The Artist / The Snob (Rising Above the Animal In The Post-Historical World)

"...as I said in the above Note, an animal that is in harmony with Nature or given 'Being' is a living being that is in no way human, To remain human, Man must remain a 'Subject opposed to the Object' even if Action negating the given and Error disappears. This means that while henceforth speaking in an adequate fashion of everything that is given to him, post-historical Man must continue to detach 'form' from 'content,' doing so no longer in order actively to transform the latter, but so that he may oppose himself as a pure 'form' to himself and to others taken as 'content' of any sort. "

"...no animal can be a snob..."

(Alexandre Kojève, Introduction to the Reading of Hegel)

"An artist is someone who produces things that people don't need to have but that he - for some reason - thinks it would be a good idea to give them."

"Being good in business is the most fascinating kind of art. Making money is art and working is art and good business is the best art."

(Andy Warhol)

"The artist is the person who invents the means to bridge between biological inheritance and the environments created technological innovation. Without the artist man merely adapts to his technologies and become their servo-mechanism."

"Advertising is the greatest art form of the 20th century."

(Marshall McLuhan, Laws of Media)

"Whether syllogistic or Hegelian-dialectical, for some mysterious inherent reason the triad form itself eliminates ground. But when a fourth term is added to a triad, making a tetrad, the form flips into a new one -- resonant, appositional, and metamorphic."

(Marshall McLuhan, Laws of Media)

Marx and McLuhan on Method

"Darwin has interested us in the history of Nature’s Technology, i.e., in the formation of the organs of plants and animals, which organs serve as instruments of production for sustaining life. Does not the history of the productive organs of man, of organs that are the material basis of all social organization, deserve equal attention? And would not such a history be easier to compile, since, as Vico says, human history differs from natural history in this, that we have made the former, but not the latter? Technology discloses man’s mode of dealing with Nature, the process of production by which he sustains his life, and thereby also lays bare the mode of formation of his social relations, and of the mental conceptions that flow from them. Every history of religion, even, that fails to take account of this material basis, is uncritical. It is, in reality, much easier to discover by analysis the earthly core of the misty creations of religion, than, conversely, it is, to develop from the actual relations of life the corresponding celestialized forms of those relations. The latter method is the only materialistic, and therefore the only scientific one. The weak points in the abstract materialism of natural science, a materialism that excludes history and its process, are at once evident from the abstract and ideological conceptions of its spokesmen, whenever they venture beyond the bounds of their own speciality."

(Karl Marx, Capital volume I)

"...if a new technology extends one or more of our senses outside us into the social world, then new ratios among all of our senses will occur in that particular culture. It is comparable to what happens when a new note is added to a melody. And when the sense ratios alter in any culture then what had appeared lucid before may suddenly become opaque, and what had been vague or opaque will become translucent."

(Mashall McLuhan, The Gutenberg Galaxy)

"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."

(Marshall McLuhan)

History...

'In the mechanical age now receding, many actions could be taken without too much concern. Slow movement insured that the reactions were delayed for considerable periods of time. Today the action and the reaction occur almost at the same time. We actually live mythically and integrally, as it were, but we continue to think in the old, fragmented space and time patterns of the pre-electric age.'

'[There is a] strange falsification of history by archeology, insofar as the survival of many material objects of the past does not indicate the quality of ordinary life and experience at any particular time. '

(Marshall McLuhan, Understanding Media)

"...the movement of any archeology... is an accomplice of this reduction of the structurality of structure and always attempts to conceive of structure on the basis of a full presence which is beyond all play."

(Jacques Derrida, Structure, Sign and Play in the Discourse of the Human Sciences)

'If the film called history rewinds itself, it turns into an endless loop. What will soon end in the monopoly of bits and fiber optics began with the monopoly of writing. History was the homogenized field that, as an academic subject, only took account of literate cultures. Mouths and graphisms were relegated to prehistory. Otherwise, stories and histories (both deriving from historia) could not have been linked. All the military, religious and medical orders, judgments, announcements and prescriptions, which produced mountains of corpses, were communicated along the very same channel that monopolized the descriptions of those mountains of corpses. Which is why anything that ever happened ended up in libraries.'

'And Foucault, the last historian or first archaeologist, merely had to look things up. The suspicion that all power emanates from and returns to archives could be brilliantly confirmed, at least within the realms of law, medicine and theology. A tautology of history, or its calvary. For the libraries, in which the archaeologist found so much rich material, collected and catalogued papers that in terms of addressee, distribution technique, degree of secrecy and writing technique had been extremely diverse -- Foucault's archive as the entropy of a post office. Even writing itself, before it ends up in libraries, is a communication medium, the technology of which the archaeologist simply forgot. It is for this reason that all his analyses end immediately before that point in time at which other media penetrated the library's stacks. Discourse analysis cannot be applied to sound archives or towers of film rolls.'

