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Herbert Marshall McLuhan

Marshall McLuhan in the early 1970s
Full name Herbert Marshall McLuhan
Born July 21, 1911(1911-07-21)
Edmonton, Alberta
Died December 31, 1980 (aged 69)
Toronto, Ontario
Main interests media theory

Herbert Marshall McLuhan, CC (July 21, 1911 – December 31, 1980) was a Canadian educator, philosopher, and scholar—a professor of English literature, a literary critic, a rhetorician, and a communication theorist. McLuhan's work is viewed as one of the cornerstones of the study of media theory.

McLuhan is known for the expressions "the medium is the message" and "global village". McLuhan was a fixture in media discourse from the late 1960s to his death and he continues to be an influential and controversial figure. More than ten years after his death he was named the "patron saint" of Wired magazine.

Contents

Life and career

McLuhan was born in Edmonton, Alberta, to Methodist parents Elsie Naomi (née Hall) and Herbert Ernest McLuhan. His brother, Maurice, was born two years later. "Marshall" was a family name: his maternal grandmother's surname. Both of his parents were born in Canada. His mother was a Baptist schoolteacher who later became an actress. His father had a real estate business in Edmonton. When war broke out, the business failed, and McLuhan's father enlisted in the Canadian army. After a year of service he contracted influenza and remained in Canada, away from the front. After Herbert's discharge from the army in 1915, the McLuhan family moved to Winnipeg, Manitoba, where Marshall grew up and went to school, attending Kelvin Technical High School before enrolling in the University of Manitoba in 1928.[1]

McLuhan earned a BA (1933)—winning a University Gold Medal in Arts and Sciences[2][3]—and MA (1934) in English from the University of Manitoba, after a one year stint as an engineering major. He had long desired to pursue graduate studies in England and, having failed to secure a Rhodes scholarship to Oxford, McLuhan was accepted for enrollment at the University of Cambridge. Although he already had earned BA and MA degrees at Manitoba, Cambridge required him to enroll as an undergraduate "affiliated" student, with one year's credit toward a three-year Cambridge Bachelor's degree, before any doctoral studies.[4] He entered Trinity Hall, Cambridge in the Fall of 1934, where he studied under I. A. Richards and F. R. Leavis, and was influenced by New Criticism.[5] Upon reflection years after, he credited the faculty there with influencing the direction of his later work because of their emphasis on the training of perception and such concepts as Richards's notion of feedforward.[6] These studies formed an important precursor to his later ideas on technological forms.[7] He received his bachelor's degree from Cambridge in 1936[8] and began graduate work. Later, he returned from England to take a job as a teaching assistant at the University of Wisconsin–Madison, which he held for the 1936-37 academic year, unable to find a suitable job in Canada.[9]

While studying the trivium at Cambridge he took the first steps toward his eventual conversion to Roman Catholicism in 1937,[10] founded on his reading of G. K. Chesterton.[11] At the end of March 1937,[12] McLuhan completed what was a slow but total conversion process when he was formally received into the Roman Catholic Church. After consulting with a minister, his father accepted the decision to convert; his mother, however, felt that his conversion would hurt his career and was inconsolable.[13] McLuhan was devout throughout his life, but his religion remained a private matter.[14] He had a lifelong interest in the number three[15] - the trivium, the Trinity - and sometimes said that the Virgin Mary provided intellectual guidance for him.[16] For the rest of his career he taught in Roman Catholic institutions of higher education. From 1937 to 1944 he taught English at Saint Louis University (with an interruption from 1939 to 1940 when he returned to Cambridge). At Saint Louis he tutored and befriended Walter J. Ong, S.J. (1912-2003), who would go on to write his Ph.D. dissertation on a topic McLuhan had called to his attention, and who would himself also later become a well-known authority on communication and technology.

While in St. Louis, he also met his future wife. On August 4, 1939, McLuhan married teacher and aspiring actress Corinne Lewis (1912-2008)[17] of Fort Worth, Texas, and they spent 1939-40 in Cambridge, where he completed his master's degree (awarded in January 1940[8]) and began to work on his doctoral dissertation on Thomas Nashe and the verbal arts. War had broken out in Europe while the McLuhans were in England, and he obtained permission to complete and submit his dissertation from the United States, without having to return to Cambridge for an oral defense. The McLuhans returned to Saint Louis University in 1940 where he continued teaching and they started a family. He was awarded a Ph.D. in December 1943.[18] Returning to Canada, from 1944 to 1946 McLuhan taught at Assumption College in Windsor, Ontario. Moving to Toronto in 1946, McLuhan joined the faculty of St. Michael's College, a Catholic college of the University of Toronto. Hugh Kenner was one of his students and Canadian economist and communications scholar Harold Innis was a university colleague who had a strong influence on McLuhan's work.

In the early 1950s, McLuhan began the Communication and Culture seminars, funded by the Ford Foundation, at the University of Toronto. As his reputation grew, he received a growing number of offers from other universities and, to keep him, the university created the Centre for Culture and Technology in 1963.[7] He published his first major work during this period: The Mechanical Bride (1951) was an examination of the effect of advertising on society and culture. He also produced an important journal, Explorations, with Edmund Carpenter, throughout the 1950s.[19] Together with Harold Innis, Eric A. Havelock, and Northrop Frye, McLuhan and Carpenter have been characterized as the Toronto School of communication theory. McLuhan remained at the University of Toronto through 1979, spending much of this time as head of his Centre for Culture and Technology.

McLuhan was named to the Albert Schweitzer Chair in Humanities at Fordham University in the Bronx, New York, for one year (1967-68).[20] While at Fordham, McLuhan was diagnosed with a benign brain tumor; it was treated successfully. He returned to Toronto where for the rest of his life, he worked at the University of Toronto and lived in Wychwood Park, a bucolic enclave on a hill overlooking the downtown where Anatol Rapoport was his neighbour. In 1970, McLuhan was made a Companion of the Order of Canada.[21] In 1975 the University of Dallas hosted him from April to May, appointing him the McDermott Chair.

Marshall and Corinne McLuhan had six children: Eric, twins Mary and Teresa, Stephanie, Elizabeth and Michael. The associated costs of a large family eventually drove McLuhan to advertising work and accepting frequent consulting and speaking engagements for large corporations, IBM and AT&T among them.[7] In September 1979 he suffered a stroke, which affected his ability to speak. The University of Toronto's School of Graduate Studies tried to close his research center shortly thereafter, but was deterred by substantial protests, most notably by Woody Allen, in whose Oscar-winning motion picture Annie Hall McLuhan had a cameo role.[22][2]

He never fully recovered from the stroke and died in his sleep on December 31, 1980.

Major works

During his years at Saint Louis University (1937-1944), McLuhan worked concurrently on two projects: his doctoral dissertation and the manuscript that was eventually published in 1951 as the book The Mechanical Bride, which included only a representative selection of the materials that McLuhan had prepared for it.

