Prose is private drama; poetry is corporate drama. (p. 275)
The 4 aspects of each of the media actually constitute the four features of all metaphors. In other words, all human technologies whatever are, in the fullest sense, linguistic outerings, or utterings, of man. (p. 275)
Language is a sense, like touch. (p. 271)
There is no connection between the elements in an electric world, which is equivalent to being surrounded by the human unconscious. (p. 260)
Our senses are not receptors so much as reactors and makers of different modalities of space. Perhaps touch is not just skin contact with things, but the very life of things in the mind. (p. 256)
Language alone includes all the senses in interplay at all times. (p. 253)
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All of man's artefacts, whether hardware or software, whether bulldozers or laws of chemistry, are alike linguistic in structure and intent. (p. 227)
The TV generation is postliterate and retribalized. It seeks by violence to scrub the old private image and to merge in a new tribal identity, like any corporate executive. (p. 201)
With TV, came the icon, the inclusive image, the inclusive political posture or stance. (p. 191)
People don't actually read newspapers. They step into them every morning like a hot bath. (p. 184)
Every mode of technology is a reflex of our most intimate psychological experience. (p. 171)
Languages are environments to which the child related synesthetically. (p. 166)
All advertising advertises advertising – no ad has its meaning alone. (p. 145)
Q: Why is America the land of the overrated child and the underrated adult? Q: How can children grow up in a world in which adults idolize youthfulness? Q: What happens when the ad makers taker over all the popular myths and poetry? (p. 141)