βAs for technological acceleration, it now approaches the speed of light. All nonelectric media had merely hastened things a bit. The wheel, the road, the ship, the airplane, and even the space rocket are utterly lacking in the character of instant movement.β
Understanding Media (1964), MIT/Routledge edition, p 348
Today the most abstruse theories go into action even before they have had their day in science fiction
βThe Humanities in the Electronic Ageβ, 1961, in McLuhan Unbound, 2017, p 18
It is hard for the conventional and uncritical mind to grasp the fact that "the meaning of meaning" is a relationship: a figure-ground process of perpetual change. The input of data must enter a ground or field or surround of relations that are transformed by the intruder, even as the input is transformed. Knowledge, old or new, is always a figure that is undergoing perpetual change by "interface" with new environments. Thus it is never easy to divorce knowledge and experience. In the same way that knowledge and experience are continuously modifying each other, the relation between "hardware" and "software" is not fixed but is in a perpetual state of metamorphosis.
βSocial Impact of the Computerβ, 1979 typescript
People in new environments always produce the new perceptual modality without any difficulty or awareness of change. It is later that the psychic and social realignments baffle societies.
ARTNews Annual, vol 31, Art Foundation, 1966, p 56
Electric circuitry has overthrown the regime of 'time' and 'space' and pours upon us instantly and continuously the concerns of all other men. It has reconstituted dialogue on a global scale. Its message is Total Change.
The Medium Is the Massage (1967), p 16
I soon realized that recognizing the symptoms of change was not enough; one must understand the cause of change, for without comprehending causes, the social and psychic effects of new technology cannot be counter-acted or modified. But I recognized also that one individual cannot accomplish these self-protective modifications; they must be the collective effort of society, because they affect all of society; the individual is helpless against the pervasiveness of environmental change: the new garbageβor messageβinduced by new technologies. Only the social organism, united and recognizing the challenge, can move to meet it.
Playboy Interview (1969), reprinted in Essential McLuhan (1997, UK edition), p 257
Unfortunately, no society in history has ever known enough about the forces that shape and transform it to take action to control and direct new technologies as they extend and transform man. But today, change proceeds so instantaneously through the new media that it may be possible to institute a global education program that will enable us to seize the reins of our destinyβbut to do this we must first recognize the kind of therapy thatβs needed for the effects of the new media. In such an effort, indignation against those who perceive the nature of those effects is no substitute for awareness
and insight.
Playboy Interview (1969), reprinted in Essential McLuhan (1997, UK edition), 257-258
Each innovation is not only commercially disruptive, but socially and psychologically corroding, as well.
Understanding Media (1964), MIT/Routledge edition, p 250
Closely associated with these cultural dynamics is the deep nostalgia of an industrial society, a nostalgia bred by rapid change. Obsolescence is a major reality in this kind of world of business turnover. Competitive machine processes are often out of date before they can be widely applied. Books are discarded before a fraction of the potential readers have heard of them. Hair, clothes, educational, and hit-parade patterns are switched faster than the young can grow into them. And record albums of the songs of 1930 or 1935 do a roaring trade as quaintly sentimental revivals of forgotten eras. A twenty-five-year-old can get wistful about reminiscences of ten years ago. In such a world the lasting qualities of horse opera with the fringe on top have great appeal.
The Mechanical Bride, (1951), p 156
How often do you change your mind, your politics, your clothes?
The Mechanical Bride, 1951, p 73
[James] Joyce was probably the only man ever to discover that all social changes are the effect of new technologies (self-amputations of our own being) on the order of our sensory lives. It is the shift in this order, altering the images that we make of ourselves and our world, that guarantees that every major technical innovation will so disturb our inner lives that wars necessarily result as misbegotten efforts to recover the old images.
War and Peace in the Global Village with Quentin Fiore (1968), p 5
The plain fact is that the only way to keep up with enemies or rivals is to be ahead of them β by sheer design.
Take Today with Barrington Nevitt (1972), p 156
Once we realize [the scope and speed and enormity of change], we appoint a committee to slow us down. Or a commission.
Quoted in βThe McLuhan Galaxyβ by Kay Kritzwiser, Globe and Mail, January 4, 1964, p 9
β¦because of the continuous rapid changes in a technological society, the day-to-day striving of ordinary mortals to communicate with one another has grown ever more puzzling and difficult.
