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<==>
Our time is a time for crossing barriers, for erasing old categories—for probing around. When two seemingly disparate elements are imaginatively poised, put in apposition in new and unique ways, startling [[discoveries->discoveries]] often result.
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[[<img src=https://78.media.tumblr.com/88ace235d96b24b74d21f7699641cdbc/tumblr_p8xrmxD0HI1xtjxmpo3_1280.png>->you]] [[<img src=https://78.media.tumblr.com/eff130228af0d99b27ae5296183b9127/tumblr_p8xrmxD0HI1xtjxmpo4_1280.png>->your family]] [[<img src=https://78.media.tumblr.com/b1c52d2161c73cecc1a08a197093a73b/tumblr_p8xrqmYGq01xtjxmpo1_540.png>->your neighborhood]] [[<img src=https://78.media.tumblr.com/86332936467038ef7060420f8854dc4a/tumblr_p8xrmxD0HI1xtjxmpo2_1280.png>->your education]]
[[<img src=https://78.media.tumblr.com/dfa37f73e4d172c9dbc916e6495d3380/tumblr_p8xrmxD0HI1xtjxmpo1_1280.png>->your job]] [[<img src=https://78.media.tumblr.com/d919499164d51ffe57a5bc1f3bedcbed/tumblr_p8xrmxD0HI1xtjxmpo6_1280.png>->your government]] [[<img src=https://78.media.tumblr.com/82a44a303ab32c6d9bca2bb300e3e468/tumblr_p8xrmxD0HI1xtjxmpo7_1280.png>->"the others"]]<style>
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<==>
How much do you make? Have you ever contemplated suicide? Are you now or have you ever been...? Are you aware of the fact...? I have here before me... Electrical information devices for universal, tyrannical womb-to-tomb surveillance are causing a very serious dilemma between our claim to privacy and the community’s need to know. The older, traditional ideas private, isolated thoughts and actions —the patterns of mechanistic technologies— are very seriously threatened by new methods of instantaneous electric information retrieval, by the electronically computerized dossier bank—that one big gossip column that is unforgiving, unforgetful, and from which there is no redemption, no erasure of early “mistakes,” We have already reached a point where remedial control, born out of knowledge of media and their total effects on all of us, must be exerted. How shall the new environment be programmed now that we have become so involved with each other, now that all of us have become the unwitting work force for social change? What’s that buzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzing?<style>
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The family circle has widened. The worldpool of information fathered by electric media —movies, Telstar, flight— far surpasses any possible influence mom and dad can now bring to bear. Character no longer is shaped by only two earnest, fumbling experts. Now all the world’s a sage.<style>
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<==>
Electric circuitry has overthrown the regime of “time” and “space” and pours upon us instantly and continuously the concerns of all other men. It has reconstituted dialogue on a global scale. Its message is Total Change, ending psychic, social, economic, and political parochialism. The old civic, state, and national groupings have becom unworkable, nothing can be further from the spirit of the new technology than “a place for everything and everything in its place.” You can’t go home again.<style>
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<==>
There is a world of difference between the modern home environment of integrated electric information and the classroom. Today’s television child is attuned to up-to-the-minute “adult” news —inflation, rioting, war, taxes, crime, bathing beauties— and is bewildered when he enters the ninteenth-century environment that still characterizes the educational establishment where information is scarce but ordered and structured by fragmented, classified patterns, subjects, and schedules. It is naturally an environment much like any factory set-up with its inventories and assembly lines.
The “child” was an invention of the seventeenth century; he did not exist in, say, Shakespeare’s day. He had, up until that time, been merged in that adult world and there was nothing that could be called childhood in our sense.
Today’s child is growing up absurd, because he lives in two worlds, and neither of them inclines him to grow up. Growing up—that is our new work, and it is total. Mere instruction will not suffice.<style>
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<==>
“When this circuit learns your job, what are you going to do?”
“Jobs” represent a relatively recent pattern of work. From the fifteenth century, there is a steady progress of fragmentation of the stages of work that constitute “mechanization” and “specialism.” Their procedures cannot serve for survival or sanity in this new time.
Under conditions of electric circuitry, all the fragmented job patterns tend to blend once more into involving and demanding roles or forms of work that more and more resemble teaching, learning, and “human” service, in the older sense of dedicated loyalty.