McLuhan's 1942 Cambridge University doctoral dissertation surveys the history of the verbal arts (grammar, dialectic and logic, and rhetoric—collectively known as the trivium) from the time of Cicero down to the time of Thomas Nashe.[23] In his later publications, McLuhan at times uses the Latin concept of the trivium to outline an orderly and systematic picture of certain periods in the history of Western culture. McLuhan suggests that the Middle Ages, for instance, was characterized by the heavy emphasis on the formal study of logic. The key development that led to the Renaissance was not the rediscovery of ancient texts but a shift in emphasis from the formal study of logic to rhetoric and language. Modern life is characterized by the reemergence of grammar as its most salient feature—a trend McLuhan felt was exemplified by the New Criticism of Richards and Leavis.[24]

In The Mechanical Bride, McLuhan turned his attention to analyzing and commenting on numerous examples of persuasion in contemporary popular culture. This followed naturally from his earlier work as both dialectic and rhetoric in the classical trivium aimed at persuasion. At this point his focus shifted dramatically, turning inward to study the influence of communication media independent of their content. His famous aphorism "the medium is the message" (elaborated in his 1964 book, Understanding Media: The Extensions of Man) calls attention to this intrinsic effect of communications media.[25]

McLuhan also started the journal Explorations with anthropologist Edmund "Ted" Carpenter. In a letter to Walter Ong dated May 31, 1953, McLuhan reported that he had received a two-year grant of $43,000 from the Ford Foundation to carry out a communication project at the University of Toronto involving faculty from different disciplines, which led to the creation of the journal.[citation needed]

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The Mechanical Bride (1951)

McLuhan's The Mechanical Bride:Folklore of Industrial Man (1951) is a pioneering study in the field now known as popular culture. His interest in the critical study of popular culture was influenced by the 1933 book Culture and Environment by F.R. Leavis and Denys Thompson, and the title The Mechanical Bride is derived from a piece by the Dadaist artist, Marcel Duchamp.

Like his 1962 book The Gutenberg Galaxy, The Mechanical Bride is unique and composed of a number of short essays that can be read in any order – what he styled the "mosaic approach" to writing a book. Each essay begins with a newspaper or magazine article or an advertisement, followed by McLuhan's analysis thereof. The analyses bear on aesthetic considerations as well as on the implications behind the imagery and text. McLuhan chose the ads and articles included in his book not only to draw attention to their symbolism and their implications for the corporate entities that created and disseminated them, but also to mull over what such advertising implies about the wider society at which it is aimed.

Examples of advertisements

  • A nose for news and a stomach for whiskey: McLuhan analyzes an ad for Time Magazine in which he likens a reporter depicted as a romantic character from a Hemingway novel and asks "Why is it [his] plangent duty to achieve cirrhosis of the liver?"[26]
  • Freedom to Listen – Freedom to Look: An ad for the Radio Corporation of America depicts a rural family doing their business with the radio on. Earlier in the Bride McLuhan notes "We still have our freedom to listen?" and here "Come on kiddies. Buy a radio and feel free - to listen."[27]
  • For Men of Distinction – Lord Calvert: An ad for Lord Calvert whiskey depicts nine gentlemen holding a glass of their whiskey, while McLuhan notes the lack of non-artists amongst them; "Why pick on the arts? Hasn't anyone in science or industry ever distinguished himself by drinking whiskey?"[28]
  • The Famous DuBarry Success Course: An ad for beauty creams complete with female model in a swimsuit hawks itself as a "success course" complete with "tuition", to which McLuhan asks, "Why laugh and grow fat when you can experience anguish and success in a strait jacket?"[29]

The Gutenberg Galaxy (1962)

McLuhan's The Gutenberg Galaxy: The Making of Typographic Man (written in 1961, first published in Canada by University of Toronto Press in 1962) is a pioneering study in the fields of oral culture, print culture, cultural studies, and media ecology.

Throughout the book, McLuhan takes pains to reveal how communication technology (alphabetic writing, the printing press, and the electronic media) affects cognitive organization, which in turn has profound ramifications for social organization:

...[I]f a new technology extends one or more of our senses outside us into the social world, then new ratios among all of our senses will occur in that particular culture. It is comparable to what happens when a new note is added to a melody. And when the sense ratios alter in any culture then what had appeared lucid before may suddenly become opaque, and what had been vague or opaque will become translucent.[30]

Movable type

His episodic and often rambling history takes the reader from pre-alphabetic tribal humankind to the electronic age. According to McLuhan, the invention of movable type greatly accelerated, intensified, and ultimately enabled cultural and cognitive changes that had already been taking place since the invention and implementation of the alphabet, by which McLuhan means phonemic orthography. (McLuhan is careful to distinguish the phonetic alphabet from logographic/logogramic writing systems, like hieroglyphics or ideograms.)

Print culture, ushered in by the Gutenberg press in the middle of the fifteenth century, brought about the cultural predominance of the visual over the aural/oral. Quoting with approval an observation on the nature of the printed word from Prints and Visual Communication by William Ivins, McLuhan remarks:

In this passage [Ivins] not only notes the ingraining of lineal, sequential habits, but, even more important, points out the visual homogenizing of experience of print culture, and the relegation of auditory and other sensuous complexity to the background. [...] The technology and social effects of typography incline us to abstain from noting interplay and, as it were, "formal" causality, both in our inner and external lives. Print exists by virtue of the static separation of functions and fosters a mentality that gradually resists any but a separative and compartmentalizing or specialist outlook.[31]

The main concept of McLuhan's argument (later elaborated upon in The Medium is the Massage) is that new technologies (like alphabets, printing presses, and even speech itself) exert a gravitational effect on cognition, which in turn affects social organization: print technology changes our perceptual habits ("visual homogenizing of experience"), which in turn affects social interactions ("fosters a mentality that gradually resists all but a... specialist outlook"). According to McLuhan, the advent of print technology contributed to and made possible most of the salient trends in the Modern period in the Western world: individualism, democracy, Protestantism, capitalism and nationalism. For McLuhan, these trends all reverberate with print technology's principle of "segmentation of actions and functions and principle of visual quantification."[32]

The global village

In the early 1960s, McLuhan wrote that the visual, individualistic print culture would soon be brought to an end by what he called "electronic interdependence": when electronic media replace visual culture with aural/oral culture. In this new age, humankind will move from individualism and fragmentation to a collective identity, with a "tribal base." McLuhan's coinage for this new social organization is the global village.[33]

The term is sometimes described as having negative connotations in The Gutenberg Galaxy, but McLuhan himself was interested in exploring effects, not making value judgments:

Instead of tending towards a vast Alexandrian library the world has become a computer, an electronic brain, exactly as an infantile piece of science fiction. And as our senses have gone outside us, Big Brother goes inside. So, unless aware of this dynamic, we shall at once move into a phase of panic terrors, exactly befitting a small world of tribal drums, total interdependence, and superimposed co-existence. [...] Terror is the normal state of any oral society, for in it everything affects everything all the time. [...] In our long striving to recover for the Western world a unity of sensibility and of thought and feeling we have no more been prepared to accept the tribal consequences of such unity than we were ready for the fragmentation of the human psyche by print culture.[34]

Key to McLuhan's argument is the idea that technology has no per se moral bent—it is a tool that profoundly shapes an individual's and, by extension, a society's self-conception and realization:

Is it not obvious that there are always enough moral problems without also taking a moral stand on technological grounds? [...] Print is the extreme phase of alphabet culture that detribalizes or decollectivizes man in the first instance. Print raises the visual features of alphabet to highest intensity of definition. Thus print carries the individuating power of the phonetic alphabet much further than manuscript culture could ever do. Print is the technology of individualism. If men decided to modify this visual technology by an electric technology, individualism would also be modified. To raise a moral complaint about this is like cussing a buzz-saw for lopping off fingers. "But", someone says, "we didn't know it would happen." Yet even witlessness is not a moral issue. It is a problem, but not a moral problem; and it would be nice to clear away some of the moral fogs that surround our technologies. It would be good for morality.[35]

The moral valence of technology's effects on cognition is, for McLuhan, a matter of perspective. For instance, McLuhan contrasts the considerable alarm and revulsion that the growing quantity of books aroused in the latter seventeenth century with the modern concern for the "end of the book." If there can be no universal moral sentence passed on technology, McLuhan believes that "there can only be disaster arising from unawareness of the causalities and effects inherent in our technologies."

