Mcluhan Quotes

I don't necessarily agree with everything that I say.

Every society honors its live conformists and its dead troublemakers.

We become what we behold. We shape our tools, and thereafter our tools shape us.

Our Age of Anxiety is, in great part, the result of trying to do today’s jobs with yesterday’s tools!

A point of view can be a dangerous luxury when substituted for insight and understanding.

In the land of the blind, the one-eyed man is a hallucinating idiot...for he sees what no one else does: things that, to everyone else, are not there.

There are no passengers on spaceship earth. We are all crew.

American youth attributes much more importance to arriving at driver's license age than at voting age.

The medium is the message.

Once you see the boundaries of your environment, they are no longer the boundaries of your environment.

Many a good argument is ruined by some fool who knows what he is talking about.

One thing about which fish know exactly nothing is water, since they have no anti-environment which would enable them to perceive the element they live in.

Art is anything you can get away with.

First we build the tools, then they build us.

We look at the present through a rear view mirror. We march backwards into the future.

Most of our assumptions have outlived their uselessness.

We don't know who discovered water, but we know it wasn't the fish.

There is absolutely no inevitability as long as there is a willingness to contemplate what is happening.

All words, in every language, are metaphors.

Our technology forces us to live mythically

Propaganda begins when dialogue ends. (Quoted by Marshall McLuhan in McLuhan Hot & Cool)

Politics will eventually be replaced by imagery. The politician will be only too happy to abdicate in favor of his image, because the image will be much more powerful than he could ever be.

the only people who have proof of their sanity are those who have been discharged from mental institutions

All media are extensions of some human faculty- psychic or physical.

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.

I am an intellectual thug who has been slowly accumulating a private arsenal with every intention of using it. In a mindless age every insight takes on the character of a lethal weapon. Every man of good will is the enemy of society.

Diaper spelled backwards is repaid , think about it.

The car has become an article of dress without which we feel uncertain, unclad, and incomplete in the urban compound.

Ads are the cave art of the twentieth century.

Whence did the wond'rous mystic art arise, / Of painting SPEECH, and speaking to the eyes? / That we by tracing magic lines are taught, / How to embody, and to colour THOUGHT?

Schizophrenia may be a necessary consequence of literacy. [p. 32]

All media work us over completely.

Our permanent address is tommorrow.

Some days, I wish the whole fucking world would just 'phone in sick.

The wheel… is an extension of the foot. The book… is an extension of the eye… Clothing, an extension of the skin… Electric circuitry, an extension of the central nervous system.

The poet, the artist, the sleuth - whoever sharpens our perception tends to be antisocial; rarely "well-adjusted", he cannot go along with currents and trends. A strange bond often exists between antisocial types in their power to see environments as they really are. This need to interface, to confront environments with a certain antisocial power is manifest in the famous story "The Emperor's New Clothes".

Someone asked me if I really believed there was life after death. I replied: Do you really believe there is any life before death?

The greatest discovery of the 21st century will be the discovery that Man was not meant to live at the speed of light.

if it works it's obsolete

With the arrival of electric technology, man has 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 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.

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.

they will be hearers of many things and will have learned nothing; they will appear to be omniscient and will generally know nothing;

As Marshall McLuhan pointed out, we've become so removed from reality that we're starting to prefer artificiality.

The job of art is not to store moments of experience but to explore environments that are otherwise invisible. Art is not a retrieval system of precious moments of past cultures. Art has a live, ongoing function. McLuhan CD-ROM

Advertisements constitute the only 'good news' in the newspaper.

To see a man slip on a banana skin is to see a rationally structured system suddenly translated into a whirling machine.

Ours is the first age in which many thousands of the best-trained individual minds have made it a full-time business to get inside the collective public mind.

Language is metaphor in the sense that it not only stores but translates experience from one mode into another. Money is metaphor in the sense that it stores skill and labour and also translates one skill into another.

All through his life, he swung between the ridiculous and the sublime,

Marshall McLuhan predicted books would become art objects at some point. He was right.

Playboy: Have you ever taken LSD yourself? McLUHAN: No, I never have. I'm an observer in these matters, not a participant.

There is an impression abroad that literary folk are fast readers. Wine tasters are not heavy drinkers. Literary people read slowly because they sample the complex dimensions and flavors of words and phrases. They strive for totality not lineality. They are well aware that the words on the page have to be decanted with the utmost skill. Those who imagine they read only for "content" are illusioned.

I am resolutely opposed to all innovation, all change, but I am determined to understand what’s happening. Because I don’t choose just to sit and let the juggernaut roll over me. Many people seem to think that if you talk about something recent, you’re in favor of it. The exact opposite is true in my case. Anything I talk about is almost certainly something I’m resolutely against. And it seems to me the best way to oppose it is to understand it. And then you know where to turn off the buttons.

