage in our remaining locked up in each cultural cycle as in a trance or dream. He discovered the means of living simultaneously in all cultural modes while quite conscious."

TRIBAL DRUM

The man of the tribal world led a complex, kaleidoscopic life precisely because the ear, unlike the eye, cannot be focused and is synaesthetic rather than analytical and linear. Speech is an utterance, or more precisely, an outering, of all our senses at once; the auditory field is simultaneous, the visual successive. The models of life of nonliterate people were implicit, simultaneous and discontinuous, and also far richer than those of literate man. By their dependence on the spoken word for information, people were drawn together into a tribal mesh; and since the spoken word is more emotionally laden than the written--conveying by intonation such rich emotions as anger, joy, sorrow, fear--tribal man was more spontaneous and passionately volatile. Audile-tactile tribal man partook of the collective unconscious, lived in a magical integral world patterned by myth and ritual, its values divine and unchallenged, whereas literate or visual man creates an environment that is strongly fragmented, individualistic, explicit, logical, specialized and detached.

Exaggeration, in the sense of hyperbole, is a major artistic device in all modes of art.

I’m perfectly prepared to scrap any statement I ever made about any subject once I find that it isn’t getting me into the problem. I have no devotion to any of my probes as if they were sacred opinions. I have no proprietary interest in my ideas and no pride of authorship as such. You have to push any idea to an extreme, you have to probe. Exaggeration, in the sense of hyperbole, is a major artistic device in all modes of art. No painter, no musician ever did anything without extreme exaggeration of a form or a mode, until he had exaggerated those qualities that interested him. (Stearn, 1967: 58, 62-63)

"Reach Out and Touch Someone"

N.W. Ayer, one of America's oldest advertising agencies, needed a creative approach to help AT&T soften its image in the face of growing concerns about AT&T's potential monopoly. So Ken D'Ambrosio helped develop the concept for a print and TV campaign that incorporated the now famous "Reach Out and Touch Someone" tag line. We can credit Marshall McLuhan for creating the tagline "Reach out and touch someone" for Ma Bell. This campaign was designed to soften AT&T's image and position the company as an indispensable element of everyday American life.

" We Shall Not Cease from Exploration ! "

The New American Vortex by Andrew Chrystall (2008) : As McLuhan notes in the "Typhon in America" the great mistake, of course, is to suppose that what went on physically in Birkenau does not go on psychologically in America and England. "Intellectually, spiritually and emotionally this is precisely what we have been doing for some decades." "There is no difference in result between our entertainment industry and Asian or Soviet brainwashing programs. Our revulsion at these is irrational as we have developed more complex and subtle ways of achieving the same end. Far from being a conscious conspiracy, this is a nightmare dream from which we would do well to awaken at once..."

«McLuhan Caged (in Electronic Art II)»

Fluxus is similar in spirit to the earlier art movement of Dada, emphasizing the concept of anti-art and taking jabs at the seriousness of modern art. Fluxus artists used their minimal performances to highlight their perceived connections between everyday objects and art, similarly to Duchamp in pieces such as Fountain. Fluxus art was often presented in "events", which Fluxus member George Brecht defined as "the smallest unit of a situation". The events consisted of a minimal instruction, opening the events to accidents and other unintended effects. Also contributing to the randomness of events was the integration of audience members into the performances, realizing Duchamp's notion of the viewer completing the art work. The Fluxus artistic philosophy can be expressed as a synthesis of four key factors that define the majority of Fluxus work:
1. Fluxus is an attitude. It is not a movement or a style.
2. Fluxus is intermedia. Fluxus creators like to see what happens when different media intersect. They use found and everyday objects, sounds, images, and texts to create new combinations of objects, sounds, images, and texts.
3. Fluxus works are simple. The art is small, the texts are short, and the performances are brief.
4. Fluxus is fun. Humour has always been an important element in Fluxus.

" BED IN " AS HAPPENING

McLuhan: Language is a form of organized stutter. Literally, you chop your sounds up into bits in order to talk. Now, when you sing, you don't stutter, so singing is a way of stretching language into long, harmonious patterns and cycles. How do you think about language in songs?
John: Language and song is to me, apart from being pure vibrations, just like trying to describe a dream. And because we don't have telepathy or whatever it is, we try and describe the dream to each other, to verify to each other what we know, what we believe is inside each other. And the stuttering is right - because we can't say it. No matter how you say it, it's never how you want to say it.