βCommunication Needs Human Scaleβ, in Nursing Management, Vol 1, No. 2, 1971, p 1
It is a very confusing kind of world in which, as I say, you have no time to get adjusted to anything or acquainted with anybody. You know, we live in a world where you meet many, many people per day for the once and only time in your life or their lives.
βThe Education of Mike McManusβ, TVO interview, 1977, transcript 18:16
Constant change, for its own sake, threatens everybody. (One of the interesting things about continuously mutating technology is that it is one of the prime sources of inflation.)
The Global Village with Bruce Powers (1989), p 98
The day you enter Grade One, you know more than your grandfather did when he graduated.
Undated Monday Night Seminar, (circa 1972), from a surviving audio recording; transcript, p 1
The seven-year-old today has had a heavy dose of adult experience and global imagery via TV. He enters grade school as an adult.
Culture Is Our Business, 1970, p 78
That small aluminum ball called forth a view of the earth as something to be programmed. Like the pilot of the space shuttle, man is now captain of spaceship earth, engendering a concept of ecologyβof earth, air, fire, and water as an integrated whole. There are no more passengers, only crew. Such a grasp of totality suggests the possibility of control not only of the planet but of change itself.
The Global Village with Bruce Powers (1989), p 98
Today, the satellite environment has scrapped the entire nature process of the planet. This was not the result of an inadvertent blooper but of a relentless pressure for more speed of information. The resulting increase of environmental information has in effect scrapped everything known as human organizations while at the same time retrieving innumerable forgotten forms of human organizations from the remote and prehistoric past. The things we assumed as the ground for human existence have simply been cancelled.
Take Today: the executive as dropout with Barrington Nevitt (1972), p 224
It is the framework that changes with new technology, and not the picture within the frame.
Understanding Media (1962), MIT/Routledge, p 219
Globes make my head spin. By the time I locate the place, theyβve changed the boundaries.
War and Peace in the Global Village with Quentin Fiore (1968), cover flyleaf
Iβve been asked to answer a series of questions, one of which is this: βIn your opinion will the television school broadcasts ever replace the teacher in the classroom?β Suppose in 1500 AD we have been asked whether we thought that the new portable teaching machine, the printed book, would ever replace oral scholastic debate in the training of the human mind.
Letter to Claude Bissell, December 14, 1960, in Letters of Marshall McLuhan (1987), p 275
At electric speeds patterns become so clear that even bureaucrats begin to get the message. This is new, though: things used to change gradually enough to be imperceptible, but today the patterns of change are declaring themselves very vividly because of the speed at which they occur. This is what pollution comes from: pollution is merely the revelation of a changing situation at very high speeds.
βElectric Consciousness and the Churchβ (1970), pp 7-8; reprinted in The Medium and the Light (1999), p 158
As new media continue to proliferate, the nature of "news" will naturally change too, along with the perpetually renewed revolution in information speeds and patterns.
βAt the Moment of Sputnik the Planet became a Global Theater in which there are no Spectators but only Actorsβ (1974), pp 10-11
The quantum mechanics of our age regard matter itself as constituted by discontinuous entries and modules in a perpetual state of βinterfaceβ and resonant transformation. Thus, it is change itself that is the constant, the only stable element in all planning and programming.
βThe Man Who Came to Listenβ (1970), reprinted in On the Nature of Media (2016), p 181
A young doctor is obsolete on the day he graduates as is any engineer.
DewLine Newsletter, 1.5
It was A.N. Whitehead who pointed out that one of the great sources of confusion in our time is the illusion that the environment is stable and that all change from an innovation occurs within this unchanging environment. This illusion is a legacy of the Newtonian system. This system has no more place for change than it had for people.
βAlarums in a Brave New World.β Winnipeg Free Press, 11 Dec. 1965, p. 73
The fall or scrapping of a culture world puts us all into the same archetypal cesspool, engendering nostalgia for earlier conditions.
