Quotes Marshall McLuhan - page 3
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To say that a body or its gravitational field 'bends in space' in its vicinity is the discuss visual space in acoustic terms.
Medieval and ancient sensibility now dominates our time as acoustic and multisensory awareness displaces the merely visual.
Cubism ('multi-locationalism') is one of the painterly forms of acoustic space.
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The specialist is one who never makes small mistakes while moving toward the grand fallacy.
Control over change would seem to consist in moving not with it but ahead of it. Anticipation gives the power to deflect and control force.
For those for whom the sex act has come to seem mechanical and merely the meeting and manipulation of body parts, there often remains a hunger which can be called metaphysical but which is not recognized as such, and which seeks satisfaction in physical danger, or sometimes in torture, suicide, or murder.
Language does for intelligence what the wheel does for the feet and the body. It enables them to move from thing to thing with greater ease and speed and ever less involvement.
Our electrically-configured world has forced us to move from the habit of data classification to the mode of pattern recognition. We can no longer build serially, block-by-block, step-by-step, because instant communication insures that all factors of the environment and of experience co-exist in a state of active interplay.
The school system is the homogenizing hopper into which we toss our integral tots for processing.
You see, Dad, Professor McLuhan says that the environment that man creates becomes his medium for defining his role in it. The invention of type created linear, or sequential thought, separating thought from action. Now, with TV and folk singing, thought and action are closer and social involvement is greater. We again live in a village. Get it?
In this electronic age we see ourselves being translated more and more into the form of information, moving toward the technological extension of consciousness.
If a work of art is to explore new environments, it is not to be regarded as a blueprint but rather as a form of action-painting.
Interface, of the resonant interval as 'where the action is', whether chemical, psychic or social, involves touch.
Even mud gives the illusion of depth.
Appetite is essentially insatiable, and where it operates as a criterion of both action and enjoyment (that is, everywhere in the Western world since the sixteenth century) it will infallibly discover congenial agencies (mechanical and political) of expression.
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In an age of multiple and massive innovations, obsolescence becomes the major obsession.