McLuhan and the Eyes of Faith

I wouldn't have seen it if I hadn't believed it.

Marshall McLuhan

Marshall didn't publicly discuss his religion. His theory was that people who can see don't walk around saying, "I'm seeing things" all day. They simply see the world. And so, with religion, it was simply there with him. This unwillingness to discuss religion caused him much trouble. Some people perceived it as arrogance. Some people saw it is as weakness and shirking. Some people saw it was outdated and ridiculous. Some saw it as a wasted chance to make converts.

Douglas Coupland, Marshall McLuhan:
You Know Nothing of My Work!
2009

Splitting the Etym

The "etym" is the fundamental 'bit' in the Joycean world, just as the atom is in the physical world. For Joyce, TV's annihilating of the 'etym' is as significant as in the realm of culture as the potentiality of destroying the atom in the physical world. Since, however, neither etym nor atom disappears as a result of the contemporary challenge, the process is abnihilisation, not actually a destruction.

Donald Theall

Beyond the Word,

1998

Media as Cliché as Probe

Any extension of man's sensory life such as the dog, or the motor car, imprints numerous clichés on any language, extending its range of probe. All media of communications are clichés serving to enlarge man's scope of action, his patterns of association and awareness. These media create environments that numb our powers of attention by sheer pervasiveness. The limits of our awareness of these forms does not limit their action upon our sensibilities. Just as the rim-spin of the planet arranges the components of high- and low-pressure areas, so the environments created by linguistic and other extensions of our powers are constantly creating new climates of thought and feeling. Since the resulting symbolic systems are numerous, they are in perpetual interplay, creating a kind of sound-light show on an ever-increasing scale.


Marshall McLuhan
From Cliché to Archetype
1970

The Perpetual Nomad

All this information and more has overtly, osmotically, or perhaps inadvertently damaged a collective sense of time that has been working well enough since the Industrial Revolution and the rise of the middle classes. This "timesickness" is probably what killed the economy, and God only knows what it's up to next. Everywhere we look, people are making online links--to conspiracy, porn, and gossip sites; to medical data sites and genetics sites; to baseball sites and sites for Fiestaware collectors; to sites where they can access free movies and free TV, arrange hookups with old flames or taunt old enemies--and time has begun to erase the twentieth century way of structuring one's day and locating one's sense of community. People are now doing their deepest thinking and making their most emotionally charged connections with people around the planet at all times of the day. Geography has become irrelevant. Our online phantom world has become the new us. We create complex webs of information and people who support us, and yet they are fleeting, so tenuous. Time speeds up and then it begins to shrink. Years pass by in minutes. Life becomes that strange experience in which you're zooming along a freeway and suddenly realize that you haven't paid any attention to driving for the last fifteen minutes, yet you're still alive and didn't crash. The voice inside your head has become a different voice. It used to be "you." Now your voice is that of a perpetual nomad drifting along a melting landscape, living day to day, expecting everything and nothing.


Douglas Coupland, Marshall McLuhan: 
You Know Nothing of My Work!
2009

The Self Mover: Automobile

Source

In the spring of 1928 when the Swiss art historian Carola Giedion-Welcker first visited James at his flat in Paris, their conversation included a highly suggestive interchange about technology. She reports that Joyce asked, "Tell me what sort of an idea do you think the word 'automobile' would have aroused in the middle ages," and without waiting for a reply, he continued, "Certainly only that of a divine being, a self mover, thus a god." ... Recollecting that original conversation, she observes that there is a cultural project central to the Wake by which, "from a key word and the conceptions it aroused, Joyce wanted to crystalize a cultural state, or better yet the cultural crisis of a century. For god and technology had moved critically close to each other.


Donald Theall, James Joyce's Techno-Poetics, 1997

The Medium is the Message

On turning to the 'Work in Progress' [Finnegans Wake] we find that the mirror is not so convex. Here is direct expression--pages and pages of it. And if you don't understand it, Ladies and Gentlemen, it is because you are too decadent to receive it. You are not satisfied unless the form is so strictly divorced from the content that you can comprehend the one almost without bothering to read the other. ... Here form is content, content is form. You complain that this stuff is not written in English. It is not written at all. It is not to be read--or rather it is not only to be read. It is to be looked at and listened to. His writing is not about something; it is that something itself.


Samuel Beckett, "Dante... Bruno. Vico.. Joyce,"
in Our Exagmination Round His Factification
For Incamination of Work in Progress, 1929

Beyond Media

In the 1960s Marshall McLuhan came to be for the populace the prophet of the death of the book, since many commentators transformed his observations on these problems into an unqualified prediction and endorsement of that death. What actually has been implied as taking place in this process is not the movement beyond a particular medium, such as the book or print, but a movement beyond the very idea of a unique communication medium. The appearance of new methods of technological production, reproduction, and distribution permitted the possibility of transcending traditionally recognized modes and returning to the original vision of the poetic as a concept which could simultaneously embrace various modes of communication, as in Aristotle's treatment of drama in the Poetics. Joyce represents a monumental movement beyond media--itself a comic commentary on McLuhan and his commentators.


Don Theall, Beyond the Word, 1995