In the Phaedrus, Plato argued that the new arrival of writing would revolutionize culture for the worst. He suggested that it would substitute reminiscence for thought and mechanical learning for the true dialect of the living quest for truth by discourse and conversation.
The copy of an ad is merely a punning gag to distract the critical faculties while the image of the product goes to work on the hypnotized viewer. Those who have spent their lives protesting about 'false and misleading ad copy' are godsends to advertisers, as teetotalers are to brewers, and moral censors are to books and films. The protesters are the best acclaimers and accelerators. Since the advent of pictures, the job of the ad copy is as incidental and latent as the 'meaning' of a poem is to a poem, or the words of a song are to a song.
A commercial society whose members are essentially ascetic and indifferent in social ritual has to be provided with blueprints and specifications for evoking the right tone for every occasion.
The electric light is pure information. It is a medium without a message
Primitivism has become the vulgar cliché of much modern art and speculation.
A light bulb creates an environment by its mere presence.
Any expensive ad represents the toil, attention, testing, wit, art, and skill of many people. Far more thought and care go into the composition of any prominent ad in a newspaper or magazine than go into the writing of their features and editorials.
Every innovation scraps its immediate predecessor and retrieves still older figures – it causes floods of antiques or nostalgic art forms and stimulates the search for museum pieces.
The 'expert' is the man who stays put.
Gramophone and movies were merely the mechanization of speech and gesture. But the radio and TV were not just the electronification of speech and gesture but the electronification of the entire range of human personal expressiveness. With electronification the flow is taken out of the wire and into the vacuum tube circuit, which confers freedom and flexibility such as are in metaphor and in words themselves.
Even mud gives the illusion of depth.
The movie stars and matinee idols are put into the public domain by photography. They become dreams that money can buy. They can be bought and thumbed more easily than public prostitutes.
I am not a "culture critic" because I am not in any way interested in classifying cultural forms. I am a metaphysician, interested in the life of the forms and their surprising modalities. That is why I have no interest in the academic world.
Only a fraction of the history of literacy has been typographic.
The printing press was at first mistaken for an engine of immortality by everybody except Shakespeare.
To see a man slip on a banana skin is to see a rationally structured system suddenly translated into a whirling machine.
The reader is the content of any poem or of the language he employs, and in order to use any of these forms, he must put them on.
The past went that-a-way. When faced with a totally new situation, we tend always to attach ourselves to the objects, to the flavor of the most recent past. We look at the present through a rear view mirror. We march backwards into the future.
Ads are carefully designed by the Madison Avenue frog-men of-the-mind for semiconscious exposure.
The new electronic independence re-creates the world in the image of a global village.
Nobody can commit photography alone.
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.
Current illusion is that science has abolished all natural laws.
Information and images bump against each other every day in massive quantities, and the resonance of this interfacing is like the babble of a village or tavern gossip session.
When producers want to know what the public wants, they graph it as curves. When they want to tell the public what to get, they say it in curves.
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