Archives for posts with tag: understanding media

A newspaper headline recently read, “Little Red Schoolhouse Dies When Good Road Built.”

One room schools, with all subjects being taught to all grades at the same time, simply dissolve when better transportation permits specialized spaces and specialized teaching. At the extreme of speeded-up movement, however, specialism of space and subject disappears once more. With automation it is not only jobs that disappear and complex roles that reappear. Centuries of specialist stress in pedagogy and in the arrangement of data now end with the instantaneous retrieval of information made possible by electricity.

Automation is information and it not only ends jobs in the world of work, it ends subjects in the world of learning. The future of work consists of earning a living in the automation age.

This is a familiar pattern in electric technology in general. It ends the old dichotomies between culture and technology, between art and commerce, and between work and leisure.

Whereas in the mechanical age of fragmentation leisure had been the absence of work, or mere idleness, the reverse is true in the electric age. As the age of information demands the simultaneous use of all our faculties, we discover that we are most at leisure when we are more intensely involved, very much as with the artists in all ages.

In terms of the industrial age, it can be pointed out that the difference between the previous mechanical age and the new electric age appears in the different kinds of inventories. Since electricity, inventories are made up not so much of goods in storage as of materials in continuous process of transformation at spatially removed sites. For electricity not only gives primacy to process, whether in making or in learning, but it makes independent the source of energy from the location of the process. In entertainment media we speak of this fact as “mass media” because the source of the program and the process of experiencing it are independent in space yet simultaneous in time. In industry this basic fact causes the scientific revolution that is called automation or cybernation.

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Light is a nonspecialist kind of energy or power that is identical with information and knowledge. Such is also the relation of electricity to automation, since both energy and information can be applied in a great variety of ways.

Grasp of this fact is indispensable to the understanding of the electronic age, and of automation in particular. Energy and production now tend to fuse with information and learning. Marketing and consumption tend to become one with learning, enlightenment, and the intake of information. This is all part of the electric implosion that now follows or succeeds the centuries of explosion and increasing specialism. The electronic age is literally one of illumination. Just as light is at once energy and information, so electric automation unites production, consumption, and learning in an inextricable process. For this reason, teachers are already the largest employee group in the U.S. economy, and may well become the only group.

It has often been said by engineers that, as information levels rise, almost any sort of material can be adapted to any sort of use. This principle is the key to the understanding of electric automation. In the case of electricity, as energy for production becomes independent of the work operation, there is not only the speed that makes for total and organic interplay but there is, also, the fact that electricity is sheer information that, in actual practice, illuminates all it touches.

Any process that approaches instant interrelation of a total field tends to raise itself to the level of conscious awareness, so that computers seem to “think.” In fact, they are highly specialized at present, and quite lacking in the full process of interrelation that makes for consciousness. Obviously they can be made to simulate the process of consciousness, just as our electric global networks now begin to simulate the condition of our central nervous system. But a conscious computer would still be one that was an extension of our consciousness, as a telescope is an extension of our eyes, or as a ventriloquist’s dummy is an extension of the ventriloquist.

Automation certainly assumes the servomechanism and the computer. That is to say, it assumes electricity as store and expediter of information. These traits of store, or “memory,” and accelerator are the basic features of any medium of communication whatever. In the case of electricity, it is not corporeal substance that is stored and moved but perception and information. As for technological acceleration, it now approaches the speed of life. All nonelectric media had merely hastened things a bit. The wheel, the road, the ship, the airplane, and even the space rocket are utterly lacking in the character of instant movement. Is it strange, then, that electricity should confer on all previous human organization a completely new character? The very toil of man now becomes a kind of enlightenment. As unfallen Adam in the Garden of Eden was appointed the task of the contemplation and naming of creatures, so with automation. We have now only to name and program a process or a product in order for it to be accomplished.

Let us, as the Chinese say, move our chairs closer to the fire and see what we are saying. The electric changes associated with automation have nothing to do with ideologies or social programs. If they had, they could be delayed or controlled. Instead, the technological extension of our central nervous system that we call the electric media began more than a century ago, subliminally. Subliminal have been the effects. Subliminal they remain.