'As long as it was moving along, history was indeed Foucault's "wavelike succession of words." More simply, but no less technical than tomorrow's fiber optic cables, writing functioned as a universal medium--in times when there was no concept of medium. Whatever else was going on dropped through the filter of letters or ideograms.'

(Friedrich Kittler, Gramophone, Film, Typewriter)

'The consciousness of exploding the continuum of history is peculiar to the revolutionary classes in the moment of their action.'

'The historical materialist cannot do without the concept of a present which is not a transition, in which time originates and has come to a standstill. For this concept defines precisely the present in which he writes history for his person. Historicism depicts the “eternal” picture of the past; the historical materialist, an experience with it, which stands alone. He leaves it to others to give themselves to the whore called “Once upon a time” in the bordello of historicism. He remains master of his powers: man enough, to explode the continuum of history.'

'Historicism contents itself with establishing a causal nexus of various moments of history. But no state of affairs is, as a cause, already a historical one. It becomes this, posthumously, through eventualities which may be separated from it by millenia. The historian who starts from this, ceases to permit the consequences of eventualities to run through the fingers like the beads of a rosary. He records [erfasst] the constellation in which his own epoch comes into contact with that of an earlier one. He thereby establishes a concept of the present as that of the here-and-now, in which splinters of messianic time are shot through.'

(Walter Benjamin, On the Concept of History)

In the Age of the World Picture

"We live in a time when we have put a man made satellite environment around the planet. The planet is no longer nature. It is no longer the external world. It is now the content of an artwork. Nature has ceased to exist. When you've a man made environment around the planet you have in a sense abolished nature. Nature from now on has to be programmed. The environment is not visible. It's information."

(Marshall McLuhan)

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"When, accordingly, the picture character of the world is made clear as the representedness of that which is, then in order fully to grasp the modern essence of representedness we must track out and expose the original naming power of the worn-out word and concept “to represent” [voorstellen]: to set out before oneself and to set forth in relation to oneself. Through this, whatever is comes to a stand as object and in that way alone receives the seal of Being. That the world becomes picture is one and the same event with the event of man’s becoming subject in the midst of that which is.

"Only because and insofar as man actually and essentially has become subject is it necessary for him, as a consequence, to confront the explicit question: Is it as an “I” confined to its own preferences and freed into its own arbitrary choosing or as the “we” of society; is it as an individual or as a community; is it as a personality within the community or as a mere group member in the corporate body; is it as a state and nation and as a people or as the common humanity of modern man, that man will and ought to be the subject that in his modern essence he already is? Only where man is essentially already subject does there exist the possibility of his slipping into the aberration of subjectivism in the sense of individualism. But also, only where man remains subject does the positive struggle against individualism and for the community as the sphere of those goals that govern all achievement and usefulness have any meaning.

"The interweaving of these two events, which for the modern age is decisive - that the world is transformed into picture and man into subject - throws light at the same time on the grounding event of modern history, an event that at first glance seems almost absurd. Namely, the more extensively and the more effectually the world stands at man’s disposal as conquered, and the more objectively the object appears, all the more subjectively, i.e., the more importunately, does the subject rise up, and all the more impetuously, too, do observation of and teaching about the world change into a doctrine of man...

"As soon as the world becomes picture, the position of man is conceived as a world view. To be sure, the phrase “world view” is open to misunderstanding, as though it were merely a matter here of a passive contemplation of the world. For this reason, already in the nineteenth century it was emphasized with justification that “world view” also meant and even meant primarily “view of life.” The fact that, despite this, the phrase “world view” asserts itself as the name for the position of man in the midst of all that is, is proof of how decisively the world became picture as soon as man brought his life as subject into precedence over other centers of relationship. This means: whatever is, is considered to be in being only to the degree and to the extent that it is taken into and referred back to this life, i.e., is lived out, and becomes life-experience."

(Martin Heidegger, The Age of the World Picture)

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"During long periods of history, the mode of human sense perception changes with humanity’s entire mode of existence. The manner in which human sense perception is organized, the medium in which it is accomplished, is determined not only by nature but by historical circumstances as well. The fifth century, with its great shifts of population, saw the birth of the late Roman art industry and the Vienna Genesis, and there developed not only an art different from that of antiquity but also a new kind of perception. The scholars of the Viennese school, Riegl and Wickhoff, who resisted the weight of classical tradition under which these later art forms had been buried, were the first to draw conclusions from them concerning the organization of perception at the time. However far-reaching their insight, these scholars limited themselves to showing the significant, formal hallmark which characterized perception in late Roman times. They did not attempt – and, perhaps, saw no way – to show the social transformations expressed by these changes of perception. The conditions for an analogous insight are more favorable in the present. And if changes in the medium of contemporary perception can be comprehended as decay of the aura, it is possible to show its social causes.