Unhappily, many well-intentioned political reform programs that aim at the alleviation of suffering caused by unemployed betray an ingnorance of the true nature of media-influence.
“Come into my parlor,” said the computer to the specialist.<style>
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<==>
Nose-counting, a cherished part of the eighteenth century fragmentation process, has rapidly become a cumbersome and ineffectual form of social assessment in an environment of instant electric speeds. The public, in the sense of a great consensus of separate and distinct viewpoints, is finished. Today, the mass audience (the successor to the “public”) can be used as a creative, participating force. It is, instead, merely given packages of passive entertainment. Politics offers yesterday’s answers to today’s questions.
A new form of “politics” is emerging, and in ways we haven’t yet noticed. The living room has become a voting booth. Participation via television in Freedom Marches, in war, revolution, pollution, and other events is changing everything.<style>
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<==>
The shock of recognition! In an electric information environment, minority groups can no longer be contained—ignored. Too many people know too much about each other. Our new environment compels commitment and participation. We have become irrevocably involved with, and responsible for, each other.<style>
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<==>
(css: "font-size: 150%;")[All media work over us completely. They are so pervasive in their [[personal->personal]], political, economic, aesthetic, psychological, moral, ethical, and social consequences that they leave no part of us untouched, unaffected, unaltered. The medium is the massage. Any understanding of social and cultural change is impossible without a knowledge of the way [[media->media]] work as environments.]
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<==>
Innumerable confusions and a profound feeling of despair invariably emerge in periods of great technological and cultural transitions. Our “Age of [[Anxiety->anxiety]]” is, in great part, the result of trying to do today’s job with yesterday’s tools— with yesterday’s concepts.
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(css: "font-size: 150%;")[All [[media->media2]] are extentions of some human faculty— psychic or physical.]
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[[<img src=https://78.media.tumblr.com/3c1bae989b65d6532d461f3482368a85/tumblr_p8y0yqz40Z1xtjxmpo1_1280.png>->electric]]
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[[<img src=https://78.media.tumblr.com/44195f24d7dd9b5b62bfc44c02524b71/tumblr_p8y0yqz40Z1xtjxmpo2_1280.png>->clothing]]
<==
[[<img src=https://78.media.tumblr.com/898ae4eb4bf84f1fb101b9325219f69f/tumblr_p8y0yqz40Z1xtjxmpo3_1280.png>->book]]
==>
[[<img src=https://78.media.tumblr.com/44da02f133c8e634c34be5080cf1b334/tumblr_p8y0yqz40Z1xtjxmpo4_1280.png>->wheel]]<style>
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<==>
(css: "font-size: 150%;")[Media, by altering the environment, evoke in us unique [[ratios->ratios]] of sense perceptions. The extension of any one sense alters the way we think and act—the way we [[perceive->perceive]] the world.]
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<==>
(css: "font-size: 150%;")[The dominant organ of sensory and social orientation in pre-alphabet societies was the ear—"hearing was believing." The phonetic [[alphabet->alphabet]] forced the world of the [[eye->eye]]. Man was given an eye for an ear.]<style>
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<==>
Western history was shaped for some three thousand years by the introduction of the phonetic alphabet, a medium that depends solely on the eye for comprehension. The alphabet is a construct of fragmented bits and parts which have no semantic meaning in themselves, and which must be strung together in a line, bead-like, and in a prescribed order. Its use fostered and encouraged the habit of perceiving all environment in visual and spatial terms— particularly in terms of a space and of a time that are uniform,
[[c,o,n,t,i,n,u,o,u,s->continuous]]
and
[[c-o-n-n-e-c-t-e-d.->connected]]
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<==>
(css: "font-size: 150%;")[Visual [[space->space]] is uniform, continuous, and connected. The rational man in our Western culture is a visual man. The fact that most conscious experience has little [[“visuality”->visuality]] in it is lost on him.]<style>
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The line, the continuum
—this sentence is a prime example—
became the organizing principle of life. “As we begin, so shall we go.” “Rationality” and logic came to depend on the presentation of connected and sequential facts or concepts.
For many people [[rationality->eye]] has the connotation of uniformity and connectiveness,
“I don’t follow you” means “I don’t think what you're saying is rational.”