MOON CHILD

"I naturally feel flattered that Apollo 11 is scheduled to put a man on the moon on my birthday, July 21. Of course the reason for choosing July, the moon month, is derived from occult symbolism of Zodiac signs. The 12:12 a.m. touchdown will establish a new chemical bond of resonance with space-capsule moon. The reverberations will alter all earthly music and patterns for all time to come. The innovators and perpetrators, now as always, are innocent of any awareness of the consequences of their images." (Marshall McLuhan, "Kahn-Frontation," unpublished MS., 2-3)

" the magazine article as performance" Roles, Masks and Performance, New Literary History 2.3, 1971

" The overwhelming fact about Time is its style. It has often been said that nobody could tell the truth in Time style. Time is a nursery book in which the reader is slapped and tickled alternately. It is full of predigested pap, spooned out with confidential nudges. The reader is never on his own for an instant, but, as though at his mother's knee, he is provided with the right emotions for everything he hears or sees as the pages turn. The complex issues of politics and international relations are reduced to a newsreel, with accompaniment by Spike Jones. Biographer Noel Busch has said that the march of events in Time, instead of resembling a ragged mob shuffling down the side street of perception, becomes a glittering parade with flags waving, bands playing, and the ranks keeping step. Time's readers are the enthusiastic kids lining the curbs as Time marches on. Totalitarianism engendered by the mass hypnosis of power, glitter, and the spectacle of regular ranks rather than insight or intelligibility is the object of all of Time's technical brilliance. Meanwhile, the editors of Time stand at mock attention in the reviewing stand, thumbing their noses at humanity."

ANALOGICAL

"The analogical relation between exterior posture and gesture and the interior movements and dispositions of the mind is the irreducible basis of drama. In the Wake this appears everywhere. So that any attempt to reduce its action, at any point, to terms of univocal statement results in radical distortion.(p.33)... It needs to be understood that only short discontinuous shots of such a work as Joyce's are possible. Linear or continuous perspectives of analogical structures are only the result of radical distortion, and the craving for 'simple explanations' is the yearning for univocity."(p.36-7)

Marshall McLuhan, James Joyce: Trivial and Quadrivial (1953) in The Interior Landscape, pp.33 and 36-7, 1969

His Primary Game

" What McLuhan contributed were not ideas, arguments, theories or critiques, but intuitions, perceptions, wandering explorations of unexplored terrain, satiric responses and poetic reactions...His primary game: teasing people into believing his percepts to be theoretical concepts..."

Donald Theall's The Virtual Marshall McLuhan is not a biography of McLuhan, nor is it an application or elaboration of his views. It is perhaps best understood as an exercise in retrieval, an attempt to rescue McLuhan from McLuhanism and McLuhanites, from those who would portray him as the patron saint of the new corporate technotopia as well as from those…who would read him as an early voice in the wilderness, warning of civilization’s demise.

LOLOMGWTF

The invention of movable type was the decisive moment in the change from a culture in which all the senses partook of a common interplay to a tyranny of the visual. Movable type, with its ability to reproduce texts accurately and swiftly, extended the drive toward homogeneity and repeatability already in evidence in the emergence of perspectival art and the exigencies of the single "point of view".

McLuhan : "the world of visual perspective is one of unified and homogeneous space. Such a world is alien to the resonating diversity of spoken words. So language was the last art to accept the visual logic of Gutenberg technology, and the first to rebound in the electric age."

