Getting lazier and lazier, I’m sorry to all the fans and haters who did not get their weekly quote on time last Tuesday! I have fucked up royally. It seems I maybe have been overextending myself recently. So on that note of extension, this week focuses solely on McLuhan’s famous work Understanding Media, The Extensions of Man. The bolded titles to each quote are the chapter from which it is from.

19. Wheel, Bicycle, and Airplane

Every technology creates new stresses and needs in the human beings who have engendered it. The new need and the new technological response are born of our embrace of the already existing technology a ceaseless process.

8. The Spoken Word

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. Language extends and amplifies man but it also divides his faculties. His collective consciousness or intuitive awareness is diminished by this technical extension of consciousness that is speech.

10. Roads and Paper Routes

It was not until the advent of the telegraph that messages could travel faster than a messenger. Before this, roads and the written word were closely interrelated. It is only since the telegraph that information has detached itself from such solid commodities as stone and papyrus, much as money had earlier detached itself from hides, bullion, and metals, and has ended as paper.

The term "communication" has had an extensive use in connection with roads and bridges, sea routes, rivers, and canals, even before it became transformed into "information movement" in the electric age. Perhaps there is no more suitable way of defining the character of the electric age than by first studying the rise of the idea of transportation as communication, and then the transition of the idea from transport to information by means of electricity. The word "metaphor" is from the Greek meld plus pherein, to carry across or transport. In this book we are concerned with all forms of transport of goods and information, both as metaphor and exchange. Each form of transport not only carries, but translates and transforms, the sender, the receiver, and the message. The use of any kind of medium or extension of man alters the patterns of interdependence among people, as it alters the ratios among our senses.

It is a persistent theme of this book that all technologies are extensions of our physical and nervous systems to increase power and speed. Again, unless there were such increases of power and speed, new extensions of ourselves would not occur or would be discarded. For an increase of power or speed in any kind of grouping of any components whatever is itself a disruption that causes a change of organization. The alteration of social groupings, and the formation of new communities, occur with the increased speed of information movement by means of paper messages and road transport. Such speed-up means much more control at much greater distances. Historically, it meant the formation of the Roman Empire and the disruption of the previous city-states of the Greek world. Before the use of papyrus and alphabet created the incentives for building fast, hard-surface roads, the walled town and the city-state were natural forms that could endure.

15. Clocks

It is a necessary approach in understanding media and technology to realize that when the spell of the gimmick or an extension of our bodies is new, there comes narcosis or numbing to the newly amplified area. The complaints about clocks did not begin until the electric age had made their mechanical sort of time starkly incongruous.

5. Hybrid Energy

The electric light ended the regime of night and day, of indoors and out-of-doors. But it is when the light encounters already existing patterns of human organization mat the hybrid energy is released. Cars can travel all night, ball players can play all night, and windows can be left out of buildings. In a word, the message of the electric light is total change. It is pure information without any content to restrict its transforming and informing power.

If the student of media will but meditate on the power of this medium of electric light to transform every structure of time and space and work and society that it penetrates or contacts, he will have the key to the form of the power that is in all media to reshape any lives that they touch. Except for light, all other media come in pairs, with one acting as the "content" of the other, obscuring the operation of both. It is a peculiar bias of those who operate media for the owners that they be concerned about the program content of radio, or press, or film. The owners themselves are concerned more about the media as such, and are not inclined to go beyond "what the public wants" or some vague formula.

Owners are aware of the media as power, and they know that this power has little to do with "content" or the media within the media.

1. The Medium is the Message

The instance of the electric light may prove illuminating in this connection. The electric light is pure information. It is a medium without a message, as it were, unless it is used to spell out some verbal ad or name.

This fact, characteristic of all media, means that the "content" of any medium is always another medium. The content of writing is speech, just as the written word is the content of print, and print is the content of the telegraph. If it is asked, "What is the content of speech?," it is necessary to say, "It is an actual process of thought, which is in itself nonverbal." An abstract painting represents direct manifestation of creative thought processes as they might appear in computer designs. What we are considering here, however, are the psychic and social consequences of the designs or patterns as they amplify or accelerate existing processes. For the "message" of any medium or technology is the change of scale or pace or pattern that it introduces into human affairs. The railway did not introduce movement or transportation or wheel or road into human society, but it accelerated and enlarged the scale of previous human functions, creating totally new kinds of cities and new kinds of work and leisure.

This happened whether the railway functioned in a tropical or a northern environment and is quite independent of the freight or content of the railway medium. The airplane, on the other hand, by accelerating the rate of transportation, tends to dissolve the railway form of city, politics, and association, quite independently of what the airplane is used for.

[…]

The electric light escapes attention as a communication medium just because it has no "content." And this makes it an invaluable instance of how people fail to study media at all. For it is not till the electric light is used to spell out some brand name that it is noticed as a medium. Then it is not the light but the "content" (or what is really another medium) that is noticed. The message of the electric light is like the message of electric power in industry, totally radical, pervasive, and decentralized. For electric light and power are separate from their uses, yet they eliminate time and space factors in human association exactly as do radio, telegraph, telephone, and TV, creating involvement in depth.