"The concept of aura which was proposed above with reference to historical objects may usefully be illustrated with reference to the aura of natural ones. We define the aura of the latter as the unique phenomenon of a distance, however close it may be. If, while resting on a summer afternoon, you follow with your eyes a mountain range on the horizon or a branch which casts its shadow over you, you experience the aura of those mountains, of that branch. This image makes it easy to comprehend the social bases of the contemporary decay of the aura. It rests on two circumstances, both of which are related to the increasing significance of the masses in contemporary life. Namely, the desire of contemporary masses to bring things “closer” spatially and humanly, which is just as ardent as their bent toward overcoming the uniqueness of every reality by accepting its reproduction. Every day the urge grows stronger to get hold of an object at very close range by way of its likeness, its reproduction. Unmistakably, reproduction as offered by picture magazines and newsreels differs from the image seen by the unarmed eye. Uniqueness and permanence are as closely linked in the latter as are transitoriness and reproducibility in the former. To pry an object from its shell, to destroy its aura, is the mark of a perception whose “sense of the universal equality of things” has increased to such a degree that it extracts it even from a unique object by means of reproduction. Thus is manifested in the field of perception what in the theoretical sphere is noticeable in the increasing importance of statistics. The adjustment of reality to the masses and of the masses to reality is a process of unlimited scope, as much for thinking as for perception."

(Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction)

Marshall McLuhan: The Next Movement?

"After three thousand years of explosion, by means of fragmentary and mechanical technologies [indeed, by means of the fragmentary technology Writing--better yet, it is precisely that: fragmentary technology is writing], the Western world is imploding. During the mechanical ages we had extended our bodies in space. Today, after more than a century of electric technology, we have extended our central nervous system itself in a global embrace, abolishing both space and time as far as our planet is concerned. Rapidly, we approach the final phase of the extensions of man - the technological simulation of consciousness, when the creative process of knowing will be collectively and corporately extended to the whole of human society, much as we have already extended our senses and our nerves by the various media ["the greatest compatibility, the greatest coordination, the liveliest possible affinity appears to be imposing itself today between what seems the most alive, live, and différance or delay, the delay in the exploitation or diffusion of the living."--Jacques Derrida, Ecographies of Television]. Whether the extension of consciousness, so long sought by advertisers for specific products, will be "a good thing" is a question that admits of a wide solution. There is little possibility of answering such questions about the extensions of man without considering all of them together. Any extension, whether of skin, hand, or foot, affects the whole psychic and social complex."

(Marshall McLuhan, Understanding Media)

Classroom Without Walls

'It's natural today to speak of "audio-visual aids" to teaching, for we still think of the book as norm, of other media as incidental. We also think of the new media (press, radio, TV, [Internet]) as mass media and think of the book as an individualistic form —individualistic because it isolated the reader in silence and helped create the Western "I." Yet it was the first product of mass production.'

'With it everybody could have the same books. It was impossible in medieval times for different students, different institutions, to have copies of the same book. Manuscripts, commentaries, were dictated. Students memorized. Instruction was almost entirely oral, done in groups. Solitary study was reserved for the advanced scholar. The first printed books were "visual aids" to oral instruction.'

'Before the printing press, the young learned by listening, watching, doing. So, until recently, our own rural children learned the language and skills of their elders. Learning took place outside the classroom. Only those aiming at professional careers went to school at all. Today in our cities, most learning occurs outside the classroom. The sheer quantity of information conveyed by press-magazines-film-TV-radio far exceeds the quantity of information conveyed by school instruction and texts. This challenge has destroyed the monopoly of the book as a teaching aid and cracked the very walls of the classroom so suddenly that we're confused, baffled.'

'In this violently upsetting social situation, many teachers naturally view the offerings of the new media as entertainment, rather than education. But this carries no conviction to the student. Find a classic that wasn't first regarded as light entertainment. Nearly all vernacular works were so regarded until the 19th century.'

'Many movies are obviously handled with a degree of insight and maturity at least equal to the level permitted in today's textbooks. Olivier's Henry V and Richard III assemble a wealth of scholarly and artistic skill, which reveals Shakespeare at a very high level, yet in a way easy for the young to enjoy.'

'The movie is to dramatic representation what the book was to the manuscript. It makes available to many and at many times and places what otherwise would be restricted to a few at few times and places. The movie, like the book, is a ditto device. TV shows to 50,000,000 simultaneously. Some feel that the value of experiencing a book is diminished by being extended to many minds. This notion is always implicit in the phrases "mass media," "mass entertainment"—useless phrases obscuring the fact that English itself is a mass medium.'