GREATEST HITS : NO THEORY ALLOWED

tricksterism

The legendary trickster that Theall pursues in his quest is full of paradox, contradictions and ambiguities. Not because McLuhan tried to be ambiguous but rather because he believed that truth lingered somewhere within the enveloping haze of ambiguity. McLuhan’s method, Theall observes, was one of the "satiric poet" and that this allowed him to freely "construct his paradoxical probes, so that they may have multiple, often contradictory meanings." It was used more as a strategy of rhetoric rather than as a method of building a bullet-proof theory. The problem, though, is that over the years many have looked for rules and laws in McLuhan’s "paradoxical probes." As Theall notes, "The potential weakness appears when his rhetorico-poetic project becomes fact or formula rather than insight and intuition." ... "a great part of every human experience is passed in a state which cannot be rendered sensible by the use of wideawake language, cutanddry grammar and goahead plot."

a new humanist movement in Hell

"Wyndham Lewis is perhaps the first creative writer to have taken over the new media en bloc as modes of artistic and social control. (Joyce and Eliot have done so on a smaller scale.)(p.17)... With the help of modern scientific medicine he (Lewis-ed.) re-edits and refurnishes the various levels of Dante's Inferno in a startling way. The Devils appear as film stars perturbed by the ease with which their supernatural dimensions are mimicked by modern publicity devices. It's this power of the new media which fosters a new humanist movement in Hell." (p.18)
Marshall McLuhan, Third Program in the Human Age, Explorations Magazine, Volume 8, p.17-8, October, 1957

" WE'RE SOAKING IN IT ! "

" Media are really environments, with all the effects geographers & biologists associate with environments. We live inside our media. We are their content. TV images come to us so fast, in such profusion, they engulf us, tattoo us. We're immersed. It's like skin diving. We're surrounded & whatever surrounds, involves. TV doesn't wash over us and then go "out of mind." It goes into mind, deep into mind. The subconscious is a world in which we store everything, not something, and TV extends the subconscious....Such experiences are difficult to describe in words. Like dreams or sports, they evade verbal classification. "

McLuhanisme

"Another theme of the Wake that helps in the understanding of the paradoxical shift from cliché to archetype is 'past time are pastimes.' The dominant technologies of one age become the games and pastimes of a later age. In the 20th century, the number of 'past times' that are simultaneously available is so vast as to create cultural anarchy. When all the cultures of the world are simultaneously present, the work of the artist in the elucidation of form takes on new scope and new urgency. Most men are pushed into the artist's role. The artist cannot dispense with the principle of 'doubleness' or 'interplay' because this type of hendiadys dialogue is essential to the very structure of consciousness, awareness, and autonomy."
- Marshall McLuhan, From Cliché to Archetype

LANGUAGE 'IN OUTLEX'

" The day of the individualist, of privacy, of fragmented or "applied" knowledge, of "points of view" and specialist goals is being replaced by the over-all awareness of a mosaic world in which space and time are overcome by television, jets and computers--a simultaneous, "all-at-once" world in which everything resonates with everything else as in a total electrical field, a world in which energy is generated and perceived not by the traditional connections that create linear, causative thought processes, but by the intervals, or gaps, which Linus Pauling grasps as the languages of cells, and which create synaesthetic discontinuous integral consciousness."

Tony Schwartz + The Responsive Chord

"In watching television, our eyes function like our ears. They never see a picture, just as our ears never hear a word. The process differs from film in that it requires much faster processing of information and more visual recall. With film, the brain has to process 24 distinct inputs per second. With television, the brain has to process thousands of distinct inputs per second. Watching television, the eye is for the first time functioning like the ear. With television, the patterning of auditory and visual stimuli is identical."

ACTIVE INTERPLAY

"...Ours is a brand-new world of allatonceness. 'Time' has ceased, 'space' has vanished. We now live in a global village...a simultaneous happening."... "Electric circuitry profoundly involves men with one another. Information pours upon us, instantaneously and continuously. As soon as information is acquired, it is very rapidly replaced by still newer information. Our electrically-configured world has forced us to move from the habit of data classification to the mode of pattern recognition. We can no longer build serially, block-by-block, step-by-step, because instant communication insures that all factors of the environment and of experience co-exist in a state of active interplay."

AMATEURISM FTW !