7. Challenge and Collapse

It is this aspect of new art that Kenneth Galbraith recommends to the careful study of businessmen who want to stay in business. For in the electric age there is no longer any sense in talking about the artist's being ahead of his time. Our technology is, also, ahead of its time, if we reckon by the ability to recognize it for what it is. To prevent undue wreckage in society, the artist tends now to move from the ivory tower to the control tower of society. Just as higher education is no longer a frill or luxury but a stark need of production and operational design in the electric age, so the artist is indispensable in the shaping and analysis and understanding of the life of forms, and structures created by electric technology.

The percussed victims of the new technology have invariably muttered cliches about the impracticality of artists and their fanciful preferences. But in the past century it has come generally acknowledged that, in the words of Wyndham Lewis. "The artist is always engaged in writing a detailed history of the future because he is the only person aware of the nature of the present." Knowledge of this simple fact is now needed for human survival. The ability of the artist to sidestep the bully blow of new technology of any age, and to parry such violence with full awareness, is age-old. Equally age-old is the inability of the percussed victims, who cannot sidestep the new violence, to recognize their need of the artist.

To reward and to make celebrities of artists can, also, be a way of ignoring their prophetic work, and preventing its timely use for survival. The artist is the man in any field, scientific or humanistic, who grasps the implications of his actions and of new knowledge in his own time. He is the man of integral awareness.

20. The Photograph

To understand the medium of the photograph is quite impossible, then, without grasping its relations to other media, both old and new. For media, as extensions of our physical and nervous systems, constitute a world of biochemical interactions that must ever seek new equilibrium as new extensions occur. In America, people can tolerate their images in mirror or photo, but they are made uncomfortable by the recorded sound of their own voices. The photo and visual worlds are secure areas of anesthesia.

14. Money

At the same time, in these primitive societies, while money may release frantic energies in order to charge a bit of copper with magical prestige, it can buy very little. Rich and poor necessarily live in much the same manner.

Today, in the electronic age, the richest man is reduced to having much the same entertainment, and even the same food and vehicles as the ordinary man.

30. Radio

Thus, the commercial interests who think to render media universally acceptable, invariably settle for "entertainment" as a strategy of neutrality. A more spectacular mode of the ostrich-head-in-sand could not be devised, for it ensures maximal pervasiveness for any medium whatever. The literate community will always argue for a controversial or point-of-view use of press, radio, and movie that would in effect diminish the operation, not only of press, radio and movie, but of the book as well.

The commercial entertainment strategy automatically ensures maximum speed and force of impact for any medium, on psychic and social life equally. It thus becomes a comic strategy of unwitting self-liquidation, conducted by those who are dedicated to permanence, rather than to change. In the future, the only effective media controls must take the thermostatic form of quantitative rationing. Just as we now try to control atom-bomb fallout, so we will one day try to control media fallout. Education will become recognized as civil defense against media fallout.

The only medium for which our education now offers some civil defense is the print medium. The educational establishment, founded on print, does not yet admit any other responsibilities. Radio provides a speed-up of information that also causes acceleration in other media. It certainly contracts the world to village size, and creates insatiable village tastes for gossip, rumor, and personal malice. But while radio contracts the world to village dimensions, it hasn't the effect of homogenizing the village quarters. Quite the contrary.

In India, where radio is the supreme form of communication, there are more than a dozen official languages and the same number of official radio networks. The effect of radio as a reviver of archaism and ancient memories is not limited to Hitler's Germany. Ireland, Scotland, and Wales have undergone resurgence of their ancient tongues since the coming of radio, and the Israeli present an even more extreme instance of linguistic revival. They now speak a language which has been dead in books for centuries. Radio is not only a mighty awakener of archaic memories, forces, and animosities, but a decentralizing, pluralistic force, as is really the case with all electric power and media.

5. Hybrid Energy

What I am saying is that media as extensions of our senses institute new ratios, not only among our private senses, but among themselves, when they interact among themselves. Radio changed the form of the news story as much as it altered the film image in the talkies. TV caused drastic changes in radio programming, and in the form of the thing or documentary novel. It is the poets and painters who react instantly to a new medium like radio or TV. Radio and gramophone and tape recorder gave us back the poet's voice as an important dimension of the poetic experience. Words became a kind of painting with light, again. But TV, with its deep-participation mode, caused young poets suddenly to present their poems in cafes, in public parks, anywhere. After TV, they suddenly felt the need for personal contact with their public. (In print-oriented Toronto, poetry-reading in the public parks is a public offense. Religion Pities are permitted, but not poetry as many young poets recently discovered.)

[…]

When the movie scenario or picture story was applied to the idea article, the magazine world had discovered a hybrid that ended the supremacy of the short story. When wheels were put in tandem form, the wheel principle combined with the lineal typographic principle to create aerodynamic balance. The wheel crossed with industrial, lineal form released the new form of the airplane.