Though the World Wide Web was invented thirty years after The Gutenberg Galaxy was published, McLuhan may have coined and certainly popularized the usage of the term "surfing" to refer to rapid, irregular and multidirectional movement through a heterogeneous body of documents or knowledge, e.g., statements like "Heidegger surf-boards along on the electronic wave as triumphantly as Descartes rode the mechanical wave." Paul Levinson's 1999 book Digital McLuhan explores the ways that McLuhan's work can be better understood through the lens of the digital revolution.[36] Later, Bill Stewart's 2007 "Living Internet" website describes how McLuhan's "insights made the concept of a global village, interconnected by an electronic nervous system, part of our popular culture well before it actually happened."[37]

McLuhan frequently quoted Walter Ong's Ramus, Method, and the Decay of Dialogue (1958), which evidently had prompted McLuhan to write The Gutenberg Galaxy. Ong wrote a highly favorable review of this new book in America.[38] However, Ong later tempered his praise, by describing McLuhan's The Gutenberg Galaxy as "a racy survey, indifferent to some scholarly detail, but uniquely valuable in suggesting the sweep and depth of the cultural and psychological changes entailed in the passage from illiteracy to print and beyond."[39] McLuhan himself said of the book, "I'm not concerned to get any kudos out of [The Gutenberg Galaxy]. It seems to me a book that somebody should have written a century ago. I wish somebody else had written it. It will be a useful prelude to the rewrite of Understanding Media [the 1960 NAEB report] that I'm doing now."[citation needed]

McLuhan's The Gutenberg Galaxy won Canada's highest literary award, the Governor-General's Award for Non-Fiction, in 1962. The chairman of the selection committee was McLuhan's colleague at the University of Toronto and oftentime intellectual sparring partner, Northrop Frye.[40]

Understanding Media (1964)

McLuhan's most widely known work, Understanding Media: The Extensions of Man (1964), is a pioneering study in media theory. In it McLuhan proposed that media themselves, not the content they carry, should be the focus of study—popularly quoted as "the medium is the message". McLuhan's insight was that a medium affects the society in which it plays a role not by the content delivered over the medium, but by the characteristics of the medium itself. McLuhan pointed to the light bulb as a clear demonstration of this concept. A light bulb does not have content in the way that a newspaper has articles or a television has programs, yet it is a medium that has a social effect; that is, a light bulb enables people to create spaces during nighttime that would otherwise be enveloped by darkness. He describes the light bulb as a medium without any content. McLuhan states that "a light bulb creates an environment by its mere presence."[41] More controversially, he postulated that content had little effect on society—in other words, it did not matter if television broadcasts children's shows or violent programming, to illustrate one example—the effect of television on society would be identical. He noted that all media have characteristics that engage the viewer in different ways; for instance, a passage in a book could be reread at will, but a movie had to be screened again in its entirety to study any individual part of it.

"Hot" and "cool" media

In the first part of Understanding Media, McLuhan also stated that different media invite different degrees of participation on the part of a person who chooses to consume a medium. Some media, like the movies, were "hot" - that is, they enhance one single sense, in this case vision, in such a manner that a person does not need to exert much effort in filling in the details of a movie image. McLuhan contrasted this with "cool" TV, which he claimed requires more effort on the part of viewer to determine meaning, and comics, which due to their minimal presentation of visual detail require a high degree of effort to fill in details that the cartoonist may have intended to portray. A movie is thus said by McLuhan to be "hot", intensifying one single sense "high definition", demanding a viewer's attention, and a comic book to be "cool" and "low definition", requiring much more conscious participation by the reader to extract value.[42]

"Any hot medium allows of less participation than a cool one, as a lecture makes for less participation than a seminar, and a book for less than a dialogue." [43]

Hot media usually, but not always, provide complete involvement without considerable stimulus. For example, print occupies visual space, uses visual senses, but can immerse its reader. Hot media favour analytical precision, quantitative analysis and sequential ordering, as they are usually sequential, linear and logical. They emphasize one sense (for example, of sight or sound) over the others. For this reason, hot media also include radio, as well as film, the lecture and photography.

Cool media, on the other hand, are usually, but not always, those that provide little involvement with substantial stimulus. They require more active participation on the part of the user, including the perception of abstract patterning and simultaneous comprehension of all parts. Therefore, according to McLuhan cool media include television, as well as the seminar and cartoons. McLuhan describes the term "cool media" as emerging from jazz and popular music and, in this context, is used to mean "detached." [44]

This concept appears to force media into binary categories. However, McLuhan's hot and cool exist on a continuum: they are more correctly measured on a scale than as dichotomous terms.[7]

The Medium is the Massage: An Inventory of Effects (1967)

This book, published in 1967, was McLuhan's best seller,[45] "eventually selling nearly a million copies worldwide."[46] Initiated by Quentin Fiore,[47] McLuhan adopted the term "massage" to denote the effect each medium has on the human sensorium, taking inventory of the "effects" of numerous media in terms of how they "massage" the sensorium.[48]

Fiore, at the time a prominent graphic designer and communications consultant, set about composing the visual illustration of these effects which were compiled by Jerome Agel. Near the beginning of the book, Fiore adopted a pattern in which an image demonstrating a media effect was presented with a textual synopsis on the facing page. The reader experiences a repeated shifting of analytic registers—from "reading" typographic print to "scanning" photographic facsimiles—reinforcing McLuhan's overarching argument in this book: namely, that each medium produces a different "massage" or "effect" on the human sensorium.

In The Medium is the Massage, McLuhan also rehashed the argument—which first appeared in the Prologue to 1962's The Gutenberg Galaxy—that media are "extensions" of our human senses, bodies and minds.

Finally, McLuhan described key points of change in how man has viewed the world and how these views were changed by the adoption of new media. "The technique of invention was the discovery of the nineteenth [century]", brought on by the adoption of fixed points of view and perspective by typography, while "[t]he technique of the suspended judgment is the discovery of the twentieth century", brought on by the bard abilities of radio, movies and television.[49]

An audio recording version of McLuhan's famous work was made by Columbia Records. The recording consists of a pastiche of statements made by McLuhan interrupted by other speakers, including people speaking in various phonations and falsettos, discordant sounds and 1960s incidental music in what could be considered a deliberate attempt to translate the disconnected images seen on TV into an audio format, resulting in the prevention of a connected stream of conscious thought. Various audio recording techniques and statements are used to illustrate the relationship between spoken, literary speech and the characteristics of electronic audio media. McLuhan biographer Philip Marchand called the recording "the 1967 equivalent of a McLuhan video."[50]

"I wouldn't be seen dead with a living work of art." - 'Old man' speaking
"Drop this jiggery-pokery and talk straight turkey." - 'Middle aged man' speaking

War and Peace in the Global Village (1968)

McLuhan used James Joyce's Finnegans Wake as a major inspiration for this study of war throughout history as an indicator as to how war may be conducted in the future.