For no medium is excessively dangerous if its users understand what its dangers are. It is not important that those who ask the questions arrive at my answers or Marshall McLuhan's (quite different answers, by the way). This is an instance in which the asking of the questions is sufficient. To ask is to break the spell.

Today's child is growing up absurd, because he lives in two worlds, and neither of them inclines him to grow up.

The artist is a person who is expert in the training of perception.

In Jesus Christ, there is no distance or separation between the medium and the message: it is the one case where we can say that the medium and the message are fully one and the same.

The student of media soon comes to expect the New Media of any period whatever to be classed as 'pseudo' by those who acquired the patterns of earlier media, whatever they may happen to be.

Anyone who tries to make a distinction between education and entertainment doesn't know the first thing about either.

Once I was a scuba diver in the sea of words. Now I zip along the surface like a guy on a Jet Ski.

Whatever emotional state you’re in while you’re parenting conveys more to your child than the content of what you're doing with them, no matter how perfect your intervention looks "on paper." In other words, to paraphrase Marshall McLuhan, "your emotional state is the message.

Politics offers yesterday's answers to today's questions.

World War 3 is a guerrilla information war with no division between military and civilian participation.

The visible world is no longer a reality and the unseen world is no longer a dream.

Delegated authority is lineal, visual, hierarchical. The authority of knowledge is nonlineal, nonvisual, and inclusive.

A light bulb creates an environment by its mere presence.

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

In a cool medium, the audience is an active constituent of the viewing or listening experience. A girl wearing open-mesh silk stockings or glasses is inherently cool and sensual because the eye acts as a surrogate hand in filling in the low-definition image thus engendered. Which is why boys make passes at girls who wear glasses.

The price of eternal vigilance is indifference.

they will be tiresome company, having the show of wisdom without the reality.

Art is the sole means of grace in our fallen state.

Only puny secrets need protection. Big discoveries are protected by public incredulity.

It is a rule, to which there has never been an exception, that when an actor or a television performer rises up to the microphone at one of these awards ceremonies and expresses moral indignation over something, he illustrates Marshall McLuhan’s dictum that 'moral indignation is a standard strategy for endowing the idiot with dignity.

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.

As the Western world has invested every aspect of its waking life with visual order, with procedures and spaces that are uniform, continuous and connected, it has progressively alienated itself from needful involvement in its subconscious life.

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.

Or maybe that’s what it’s all about: this religion’s substance is its lack of substance. In McLuhanesque terms, the medium is the message. Some people might find that cool.” “McLuhanesque?” “Hey, look, even I read a book now and then,” Ayumi protested. “McLuhan was ahead of his time. He was so popular for a while that people tend not to take him seriously, but what he had to say was right.” “In other words, the package itself is the contents. Is that it?” “Exactly. The characteristics of the package determine the nature of the contents, not the other way around.

A typewriter is a means of transcribing thought, not expressing it.

Man becomes, as it were, the sex organs of the machine world, as the bee of the plant world, enabling it to fecundate and to evolve ever new forms. The machine world reciprocates man’s love by expediting his wishes and desires, namely, in providing him with wealth

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.

I expect to see the coming decades transform the planet into an art form; the new man, linked in a cosmic harmony that transcends time and space, will sensuously caress and mold and pattern every facet of the terrestrial artifact as if it were a work of art, and man himself will become an organic art form. There is a long road ahead, and the stars are only way stations, but we have begun the journey. To be born in this age is a precious gift, and I regret the prospect of my own death only because I will leave so many pages of man’s destiny — if you will excuse the Gutenbergian image — tantalizingly unread. But perhaps, as I’ve tried to demonstrate in my examination of the postliterate culture, the story begins only when the book closes.

The stars are so big, The Earth is so small, Stay as you are.

Professionalism is environmental. Amateurism is anti-environmental.

The more the data banks record about each one of us, the less we exist.

Theirs is the customary human reaction when confronted with innovation: to flounder about attempting to adapt old responses to new situations or to simply condemn or ignore the harbingers of change--a practice refined by the Chinese emperors, who used to execute messengers bringing bad news. The new technological environments generate the most pain among those least prepared to alter their old value structures. The literati find the new electronic environment far more threatening than do those less committed to literacy as a way of life. When an individual or social group feels that its whole identity is jeopardized by social or psychic change, its natural reaction is to lash out in defensive fury. But for all their lamentations, the revolution has already taken place.

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.

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 "child" was an invention of the seventeenth 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. Today's child is growing up absurd, because he lives in two worlds, and neither of them inclines him to grow up. Growing up - that is our new work, and it is total. Mere instruction will not suffice.