"Professionalism merges the individual into patterns of total environment. Amateurism seeks the development of the total awareness of the individual and the critical awareness of the groundrules of society. The amateur can afford to lose. The professional tends to classify and specialise, to accept uncritically the groundrules of the environment. The groundrules provided by the mass response of his colleagues serve as a pervasive environment of which he is contentedly unaware. The 'expert' is the man who stays put." - Marshall McLuhan

HOOD ORNAMENT

"The car has lost its place in the heart of the people. That doesn't mean it's going to disappear overnight. Not at all. All it means is the effects of the car are disappearing. And privacy and service environment are part of the effects. When I say the medium is the message, I'm saying that the motor car is not a medium. The medium is the highway, the factories, and the oil companies. That is the medium. In other words, the medium of the car is the effects of the car. When you pull the effects away, the meaning of the car is gone. The car as an engineering object has nothing to do with these effects. The car is a figure in a ground of services. It's when you change the ground that you change the car. The car does not operate as the medium, but rather as one of the major effects of the medium. So 'the medium is the message' is not a simple remark, and I've always hesitated to explain it. It really means a hidden environment of services created by an innovation. And the hidden environment of services is the thing that changes people. It is the environment that changes people, not the technology." - McLuhan, Marshall. UNDERSTANDING ME: Lectures and Interviews. Eds. David Staines and Stephanie McLuhan. Boston: MIT Press, 2003, pp.241-2

"We don't know who discovered water, but it certainly wasn't a fish...."

ZOMBIE STANCE

KNOWLEDGE BROKEN : Greek, symballein — to throw together

KNOWLEDGE BROKEN : Greek, <i>symballein </i> — to throw together

" [He] changed his procedure from working with a “point of view” to that of the generating of insights by the method of “interface” as it is named in chemistry. “Interface” refers to the interaction of substances in a kind of mutual irritation. In art and poetry this is precisely the technique of “symbolism” (Greek, symballein—to throw together) with its paratactic procedure of juxtaposing without connectives. It is the natural form of conversation or dialogue rather than of written discourse..."

My first TV show idea came back in the early
1970s. It was called Up Against the Wall, and
was almost produced. Contestants were to
have explained to the audience how they got
into a financial pickle. The more entangled
their financial disaster, the more energetically
the audience would applaud. At the end of
every episode, a cheque would be issued to
the most dismal contestant. This emphasis on
misfortune would have been appreciated by
advertisers, since they need a big dose of
"bad news" in all programs in order to bal-
ance the "good news" in the ads. If TV
actually were to broadcast more good news,
as some cultural reactionaries want, the
advertising market would collapse, and the
ensuing economic crisis would probably
lead to some sort of popular dictatorship,
which they do not want.

McLuhan letter to Prince Bernhard [ May 14, 1969 ]

"As you know, I was a rather bad boy at Bilderberg. Frankly I was staggered at the very low level of awareness of the contemporary world exhibited by all guests present. As my friend Wyndham Lewis, the painter, put it : "The artist is writing a detailed history of the future because he is the only person who lives in the present." Ordinary people live thirty years back in a state of of motivated somnambulism. Such was the state of the delegates at Bilderberg. Without a knowledge of all the poets and painters and artists from Baudelaire to Joyce, it is futile to attempt any appraisal of the formal or efficient causes initiated by the evolutionary extensions of our bodies which we call technology."

NEXT EXIT

McLuhan: The new environment of simultaneous and diversified information creates acoustic man. He is surrounded by sound– from behind, from the side, from above. His environment is made up of information in all kinds of simultaneous forms, and he puts on this electrical environment as we put on our clothes, or as the fish puts on water. Acoustic space is created by our ability to hear from all directions at once. Electric information arrives from all quarters at once. Thus, in effect, acoustic environments were created by the telegraph and began to show up in the press as mosaics of juxtaposed and discontinuous items all under one dateline. Acoustic space is all touch and interplay, all resonance and sympathy. Acoustic space is like the relationship of mother and child, which is audile-tactile, sound and touch. The cooing and handling and touching– this is the kind of world the electric media put around us. The electric media are a mom-and-child or rock-and-roll relationship. The acoustic or simultaneous space in which we now live is like a sphere whose center is everywhere and whose margins are nowhere. Acoustic space cannot be cut up into pieces, as visual space can. It is both compressed and indivisible.