Joyce's Wake is claimed to be a gigantic cryptogram which reveals a cyclic pattern for the whole history of man through its Ten Thunders. Each "thunder" below is a 100-character portmanteau of other words to create a statement he likens to an effect that each technology has on the society into which it is introduced. In order to glean the most understanding out of each, the reader must break the portmanteau into separate words (and many of these are themselves portmanteaus of words taken from multiple languages other than English) and speak them aloud for the spoken effect of each word. There is much dispute over what each portmanteau truly denotes.

McLuhan claims that the ten thunders in Wake represent different stages in the history of man:[51]

  • Thunder 1: Paleolithic to Neolithic. Speech. Split of East/West. From herding to harnessing animals.
  • Thunder 2: Clothing as weaponry. Enclosure of private parts. First social aggression.
  • Thunder 3: Specialism. Centralism via wheel, transport, cities: civil life.
  • Thunder 4: Markets and truck gardens. Patterns of nature submitted to greed and power.
  • Thunder 5: Printing. Distortion and translation of human patterns and postures and pastors.
  • Thunder 6: Industrial Revolution. Extreme development of print process and individualism.
  • Thunder 7: Tribal man again. All choractors end up separate, private man. Return of choric.
  • Thunder 8: Movies. Pop art, pop Kulch via tribal radio. Wedding of sight and sound.
  • Thunder 9: Car and Plane. Both centralizing and decentralizing at once create cities in crisis. Speed and death.
  • Thunder 10: Television. Back to tribal involvement in tribal mood-mud. The last thunder is a turbulent, muddy wake, and murk of non-visual, tactile man.

From Cliché to Archetype (1970)

In his 1970 book, From Cliché to Archetype, McLuhan, collaborating with Canadian poet Wilfred Watson,[52] approached the various implications of the verbal cliché and of the archetype. One major facet in McLuhan's overall framework introduced in this book that is seldom noticed is the provision of a new term that actually succeeds the global village; the global theater.

In McLuhan's terms, a cliché is a "normal" action, phrase, etc. which becomes so often used that we are "anesthetized" to its effects.

An example of this given by McLuhan is Eugene Ionesco’s play The Bald Soprano, whose dialogue consists entirely of phrases Ionesco pulled from an Assimil language book. "Ionesco originally put all these idiomatic English clichés into literary French which presented the English in the most absurd aspect possible."[53]

McLuhan's archetype "is a quoted extension, medium, technology or environment." "Environment" would also include the kinds of "awareness" and cognitive shifts brought upon people by it, not totally unlike the psychological context Carl Jung described.

McLuhan also posits that there is a factor of interplay between the cliché and the archetype, or a "doubleness":

Another theme of the Wake [Finnegans 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.[54]

McLuhan relates the cliché-to-archetype process to the Theater of the Absurd:

Pascal, in the seventeenth century, tells us that the heart has many reasons of which the head knows nothing. The Theater of the Absurd is essentially a communicating to the head of some of the silent languages of the heart which in two or three hundred years it has tried to forget all about. In the seventeenth century world the languages of the heart were pushed down into the unconscious by the dominant print cliché.[55]

The “languages of the heart,” or what McLuhan would otherwise define as oral culture, were thus made archetype by means of the printing press, and turned into cliché.

The satellite medium, McLuhan states, encloses the Earth in a man-made environment, which "ends 'Nature' and turns the globe into a repertory theater to be programmed."[56] All previous environments (book, newspaper, radio, etc.) and their artifacts are retrieved under these conditions ("past times are pastimes"). McLuhan thereby meshes this into the term global theater. It serves as an update to his older concept of the global village, which, in its own definitions, can be said to be subsumed into the overall condition described by that of the global theater.

Key concepts

Tetrad

In Laws of Media (1988), published posthumously by his son Eric, McLuhan summarized his ideas about media in a concise tetrad of media effects. The tetrad is a means of examining the effects on society of any technology (i.e., any medium) by dividing its effects into four categories and displaying them simultaneously. McLuhan designed the tetrad as a pedagogical tool, phrasing his laws as questions with which to consider any medium:

  • What does the medium enhance?
  • What does the medium make obsolete?
  • What does the medium retrieve that had been obsolesced earlier?
  • What does the medium flip into when pushed to extremes?

The laws of the tetrad exist simultaneously, not successively or chronologically, and allow the questioner to explore the "grammar and syntax" of the "language" of media. McLuhan departs from his mentor Harold Innis in suggesting that a medium "overheats", or reverses into an opposing form, when taken to its extreme.[7]

Visually, a tetrad can be depicted as four diamonds forming an X, with the name of a medium in the center. The two diamonds on the left of a tetrad are the Enhancement and Retrieval qualities of the medium, both Figure qualities. The two diamonds on the right of a tetrad are the Obsolescence and Reversal qualities, both Ground qualities.[57]

A blank tetrad diagram

Using the example of radio:

  • Enhancement (figure): What the medium amplifies or intensifies. Radio amplifies news and music via sound.
  • Obsolescence (ground): What the medium drives out of prominence. Radio reduces the importance of print and the visual.
  • Retrieval (figure): What the medium recovers which was previously lost. Radio returns the spoken word to the forefront.
  • Reversal (ground): What the medium does when pushed to its limits. Acoustic radio flips into audio-visual TV.

Figure and ground

McLuhan adapted the Gestalt psychology idea of a figure and a ground, which underpins the meaning of "The medium is the message." He used this concept to explain how a form of communications technology, the medium or figure, necessarily operates through its context, or ground.

McLuhan believed that to fully grasp the effect of a new technology, one must examine figure (medium) and ground (context) together, since neither is completely intelligible without the other. McLuhan argued that we must study media in their historical context, particularly in relation to the technologies that preceded them. The present environment, itself made up of the effects of previous technologies, gives rise to new technologies, which, in their turn, further affect society and individuals.[7]

All technologies have embedded within them their own assumptions about time and space. The message which the medium conveys can only be understood if the medium and the environment in which the medium is used—and which, simultaneously, it effectively creates—are analyzed together. He believed that an examination of the figure-ground relationship can offer a critical commentary on culture and society.[7]

Legacy

A portion of Toronto's St. Joseph Street is co-named Marshall McLuhan Way.

After the publication of Understanding Media, McLuhan received an astonishing amount of publicity, making him perhaps the most publicized English teacher in the twentieth century and arguably the most controversial. This publicity had much to do with the work of two California advertising executives, Gerald Feigen and Howard Gossage, who used personal profits to fund their practice of "genius scouting." Much enamoured with McLuhan's work, Feigen and Gossage arranged for McLuhan to meet with editors of several major New York magazines in May 1965 at the Lombardy Hotel in New York. Philip Marchand reports that, as a direct consequence of these meetings, McLuhan was offered the use of an office in the headquarters of both Time and Newsweek, any time he needed it.

