Understanding Media

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Оглавление
Marshall McLuhan. Understanding Media
Library of Congress cataloging in publication data:
Tiny Cells “Seen” By New Technique. Microphoretic Method Spots Million-Billionth Of Gram, London Designer Says
Press Blamed For Success. Kennedy Manages News Boldly, Cynically, Subtly, Krock Claims
Barber Hones Tonsils. For Old-Timer's Event
Business Is A Battlefield
Why The TV Child Cannot See Ahead
Murder by Television
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Отрывок из книги
James Reston wrote in The New York Times (July 7, 1957):
A health director ... reported this week that a small mouse, which presumably had been watching television, attacked a little girl and her full-grown cat.... Both mouse and cat survived, and the incident is recorded here as a reminder that things seem to be changing.
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Such economists as Robert Theobald, W. W. Rostow, and John Kenneth Galbraith have been explaining for years how it is that “classical economics” cannot explain change or growth. And the paradox of mechanization is that although it is itself the cause of maximal growth and change, the principle of mechanization excludes the very possibility of growth or the understanding of change. For mechanization is achieved by fragmentation of any process and by putting the fragmented parts in a series. Yet, as David Hume showed in the eighteenth century, there is no principle of causality in a mere sequence. That one thing follows another accounts for nothing. Nothing follows from following, except change. So the greatest of all reversals occurred with electricity, that ended sequence by making things instant. With instant speed the causes of things began to emerge to awareness again, as they had not done with things in sequence and in concatenation accordingly. Instead of asking which came first, the chicken or the egg, it suddenly seemed that a chicken was an egg’s idea for getting more eggs.
Just before an airplane breaks the sound barrier, sound waves become visible on the wings of the plane. The sudden visibility of sound just as sound ends is an apt instance of that great pattern of being that reveals new and opposite forms just as the earlier forms reach their peak performance. Mechanization was never so vividly fragmented or sequential as in the birth of the movies, the moment that translated us beyond mechanism into the world of growth and organic interrelation. The movie, by sheer speeding up the mechanical, carried us from the world of sequence and connections into the world of creative configuration and structure. The message of the movie medium is that of transition from lineal connections to configurations. It is the transition that produced the now quite correct observation: “If it works, it’s obsolete.” When electric speed further takes over from mechanical movie sequences, then the lines of force in structures and in media become loud and clear. We return to the inclusive form of the icon.
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