Secondary Literacy

I use the term "Secondary Literacy" to describe the cultural transformation being wrought by our interaction with the Internet. With a nod to Walter J. Ong, I am suggesting that the literacy demands of the Internet have required denizens of our Secondary Orality culture to revisit some of the tropes of primary literacy. This new type of literacy is shaped by influences of the electronic media just as Secondary Orality was not quite the same as Primary Orality.

If generations prior to my parents learned to read before they learned to attend to electronic media, and if my generation and generations going forward first learned to attend to electronic media before we learned to read, what of the generation that learns via web-connected computers before formal training in literacy?

I don't know exactly what the implications of the new literacy will be, but I think if we can look to changes in belief structures, balance of human senses, even neural brain mapping in the switch from Primary Literacy to Secondary Orality, we can begin to search for similar transformations as our culture moves to Secondary Literacy.

Happy 100th Birthday Claude Lévi-Strauss!

Here is my quick take on Claude Lévi-Strauss's contribution to Media Ecology:

His approach to the interpretation of so-called "primitive" cultures revealed the complex patterns of thought that went into the development of systems of myth and kinship. His notion that "primitive" intellectual activities were equal to our "modern" systems of knowledge, just applied to differing objects, put the entire body of anthropological writings, going back to James Fraser's Golden Bough into a new perspective. Lévi-Strauss's work, building on the linguistic structuralism of Ferdinand de Saussure and the evolutionary approach to cultural studies of Franz Boas, revealed the biases in the use of terms such as "primitive" and "modern" (even though Lévi-Strauss himself used these terms), and paved the way for Walter Ong's distinction between orality, literacy and secondary-orality as more appropriate explanations for differing cultures.

Lévi-Strauss discovered and demonstrated connections between seemingly disparate mythic stories, and offered explanations for seemingly random elements of those stories. His methodology can be used as model for ways to interpret the products of contemporary culture, which, while seeming to be unrelated, actually constitute a system (or systems) of symbolic meanings.

I find the tools Lévi-Strauss provides useful in a number of ways. I also think that his notion of "things that are good to think with" as powerful as Postman's question regarding a new technology: "What problem does it provide a solution to?"

I like Lévi-Strauss's idea that a myth is not a "false" story or idle tale, but rather a dynamic technique which members of a culture use to address cultural discrepancies. To me, this is a compelling explanation for why myths persist in a culture. It may also explain how, if we know where to look, we can identify the mythic systems of our own culture that provide us with a coherent world view in the face of constant change and turmoil.

I know that structuralism has been in eclipse in academic circles lately, that Lévi-Strauss has been accused of a binary focus that, being Hegelian in origin, cannot apply to current thinking about media. I think that to write off Lévi-Strauss's methodology as a thesis/antithesis/synthesis intellectual game misses the subtlety of his analysis. A closer reading of all 2200+ pages of his Mythologiques shows that, while he may begin an analysis by identifying polar opposites, this is only a starting point. The analysis of a mythic system must account for far more that just a pair of opposites. In the course of his analysis of the myths of the Tupi Indians, Lévi-Strauss moves spiral-like through multiple mythic variations and multiple opposing pairs and by proceeding A to B and B to C, etc., demonstrates internal consistencies within the mythic system that aren't immediately apparent to an outside observer. In other words, Lévi-Strauss provides a useful tool for analysis regardless of whether you wish to extrapolate the function of the method to the deeper structures of the human mind or not.

I also find Lévi-Strauss's methodology completely compatible with McLuhan's Laws of the Media. Where McLuhan, via the Tetrad asks us to consider what a technology or medium enhances, obsolesces, retrieves and reverses into, Lévi-Strauss will start with a pair of opposites "A" and "B", but in the course of his analysis will present examples of what he calls " A' " (A prime) and " B' " (B prime) as recursive iterations of the original pair. Perhaps someone will someday conduct a Lévi-Straussian analysis of McLuhan's system of myths.

Lévi-Strauss is also compatible with Ong's notions of primary orality. Ong discusses how different human thought processes must be without text. Lévi-Strauss gives example after example of exactly how these thought processes work. I don't recall Lévi-Strauss discussing the poetry of the Tupi Indians as a means of perpetuating the culture, but he does demonstrate how interconnected myths can act as intellectual place holders for a non-literate population to help them consider complex systems of thought.

Our current system of myths is not only presented verbally, but also via images, in print, and even in interplay of biases amongst all of our competing media. Since we may be relearning this manner of thinking as we move deeper into secondary orality, Lévi-Strauss provides us with a map of where we may be headed.

