Largely recognized as McLuhanâs first major work, this book provides a trenchant analysis of 1940âs popular culture in the United States, with particular reference to print-media advertising. To this end, it consists of x chapters, each of which consists of an image culled from newspapers and magazines, accompanied by an insightfulâand often ironicâtext. Dismissed by some as lacking in direction and coherence, the book actually has a tightly woven narrative that sheds considerable light on the gender issues, technology, and power structures of the day.Â
OURS is the first age in wruch many thousands of the best-trained individual minds have made it a full-time business to get inside the collective public mind. To get inside in order to manipulate, exploit, control is the object now. And to generate heat not light is the intention. To keep everybody in the helpless state engendered by prolonged mental rutting is the effect of many ads and much entertainment alike. Since so many minds are engaged in bringing about this condition of public helplessness, and since these programs of commercial education are so much more expensive and influential thanâŠ
Mention has often been made of the extent to which Marshall McLuhan was a devout adherent of the Catholic faith. But little has been known about how he viewed the place of religion in the world particularly with reference to the fate of the Catholic Church. This carefully selected collection of McLuhanâs writings on religion provides one with clarifying insights into his views on a broad range of Church-related issues including the nature of conversion, the spiritualism of youth, the impact of technology on liturgy, and Vatican II. Overall, by revealing that McLuhan viewed faith as a sense, the volume illuminates the connections he made between religion and media. Â
Say the name Marshall McLuhan and you think of the great discover's explorations of the media. But throughout his life, McLuhan never stopped reflecting profoundly on the nature of God and worship, and on the traditions of the Church. Often other intellectuals and artists would ask him incredulously, "Are you really a Catholic?" He would answer, "Yes, I am a Catholic, the worst kind -- a convert," leaving them more baffled than before. Here, like a golden thread lining his public utterances on the media, are McLuhan's brilliant probes into the nature of conversion, the church's understanding of media, theâŠ
The four performance works documented in this book were each built through advance planning and spontaneous decisions, in response to the opportunities and constraints I anticipated and experiences in the process of composition. Each depends on live improvisation to verbalize content, themes, and manner throughout the performance itself.
This book explores McLuhanâs relationship with avant-garde art. While McLuhanâs engagement with artistic endeavours, has received some attention, Kitnick examines in detail not only how McLuhanâs work on art developed over an extended period, but how his views on artistic practice came to inform the work of others. He builds on McLuhanâs contention that art was not primarily a means of self-expression, but rather the basis for cultural exploration and environmental change. Drawing inspiration from figures such as James Joyce, T.S. Eliot, and Wyndham Lewis. McLuhan, according to Kitnick, saw members of the avant-garde as artists who work within conventional structures in order to disrupt them, thereby throwing them into relief.Â
Marshall McLuhan (1911-1980) is best known as a media theorist-many consider him the founder of media studies-but he was also an important theorist of art. Though a near-household name for decades due to magazine interviews and TV specials, McLuhan remains an underappreciated yet fascinating figure in art history. His connections with the art of his own time were largely unexplored, until now. In Distant Early Warning, art historian Alex Kitnick delves into these rich connections and argues both that McLuhan was influenced by art and artists and, more surprisingly, that McLuhan's work directly influenced the art and artists of hisâŠ
Using McLuhanâs classic Understanding Mediaas a point of reference, the editors have assembled an impressive collection of essays that succeed in critically extending his ideas into a range of new directions. These include the biases of contemporary urban planning, transport (from a race perspective), gendered domestic and office space, and Black feminist activism. While remaining true to the exploratory spirit of McLuhanâs âprobes,â the essays demonstrate both the shortcomings and potentialities of his body of work.
The contributors to Re-Understanding Media advance a feminist version of Marshall McLuhan's key text, Understanding Media: The Extensions of Man, repurposing his insight that "the medium is the message" for feminist ends. They argue that while McLuhan's theory provides a falsely universalizing conception of the technological as a structuring form of power, feminist critics can take it up to show how technologies alter and determine the social experiences of race, gender, class, and sexuality. This volume showcases essays, experimental writings, and interviews from media studies scholars, artists, activists, and those who work with and create technology. Among other topics, theâŠ
Winner of the Robert F. Lucid Award for Mailer Studies.
Celebrating Mailer's centenary and the seventy-fifth publication of The Naked and the Dead, the book illustrates how Mailer remains a provocative presence in American letters.
From the debates of the nation's founders, to the revolutionary traditions of western romanticism,âŠ
This book dovetails with those of Kitnick as well as Sharma and Singh. While framed by a broader concern with the emergence of the Toronto School of Communication, it gives particular attention to how McLuhanâs notions about âinformation art,â came to influence artistic practice through initiatives such as âN.E. Thing and Companyâ (NETCO), Robert Smithsonâs West Coast work and âGeneral Idea.â Echoing some of the issues raised by the Sharma/Singh collection, he examines these ventures through the lens of power and gender. It is impeccably edited and handsomely illustrated, in line with the high production standards of McGill-Queenâs University Press.
Through a series of focused and interconnected case studies, Out of School explores the long history of information art associated with the Toronto School of Communication. It highlights the perspectives of artists inspired by the speculations of Marshall McLuhan and colleagues as well as the philosophical underpinnings of the Toronto School's ideas about information.
Using pre-Internet media such as telex and the telecopier, the artists explored in this book materialized visionary concepts of information without the aid of computers. Harbingers of contemporary digital culture, Bertram Brooker, N.E. Thing Co., Robert Smithson, Wyndham Lewis, General Idea, and other artists approached informationâŠ
This book comprises eight texts by Innis, including his 1930 biography of Pond as well as his writings on the explorer's myriad activities. Situating Innis's writings on Pond in relation to his broader body of biographical work, I interpret what these texts tell us about Innis's intellectual practice, historiography, and the writing of biography. The book explores how Innis's perspectives shifted with changing intellectual and political circumstances and shows that his advocacy of Pond as an unrecognized "father of confederation" challenged conventional views of Canadian nation-building.
With Franklin Rooseveltâs death in April 1945, Vice President Harry Truman and Senator Arthur Vandenberg, the Republican leader on foreign policy, inherited a world in turmoil. With Europe flattened and the Soviets emerging as Americaâs new adversary, Truman and Vandenberg built a tight, bipartisan partnership at a bitterly partisan timeâŠ
This biography for middle-grade readers and up explains who Jane Addams was and why she caused such a stir worldwide. The story follows Addams' first childhood realization of how poverty limits lives, livelihoods, and health to her becoming one of the most belovedâand dislikedâwomen of her day. She worked toâŠ
