Understanding me: lectures and interviews, Marshall McLuhan

McLuhan, Stephanie; Staines, David

doi:10.1109/mtas.2006.261466

Cited by 19 publications

(25 citation statements)

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“…Rather than focusing on the figure of the future through speculating he carefully studied the ground of the future, which is the present and the past. He said, "I've always been very careful never to predict anything that had not already happened [8] (p. 172)".…”

Section: The Reversal Of the Alphabet Effectsmentioning

confidence: 99%

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The Alphabet Effect Re-Visited, McLuhan Reversals and Complexity Theory

Logan

2017

Philosophies

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Abstract:The alphabet effect that showed that codified law, alphabetic writing, monotheism, abstract science and deductive logic are interlinked, first proposed by McLuhan and Logan (1977), is revisited. Marshall and Eric McLuhan's (1988) insight that alphabetic writing led to the separation of figure and ground and their interplay, as well as the emergence of visual space, are reviewed and shown to be two additional effects of the alphabet. We then identify more additional new components of the alphabet effect by demonstrating that alphabetic writing also gave rise to (1) Duality, and (2) reductionism or the linear sequential relationship of causes followed by effects. We then review McLuhan's (1962) claim that electrically configured information reversed the dominance of visual space over acoustic space and led to the reversals of (1) cause and effect, and (2) figure and ground. We then demonstrate that General System Theory first formulated by Ludwig von Bertalanffy (1968), which also includes chaos theory, complexity theory and emergence (aka emergent dynamics) and Jakob von Uexküll's (1926) notion of umwelt also entail the reversal of many aspects of the alphabet effect such as the reversals of (1) cause and effect, and (2) figure and ground.

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Section: The Reversal Of the Alphabet Effectsmentioning

confidence: 99%

“…McLuhan employed the same techniques in his analysis of the effects of technology: "The way to study the effects, for example, if you wanted to study what the motor car was, you might find out more from what it did to the environment and the community [8] (p. 90)".…”

Section: The Reversal Of the Alphabet Effectsmentioning

confidence: 99%

The Alphabet Effect Re-Visited, McLuhan Reversals and Complexity Theory

Logan

2017

Philosophies

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“…Es ahora fundamentalmente la Web la que dicta la manera en que nos relacionamos con los otros medios, ya sean prensa escrita, radio, televisión, cine o videojuegos, de la misma manera que previamente la televisión había alterado el ecosistema mediático y replanteado sus normas (McLuhan, 2005). Como consecuencia, las antiguas estructuras organizativas, las rutinas profesionales o los métodos de evaluación empleados en el pasado en el sector publicitario no se ajustan al sistema comunicativo actual, colonizado por nuevas "especies" (Scolari, 2012, p. 214) como sitios web, blogs, videojuegos, redes sociales o aplicaciones móviles (Pérez-Latre, 2009).…”

Section: Marco Teóricounclassified

La publicidad y la agencia de medios frente al cambio en el ecosistema mediático

Martín-Guart

Cavia

2014

Cuadernos.info

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El sector de la publicidad vive una situación de cambio estructural, consecuencia de una mayor cercanía entre tecnología y medios de comunicación. El objetivo de este artículo es reflexionar sobre los desafíos a los que se enfrentará el profesional de la publicidad en este nuevo ecosistema mediático. Para ello se ha planteado una investigación exploratoria destinada a recabar la opinión de los profesionales mediante una encuesta vía Internet, distribuida en España y Latinoamérica principalmente. Los resultados plasman cómo la división actual de medios tradicionales tiende a una conversión multiplataforma que facilita que el individuo acceda permanentemente a contenidos audiovisuales. En este sentido, surgen nuevos puntos de contacto con el consumidor, derivados de la interacción con los dispositivos móviles y las redes sociales, evolucionando hacia el marketing 4.0, donde prevalece la predicción y la capacidad de anticipar tendencias, ya que cada marca debe conocer lo que el cliente necesita antes de que lo requiera.

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“…Marks (2000) contends that cinematic representations of haptic experiences form a strategy through which filmmakers addressing notions of diaspora are able to accurately craft representations of their subjects; similarly, in considering Snow's cinema, it is beneficial to keep in mind McLuhan's contention that a sense of diaspora can be felt by all inhabitants of the modern world within the context of ceaselessly changing mediated environments -on account of modern communications technologies, "all of us today are displaced persons." (McLuhan 2003: 2) Just as McLuhan suggested the sensation of touch operates not as a discrete sense but rather as "the very interplay of the senses" (1962: 83), the invocation of haptic and kinesthetic experiences within the cinema can be understood as a means for crafting the reconstitution of a spectator who is otherwise perceptually trapped within a mechanized field of fragmented image and sound -a pair of eyes and ears, without a body. Wavelength (1967), Standard Time (1967), Back and Forth (1969), and La Region Centrale (1971) all present systematic classifications of movements made possible by the mechanized cinematic vision of the camera eye, and while these works are on one level easily described by the structural forms they utilize, their effects serve to render concept into percept (in McLuhan's terms) -a movement from intellect to body, as Snow has stated: I really want to make physical things so that the experience is a real experience and not just conceptual […] there are ideas in the works, but there are also body affects, like the panning, for example in Back and Forth.…”

Section: Walter Benjamin Similarly Described How Such Functions Expmentioning

confidence: 99%

Objects of vision: the polymorphic cinema of Michael Snow

Browne¹

2013

BSE

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This paper explores how the sensory spaces within the works of Michael Snow represent kinesthetic and audile-tactile modes of vision, proposing an integrated form of visuality that functions in tandem with the other senses, relating to the sensus communis proposed by Aristotle. While Snow's cinema is often characterized as more objective, technological, and immaterial than the subjective and poetic aesthetic of Brakhage, Snow's films present a similar yet distinctly idiosyncratic paradigm of multisensory perception through their sculptural, deconstructive nature. While Snow's camera lens remains focused on the exterior world, his films present spaces that journey far from the illusory and disembodied nature of the scopic regime that Martin Jay (1988) terms "Cartesian dualism," instead seeking out a unified field of energetic vision through relationships between movement, duration, sight, sound, and the embodied limits of vision itself, and are deeply informed by a sustained multidisciplinary approach.

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Understanding me: lectures and interviews, Marshall McLuhan

Cited by 19 publications

References 0 publications

The Alphabet Effect Re-Visited, McLuhan Reversals and Complexity Theory

The Alphabet Effect Re-Visited, McLuhan Reversals and Complexity Theory

La publicidad y la agencia de medios frente al cambio en el ecosistema mediático

Objects of vision: the polymorphic cinema of Michael Snow

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