PDF | On Sep 2, , Jim Euchner and others published The Medium is the Message. In , Marshall McLuan coined the phrase "the medium is the message" thereby acquainting society with the subconscious changes to. The Medium is the Massage: An Inventory of Effects is a book co-created by media analyst . Print/export. Create a book · Download as PDF · Printable version.
|Language:||English, Spanish, Indonesian|
|Genre:||Science & Research|
|ePub File Size:||22.84 MB|
|PDF File Size:||10.32 MB|
|Distribution:||Free* [*Regsitration Required]|
Marshall McLuhan understood the power of the media long before those in control did. The Medium is the Massage presents some of McLuhan s most amazing. tional and practical fact, the medium is the message. This is merely to say that the personal and social consequences of any medium—that is, of any extension of. McLuhan's ideas about the nature of media, the increasing speed of communication, and pdf The Medium is the Massage – Marshall McLuhan, Quentin Fiore.
United Press International, Inc. It really has little to do with the teach-in, as such, anymore than with the dropout. His insight offers a possible stratagem for understanding our predicament, our electrically-configured whirl. Many small texts were transmitted into vol- umes of miscellaneous content, very much like "jottings" in a scrapbook, and, in this transmission, authorship was often lost. It created to- tally new urban, social, and family worlds. Chas Moore, for Black Star. The circuited city of the future will not be the huge hunk of concentrated real estate created by the railway.
The interplay between the old and the new environments cre- ates 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 perspec- tive. Print technology created the public. Electric tech- nology created the mass.
The public consists of separate individuals walking around with separate, fixed points of view. The new technology demands 69 that we abandon the luxury of this posture, this fragmentary outlook. The method of our time is to use not a single but multiple models for exploration — the technique of the suspended judgment is the discovery of the twentieth century as the technique of invention was the discovery of the nineteenth.
There have just been so many of them lately. The railway radically altered the personal outlooks and patterns of social interdependence. It bred and nurtured the American Dream. It created to- tally new urban, social, and family worlds.
New ways of work. New ways of management. New legislation. The technology of the railway created the myth of a green pasture world of innocence. It satisfied man's desire to withdraw from society, symbolized by the city, to a rural setting where he could recover his animal and natural self. It was the pas- toral ideal, a Jeffersonian world, an agrarian de- mocracy which was intended to serve as a guide to social policy.
It gave us darkest suburbia and its lasting symbol: The circuited city of the future will not be the huge hunk of concentrated real estate created by the railway. It will take on a totally new meaning under conditions of very rapid movement. It will be an information megalopolis. What remains of the con- figuration of former "cities" will be very much like World's Fairs — places in which to show off new technology, not places of work or residence.
They will be preserved, museumlike, as living monu- ments to the railway era. If we were to dispose of the city now, future societies would reconstruct them, like so-many Williamsburgs.
When faced with a totally new situation, we tend always to attach ourselves to the objects, to the flavor of the most recent past. We look at the present through a rear-view mirror. We march backwards into the future. Suburbia lives imaginatively in Bonanza-land.
When information is brushed against information. The peren nial quest for involvement, fill-in, takes many forms The stars are so big, The Earth is so small, Stay as you are. Their groundrules, pervasive structure, and overall patterns elude easy perception.
A strange bond often exists among anti- social types in their power to see environments as they really are. This need to interface, to con- front environments with a certain antisocial power, is manifest in the famous story, "The Emperor's New Clothes.
The "antisocial" brat, unaccustomed to the old environment, clearly saw that the Emperor "ain't got nothin 1 on.
Sneed Martin, Larson E. Whipsnade, Chester Snavely, A. Pismo Clam, J. Pinkerton Snoop- ington, Mahatma Kane Jeeves-he was always the man on the flying trapeze. On the stage, on the silver screen, all through his life, he swung between the ridiculous and the sublime, using humor as a probe. Humor as a system of communications and as a probe of our environment — of what's really going on — affords us our most appealing anti-environ- mental tool.
It does not deal in theory, but in imme- diate experience, and is often the best guide to changing perceptions. Older societies thrived on purely literary plots.
They demanded story lines. Today's humor, on the contrary, has no story line- no sequence. It is usually a compressed overlay of stories. My hours out of school were passed at home and in the streets. He was one of the great founders of modern physics. It is generally acknowledged that Faraday's ignorance of mathematics contributed to his inspiration, that it compelled him to develop a simple, nonmathematical conceptwhen he looked for an explanation of his electrical and magnetic phenomena.
Faraday had two qualities that more than made up for his lack of education: Professionalism is environmental. Amateurism is anti-environmental. Professionalism merges the individual into patterns of total environment. Amateurism seeks the development of the total awareness of the individual and the critical aware- ness of the groundrules of society. The amateur can afford to lose. The professional tends to classify and to specialize, 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 and unaware.
The "expert" is the man who stays put. Robert Oppenheimer Our official culture is striving to force the new media to do the work of the old. These are difficult times because we are witness- ing a clash of cataclysmic proportions between two great technologies. We approach the new with the psychological conditioning and sensory re- sponses of the old. This clash naturally occurs in transitional periods.