It is just when people are all engaged in snooping on themselves and one another that they become anesthetized to the whole process. Tranquilizers and anesthetics, private and corporate, become the largest business in the world just as the world is attempting to maximize every form of alert. Sound-light shows, as new cliché, are in effect mergers, retrievers of the tribal condition. It is a state that has already overtaken private enterprise, as individual businesses form into massive conglomerates. As information itself becomes the largest business in the world, data banks know more about individual people than the people do themselves. The more the data banks record about each one of us, the less we exist.

Until writing was invented, man lived in an acoustic space: boundless, directionless, horizonless, in the dark of the mind, in the world of emotion, by primordial intuition, by terror. Speech is a social chart of this bog. The goose quill put an end to talk. It abolished mystery; it gave architecture and towns; it brought roads and armies, bureaucracy. It was the basic metaphor with which the cycle of civilization began, the step from the dark into the light of the mind. The hand that filled the parchment page built a city. Whence did the wond'rous mystic art arise, Of painting SPEECH, and speaking to the eyes? That we by tracing magic lines are taught, How to embody, and to colour THOUGHT?

Story, in other words, continues to fulfill its ancient function of binding society by reinforcing a set of common values and strengthening the ties of common culture. Story enculturates the youth. It defines the people. It tells us what is laudable and what is contemptible. It subtly and constantly encourages us to be decent instead of decadent. Story is the grease and glue of society: by encouraging us to behave well, story reduces social friction while uniting people around common values. Story homogenizes us; it makes us one. This is part of what Marshall McLuhan had in mind with his idea of the global village. Technology has saturated widely dispersed people with the same media and made them into citizens of a village that spans the world.

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.

Rationality or consciousness is itself a ratio or proportion among the sensuous components of experience, and is not something added to such sense experience. Subrational beings have no means of achieving such a ratio or proportion in their sense lives but are wired for fixed wave lengths, as it were, having infallibility in their own area of experience. Consciousness, complex and subtle, can be impaired or ended by a mere stepping-up or dimming-down of any one sense intensity, which is the procedure in hypnosis. And the intensification of one sense by a new medium can hypnotize an entire community.

The ear favours no particular “point of view.” We are enveloped by sound. It forms a seamless web around us. We say, “Music shall fill the air.” We never say, “Music shall fill a particular segment of the air.”We hear sounds from everywhere, without ever having to focus. Sounds come from “above,” from “below,” from in “front” of us, from “behind” us, from our “right,” from our “left.” We can‘t shut out sound automatically. We simply are not equipped with earlids. Where a visual space is an organised continuum of a uniformed connected kind, the ear world is a world of simultaneous relationships.

It is not brains or intelligence that is needed to cope with the problems with Plato and Aristotle and all of their successors to the present have failed to confront. What is needed is a readiness to undervalue the world altogether. This is only possible for a Christian... All technologies and all cultures, ancient and modern, are part of our immediate expanse. There is hope in this diversity since it creates vast new possibilities of detachment and amusement at human gullibility and self-deception. There is no harm in reminding ourselves from time to time that the "Prince of this World" is a great P.R. man, a great salesman of new hardware and software, a great electric engineer, and a great master of the media. It is his master stroke to be not only environmental but invisible for the environmental is invincibly persuasive when ignored.

Thus the media are producers not of socialization, but of exactly the opposite, of the implosion of the social in the masses. And this is only the macroscopic extension of the implosion of meaning at the microscopic level of the sign. This implosion should be analyzed according to McLuhan’s formula, the medium is the message, the consequences of which have yet to be exhausted. This means that all contents of meaning are absorbed in the only dominant form of the medium. Only the medium can make an event—whatever the contents, whether they are conformist or subversive. A serious problem for all counterinformation, pirate radios, antimedia, etc. But there is something even more serious, which McLuhan himself did not see. Because beyond this neutralization of all content, one could still expect to manipulate the medium in its form and to transform the real by using the impact of the medium as form. If all the content is wiped out, there is perhaps still a subversive, revolutionary use value of the medium as such. That is—and this is where McLuhan’s formula leads, pushed to its limit—there is not only an implosion of the message in the medium, there is, in the same movement, the implosion of the medium itself in the real, the implosion of the medium and of the real in a sort of hyperreal nebula, in which even the definition and distinct action of the medium can no longer be determined.

In the "Republic," Plato vigorously attacked the oral, poetized form as a vehicle for communicating knowledge. He pleaded for a more precise method of communication and classification ("The Ideas"), one which would favor the investigation of facts, principles of reality, human nature, and conduct. What the Greeks meant by "poetry" was radically different from what we mean by poetry. Their "poetic" expression was a product of a collective psyche and mind. The mimetic form, a technique that exploited rhythm, meter and music, achieved the desired psychological response in the listener. Listeners could memorize with greater ease what was sung than what was said. Plato attacked this method because it discouraged disputation and argument. It was in his opinion the chief obstacle to abstract, speculative reasoning - he called it "a poison, and an enemy of the people.