In August 1965, Feigen and Gossage held what they called a "McLuhan festival" in the offices of Gossage's advertising agency in San Francisco. During this "festival", McLuhan met with advertising executives, members of the mayor's office, editors from the San Francisco Chronicle and Ramparts magazine. Perhaps more significant, however, was Tom Wolfe's presence at the festival, which he would later write about in his article, "What If He Is Right?", published in New York Magazine and Wolfe's own The Pump House Gang. According to Feigen and Gossage, however, their work had only a moderate effect on McLuhan's eventual celebrity: they later claimed that their work only "probably speeded up the recognition of [McLuhan's] genius by about six months."[58] In any case, McLuhan soon became a fixture of media discourse. Newsweek magazine did a cover story on him; articles appeared in Life Magazine, Harper's, Fortune, Esquire, and others. Cartoons about him appeared in The New Yorker.[45] In 1969 Playboy magazine published a lengthy interview with him.[59]

During his lifetime and afterward, McLuhan heavily influenced cultural critics, thinkers, and media theorists such as Neil Postman, Jean Baudrillard, Camille Paglia, Timothy Leary, Terence McKenna, William Irwin Thompson, Paul Levinson, Douglas Rushkoff, Jaron Lanier and John David Ebert, as well as political leaders such as Pierre Elliott Trudeau[60] and Jerry Brown. Andy Warhol was paraphrasing McLuhan with his now famous 15 minutes of fame quote. When asked in the 70s for a way to sedate violences in Angola, he suggested a massive spread of TV devices.[61] In 1991 McLuhan was named as the "patron saint" of Wired Magazine and a quote of his appeared on the masthead for the first ten years of its publication.[62] He is mentioned by name in a Peter Gabriel-penned lyric in the song "Broadway Melody of 1974". This song appears on the concept album The Lamb Lies Down on Broadway, from progressive rock band Genesis. The lyric is: "Marshall McLuhan, casual viewin' head buried in the sand." McLuhan is also jokingly referred to during an episode of The Sopranos entitled House Arrest. Despite his death in 1980, someone claiming to be McLuhan was posting on a Wired mailing list in 1996. The information this individual provided convinced one writer for Wired that "if the poster was not McLuhan himself, it was a bot programmed with an eerie command of McLuhan's life and inimitable perspective."[62]

The McLuhan Program

A new centre known as the McLuhan Program in Culture and Technology, formed soon after his death in 1980, is the successor to McLuhan's Centre for Culture and Technology at the University of Toronto. The first director was literacy scholar and OISE professor David R. Olsen. Since 1983, the McLuhan Program has been under the direction of Dr. Derrick de Kerckhove who was McLuhan's student and translator.