In late medieval art, for in- stance, we saw the fear of the new print technology expressed in the theme The Dance of Death. To- day, similar fears are expressed in the Theater of the Absurd.
Both represent a common failure: This only possible door for them is slammed in their faces by a rear-view- mirror society. The young today live mythically and in depth. But they encounter instruction in situations organized by means of classified information — subjects are unrelated, they are visually conceived in terms of a blueprint. Many of our institutions suppress all the natural direct experience of youth, who respond with untaught delight to the poetry and the beauty of the new technological environment, the environ- ment of popular culture.
It could be their door to all past achievement if studied as an active and not necessarily benign force. The student finds no means of involvement for himself and cannot discover how the educational scheme relates to his mythic world of electronically processed data and experience that his clear and direct responses report. It is a matter of the greatest urgency that our edu- cational institutions realize that we now have civil war among these environments created by media other than the printed word.
The classroom is now in a vital struggle for survival with the immensely persuasive "outside" world created by new informa- tional media. Education must shift from instruction, from imposing of stencils, to discovery — to probing and exploration and to the recognition of the lan- guage of forms. The young today reject goals.
That is, total involvement. They do not want fragmented, specialized goals or jobs. We now experience simultaneously the dropout and the teach-in. The two forms are correlative. They belong together. The teach-in represents an attempt to shift education from instruction to dis- covery, from brainwashing students to brainwash- ing instructors.
It is a big, dramatic reversal. Viet- nam, as the content of the teach-in, is a very small and perhaps misleading Red Herring. It really has little to do with the teach-in, as such, anymore than with the dropout. The dropout represents a rejection of nineteenth- century technology as manifested in our educa- tional establishments. The teach-in represents a creative effort, switching the educational process from package to discovery.
As the audience be- comes a participant in the total electric drama, the classroom can become a scene in which the audience performs an enormous amount of work. The ear favors no particular "point of view. It forms a seamless web around us. We say, "Music shall fill the air. Sounds come from "above," from "below," from in "front" of us, from "behind" us, from our "right," from our "left. We simply are not equipped with earlids. Where a visual space is an organized continuum of a uniformed connected kind, the ear world is a world of simultaneous relationships.
You give your disciples not truth but only the semblance of truth; they will be heroes of many things, and will have learned nothing; they will appear to be omniscient and will generally know nothing.
All the per- suasive skills of the poetic and the dramatic idiom were marshaled to insure the faithful transmission of the tradition from generation to generation. These Bardic songs were rhythmically organized with great formal mastery into metrical patterns which insured that everyone was psychologically attuned to memorization and to easy recall.
There was no ear illiteracy in pre-literate Greece. In the "Republic," Plato vigorously attacked the oral, poetized form as a vehicle for communicating knowledge. He pleaded for a more precise method of communication and classification "The Ideas" , one which would favor the investigation of facts, principles of reality, human nature, and conduct.
What the Greeks meant by "poetry" was radically different from what we mean by poetry. Their "poetic" expression was a product of a collective psyche and mind. The mimetic form, a technique that exploited rhythm, meter, and music, achieved the desired psychological response in the listener. Listeners could memorize with greater ease what was sung than what was said.
Plato attacked this method because it discouraged disputation and argument. It was in his opinion the chief obstacle to abstract, speculative reasoning— he called it "a poison, and an enemy of the people.
Myth is the mode of simultaneous awareness of a complex group of causes and effects. Electric circuitry'confers a mythic dimension on our ordinary individual and group actions. Our tech- nology forces us to live mythically, but we con- tinue to think fragmentarily, and on single, separate planes.
Myth means putting on the audience, putting on one's environment. The Beatles do this. They are a group of people who suddenly were able to put on their audience and the English language with musical effects— putting on a whole vesture, a whole time, a Zeit.
Young people are looking for a formula for put- ting on the universe— participation mystique. They do not look for detached patterns— for ways of re- lating themselves to the world, a la nineteenth century. A noted publisher in Chicago reports there is a simple tech- nique for acquiring a powerful memory which can pay you real dividends in both business and social advancement and works like magic to give you added poise, necessary self-confidence and greater popularity.
According to this publisher, many people do not realize how much they could influence others simply by remembering accurately everything they see, hear, or read.
Whether in business, at social functions or even in casual con- versations with new acquaintances, there are ways in which you can dominate each situation by your ability to remember. To acquaint the readers of this paper with the easy-to-follow rules for developing skill in remember- ing anything you choose to remem- ber, the publishers have printed full details of their self-training method in a new book, "Adven- tures in Memory," which will be; mailed free to anyone who re- quests it.
No obligation. Send your name, address and zip code to: Memory Studies, Diversey Parkway, Dept. A postcard will do. 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 employ visual and spatial metaphors for a great many everyday expressions. We insist on employ- ing visual metaphors even when we refer to purely psychological states, such as tendency and dura- tion. For instance, we say there after when we really mean thenafter, always when we mean at all times.
We are so visually biased that we call our wisest men visionaries, or seers! John Cage: This puts one in accord with nature, in her man- ner of operation.