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<==>
(css: "font-size: 150%;")[Until writing was invented, men lived in [[acoustic->acoustic]] space: boundless, directionless, [[horizonless->horizonless]], in the dark of the mind, in the world of emotion, by primordial intuition, by terror. [[Speech->speech]] is a social chart of this bog.]
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(css: "font-size: 150%;")[The ear favors no particular “point of view. ” We are enveloped by [[sound->sound]]. It forms a seamless web around us. We say, “Music shall [[fill->fill]] the air.” We never say, “[[Music->music]] shall fill a particular segment of the air.”]<style>
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<==>
The goose quill put an end to talk. It abolished mystery; it gave architecture and towns; it brought roads and armies, bureaucracy. It was the basic metaphor with which the cycle of civilization began, the step from the dark into the light of the mind. The hand that filled the parchment [[page->page]] built a city.<style>
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<audio src="https://ia800604.us.archive.org/35/items/JohnCageagp18/Cage042611499.mp3" autoplay><style>
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<==>
Most people find it difficult to understand purely verbal concepts. They suspect the ear; they don’t trust it. In general we feel more secure when things are visible, when we can “see for ourselves.” We admonish children, for instance, to “believe only half of what they see, and nothing of what they hear.” All kinds of shorthand systems of [[notation->speech]] have been developed to help us [[see->see]] what we hear.<style>
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<==>
We employ visual and spatial metaphors for a great many everyday expressions. We insist on employing [[visual->horizonless]] metaphors even when we refer to purely psychological states, such as tendency and duration. For instance, we say thereafter when we really mean thenafter, always when we mean at all times.<style>
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<==>
Primitive and pre-alphabet people integrate time and [[space->space2]] as one and live in an acoustic, horizonless, boundless, olfactory space, rather than in visual space. Their graphic presentation is like an x-ray. They put in [[everything->everything]] they know, rather than only what they [[see->see2]].<style>
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(css: "font-size: 150%;")[Printing, a ditto device confirmed and extended the new visual stress. It provided the first uniformly repeatable “commodity,” the first assembly line— mass production.
It created the portable book, which men could read in privacy and in isolation from others. Man could now inspire—and conspire.
Like easel [[painting->painting]] the printed book added much to the new cult of individualism. The private, fixed point of view became possible and literacy conferred the power of detachment, non-involvement.]<style>
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(css: "font-size: 150%;")[The [[Renaissance->renaissance]] Legacy.
The Vanishing Point = Self-Effacement,
The Detached Observer,
No Involvement!
The viewer of Renaissance art is systematically placed outside the frame of experience.
A piazza for everything and everything in its piazza.
The instantaneous world of electric informational media involves all of us, all at once.
No detachment or frame is possible.]<style>
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<==>
Art, or the graphic translation of a culture, is shaped by the way space is perceived. Since the Renaissance the Western artist perceived his environment primarily in terms of the [[visual->horizonless]]. Everything was dominated by the eye of the beholder. His conception of space was in terms of a perspective projection upon a plane surface consisting of formal units of spatial measurement. He accepted the dominance of the vertical and the horizontal-of symmentry-as an absolute condition of order. This view is deeply embedded in the consciousness of Western art.<style>
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<==>
A drawing of a man hunting seal on an ice floe will show not only what is on top of the ice, but what lies underneath as well. The [[primitive artist->primitive artist]] twists and tilts the various possible visual [[aspects->space2]] until they fully explain what he wishes to represent.<style>
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<==>
Carl Orff, the noted contemporary German composer, has refused to accept as a student any but the preschool child —the child whose spontaneous sense perceptions have not yet been channeled by formal, literary, visual prejudices.