TECHNOLOGY AND POLITICAL CHANGE, INTERNATIONAL JOURNAL, Vol.7, Summer, 1952, pp.189-95

Marshall McLuhan - “Notes on Burroughs” in The Nation, Dec. 28, 1964 (pages 517-519)

2. Burroughs uses what he calls “Brion Gysin’s cut-up method which I call the fold-in method.” To read the daily newspaper in its entirety is to encounter the method in all its purity. Similarly, an evening watching television programs is an experience in a corporate form — an endless succession of impressions and snatches of narrative. Burroughs is unique only in that he is attempting to reproduce in prose what we accommodate every day as a commonplace aspect of life in the electric age. If the corporate life is to be rendered on paper, the method of discontinuous nonstory must be employed.

" Marshall McLuhan, what are you doin' ? "

McLUHAN: Sometimes I wonder. I'm making explorations. I don't know where they're going to take me. My work is designed for the pragmatic purpose of trying to understand our technological environment and its psychic and social consequences. But my books constitute the process rather than the completed product of discovery; my purpose is to employ facts as tentative probes, as means of insight, of pattern recognition, rather than to use them in the traditional and sterile sense of classified data, categories, containers. I want to map new terrain rather than chart old landmarks.

But I've never presented such explorations as revealed truth. As an investigator, I have no fixed point of view, no commitment to any theory -- my own or anyone else's. As a matter of fact, I'm completely ready to junk any statement I've ever made about any subject if events don't bear me out, or if I discover it isn't contributing to an understanding of the problem. The better part of my work on media is actually somewhat like a safe-cracker's. I don't know what's inside; maybe it's nothing. I just sit down and start to work. I grope, I listen, I test, I accept and discard; I try out different sequences -- until the tumblers fall and the doors spring open.

McLuhan to Wilfred Watson, 4 October 1964

Talk about blind spots in regions of maximal impact! Looking at The Diabolical Principle just now I read loud and clear that art must be totally environmental. It must be the content of nothing whatever. Ergo, the VORTEX = the totally environmental .… Lewis wants nothing less for Art than the power to create total environments for Life and Death. There must be no art as content of some other set of skills or interest.…I find it a bit staggering to confront Lewis as a man who really wanted to be Pontifex maximus of a magical priesthood. I suppose Yeats, Joyce and Pound had similar aspirations. Their priesthood was to create new worlds of perception. They were to be world engineers who shaped the totality of human awareness. Their pigments and materials were not to be paint or words but all the resources of the age. Such were the Pharaohs. They made of the world a perception Lab .… The mode of great Art. The environment as ultimate artefact.

PAGE 69

Finnegans Wake: Page 69 Part:1 Episode:3 Page:69 not, has been the expression, direct or through an agent male, of womanhid offended, (ah! ah!), has not levy of black mail from the times the fairies were in it, and fain for wilde erthe blothoms followed an impressive private reputation for whispered sins? Now by memory inspired, turn wheel again to the whole of the wall. Where Gyant Blyant fronts Peannlueamoore There was once upon a wall and a hooghoog wall a was and such a wallhole did exist. Ere ore or ire in Aaarlund. Or you Dair's Hair or you Diggin Mosses or your horde of orts and oriorts to garble a garthen of Odin and the lost paladays when all the eddams ended with aves. Armen? The doun is theirs and still to see for menags if he strikes a lousaforitch and we'll come to those baregazed shoeshines if you just shoodov a second. And let oggs be good old gaggles and Isther Estarr play Yesther Asterr. In the drema of Sorestost Areas, Diseased. A stonehinged gate then was for another thing while the suroptimist had bought and enlarged that shack under fair rental of one yearlyng sheep, (prime) value of sixpence, and one small yearlyng goat (cadet) value of eightpence, to grow old and happy (hogg it and kidd him) for the reminants of his years; and when everything was got up for the purpose he put an applegate on the place by no means as some pretext a bedstead in loo thereof to keep out donkeys (the pigdirt hanging from the jags to this hour makes that clear) and just thenabouts the iron gape, by old custom left open to prevent the cats from getting at the gout, was triplepatlockt on him on purpose by his faithful poorters to keep him inside probably and possibly enaunter he felt like sticking out his chest too far and tempting gracious providence by a stroll on the peoplade's eggday, unused as he was yet to being freely clodded. O, by the by, lets wee brag of praties, it ought to be always remembered in connection with what has gone before that there was a northroomer, Herr Betreffender, out for his zimmer holedigs, digging in number 32 at the Rum and Puncheon (Branch of Dirty Dick's free house) in Laxlip (where the Sockeye Sammons were stopping at the time orange fasting) prior to that, a Kommerzial (Gorbotipacco, he was wreaking like Zentral Oylrubber)

