In 1920 T.S. Eliot’s essay on Massinger brought new stress to bear upon the language of a period in order to make it a means. “These lines of Tourneur and of Middleton exhibit that perpetual slight alteration of language, words perpetually juxtaposed in new and sudden combinations, meanings perpetually eingeschachtelt into meanings, which evidence a very high development of the senses, a development of the English language which we have perhaps never equalled.” This kind of approach to language as the material of poetry that launched many of the artistic experiments of the 1920’s, as well as of the critical programs of the Calendar of Modern Letters and of Scrutiny. It is not only an attitude but a method and a technique of grappling with all the materials and technologies of any human environment. So that if politics is the art of the possible, its scope must now, in the electric age, include the shaping and programming of the entire sensory environment as a luminous work of art.