At no point in human culture have men understood the psychic mechanisms involved in invention and technology. Today it is the instant speed of electric information that, for the first time, permits easy recognition of the patterns and the formal contours of change and development. The entire world, past and present, now reveals itself to us like a growing plant in an enormously accelerated movie. Electric speed is synonymous with light and with the understanding of causes. So, with the use of electricity in previously mechanized situations, men easily discover causal connections and patterns that were quite unobservable at slower rates of mechanical change. If we play backward the long development of literacy and printing and their effects on social experience and organization, we can easily see how these forms brought about that high degree of social uniformity and homogeneity of society that is indispensable for mechanical industry. Play them backward and we get just that shock of unfamiliarity in the familiar that is necessary for the understanding of the life of forms. Electricity compels us to play our mechanical development backward, for it reverses much of that development.

Mechanization depends on the breaking up of processes into homogenized but unrelated bits. Electricity unifies these fragments once more because its speed of operation requires a high degree of interdependence among all phases of any operation. It is this electric speed-up and interdependence that has ended the assembly line in industry.

Paradoxically, automation makes liberal education mandatory. The electric age of servomechanisms suddenly releases men from the mechanical and specialist servitude of the preceding machine age. As the machine and the motorcar released the horse and projected it onto the plane of entertainment, so does automation with men. We are suddenly threatened with a liberation that taxes our inner resources of self-employment and imaginative participation in society. This would seem to be a fate that calls men to the role of artist in society. It has the effect of making most people realize how much they had come to depend on the fragmentalized and repetitive routines of the mechanical era.

Thousands of years ago man, the nomadic food-gatherer, had taken up positional, or relatively sedentary, tasks. He began to specialize.  The development of writing and printing were major stages of that process. They were supremely specialist in separating the roles of knowledge from the roles of action, even though at times it could appear that “the pen is mightier than the sword.” But with electricity and automation, the technology of fragmented processes suddenly fused with the human dialogue and the need for over-all consideration of human unity. Men are suddenly nomadic gatherers of knowledge, nomadic as never before, informed as never before, free from fragmentary specialism as never before–but also involved in the total social process as never before; since with electricity we extend our nervous system globally, instantly interrelating every human experience.

Long accustomed to such a state in stock-market news or front-page sensations, we can grasp the meaning of this new dimension more readily when it is pointed out that it is possible to “fly” unbuilt airplanes on computers. The specifications of a plane can be programmed and the plane tested under a variety of extreme conditions before it has left the drafting board. So with new products and new organizations of many kinds. We can now, by computer, deal with complex social needs with the same architectural certainty that we previously attempted in private housing. Industry as a whole has become the unit of reckoning, and so with society, politics, and education as wholes.

Electric means of storing and moving information with speed and precision make the largest units quite as manageable as small ones. Thus the automation of a plant or of an entire industry offers a small model of the changes that must occur in society from the same electric technology. Total interdependence is the starting fact. Nevertheless, the range of choice in design, stress and goal within that total field of electromagnetic inter-process is very much greater than it ever could have been under mechanization.

Since electric energy is independent of the place or kind of work-operation, it creates patterns o decentralism and diversity in the work to be done. This is a logic that appears plainly enough in the difference between firelight and electric light, for example. Persons grouped around a fire or candle for warmth or light are less able to pursue independent thoughts, or tasks, than people supplied with electric light. In the same way, the social and educational patterns latent in automation are those of self-employment and artistic autonomy. Panic about automation as a threat of uniformity on a world scale is the projection into the future of mechanical standardization and specialism, which are now past.

Our highly literate societies are at a loss as they encounter the new structures of opinion and feeling that result from instant and global information. They are still in the grip of “points of view” and of habits of dealing with things one at a time. Such habits are quite crippling in any electric structure of information movement, yet they could be controlled if we recognized whence they had been acquired. But literate society thinks of its artificial visual bias as a thing natural and innate.