CAUSES in the numbness itself, not in the media figures

"So extraordinary is this unawareness that it is what needs to be explained. The transforming power of media is easy to explain, but the ignoring of this power is not at all easy to explain (p.304)... Examination of the origin and development of the individual extensions of man should be preceded by a look at some general aspects of the media, or extensions of man, beginning with the never-explained numbness that each extension brings about in the individual and society." (p.6)

- Marshall McLuhan, Understanding Media: The Extensions of Man, pp.304 and 6, 1964.

14.8.08

22 minutes

2 comments:

#BULLSEAR !

*impercipience of the ubiquitous*

You never step into the same data stream twice ...

MIXED MARSHALL ARTS : The Visual Pun

The Story Begins ... when the book closes ...

Un Kindle McLu

HEADLINES AS ICONS

Thomas Nashe : Menippean Prose Poet

POST-EUCLIDEAN GRUNGE

WINNIPEG SCHOOL

Ich bin ein Winnipigeon !

will not be televised ...

Electronics as E.S.P., Explorations Magazine, Volume 8, Section 3, October, 1957

et cetera : LOVE [1977]

Junkyard and Museum

MICRO PHONY

"They that make them shall be like unto them."

PROSTHETIC AESTHETICS

The Negative Dialectics of Poodle Play

McCLUE

"Outside I am Freer ! " - Wyndham Lewis

Communication is a miracle ...

poètes maudits

MAC LUHAN [sic] : LOST IN TRANSLATION

My canvasses are surrealist ...

Methods

" allspace in a notshall " : ALL SPACE TIME IN A NUT SHELL

" Everyone has the right to protect ...

rubd + rubd

McLuhan on Innis's premature death : "a disastrous loss for human understanding."

You never step in the same river twice ...

NO PASSENGERS ...

" The unexamined environment is not worth ignoring ..."

ALFRED NORTH WHITEHEAD FTW : "It is the business of the future to be dangerous."

The first spoken word LP you can dance to

We must guard against the acquisition of unwarranted influence ...

there is no such thing as bad publicity

I SEEM TO BE A VERB

Teems of times and happy returns. The seim anew ...

CONCENTRATED ESSENCE

EGG-zactly !

Symballein — to throw together

Exploring the different ways in which Space and Time are perceived

SATAN IS A GREAT ELECTRICAL ENGINEER AND MASTER OF PUBLICITY

ANAMORPHIC MASSAGE

Fluxi-Floco-Fluxus

SPASTIC : A crankish, repetitive, and disjointed tome ...

Les Yeux De Nadja [unpublished]

ASIAN MASSAGE

Explorations Five : Studies in Culture and Communication

Explorations Three : Studies in Culture and Communication

Explorations Two : Studies in Culture and Communication

no objection

FINN CYCLE

"If it seems to good to be true, it probably is" : A MEDIA APPROACH TO 'THE BIG CON' ...

" I ALWAYS PAINT FAKES " - PABLO PICASSO

FC2A : New means create new ends as new services create new discomforts

" mediatic a priori "

ONE MILLION COPIES IN PRINT ... Is that all ? !

" x makes a y " : "Impovernment of the booble by the bauble for the bubble."

The Man-Made Object

Rejected MoM Header

Objects may appear closer than they are

'florida or gravis' : SON OF AN ELECUTIONIST

A Further Message to the Fish Fresh out of Water

PIED PIPERS [MARSH] ALL

"What ruins mankind is the ignorance of the experts."

provocative hyperbole : "the greatest engineer who ever lived."

" Carefully make plans then do the opposite. "

West goes East as East goes West.

BEATNIK GUEST SPEAKER ...

" Question your assumptions, all of them, constantly."

" Every style is a new way of knowing."

We're Toast !

FILE UNDER : POST-INFORMATION STUDIES

Heavens Above (1933)

Hard to follow and 'put your finger on' ...

impercipience of the ubiquitous