Notes

  1. ^ Gordon, pp. 99-100.
  2. ^ Gordon (1997), p. 34
  3. ^ Marchand (1998), p.32
  4. ^ Gordon, p. 40; McLuhan later commented "One advantage we Westerners have is that we're under no illusion we've had an education. That's why I started at the bottom again." Marchand (1990), p 30.
  5. ^ Marchand, p. 33-34
  6. ^ Marchand, pp. 37-47.
  7. ^ a b c d e f g Old Messengers, New Media: The Legacy of Innis and McLuhan, a virtual museum exhibition at Library and Archives Canada
  8. ^ a b Gordon, p. 94.
  9. ^ Gordon, pp. 69-70.
  10. ^ Gordon, p. 54-56
  11. ^ Lewis H. Lapham, Introduction to Understanding Media (First MIT Press Edition), p. xvii
  12. ^ Gordon, p.74, gives the date as March 25; Marchand (1990), p.44, gives it as March 30.
  13. ^ Marchand (1990), pp. 44-45.
  14. ^ Marchand (1990), p. 45.
  15. ^ Gordon, p. 75
  16. ^ Associates speculated about his intellectual connection to the Virgin Mary, one saying, "He [McLuhan] had a direct connection with the Blessed Virgin Mary... He alluded to it very briefly once, almost fearfully, in a please-don't-laugh-at-me tone. He didn't say, "I know this because the Blessed Virgin Mary told me," but it was clear from what he said that one of the reasons he was so sure about certain things was that the Virgin had certified his understanding of them." (cited in Marchand, p. 51).
  17. ^ Fitterman, Lisa (2008-04-19). "She was Marshall McLuhan's great love ardent defender, supporter and critic". Globe and Mail. http://www.theglobeandmail.com/servlet/story/LAC.20080419.OBMCLUHAN19//TPStory/Obituaries. Retrieved 2008-06-29. 
  18. ^ Gordon, p. 115.
  19. ^ Prins and Bishop 2002
  20. ^ During the time at Fordham University, his son Eric McLuhan conducted what came to be known as the Fordham Experiment, about the different effects of "light-on" versus "light-through" media.
  21. ^ Website of the Governor General of Canada
  22. ^ University of Toronto Bulletin, 1979; Martin Friedland, The University of Toronto: A History, University of Toronto Press, 2002
  23. ^ McLuhan's doctoral dissertation from 1942 was published by Gingko Press in March 2006. Gingko Press also plans to publish the complete manuscript of items and essays that McLuhan prepared, only a selection of which were published in his book. With the publication of these two books a more complete picture of McLuhan's arguments and aims is likely to emerge.
  24. ^ For a nuanced account of McLuhan's thought regarding Richards and Leavis, see McLuhan's "Poetic and Rhetorical Exegesis: The Case for Leavis against Richards and Empson" in the Sewanee Review, volume 52, number 2 (1944): 266-76.
  25. ^ The phrase "the medium is the message" may be better understood in light of Bernard Lonergan's further articulation of related ideas: at the empirical level of consciousness, the medium is the message, whereas at the intelligent and rational levels of consciousness, the content is the message. This sentence uses Lonergan's terminology from Insight: A Study of Human Understanding to clarify the meaning of McLuhan's statement that "the medium is the message"; McLuhan read this when it was first published in 1957 and found "much sense" in it -- in his letter of September 21, 1957, to his former student and friend, Walter J. Ong, S.J., McLuhan says, "Find much sense in Bern. Lonergan's Insight" (Letters of Marshall McLuhan, 1987: 251). Lonergan's Insight is an extended guide to "making the inward turn": attending ever more carefully to one's own consciousness, reflecting on it ever more carefully, and monitoring one's articulations ever more carefully. When McLuhan declares that he is more interested in percepts than concepts, he is declaring in effect that he is more interested in what Lonergan refers to as the empirical level of consciousness than in what Lonergan refers to as the intelligent level of consciousness in which concepts are formed, which Lonergan distinguishes from the rational level of consciousness in which the adequacy of concepts and of predications is adjudicated. This inward turn to attending to percepts and to the cultural conditioning of the empirical level of consciousness through the effect of communication media sets him apart from more outward-oriented studies of sociological influences and the outward presentation of self carried out by George Herbert Mead, Erving Goffman, Berger and Luckmann, Kenneth Burke, Hugh Duncan, and others.
  26. ^ 'The Mechanical Bride, pg 9
  27. ^ The Mechanical Bride, pg 21
  28. ^ The Mechanical Bride, pg 56
  29. ^ The Mechanical Bride, pg 152
  30. ^ Gutenberg Galaxy 1962, p. 41.
  31. ^ Gutenberg Galaxy pp. 124-26.
  32. ^ Gutenberg Galaxy p. 154.
  33. ^ Wyndham Lewis's America and Cosmic Man (1948) and James Joyce's Finnegan's Wake are sometimes credited as the source of the phrase, but neither used the words "global village" specifically as such. According to McLuhan's son Eric McLuhan, his father, a Wake scholar and a close friend of Lewis, likely discussed the concept with Lewis during their association, but there is no evidence that he got the idea or the phrasing from either; McLuhan is generally credited as having coined the term.
    Eric McLuhan (1996). "The source of the term 'global village'". McLuhan Studies (issue 2). http://www.chass.utoronto.ca/mcluhan-studies/v1_iss2/1_2art2.htm. Retrieved 2008-12-30. 
  34. ^ Gutenberg Galaxy p. 32.
  35. ^ Gutenberg Galaxy p. 158.
  36. ^ Paul Levinson (1999). Digital McLuhan: A Guide to the Information Millennium. Routledge. ISBN 0-415-19251-X. http://www.cyberchimp.co.uk/U75102/levinson.htm#ch3.  Book has been translated into Japanese, Chinese, Croatian, Romanian, and Korean.
  37. ^ Stewart, Bill (2000-01-07). "Marshall McLuhan Foresees The Global Village". Living Internet. http://www.livinginternet.com/i/ii_mcluhan.htm. Retrieved 2008-05-08. 
  38. ^ America 107 (Sept. 15, 1962): 743, 747.
  39. ^ New Catholic Encyclopedia 8 (1967): 838.
  40. ^ Gordon, p. 109.
  41. ^ Understanding Media, p. 8.
  42. ^ Understanding Media, p. 22.
  43. ^ Understanding Media, p. 25.
  44. ^ See CBC Radio Archives
  45. ^ a b Wolf, Gary (January 1996). "The Wisdom of Saint Marshall, the Holy Fool". Wired 4.01. http://www.wired.com/wired/archive/4.01/saint.marshal.html?pg=1&topic=&topic_set=. Retrieved 2009-05-10. 
  46. ^ Marchand, p. 203
  47. ^ McLuhan & Fiore, 1967
  48. ^ According to McLuhan biographer W. Terrence Gordon, "by the time it appeared in 1967, McLuhan no doubt recognized that his original saying had become a cliché and welcomed the opportunity to throw it back on the compost heap of language to recycle and revitalize it. But the new title is more than McLuhan indulging his insatiable taste for puns, more than a clever fusion of self-mockery and self-rescue — the subtitle is 'An Inventory of Effects,' underscoring the lesson compressed into the original saying." (Gordon, p. 175.) However, the FAQ section [1] on the website maintained by McLuhan's estate says that this interpretation is incomplete and makes its own leap of logic as to why McLuhan left it as is. "Why is the title of the book The Medium is the Massage and not The Medium is the Message? Actually, the title was a mistake. When the book came back from the typesetter's, it had on the cover 'Massage' as it still does. The title was supposed to have read The Medium is the Message but the typesetter had made an error. When McLuhan saw the typo he exclaimed, 'Leave it alone! It's great, and right on target!' Now there are possible four readings for the last word of the title, all of them accurate: Message and Mess Age, Massage and Mass Age."
  49. ^ Understanding Media, p. 68.
  50. ^ Marchand (1998), p.187.
  51. ^ War and Peace in the Global Village, p. 46.
  52. ^ "Watson, Wilfred". The Canadian Encyclopedia. http://www.thecanadianencyclopedia.com/index.cfm?PgNm=TCE&Params=A1ARTA0008487. Retrieved 14 March 2010. 
  53. ^ From Cliché to Archetype, p. 4.
  54. ^ From Cliché to Archetype, p. 99.
  55. ^ From Cliché to Archetype, p. 5.
  56. ^ From Cliché to Archetype, p. 9.
  57. ^ McLuhan, Eric (1998). Electric language: understanding the present. Stoddart. ISBN 0773759727. , p. 28
  58. ^ Marchand, pp. 182-184.
  59. ^ "Playboy Interview: Marshall McLuhan". Playboy: pp. 26–27, 45, 55-56, 61, 63. March 1969. 
  60. ^ "It's cool not to shave - Marshall McLuhan, the Man and his Message - CBC Archives". http://archives.cbc.ca/IDC-1-69-342-1826/life_society/mcluhan/clip8. Retrieved 2007-07-02. 
  61. ^ Daniele Luttazzi, interview at RAI Radio1 show Stereonotte, July 01 2007 2:00 am. Quote: "McLuhan era uno che al premier canadese che si interrogava su un modo per sedare dei disordini in Angola, McLuhan disse, negli anni 70, 'riempite la nazione di apparecchi televisivi'; ed è quello che venne fatto; e la rivoluzione in Angola cessò." (Italian)
  62. ^ a b Wolf, Gary (January 1996). "Channeling McLuhan". Wired 4.01. http://www.wired.com/wired/archive/4.01/channeling.html. Retrieved 2009-05-10. 

Works cited

This is a partial list of works cited in this article. See Bibliography of Marshall McLuhan for a more comprehensive list of works by McLuhan.

By Marshall McLuhan

  • 1951 The Mechanical Bride: Folklore of Industrial Man; 1st Ed.: The Vanguard Press, NY; reissued by Gingko Press, 2002 ISBN 1-58423-050-9
  • 1962 The Gutenberg Galaxy: The Making of Typographic Man; 1st Ed.: Univ. of Toronto Press; reissued by Routledge & Kegan Paul ISBN 0-7100-1818-5
  • 1964 Understanding Media: The Extensions of Man; 1st Ed. McGraw Hill, NY; reissued MIT Press, 1994, with introduction by Lewis H. Lapham; reissued by Gingko Press, 2003 ISBN 1-58423-073-8
  • 1967 The Medium is the Massage: An Inventory of Effects with Quentin Fiore, produced by Jerome Agel; 1st Ed.: Random House; reissued by Gingko Press, 2001 ISBN 1-58423-070-3
  • 1968 War and Peace in the Global Village design/layout by Quentin Fiore, produced by Jerome Agel; 1st Ed.: Bantam, NY; reissued by Gingko Press, 2001 ISBN 1-58423-074-6.
  • 1970 From Cliché to Archetype with Wilfred Watson; Viking, NY ISBN 0-67033-093-0

About Marshall McLuhan

  • Gordon, W. Terrence. Marshall McLuhan: Escape into Understanding: A Biography. Basic Books, 1997. ISBN 0465005497.
  • Marchand, Philip. Marshall McLuhan: The Medium and the Messenger. Random House, 1989; Vintage, 1990; The MIT Press; Revised edition, 1998. ISBN 0262631865 [3]
  • Molinaro, Matie; Corinne McLuhan; and William Toye, eds. Letters of Marshall McLuhan. Toronto: Oxford University Press, 1987, ISBN 0195405943