Literacy remains even now the base and model of all programs of industrial mechanization; but, at the same time, it locks the minds and senses of its users in the mechanical and fragmentary matrix that is so necessary to the maintenance of mechanized society. This is why the transition from mechanical to electric technology is so very traumatic and severe for us all. The mechanical techniques, with their limited powers, we have long used as weapons. The electric techniques cannot be used aggressively except to end all life at once, like the turning off of a light. To live with both of these technologies at the same time is the peculiar drama of the twentieth century.

In his Education Automation, R. Buckminster Fuller considers that weaponry has been a source of technological advance for mankind because it requires continually improved performance with ever smaller means. “As we went from the ships of the sea to the ships of the air, the performance per pound of the equipment and fuel became of even higher importance than on the sea.”

It is this trend toward more and more power with less and less hardware that is characteristic of the electric age of information.

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The city, like a ship, is a collective extension of the castle of our skins, even as clothing is an extension of hands, nails, teeth , and come into existence as tools needed for accelerating the processing of matter. Today, when we live in a time of sudden transition from mechanical to electric technology, it is easier to see the character of all previous technologies, we being detached from all of them for the time being. Since our new electric technology is not an extension of our bodies but of our central nervous systems, we now see all technology, including language, as a means of processing experience, a means of storing and speeding information. And in such a situation all technology can plausibly be regarded as weapons.

Previous wars can now be regarded as the processing of difficult and resistant materials by the latest technology, the speedy dumping of industrial products on an enemy market to the point of social saturation. War, in fact, can be seen as a process of achieving equilibrium among unequal technologies, a fact that explains Toynbee’s puzzled observation that each invention of a new weapon is a disaster for society, and that militarism itself is the most common cause of the breaking of civilizations.

Again, in speech we tend to react to each situation that occurs, reacting in tone and gesture even to our own act of speaking. But writing tends to be a kind of separate or specialist action in which there is little opportunity or call for reaction. The literate man or society develops the tremendous power of acting in any matter with considerable detachment from the feelings or emotional involvement that a nonliterate man or society would experience.

Henri Bergson, the French philosopher, lived and wrote in a tradition of thought in which it was and is considered that language is a human technology that has impaired and diminished the values of the collective unconscious. It is the extension of man in speech that enables the intellect to detach itself from the vastly wider reality. Without language, Bergson suggests, human intelligence would have remained totally involved in the objects of its attention. 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 unconscious or intuitive awareness is diminished by this technical extension of consciousness that is speech.

It was Bertrand Russell who declared that the great discovery of the twentieth century was the technique of the suspended judgment. A.N. Whitehead, on the other hand, explained how the great discovery of the nineteenth century was the discovery of the technique of discovery. Namely, the technique of starting with the thing to be discovered and working back, step by step, as on an assembly line, to the point at which it is necessary to start in order to reach the desired object. In the arts this means starting with the effect and then inventing a poem, painting, or building that would have just that effect and no other.

But the “technique of the suspended judgment” goes further. It anticipates the effect of, say, an unhappy childhood on an adult, and offsets the effect before it happens. In psychiatry, it is the technique of total permissiveness extended as an anesthetic for the mind, while various adhesions and moral effects of false judgments are systematically eliminated.

This is a very different thing from the numbing or narcotic effect of new technology that lulls attention while the new form slams the gates of judgment and perception. For massive social surgery is needed to insert new technology into the group mind, and this is achieved by the built-in numbing apparatus discussed earlier. Now the “technique of the suspended judgment” presents the possibility of rejecting the narcotic and of postponing indefinitely the operation of inserting the new technology in the social psyche. A new stasis is in prospect.

The new media and technologies by which we amplify and extended ourselves constitute huge collective surgery carried out on the social body with complete disregard for antiseptics. If the operations are needed, the inevitability of infecting the whole system during the operation has to be considered. For in operating on society with a new technology, it is not the incised area that is most affected. The area of impact and incision is numb. It is the entire system that is changed. The effect of radio is visual, the effect of the photo is auditory. Each new impact shifts the ratios among all the senses. What we seek today is either a means of controlling these shifts in the sense-ratios of the psychic and social outlook, or a means of avoiding them altogether. To have a disease without its symptoms is to be immune. No society has ever known enough about its actions to have developed immunity to its new extensions or technologies. Today we have begun to sense that art may be able to provide such immunity.