The Greek myth of Narcissus is directly concerned with a fact of human experi­ence, as the word Narcissus indicates. It is from the Greek word narcosis, or numb­ness. The youth Narcissus mistook his own reflection in the water for another person. This extension of himself by mirror numbed his perceptions until he became the servomechanism of his own extended or repeated image. The nymph Echo tried to win his love with fragments of his own speech, but in vain. He was numb. He had adapted to his extension of himself and had become a closed system. Now the point of this myth is the fact that men at once become fascinated by any extension of themselves in any ma­terial other than themselves. There have been cynics who insisted that men fall deep­est in love with women who give them back their own image. Be that as it may, the wisdom of the Narcissus myth does not convey any idea that Narcissus fell in love with anything he regarded as himself. Obviously he would have had very different feelings about the image had he known it was an extension or repetition of himself. It is, perhaps, indicative of the bias of our intensely technological and, therefore, narcotic culture that we have long interpreted the Narcissus story to mean that he fell in love with himself, that he imagined the reflection to be Narcissus!

I never came into the church as a person who was being taught. I came in on my knees. That is the only way in. When people start praying they need truths; that’s all. You don’t come into the Church by ideas and concepts, and you cannot leave by mere disagreement. It has to be a loss of faith, a loss of participation. You can tell when people leave the Church: they have quit praying. Actively relating to the Church's prayer and sacraments is not done through ideas. Any Catholic today who has an intellectual disagreement with the Church has an illusion. You cannot have an intellectual disagreement with the Church: that's meaningless. The Church is not an intellectual institution. It is a superhuman institution.

It might be useful here to say a word about Beckett, as a link between the two stages, and as illustrating the shift towards schism. He wrote for transition, an apocalyptic magazine (renovation out of decadence, a Joachite indication in the title), and has often shown a flair for apocalyptic variations, the funniest of which is the frustrated millennialism of the Lynch family in Watt, and the most telling, perhaps, the conclusion of Comment c'est. He is the perverse theologian of a world which has suffered a Fall, experienced an Incarnation which changes all relations of past, present, and future, but which will not be redeemed. Time is an endless transition from one condition of misery to another, 'a passion without form or stations,' to be ended by no parousia. It is a world crying out for forms and stations, and for apocalypse; all it gets is vain temporality, mad, multiform antithetical influx. It would be wrong to think that the negatives of Beckett are a denial of the paradigm in favour of reality in all its poverty. In Proust, whom Beckett so admires, the order, the forms of the passion, all derive from the last book; they are positive. In Beckett, the signs of order and form are more or less continuously presented, but always with a sign of cancellation; they are resources not to be believed in, cheques which will bounce. Order, the Christian paradigm, he suggests, is no longer usable except as an irony; that is why the Rooneys collapse in laughter when they read on the Wayside Pulpit that the Lord will uphold all that fall. But of course it is this order, however ironized, this continuously transmitted idea of order, that makes Beckett's point, and provides his books with the structural and linguistic features which enable us to make sense of them. In his progress he has presumed upon our familiarity with his habits of language and structure to make the relation between the occulted forms and the narrative surface more and more tenuous; in Comment c'est he mimes a virtually schismatic breakdown of this relation, and of his language. This is perfectly possible to reach a point along this line where nothing whatever is communicated, but of course Beckett has not reached it by a long way; and whatever preserves intelligibility is what prevents schism. This is, I think, a point to be remembered whenever one considers extremely novel, avant-garde writing. Schism is meaningless without reference to some prior condition; the absolutely New is simply unintelligible, even as novelty. It may, of course, be asked: unintelligible to whom? --the inference being that a minority public, perhaps very small--members of a circle in a square world--do understand the terms in which the new thing speaks. And certainly the minority public is a recognized feature of modern literature, and certainly conditions are such that there may be many small minorities instead of one large one; and certainly this is in itself schismatic. The history of European literature, from the time the imagination's Latin first made an accommodation with the lingua franca, is in part the history of the education of a public--cultivated but not necessarily learned, as Auerbach says, made up of what he calls la cour et la ville. That this public should break up into specialized schools, and their language grow scholastic, would only be surprising if one thought that the existence of excellent mechanical means of communication implied excellent communications, and we know it does not, McLuhan's 'the medium is the message' notwithstanding. But it is still true that novelty of itself implies the existence of what is not novel, a past. The smaller the circle, and the more ambitious its schemes of renovation, the less useful, on the whole, its past will be. And the shorter. I will return to these points in a moment.