Further reading

  • Benedetti, Paul and Nancy DeHart. Forward Through the Rearview Mirror: Reflections on and by Marshall McLuhan. Boston:The MIT Press, 1997.
  • Carpenter, Edmund. "That Not-So-Silent Sea" [Appendix B]. In The Virtual Marshall McLuhan edited by Donald F. Theall. McGill-Queen's University Press, 2001: 236-61. (For the complete essay before it was edited for publication, see the external link below.)
  • Daniel, Jeff. "McLuhan's Two Messengers: Maurice McNamee and Walter Ong: world-class interpreters of his ideas." St. Louis Post-Dispatch (Sunday, August 10, 1997: 4C).
  • Federman, Mark. McLuhan for Managers: New Tools for New Thinking. Viking Canada, 2003.
  • Flahiff, F. T. Always Someone to Kill the Doves: A Life of Sheila Watson. Edmonton: NeWest Press, 2005.
  • Levinson, Paul. Digital McLuhan: A Guide to the Information Millennium. Routledge, 1999. ISBN 0-415-19251-X; book has been translated into Japanese, Chinese, Croatian, Romanian, and Korean
  • Ong, Walter J.: "McLuhan as Teacher: The Future Is a Thing of the Past." Journal of Communication 31 (1981): 129-35. Reprinted in Ong's Faith and Contexts: Volume One (Scholars Press, 1992: 11-18).
  • Ong, Walter J.: [Untitled review of McLuhan's The Interior Landscape: The Literary Criticism of Marshall McLuhan 1943-1962]. Criticism 12 (1970): 244-51. Reprinted in An Ong Reader: Challenges for Further Inquiry (Hampton Press, 2002: 69-77).
  • Theall, Donald F. The Virtual Marshall McLuhan. McGill-Queen's University Press, 2001.
  • The Johns Hopkins Guide to Literary Theory and Criticism (1st ed. 1994: 481-83; 2nd ed. 2005: 643-45)
  • Encyclopedia of Contemporary Literary Theory: Approaches, Scholars, Terms (U of Toronto P, 1993: 421-23)
  • Encyclopedia of Literary Critics and Criticism (Fitzroy Dearborn, 1999: 744-47)

External links


Quotes

Up to date as of January 14, 2010

From Wikiquote

There are no passengers on Spaceship Earth. We are all crew.

Marshall McLuhan (21 July 191131 December 1980) was a Canadian philosopher, futurist, and communications theorist.

Contents

Sourced

The new electronic interdependence recreates the world in the image of a global village.
  • There are no passengers on Spaceship Earth. We are all crew.
    • Statement of 1965, in reference to Operating Manual for Spaceship Earth (1963) by Buckminster Fuller, as quoted Paradigms Lost: Learning from Environmental Mistakes, Mishaps and Misdeeds (2005) by Daniel A. Vallero, p. 367
    • Variants:
    • There are no passengers on Spaceship Earth. Everybody's crew.
      • As quoted in The Aquarian Conspiracy : Personal and Social Transformation in the 1980s (1980) by Marilyn Ferguson, p. 189
    • There are no passengers on spaceship Earth, only crew.
      • As quoted in Go Green : How to Build an Earth-Friendly Community (2008) by Nancy H. Taylor, p. 59

The Gutenberg Galaxy (1962)

Full title: The Gutenberg Galaxy : The Making of Typographic Man
  • The new electronic interdependence recreates the world in the image of a global village.
    • p. 43
  • 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.
    • p. 136
  • Throughout Finnegans Wake Joyce specifies the Tower of Babel as the tower of Sleep, that is, the tower of the witless assumption, or what Bacon calls the reign of the Idols.
    • p.183
  • The present volume to this point might be regarded as a gloss on a single text of Harold Innis: "The effect of the discovery of printing was evident in the savage religious wars of the sixteenth and seventeenth centuries. Application of power to communication industries hastened the consolidation of vernaculars, the rise of nationalism, revolution, and new outbreaks of savagery in the twentieth century."
    • p. 216; McLuhan here quotes "Minerva's Owl" (1947), by Innis, an address to the Royal Society of Canada, published in The Bias of Communication (1951)
  • There is nothing wilful or arbitrary about the Innis mode of expression. Were it to be translated into perspective prose, it would not only require huge space, but the insight into the modes of interplay among forms of organisation would also be lost. Innis sacrificed point of view and prestige to his sense of the urgent need for insight. A point of view can be a dangerous luxury when substituted for insight and understanding. As Innis got more insight he abandoned any mere point of view in his presentation of knowlege. When he interrelates the development of the steam press with 'the consolidation of the vernaculars' and the rise of nationalism and revolution he is not reporting anybody's point of view, least of all his own. He is setting up a mosaic configuration or galaxy for insight … Innis makes no effort to "spell out" the interrelations between the components in his galaxy. He offers no consumer packages in his later work, but only do-it-yourself kits...
    • p. 216; this paragraph was quoted as "context (0) - THE INNIS MODE" by John Brunner, the epigraph or first chapter in his novel Stand on Zanzibar (1968)

Understanding Media (1964)

Understanding Media : The Extensions of Man
  • The name of a man is a numbing blow from which he never recovers.
  • We shape our tools and thereafter our tools shape us.
  • Art is anything you can get away with.
  • Literacy remains even now the base and model of all programs of industrial mechanization; but, at the same time, locks the minds and senses of its users in the mechanical and fragmentary matrix that is so necessary to the maintenance of mechanized society.

The Medium is the Massage (1967)

  • When this circuit learns your job, what are you going to do?
  • There is absolutely no inevitability, so long as there is a willingness to contemplate what is happening.

Hot & Cool (1967)

  • It's misleading to suppose there's any basic difference between education & entertainment. This distinction merely relieves people of the responsibility of looking into the matter.
    • (1957) from "Classroom Without Walls", Explorations Vol. 7, 1957; reprinted in Explorations in Communication ed. E. Carpenter & M. McLuhan, (Boston: Beacon, 1960); and again in McLuhan: Hot and Cool ed. G. E. Stearn (NY: Dial, 1967).
  • I don't explain—I explore.
  • Casting my perils before swains.

Through the Vanishing Point (1968)

  • Perhaps the most precious possession of man is his abiding awareness of the Analogy of Proper Proportionality, the key to all metaphysical insight, and perhaps the very condition of consciousness itself. This analogical awareness is constituted of a perpetual play of ratios among ratios. A is to B, what C is to D, which is to say the ratio between A and B, is proportionable to the ratio between C and D, there being a ratio between these ratios, as well, this lively awareness of the most exquisite delicacy depends upon there being no connection whatsoever between the components. If A were linked to B, or C to D, mere logic would take the place of analogical perception, thus one of the penalties paid for literacy and a high visual culture is a strong tendency to encounter all things through a rigorous storyline, as it were. Paradoxically, connected spaces and situations exclude participation, whereas discontinuity affords room for involvement. Visual space is connected and creates detachment or non-involvement. It also tends to exclude the participation of the other senses. (p.240)

From Cliché to Archetype (1970)