In the history of human culture there is no example of a conscious adjustment of the various factors of personal and social life to new extensions except in the puny and peripheral efforts of artists. The artist picks up the message of cultural and technological challenge decades before its transforming impact occurs. He, then, builds models or Noah’s arks for facing the change that is at hand. “The war of 1870 need never have been fought had people read my Sentimental Education,” said Gustave Flaubert.

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 to be 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.

I am curious to know what would happen if art were suddenly seen for what it is, namely, exact information of how to rearrange one’s psyche in order to anticipate the next blow from our own extended faculties.

Now that we have considered the subliminal force of the TV image in a redundant scattering of samples, the question would seem to arise: What possible immunity can there be from the subliminal operation of a new medium like television?”

People have long supposed that bulldog opacity,backed by firm disapproval, is adequate enough protection against any new experience. It is the theme of this book that not even the most lucid understanding of the peculiar force of a medium can head off the ordinary “closure” of the senses that causes us to conform to the pattern of experience presented. The utmost purity of mind is no defense against bacteria, though the confreres of Louis Pasteur tossed him out of the medical profession for his base allegations about the invisible operation of bacteria. To resist TV, therefore, one must acquire the antidote of related media like print.

The plunge into depth experience via the TV image can only be explained in terms of the differences between visual and mosaic space. Ability to discriminate between these radically different forms is quite rare in our Western world.

It has been pointed out that, in the country of the blind, the one-eyed man is not king. He is taken to be a hallucinated lunatic. In a highly visual culture, it is as difficult to communicate the nonvisual properties of spatial forms as to explain visuality to the blind.

In the ABC of Relativity Bertrand Russell began by explaining that there is nothing difficult about Einstein’s ideas, but that they do call for total reorganization of our imaginative lives. It is precisely this imaginative reorganization that has occurred via the TV image.

The ordinary inability to discriminate between the photographic and the TV image is not merely a crippling factor in the learning process today; it is symptomatic of an age-old failure in Western culture. The literate man, accustomed to an environment in which the visual sense is extended everywhere as a principle of organization, sometimes supposes that the mosaic world of primitive art, or even the world of Byzantine art, represents a mere difference in degree, a sort of failure to bring their visual portrayals up to the level of full visual effectiveness.

Nothing could be further from the truth. This, in fact, is a misconception that has impaired understanding between East and West for many centuries. Today it impairs relations between colored and white societies.

Most technology produces an amplification that is quit explicit in its separation of the senses. Radio is an extension of the aural, high-fidelity photography of the visual. But TV is, above all, an extension of the sense of touch, which involves maximal interplay of all the senses.

For Western man, however, the all-embracing extension has occurred by means of phonetic writing, which is a technology for extending the sense of sight. All non-phonetic forms of writing are, by contrast, artistic models that retain much variety of sensuous orchestration. Phonetic writing, alone, has the power of separating and fragmenting the senses and of sloughing off the semantic complexities. The TV image reverses this literate process of analytic fragmentation of sensory life.

The visual sense when extended by phonetic literacy fosters the analytic habit of perceiving the single facet in the life of forms. The visual power enables us to isolate the single incident in time and space, as in representational art. In visual representation of a person or an object, a single phase or moment or aspect is separated from the multitude of known and felt phases, moments and aspects of the person or object.

By contrast, iconographic art uses the eye as we use our hand in seeking to create an inclusive image, made up of many moments, phases, and aspects of the person or thing. Thus the iconic mode is not visual representation, nor the specialization of visual stress as defined by viewing from a single position. The tactual mode of perceiving is sudden but not specialist. It is total, synesthetic, involving all the senses. Pervaded by the mosaic TV image, the TV child encolunters the world in a spirit antithetic to literacy.

