Tuesday, March 22, 2011

McLuhan Quotes

Countess of Meath
If a language contrived and used by many people is a mass medium, any one of our new media is in a sense a new language, a new codification of experience collectively achieved by new work habits and inclusive collective awareness. But when such a new codification has reached the technological stage of communicability and repeatability, has it not, like a spoken tongue, also become a macromyth? How much compression of the elements of a process must occur before one can say that they are certainly in mythic form? Are we inclined to insist that myth be a reduction of collective experience to a visual and classifiable form?

Languages old and new, as macromyths, have that relation to words and word-making that characterizes the fullest scope of myth. The collective skills and experience that constitute both spoken languages and such new languages as movies or radio can also be considered with preliterate myths as static models of the universe. But do they not tend, like languages in general, to be dynamic models of the universe in action? As such, languages old and new would seem to be for participation rather than for contemplation or for reference and classification. MY-MM-340

Here is the prologue to the drama of Big Brother Watching You that later unfolds in the Tatler and the Spectator (lo spettatore nel centro del quadro). VP-MMHP-109 (this probe is collated with the Portrait of the Countess of Meath by Peter Lely) 

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