And art simply facilitates persuading one this is the case. 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 doc- trine obtains, we have occasioning cause causing effects and affects occasionally recausing after- effects.
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 tech- nology. 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 remain- ing locked up in each cultural cycle as in atrance or dream. He discovered the means of living simulta- neously in all cultural modes while quite conscious. Medieval scholars were indifferent to the precise identity of the "books" they studied. In turn, they rarely signed even what was clearly their own. They were a humble service organization. Procuring texts was often a very tedious and time-consuming task. Many small texts were transmitted into vol- umes of miscellaneous content, very much like "jottings" in a scrapbook, and, in this transmission, authorship was often lost.
The invention of printing did away with anonymity, fostering ideas of literary fame and the habit of considering intellectual effort as private property. Mechanical multiples of the same text created a public — a reading public. The rising consumer- oriented culture became concerned with labels of authenticity and protection against theft and piracy.
The idea of copyright— "the exclusive right to re- produce, publish, and sell the matter and form of a literary or artistic work"— was born. Anybody can now be- come both author and publisher. Take any books on any subject and custom-make your own book by simply xeroxing a chapter from this one, a chapter from that one— instant steal!
As new technologies come into play, people are less and less convinced of the importance of self- expression.
Teamwork succeeds private effort. A ditto, ditto device. H n ii H A ditto, ditto device. Even so imaginative a writer as Jules Verne failed to envisage the speed with which electric tech- nology would produce informational media.
Science-fiction writing today presents situations that enable us to perceive the potential of new technologies. Formerly, the problem was to in- vent new forms of labor-saving. Today, the reverse is the problem. Now we have to adjust, not to in- vent. We have to find the environments in which it will be possible to live with our new inventions. Big Business has learned to tap the s-f writer. With the omnipresent ear and the moving eye, we have abolished writing, the specialized acoustic-visual metaphor that established the dy- namics of Western civilization.
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 informa- tion, 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.
Television demands participation and involvement in depth of the whole being. It will not work as a background. It 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 and meaning of lives and events to a level of ex- treme sensitivity. It was the funeral of President Kennedy that most strongly proved the power of television to invest an occasion with the character of corporate par- ticipation. It involves an entire population in a ritual process. By comparison, press, movies, and radio are mere packaging devices for consumers.
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 inward- ness, a sort of reverse perspective which has much in common with Oriental art. The television generation is a grim bunch. It is much more seriousthan children of any otherperiod — when they were frivolous, more whimsical.
The television child is more earnest, more dedicated. Most often the few seconds sandwiched between the hours of viewing — the "commercials" — reflect a truer understanding of the medium. There simply is no time for the narrative form, borrowed from earlier print technology. The story line must be abandoned.
Up until very recently, television com- mercials were regarded as simply a bastard form, or vulgar folk art. They are influencing contem- porary literature. Vide "In Cold Blood, "forinstance.
These critics insist on regarding television as merely a degraded form of print technology. Critics of tele- vision have failed to realize that the motion pic- tures they are lionizing— such as "The Knack," "Hard Day's Night," "What's New Pussycat?
Hollywood is often a fomenter of anti-colonialist revolutions. It is perhaps not generally realized that a refrigera- tor can be a revolutionary symbol — to a people who have no refrigerators. A motor car owned by a worker in one country can be a symbol of revolt to a people deprived of even the necessities of life We do everything as well as we can.
The museum has become a storehouse of human values, a cultural bloodbank. Real, total war has become 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. After McLuhan saw the typo, he exclaimed, 'Leave it alone!
It's great, and right on target! Marshall McLuhan argues technologies — from clothing to the wheel to the book and beyond — are the messages, not the content of the communication.
Basically, in its fundamental essence, The Medium is the Massage is a graphical and creative representation of his "medium is the message" thesis seen in Understanding Media. All media work us over completely. They are so pervasive in their personal, political, economic, aesthetic, psychological, moral, ethical, and social consequences, they leave no part of us untouched, unaffected, unaltered.
The Medium is the Massage demonstrates the ways the MainStream media are extensions of human senses ; they ground us in physicality, but expand our ability to perceive our world to an extent impossible without the MainStream media. Finally, McLuhan describes points of change in how people viewed their universe and the ways those views are affected and altered by the adoption of new MainStream media.
Fiore, at the time a prominent graphic designer and communications consultant, composed the visual illustration of these effects compiled by Jerome Agel.
Near the beginning of the book, Fiore adopted a pattern in which an image demonstrating a MainStream 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 argument in this book: An audio recording based on the book was made by Columbia Records in the late s, produced by John Simon but otherwise keeping the same credits as the book.
Various audio recording techniques and statements are used to illustrate the relationship between spoken, literary speech and the characteristics of electronic audio media.
From Wikipedia, the free encyclopedia. For the phrase coined by Marshall McLuhan, see The medium is the message. This article needs additional citations for verification.
Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: Cover of the first UK edition, published by Penguin Books Retrieved John Simon, producer. Conceived and co-ordinated by Jerome Agel. Marshall McLuhan.