At electric speed, all forms are pushed to the limits of their potential.
In accepting an honorary degree from the University of Notre Dame a few years ago, General David Sarnoff made this statement: “We are too prone to make technological instruments the scapegoats for the sins of those who wield them. The products of modern science are not in themselves good or bad; it is the way they are used that determines their value.
Today’s child is growing up absurd, because he lives in two worlds, and neither of them inclines him to grow up.
War and the fear of war have always been considered the main incentives to technological extension of our bodies. Indeed, Lewis Mumford, in his The City in History, considers the walled city itself an extension of our skins, as much as housing and clothing. More even than the preparation for war, the aftermath of invasion is a rich technological period; because the subject culture has to adjust all its sense ratios to accommodate the impact of the invading culture.
Environments are not passive wrappings, but are, rather, active processes which are invisible. The groundrules, pervasive structure, and over-all patterns of environments elude easy perception.
Art is the sole means of grace in our fallen state.
Humor as a system of communications and as a probe of our environment – of what’s really going on – affords us our most appealing anti-environmental tool. It does not deal in theory, but in immediate experience, and is often the best guide to changing perceptions.
Professionalism is environmental. Amateurism is anti-environmental.
In the century of jazz we are likely to overlook the emergence of the waltz as a hot and explosive human expression that broke through the formal feudal barriers of courtly and choral dance styles.
Students of media are persistently attacked as evaders, idly concentrating on means or processes rather than on ‘substance’. The dramatic and rapid changes of ‘substance’ elude these accusers. Survival is not possible if one approaches his environment, the social drama, with a fixed, unchangeable point of view – the witless repetitive response to the unperceived.
Once we have surrendered our senses and nervous systems to the private manipulation of those who would try to benefit from taking a lease on our eyes and ears and nerves, we don’t really have any rights left.
The present is only faced in any generation by the artist.
Delegated authority is lineal, visual, hierarchical. The authority of knowledge is nonlineal, nonvisual, and inclusive.
Homer’s Iliad was the cultural encyclopedia of pre-literate Greece, the didactic vehicle that provided men with guidance for the management of their spiritual, ethical, and social lives.
The “child” was an invention of the 17th century; he did not exist in, say, Shakespeare’s day. He had, up until that time, been merged in the adult world and there was nothing that could be called childhood in our sense.
Jack Paar mentioned that he once had said to a young friend, “Why do you kids use ‘cool’ to mean ‘hot’?” The friend replied, “Because you folks used up the word ‘hot’ before we came along.
Innumerable confusions and a profound feeling of despair invariably emerge in periods of great technological and cultural transitions. Our “Age of Anxiety” is, in great part, the result of trying to do today’s job with yesterday’s tools – with yesterday’s concepts.
The Newtonian God – the God who made a clock-like universe, wound it, and withdrew – died a long time ago. This is what Nietzsche meant and this is the God who is being observed.
Education must shift from instruction, from imposing of stencils, to discovery – to probing and exploration and to the recognition of the language of forms.
Our electrically-configured world has forced us to move from the habit of data classification to the mode of pattern recognition.
Television completes the cycle of the human sensorium. With the omnipresent ear and the moving eye, we have abolished writing, the specialized acoustic-visual metaphor that established the dynamics of Western civilization.