'Today we're beginning to realize that the new media aren't just mechanical gimmicks for creating worlds of illusion, but new languages with new and unique powers of expression. Historically, the resources of English have been shaped and expressed in constantly new and changing ways. The printing press changed not only the quantity of writing but also the character of language and the relations between author and public. Radio, film, TV pushed written English toward the spontaneous shifts and freedom of the spoken idiom. They aided us in the recovery of intense awareness of facial language and bodily gesture. If these "mass media" should serve only to weaken or corrupt previously achieved levels of verbal and pictorial culture, it won't be because there's anything inherently wrong with them. It will be because we've failed to master them as new languages in time to assimilate them to our total cultural heritage.'

'These new developments, under quiet analytic survey, point to a basic strategy of culture for the classroom. When the printed book first appeared, it threatened the oral procedures of teaching and created the classroom as we now know it. Instead of making his own text, his own dictionary, his own grammar, the student started out with these tools. He could study not one but several languages. Today these new media threaten, instead merely reinforce, the procedures of this traditional classroom. It's customary to answer this threat with denunciations of the unfortunate character and effect of movies and TV, just as the comic book was feared and scorned and rejected from the classroom. Its good and bad features in form and content, when carefully set beside other kinds of art and narrative, could have become a major asset to the teacher.'

'Where student interest is already focused is the natural point at which to be in the elucidation of other problems and interests. The educational task is not only to provide basic tools of perception but also to develop judgment and discrimination with ordinary social experience.'

'Few students ever acquire skill in analysis of newspapers. Fewer have any ability to discuss a movie intelligently. To be articulate and discriminating about ordinary affairs and information is the mark of an educated man. It's misleading to suppose there's any basic difference between education and entertainment. This distinction merely relieves people of the responsibility of looking into the matter. It's like setting up a distinction between didactic and lyric poetry on the ground that one teaches, the other pleases. However, it's always been true that whatever pleases teaches more effectively. '

(Marshall McLuhan, excerpt from "Classroom Without Walls," Explorations in Communication)

The Caveman is You

"But the one thing you should not do is to suppose that when something is wrong with the arts, it is wrong with the arts ONLY."

(Ezra Pound)

"Ads are the cave art of the twentieth century."

(Marshall McLuhan)

"The transition from capitalism to socialism means, according to Marx, 'the ending of pre-history' - the transition from the uncontrolled to the fully conscious development of mankind. To understand society in its final capitalist phase one needs a precise insight into the causality and interrelationships between the growth of the material productive forces and the social relations of production."

(Alfred Sohn-Rethel, Intellectual and Manual Labor: A Critique of Epistemology)

"We are saddled with a culture that hasn't advanced as far as science."

(Michelangelo Antonioni)

These ads are a biting and perceptive commentary. They are precise portraits of what is here called "postmodern living": the persistence of the pre-modern in the modern, of the pre-historic within history.

The Media is the Message 1967 Recording w/Video Mash-Up

McLuhan/Hegel

Since Sputnik and the satellites, the planet is enclosed in a manmade environment that ends "Nature" and turns the globe into a repertory theater to be programmed. Shakespeare at the Globe mentioning "All the world's a stage, and all the men and women merely players" (As You Like It, Act II, Scene 7) has been justified by recent events in ways that would have struck him as entirely paradoxical. The resunium arch of satellites is that the young now accept the public spaces of the earth as as role-playing areas. Sensing this, they adopt costumes and roles and are ready to "do their thing" everywhere.

Another theme of [Finnegans] Wake that helps in the understanding of the paradoxical shift from cliché to archetype is "past time are pastimes." The dominant technologies of one age become the games and pastimes of a later age. In the 20th century, the number of "past times" that are simultaneously available is so vast as to create cultural anarchy. When all the cultures of the world are simultaneously present, the work of the artist in the elucidation of form takes on new scope and new urgency. Most men are pushed into the artist's role. The artist cannot dispense with the principle of "doubleness" or "interplay" because this type of hendiadys dialogue is essential to the very structure of consciousness, awareness, and autonomy.

(Marshall McLuhan, From cliché to archetype)

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The medium is the message - "A formalism which ceases to be external since the form is the innate development of the concrete content itself."

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Now the end of history does not mark the end of all sudden and new appearances. The moment of Absolute Knowledge only causes the dialectical suppression of one certain time, one specific temporality. From this moment on, far from closing all horizons, Absolute Knowledge announces in fact a new temporality, one born from the synthesis of two temporalities, the Greek and the Christian. The moment which dialectically gives rise to the two temporalities marks the emergence of a new era of plasticity in which subjectivity gives itself the form which at the same time it receives.

(Cathrine Malabou, The Future of Hegel)