The TV image, that is to say, even more than the icon, is an extension of the sense of touch. Where it encounters a literate culture, it necessarily thickens the sense-mix, transforming fragmented and specialist extensions into a seamless web of experience. Such transformation is, of course, a “disaster” for the literate, specialist culture. It blurs many cherished attitudes and procedures. It dims the efficacy of the basic pedagogic techniques, and the relevance of the curriculum. If for no other reason, it would be well to understand the dynamic life of these forms as they intrude upon us and upon one another. TV makes for myopia.

The young people who have experienced a decade of TV have naturally imbibed an urge toward involvement in depth that makes all the remote visualized goals of usual culture seem not only unreal but irrelevant, and not only irrelevant but anemic. It is the total involvement in all-inclusive nowness that occurs in young lives via TV’s mosaic image. This change of attitude has nothing to do with programming in any way, and would be the same if the programs consisted entirely of the highest cultural content. The change in attitude by means of relating themselves to the mosaic TV image would occur in any event.

It is, of course, our job not only to understand this change but to exploit it for its pedagogical richness. The TV child expects involvement and doesn’t want a specialist job in the fu9ture. He does want a role and a deep commitment to his society. Unbridled and misunderstood, this richly human nee d can manifest itself in the distorted forms portrayed in West Side Story.

The TV child cannot see ahead because he wants involvement, and he cannot accept a fragmentary and merely visualized goal or destiny in learning or in life.

Thus, all electric appliances, far from being labor-saving devices, are new forms of work, decentralized and made available to everybody. Such is, also, the world of the telephone and the TV image that demands so much more of its users than does radio or movie.

As a simple consequence of this participational and do-it-yourself aspect of the electric technology, every kind of entertainment in the TV age favors the same kind of personal involvement. Hence the paradox that, in the TV age, Johnny can’t read because reading, as customarily taught, is too superficial and consumerlike an activity. Therefore the highbrow paperback, because of its depth character, may appeal to youngsters who spurn ordinary narrative offerings. Teachers today frequently find that students who can’t read a page of history are becoming experts in code and linguistic analysis. The problem, therefore, is not that Johnny can’t read, but that, in an age of depth involvement, Johnny can’t visualize distant goals.

War is never anything less than accelerated technological change.

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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.

Up to the point just short of electrification, increase of speed produces division of function, and of social classes, and of knowledge.

At electric speed, however, all that is reversed. Implosion and contraction then replace mechanical explosion and expansion. If the Handlin formula is extended to power, it becomes: “As power grew, and as outlying areas became accessible to power, it was localized in distinctive delegated jobs and functions.” This formula is a principle of acceleration at all levels of human organization. It concerns especially those extensions of our physical bodies that appear in wheel and road and paper messages.

Now that we have extended not just our physical organs but the nervous system, itself, in electric technology, the principle of specialism and division as a factor of speed no longer applies. When information moves at the speed of signals in the central nervous system, man is confronted with the obsolescence of all earlier forms of acceleration, such as road and rail. What emerges is a total field of inclusive awareness. The old patterns of psychic and social adjustment become irrelevant.

The achievements of the Western world, it is obvious, are testimony to the tremendous values of literacy. But many people are also disposed to object that we have purchased our structure of specialist technology and values at too high a price. Certainly the lineal structuring of rational life by phonetic literacy has involved us in an interlocking set of consistencies that are striking enough to justify a much more extensive inquiry than that of the present chapter.

Perhaps there are better approaches along quite different lines; for example, consciousness is regarded as the mark of a rational being, yet there is nothing lineal or sequential about the total field of awareness that exists in any moment of consciousness. Consciousness is not a verbal process. Yet during all our centuries of phonetic literacy we have favored the chain of inference as the mark of logic and reason. Chinese writing, in contrast, invests each ideogram with a total intuition of being and reason that allows only a small role to visual sequence as a mark of mental effort and organization.