  • Since Sputnik and the satellites, the planet is enclosed in a manmade environment that ends "Nature" and turns the globe into a repertory theater to be programmed. Shakespeare at the Globe mentioning "All the world's a stage, and all the men and women merely players" (As You Like It, Act II, Scene 7) has been justified by recent events in ways that would have struck him as entirely paradoxical. The results of living inside a proscenium arch of satellites is that the young now accept the public spaces of the earth as role-playing areas. Sensing this, they adopt costumes and roles and are ready to "do their thing" everywhere." (p.9-10)
  • The "tragic flaw" is not a detail of characterization, a mere "fly in the ointment", but a structural feature of ordinary consciousness. (p.45)
  • Jacques Ellul observes in Propaganda: When dialogue begins, propaganda ends. His theme, that propaganda is not this or that ideology but rather the action and coexistence of all media at once, explains why propaganda is environmental and invisible. The total life of any culture tends to be "propaganda", for this reason. It blankets perception and supresses awareness, making the counter environments created by the artist indispensable to survival and freedom. (p.77)
  • Another theme of the Wake that helps in the understanding of the paradoxical shift from cliché to archetype is "pastimes are past times". The dominant technologies of one age become the games and pastimes of a later age. In the twentieth 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 role. The artist cannot dispense with the principle of doubleness and interplay since this kind of hendiadys-dialogue is essential to the very structure of consciousness, awareness, and autonomy. (p.99)
  • Disarmament is illogical and futile, unless one is prepared to regard the available means of production and social organization as affording unique social ends. To divert electrical energy and circuitry into atomic bombs shows the same imaginative power as wiring the dining-room chairs to enable one to electrocute the sitter in the event that he might prove hostile. It is part of the age-old habit of using new means for old purposes instead of discovering what are the new goals contained in the new means. (p.202)

Take Today : The Executive as Dropout (1972)

  • In this book we turn to the study of new patterns of energy arising from man’s physical and psychic artifacts and social organizations. The only method for perceiving process and pattern is by inventory of effects obtained by the comparison and contrast of developing situations. (p.8)
  • Hypnotized by their rear-view mirrors, philosophers and scientists alike tried to focus the figure of man in the old ground of nineteenth-century industrial mechanism and congestion. They failed to bridge from the old figure to the new. It is man who has become both figure and ground via the electrotechnical extension of his awareness. With the extension of his nervous system as a total information environment, man bridges art and nature. (p.11)
  • By involving all men in all men, by the electric extension of their own nervous systems, the new technology turns the figure of the primitive society into a universal ground that buries all previous figures. (p.25)
  • New technological environments are commonly cast in the molds of the preceding technology out of the sheer unawareness of their designers. (p.47)
  • Marx shared with economists then and since the inability to make his concepts include innovational processes. It is one thing to spot a new product but quite another to observe the invisible new environments generated by the action of the product on a variety of pre-existing social grounds. (p.63)
  • Environments work us over and remake us. It is man who is the content of and the message of the media, which are extensions of himself. Electronic man must know the effects of the world he has made above all things. (p.90)
  • Only puny secrets need protection. Big discoveries are protected by public incredulity. (p.92)
  • Computers can do better than ever what needn’t be done at all. Making sense is still a human monopoly. (p.109)
  • Although meaningless in a tribal context, numbers and statistics assume mythic and magical qualities of infallibility in literate societies. (p.114)
  • The new overkill is simply an extension of our nervous system into a total ecological service environment. Such a service environment can liquidate or terminate its beneficiaries as naturally as it sustains them. (p.152)
  • The automated presidential surrogate is the superlative nobody. (p.157)
  • In Catch-22, the figure of the black market and the ground of war merge into a monster presided over by the syndicate. When war and market merge, all money transactions begin to drip blood. (p.211)

Unsourced

  • Technology is that which separates us from our environment.
  • I don't pretend to understand my stuff. After all, my writing is very difficult.
  • I don't necessarily agree with everything I say.
  • We are the genitals of our technology. We exist only to improve next years model.
  • Ads are the cave art of the twentieth century.
  • Advertising is the greatest art form of the 20th century.
  • Spaceship earth is still operated by railway conductors, just as NASA is managed by men with Newtonian goals.
  • I don't know who discovered water but it certainly wasn't a fish.
  • We drive into the future using only our rearview mirror.
  • People don’t actually read newspapers. They step into them every morning like a hot bath.
  • All advertising advertises advertising.
  • I may be wrong, but I’m never in doubt.
  • If it works, it's obsolete.
  • Rene Levesque looks like a distressed seminarian.
  • First Man made the hammer, then the hammer made the Man.
  • Anyone who tries to make a distinction between education and entertainment doesn't know the first thing about either
  • Concepts are a provisional affair. (1951)
  • The perfection of the means of communication has given [the] average power complex of the human being an enormous extension of expression. (1953)
  • With the return to simultaneity we enter the tribal and acoustic world once more. Globally. (1956)
  • Man the tool-making animal, whether in speech or in writing or in radio, has long been engaged in extending one or another of his sense organs in such a manner as to disturb all of his other senses and faculties. (1962)
  • Any technology tends to create a new human environment... Technological environments are not merely passive containers of people but are active processes that reshape people and other technologies alike. (1962)
  • A moral point of view too often serves as a substitute for understanding in technological matters. (1964)
  • Radio provides a speed-up of information that also causes acceleration in other media. It certainly contracts the world to village size and creates insatiable village tastes for gossip, rumor, and personal malice. (1964)
  • In the electric age we wear all mankind as our skin. (1964)
  • Money is the poor man's credit card. (1964)
  • We become what we behold. We shape our tools and then our tools shape us. (1964)
  • There are no remote places. Under instant circuitry, nothing is remote in time or in space. It's now. (1965)
  • Moral indignation is a technique used to endow the idiot with dignity. (1967)
  • Societies have always been shaped more by the nature of the media by which men communicate than by the content of the communication. (1967)
  • The future masters of technology will have to be light-hearted and intelligent. The machine easily masters the grim and the dumb. (1969)
  • The American bureaucracy ... was set up for very slow speeds of the printed word and railways. At electric speeds, nothing in the USA makes sense. (1970)
  • The artist is the only person; his antennae pick up these messages before anybody. So he is always thought of as being way ahead of his time because he lives in the present. (1970)
  • What is very little understood about the electronic age is that it angelizes man, disembodies him. Turns him into software. (1971)
  • Jobs are finished; role-playing has taken over; the job is a passe entity. The job belonged to the specialist. The kids know that they no longer live in a specialist world; you cannot have a goal today. You cannot say, "I'm going to start here and I'm going to work for the next three years and I'm going to go all that distance." Every kid knows that within three years, everything will have changed including himself and the goal. (1971)
  • Electrically speaking, there's nothing but nuzzling and cuddling and cooing, alternating with wild yells for love and food and help. It's always May Day in the global nursery. (1974)
  • At the moment of Sputnik, the planet became a global theater in which there are no spectators but only actors. (1974)
  • Violence, whether spiritual or physical, is a quest for identity and the meaningful. The less identity, the more violence. (1976)
  • As we transfer our whole being to the data bank, privacy will become a ghost or echo of its former self and what remains of community will disappear. (1980)
  • I heard what you were saying. You - you know nothing of my work. You mean my whole fallacy is wrong. How you ever got to teach a course in anything is totally amazing.
    • His section of dialogue in Annie Hall. After Alvy Singer (Woody Allen), standing in a movie line, complains about someone near him speaking loudly on McLuhan's work, the fellow moviegoer objects, claiming he teaches a Columbia course on McLuhan and should be entitled to speak. Singer brings out McLuhan from offscreen, who delivers the above lines to the man.

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