<==>
[[Television->television]] completes the cycle of the human [[sensorium->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.<style>
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<==>
Television demands participation and [[involvement->sensorium]] in depth of the whole being. It will not work as a background. It [[engages->engages]] you. Perhaps this is why so many people feel that their identity has been threatened. This charge of the light brigade has heightened our general awareness of the [[shape->shape]] and meaning of lives and events to a level of extreme sensitivity.<style>
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In television, images are projected at you. You are the screen. The images wrap around you. You are the vanishing point. This creates a sort of inwardness, a sort of reverse perspective which has much in common with Oriental art.<style>
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(css: "font-size: 150%;")[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->environment]] and of experience co-exist in a state of active interplay.]<style>
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(css: "font-size: 150%;")[Environments are not passive wrappings, but are rather, active processes which are [[invisible->invisible]]. Anti-environments, or countersituations made by artists, provide means of direct attention and enable us to see and understand more clearly. The interplay between the old and the new environments creates many problems and confusions. The main obstacle to a clear understanding of the effects of the new media is our deeply embedded habit of regarding all phenomena from a fixed point of view. We speak, for instance, of “gaining perspective.” This psychological process derives unconciously from [[print->print]] technology.]<style>
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Electric circuitry is recreating in us the [[multi-dimentional->multi-dimentional]] space orientation of the “primitive.”<style>
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“Time” has ceased, “space” has vanished. We now live in a global village... a simultaneous happening. We are back in acoustic space. We have begun again to structure the primordial feeling, the tribal emotions from which a few centuries of literacy divorced us.
At the high speeds of [[electric communication->television]], purely visual [[means->means]] of apprehending the world are no longer possible; they are just too slow to be relevant or effective.<style>
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(css: "font-size: 150%;")[Unhappily, we confront this new situation with an enormous backlog of [[outdated->outdated]] mental and psychological responses. We have been left d-a-n-g-l-i-n-g. Our most impressive words and thoughts betray us— they refer us only to the [[past->past]], not to the present.]<style>
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(css: "font-size: 150%;")[In the name of “progress” our official culture is striving to force the [[new->discovery]] media to do the work of the old.]<style>
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(css: "font-size: 150%;")[Print technology created the public. Electric technology created the mass. The public consists of separate individuals walking around with [[separate->separate]], fixed points of view. The new technology demands that we abandon the luxury of this posture, this [[fragmented->fragmented]] outlook.]<style>
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The method of our time is to use not a single but multiple models for exploration— the technique of the suspended judgement is the discovery of the twentieth century as the technique of invention was the [[discovery->discovery]] of the nineteenth.<style>
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(css: "font-size: 150%;")[These are difficult times because we are witnessing a clash of cataclysmic proportions between two great technologies. We approach the new with the psychological conditioning and sensory responses to the old. This [[clash->clash]] naturally occurs in [[transitional->transitional]] periods.]<style>
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(css: "font-size: 150%;")[In late medieval art, for instance, we saw the fear of the new print technology expressed in the theme of The Dance of Death. Today, similar fears are expressed in the Theater of the Absurd. Both represent a common failure: the attempt to do a job demanded by the new environment with the tools of the old.]<style>
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Real, total war has become [[information->information]] war. It is being fought by subtle electric informational media— under cold conditions, and constantly. The cold war is the real war front— a surround— involving everybody— all the time— everywhere. Whenever hot wars are necessary these days, we conduct them in the backyards of the world with the old technologies. These wars are happenings, tragic games. It is no longer convenient, or suitable, to use the latest technologies for fighting our wars, because the latest technologies have rendered war meaningless. The hydrogen bomb is history’s exclamation point. It ends an age-long sentence of manifest violence!<style>
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(css: "font-size: 150%;")[The environment as a processor of information is propaganda. Propaganda ends where dialogue begins. You must [[talk->talk]] to the media, not to the programmer. To talk to the programmer is like complaining to a hot dog vendor at a ballpark about how badly your favorite team is playing.]
(css: "font-size: 120%;")[An [[interactive exploration->exploration]] of]
(css: "font-size: 120%;")[Marshall McLuhan & Quentin Fiore's]
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[[<img src=https://78.media.tumblr.com/e42186639bfa700f19ecc3cf687e26bc/tumblr_p8xv9oxs4b1xtjxmpo1_1280.png>->first]]
[[By Tiffany Sharma->Tiffany Sharma]]<style>
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(css: "font-size: 120%;")[Tiffany Sharma]
Media Arts and Sciences & Music
Wellesley College '20
<a href="http://www.tiffanysharma.com">tiffanysharma.com</a><style>
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(css: "font-size: 120%;")[This is an exploration of the ideas within Marshall McLuhan and Quentin Fiore's book, //The Medium is the Massage//. Inspired by the theories and graphics in the book, this interactive story lets you, the reader, navigate through McLuhan and Fiore's world in a new way.
All text is directly quoted from the book, however all visuals were personally designed.]