In Western literate society it is still plausible and acceptable to say that something “follows” from something, as if it were some cause at work that makes such a sequence. It was David Hume who, in the eighteenth century, demonstrated that there is no causality indicated in any sequence, natural or logical. The sequential is merely additive, not causative. Hume’s argument, said Immanuel Kant, “awoke me from my dogmatic slumber.” Neither Hume nor Kant, however, detected the hidden cause of our Western bias toward sequence as “logic” in the all-pervasive technology of the alphabet.

Only alphabetic cultures have ever mastered connected lineal sequences as pervasive forms of psychic and social organization. The breaking up of every kind of experience into uniform units in order to produce faster action and change of form (applied knowledge) has been the secret of Western power over man and nature alike. That is the reason why our Western industrial programs have quite involuntarily been so militant, and our military programs have been so industrial. Both are shaped by the alphabet in their technique of transformation and control by making all situations uniform and continuous.

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 that 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 contracts, 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.

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!

Physiologically there are abundant reasons for an extension of ourselves involving us in a state of numbness. Medical researchers like Hans Selye and Adolphe Jonas hold that all extensions of ourselves, in sickness or in health, are attempts to maintain equilibrium. Any extension of ourselves they regard as “autoamputation,” and they find that the autoamputative power or strategy is resorted to by the body when the perceptual power cannot locate or avoid the cause of irritation. Our language has many expressions that indicate this self-amputation that is imposed by various pressures. We speak of “wanting to jump out of my skin” or of “going out of my mind,” being “driven batty” or “flipping my lid.” And we often create artificial situations that rival the irritations and stresses of real life under controlled conditions of sport and play.

In the physical stress of superstimulation of various kinds, the central nervous system acts to protect itself by a strategy of amputation or isolation of the offending organ, sense or function. Thus the stimulus to new invention is the stress of acceleration of pace and increase of load.

For example, in the case of the wheel as an extension of the foot, the pressure of new burdens resulting from the acceleration of exchange by written and monetary media was the immediate occasion of the extension or “amputation” of this function from our bodies.

The wheel as a counter-irritant to increased burdens, in turn, brings about a new intensity of action by its amplification of a separate or isolated function (the feet in rotation). Such amplification is bearable by the nervous system only through numbness or blocking of perception. This is the sense of the Narcissus myth.

The young man’s image is a self-amputation or extension induced by irritating pressures. As counter-irritant, the image produces a generalized numbness or shock that declines recognition. Self-amputation forbids self-recognition.

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To behold, use or perceive any extension of ourselves in technological form is necessarily to embrace it. To listen to radio or to read the printed page is to accept these extensions of ourselves into our personal system and to undergo the “closure” or displacement of perception that follows automatically. It is this continuous embrace of our own technology in daily use that puts us in the Narcissus role of subliminal awareness and numbness in relation to these images of ourselves.

By continuously embracing technologies, we relate ourselves to them as servomechanisms. That is why we must, to use them at all, serve these objects, these extensions of ourselves, as gods or minor religions. An Indian is the servo-mechanism of his canoe as the cowboy of his horse or the execute of his clock.

Physiologically, man in the normal use of technology (or his variously extended body) is perpetually modified by it and in turn finds ever new ways of modifying his technology. 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.

The principle of numbness comes into play with electric technology, as with any other. We have to numb our central nervous system when it is extended and exposed or we will die. Thus the age of anxiety and of electric media is also the age of the unconscious and of apathy. But it is strikingly the age of consciousness of the unconscious, in addition. With our central nervous system strategically numbed, the tasks of conscious awareness and order are transferred to the physical life of man, so that for the first time he has become aware of technology as an extension of his physical body.

Apparently this could not have happened before the electric age gave us the means of instant, total field-awareness. With such awareness, the subliminal life, private and social, has been hoicked up into full view, with the result that we have “social consciousness” presented to us as a cause of guilt-feelings. Existentialism offers a philosophy of structures, rather than categories, and of total social involvement instead of the bourgeois spirit of individual separateness or points of view. In the electric age we wear all mankind as our skin.