Quotes Marshall McLuhan - page 2
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All meaning alters with acceleration, because all patterns of personal and political interdependence change with any acceleration of information.
Canadians are the people who learned to live without the bold accents of the natural ego-trippers of other lands.
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.
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Professionalism merges the individual into patterns of total environment. Amateurism seeks the development of the total awareness of the individual and the critical awareness of the groundrules of society. The amateur can afford to lose. The professional tends to classify and specialise, to accept uncritically the groundrules of the environment. The groundrules provided by the mass response of his colleagues serve as a pervasive environment of which he is contentedly unaware. The 'expert' is the man who stays put.
Antipathy, dissimilarity of views, hate, contempt, can accompany true love.
Our motor car is our supreme form of privacy when we are away from home.
Ads push the principle of noise all the way to the plateau of persuasion. They are quite in accord with the procedures of brainwashing.
All discoveries in art and science result from an accumulation of errors.
TV acting is so extremely intimate, because of the peculiar involvement of the viewer with the completion or "closing" of the TV image, that the actor must achieve a great degree of spontaneous casualness that would be irrelevant in movie and lost on the stage. For the audience participates in the inner life of the TV actor as fully as in the outer life of the movie star. Technically, TV tends to be a close-up medium. The close-up that in the movie is used for shock is, on TV, a quite casual thing.
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.
The genteel is a mighty catafalque of service-with-a-smile and flattering solicitude smothering every spontaneous movement of thought or feeling.
The movie, by sheer speeding up of the mechanical, carried us from the world of sequence and connections into the world of creative configurations and structure.
New media may at first appear as mere codes of transmission for older achievement and established patterns of thought. But nobody could make the mistake of supposing that phonetic writing merely made it possible for the Greeks to set down in visual order what they had though and known before writing. In the same way printing made literature possible. It did not merely encode literature.
It is the framework which changes with each new technology and not just the picture within the frame.
Once introduced discontinuity, once challenge any of the properties of visual space, and as they flow from each other, the whole conceptual framework collapses.
It is the weak and confused who worship the pseudosimplicities of brutal directness.
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The movie stars and matinee idols are put into the public domain by photography. They become dreams that money can buy. They can be bought and thumbed more easily than public prostitutes.
