Throughout Finnegans Wake Joyce specifies the Tower of Babel as the tower of Sleep, that is, the tower of the witless assumption,… — Marshall McLuhan Copy Share Image
Language always preserves a play or figure/ground relation between experience, and perception and its replay in expression. — Marshall McLuhan Copy Share Image
I am curious to know what would happen if art were suddenly seen for what it is, namely, exact information of how to rearrange… — Marshall McLuhan Copy Share Image
With the arrival of electric technology, man has extended, or set outside himself, a live model of the central nervous system itself. To the… — Marshall McLuhan Copy Share Image
“The constant broadcast and reception of ghostly images via radio and television, according to this notion, had weakened the sense, particularly among youth, of… — Marshall McLuhan Copy Share Image
Every innovation scraps its immediate predecessor and retrieves still older figures – it causes floods of antiques or nostalgic art forms and stimulates the… — Marshall McLuhan Copy Share Image
The family circle has widened. The worldpool of information fathered by the electric media--movies, Telstar, flight--far surpassesany possible influence mom and dad can now… — Marshall McLuhan Copy Share Image
Like primitive, we now live in a global village of our own making, a simultaneous happening. It doesn't necessarily mean harmony and peace and… — Marshall McLuhan Copy Share Image
Professionalism is environmental. Amateurism is anti-environmental. Professionalism merges the individual into patterns of total environment. Amateurism seeks the development of the total awareness of… — Marshall McLuhan Copy Share Image
The visual power of the phonetic alphabet is the translate other languages into itself is part of its power to invade right hemisphere (oral)… — Marshall McLuhan Copy Share Image
New media may at first appear as mere codes of transmission for older achievement and established patterns of thought. But nobody could make the… — Marshall McLuhan Copy Share Image