Laws of Media: The New Science with Eric McLuhan, (1988), p 103
β¦for example, nobody ever knew what the effect of the wheel would be on the arrangement of human life.β
βFirst Lecture, Fordham Universityβ, 1967, in Understanding Me (2003), p 144
βHere I am fifty-eight, and I still donβt know what I am going to do when I grow up.β (Peter F. Drucker)
Culture Is Our Business (1970), p 78
Nobody in the twentieth century has ever come up with any meaningful definition or discussion of "value." It doesn't work any longer in economics, let alone humanist affairs.β
βThe Hot and Cool Interviewβ, 1967, in Media Research (1997), p 63
At electric speed communication tends to bypass the organization chart. The big decisions are no longer made at the top, they are made by many subordinates, all over the place. The amount of power at the top is changing very fast. This is not the result of democratic theory. It is the result of speeded up communication. So the kids now make the decision on the future of clothing, of consumer goods education. They have become a big consumer element so they can determine policy even in education.
βInterview with J.P.M. van Santenβ, Toronto, October 25, 1972, Transcript, p 3
We can say confidently that change is the only stable form we possess. At high speeds, it becomes like a self-regulating gyrostabilizer β a steadying form. And the faster we move, the more surely weβre moving toward an absolutely static society.
βUnderstanding Canada and Sundry other matters: Marshall McLuhan βinterview in Mademoiselle Magazine, January (1967), p 114
I want to mention, by way of explaining my own approach to these matters, that my kind of study in communication is a study of transformation, whereas information theory and all the existing theories of communication that I know of are theories of transportation.β
βLiving at the Speed of Lightβ (1974), in Understanding Me (2003), p 230
The environments now succeed each other so rapidly that our sense of history is becoming strange.
βMeaning of TV to Childrenβ (1965), p 37
45 years ago things were like this, but less so.
Letter to Ezra Pound, June 22, 1951, in Letters of Marshall McLuhan (1987), p 227
In the May, 1968 issue of the Scientific American, the article on Leibnitz presents the opposing positions that have for centuries divided our approaches to understanding media. Leibnitz is with the group that thinks that change as the collision of events within a fixed framework. The other group, Newtonian, sees change as an ESP pull between events that are quite unconnected. My own position, of course, is the latter. Visually oriented people think of time and space as a fixed framework βcontainingβ events. These two groups represent the difference between the machine age and the electric age, between Gutenberg and Einstein.
βAnd the Dish Ran Away with the Spoonβ, in Gazette of the Grolierβs Club (1968), p 2
Nobody can see how new technologies metamorphose earlier ones into art forms. There is certainly no connection between these events. If there were any connection there could be no change. The action is where the gap is. It has always been thus. Change requires the resonant and abrasive interval, whether in the tragic flaw of character in the tragic hero of Aristotle, or in the chemical bond of Linus Pauling. The gap created by the complementary forms of white and colored, of affluence and poverty, of war and peace, of ignorance and knowledge, all engender the processes of change.
Letter to Editor of New Society, March 10, 1970
Another approach to clichΓ© is to point out that the more deeply people participate in a culture, the less the motive for innovation.
From ClichΓ© to Archetype with Wilfred Watson (1970), p 58
By default rather than design, most futurists assume that βhuman natureβ will hold firm. They ignore the fact that technological change has always struck human life right at the heart, changing people just as it changes things.
βThe Future of Sexβ (1967), typescript p 2
If adjustment (economic, social, or personal) to information movement at electronic speeds is quite impossible, we can always change our models and metaphors of organization, and escape into sheer understanding.
βEffects of Improvements of Communication Mediaβ, 1960, p 575
As we approach βinstantβ speeds of information, we have no choice but to anticipate the pattern of change itself.
Take Today with Barrington Nevitt, 1972, p 216
One of the celebrated things about the radio generation was Gertrude Steinβs phrase, which Hemingway used as an epigraph for Farewell to Arms, βYouβre the lost generation.β β¦ Today people over twenty-one canβt adjust. Weβre all in a βlost generation.β That is, in our sensory lives we will never make the switchover. Only those coming up through the nursery will.β
The Museum as Large-Room Pinball Machine, Marshall McLuhan, Harley Parker, and Museum Professionals, 1967, full transcript of a seminar at the City Museum of New York, October, 1967, edited by William Buxton, published by U. of Alberta Press, 2026, p 89