The hybrid or the meeting of two media is a moment of truth and revelation from which new form is born. For the parallel between two media holds us on the frontiers between forms that snap us out of the Narcissus-narcosis. The moment of the meeting of media is a moment of freedom and release from the ordinary trance and numbness imposed by them on our senses.

4. The Gadget Lover

Therapy, whether physical or social, is a counter-irritant that aids in that equilibrium of the physical organs which protect the central nervous system. Whereas pleasure is a counter-irritant (e.g., sports, entertainment, and alcohol), comfort is the removal of irritants. Both pleasure and comfort are strategies of equilibrium for the central nervous system.

With the arrival of electric technology, man extended, or set outside himself, a live model of the central nervous system itself. To the degree that this is so, it is a development that suggests a desperate and suicidal autoamputation, as if the central nervous system could no longer depend on the physical organs to be protective buffers against the slings and arrows of outrageous mechanism. It could well be that the successive mechanizations of the various physical organs since the invention of printing have made too violent and superstimulated a social experience for the central nervous system to endure.

4. The Gadget Lover

In relation to that only too plausible cause of such development, we can return to the Narcissus theme. For if Narcissus is numbed by his self-amputated image, there is a very good reason for the numbness. There is a close parallel of response between the patterns of physical and psychic trauma or shock. A person suddenly deprived of loved ones and a person who drops a few feet unexpectedly will both register shock. Both the loss of family and a physical fall are extreme instances of amputations of the self. Shock induces a generalized numbness or an increased threshold to all types of perception. The victim seems immune to pain or sense.

Battle shock created by violent noise has been adapted for dental use in the device known as audiac. The patient puts on headphones and turns a dial raising the noise level to the point that he feels no pain from the drill. The selection of a single sense for intense stimulus, or of a single extended, isolated, or "amputated" sense in technology, is in part the reason for the numbing effect that technology as such has on its makers and users. For the central nervous system rallies a response of general numbness to the challenge of specialized irritation.

31. Television

Since nearly all our technologies and entertainment since Gutenberg have been not cool, but hot; and not deep, but fragmentary; not producer-oriented, but consumer-oriented there is scarcely a single area of established relationships, from home and church to school and market, that has not been profoundly disturbed in its pattern and texture.

10. Roads and Paper Routes

Now that man has extended his central nervous system by electric technology, the field of battle has shifted to mental image-making-and-breaking, both in war and in business. Until the electric age, higher education had been a privilege and a luxury for the leisured classes; today it has become a necessity for production and survival. Now, when information itself is the main traffic, the need for advanced knowledge presses on the spirits of the most routine-ridden minds. So sudden an upsurge of academic training into the marketplace has in it the quality of classical peripety or reversal, and the result has been a wild guffaw from the gallery and the campus. The hilarity, however, will die down as the Executive Suites are taken over by the Ph.D.s.

2. Media Cold and Hot

The effect of electric technology had at first been anxiety. Now it appears to create boredom. We have been through the three stages of alarm, resistance, and exhaustion that occur in every disease or stress of life, whether individual or collective. At least, our exhausted slump after the first encounter with the electric has inclined us to expect new problems. However, backward countries that have experienced little permeation with our own mechanical and specialist culture are much better able to confront and to understand electric technology. Not only have backward and nonindustrial cultures no specialist habits to overcome in their encounter with electromagnetism, but they have still much of their traditional oral culture that has the total, unified "field" character of our new electromagnetism. Our old industrialized areas, having eroded their oral traditions automatically, are in the position of having to rediscover them in order to cope with the electric age.

33. Automation

Automation is not an extension of the mechanical principles of fragmentation and separation of operations. It is rather the invasion of the mechanical world by the instantaneous character of electricity.

That is why those involved in automation insist that it is a way of thinking, as much as it is a way of doing. Instant synchronization of numerous operations has ended the old mechanical pattern of setting up operations in lineal sequence. The assembly line has gone the way of the stag line. Nor is it just the lineal and sequential aspect of mechanical analysis that has been erased by the electric speed-up and exact synchronizing of information that is automation.

Automation or cybernation deals with all the units and components of the industrial and marketing process exactly as radio or TV combine the individuals in the audience into new interprocess. The new kind of interrelation in both industry and entertainment is the result of the electric instant speed. Our new electric technology now extends the instant processing of knowledge by interrelation that has long occurred within our central nervous system. It is that same speed that constitutes "organic unity" and ends the mechanical age that had gone into high gear with Gutenberg. Automation brings in real "mass production," not in terms of size, but of an instant inclusive embrace. Such is also the character of "mass media." They are an indication, not of the size of their audiences, but of the fact that everybody becomes involved in them at the same time. Thus commodity industries under automation share the same structural character of the entertainment industries in the degree that both approximate the condition of instant information. Automation affects not just production, but every phase of consumption and marketing; for the consumer becomes producer in the automation circuit, quite as much as the reader of the mosaic telegraph press makes his own news, or just is his own news.