So as Professor Lévi-Strauss enters his second century, I wish him a Happy Birthday or Joyeux Anniversaire!

Meta Four Play Part 4 - McLuhan's Tetrad and Lévi-Strauss' Canonical Formula: Down the Rabbit Hole

My previous posts on this topic, which can be found here, here and here attempted to link the process of mythic analysis proposed by Claude Lévi-Strauss in his Canonical Formula with Marshall McLuhan’s approach to the study of technology which he termed his “Laws of the Media.” McLuhan demonstrated his laws using his Tetradic division of that impact into enhancement, obsolescence, retrieval and reversal. This linkage is possible because visual media operate on a mythic basis. The difference between the myths of our era of secondary orality and those of primary orality is that there is now a stronger dependence on visual imagery to tell the story. McLuhan noted that

“…when the entire economy is on an artistic or magical basis, sparked by the magical appeals and promises of the ads (visual ads are in themselves magical in their habit of transforming ordinary objects and situations) is it not repugnant to the total pattern and promise of the new life to accept ‘natural’ effects even at the level of physical taste? The power of the machine to transform the character of work and living strongly invites us to transform every level of existence by art.

Gilbert Seldes mentions how in the early days of TV crowds would stand by the hour watching a TV screen in a shop window when the only picture on the screen was of the traffic in the street in which they stood. Such is likewise the magical power of the press. Reportage takes up the ordinary events, the weather and the municipal events in which we all participate, and changes them simply by virtue of the medium of print and photography. Any communication link or channel necessarily possesses this myth dimension. Much more are the ineluctable modalities of sight and sound charge with powers of metamorphosis which have been magnified by technology into the size and posture of mighty djinns.”(1)

Our current system of myths is not only presented verbally, but also via images, in print, and even in interplay of biases amongst all of our competing media. Since we may be relearning this manner of thinking as we move deeper into secondary orality, McLuhan and Lévi-Strauss each provide us with maps of where we may be headed. What hasn’t been apparent before is how their particular approaches are complementary and when used together, provide a stronger methodology to interpreting and understanding media effects.

Every television commercial is a lesson in the ways of thought under secondary orality and, as advertising icons spread out to other venues, they act as constant reminders of the secondary orality way to process experience.

Theatrical television is based on literary conventions. Film school students can tell you how every movie is divided into three acts--just like a stage play. One hour theatrical tv programs extend the dramatic arc to four acts, each about 11 minutes long. The drama progresses via thought processes that are linear, based on literacy-based cause and effect logic. TV Ads teach us to think like pre-literate peoples, using the type of non-linear thought processes that Claude Lévi-Strauss divided into "empirical" and "transcendental" deduction.

"Empirical deduction occurs whenever a myth attributes a function value or symbolic meaning to a natural being because of an empirical judgment durably associating the being with the attribution. From a formal point of view the correctness of the empirical judgment is irrelevant." (2)

Empirical deduction begins with some observation of reality. It then treats that observation as if it were an abstract concept. This type of mental process can occur using two different types of association. First, through the use of a metonymic association, some observed characteristic or habit of an animal is treated as if it stood for the entire animal. If this characteristic is found elsewhere in the environment, it too is associated with that animal. The metonymic association then becomes a metaphoric assertion. Lévi-Strauss’s term for such uses of metaphor is “imaginary association.”

"An imaginary association…results in the attribution of curative powers against snake bite and tooth decay to seeds shaped like fangs." (3)

The metonymic association (fangs of a snake) is used to make a metaphoric assertion (fang-shaped seeds cure snake bite). In classic television advertising we see this type of reasoning regularly. The air bubbles in Baggies sandwich bags make the bag look like an alligator’s skin, so an alligator is used as the product mascot. The Volkswagon “bug,” the Turtlewax turtle, and the old Exxon tiger are further examples of this type of association.

In current advertising, the associations are more subtle. For example, many ads feature automobiles that will never in real life leave a paved road "roughing" it through forests or deserts, avoiding natural obstacles and endowing the driver with the "freedom of the wilderness." The irony of these images is that the car or SUV, which often is given an animal name, is actually the embodiment of culture that provides the driver with protection against the storm. This is why Marshall McLuhan could refer to the automobile and driver as a knight in shining armor:

"The car gave to the democratic cavalier his horse and armor and haughty insolence in one package, transmogrifying the knight into a misguided missile." (4)

"Transcendental" deduction operates at another step removed from reality. The characteristic attributed to an animal or an object is removed from any grounding in empirical observation, and is determined by its relative position in the culture's symbolic structure as a whole. Lévi-Strauss states that:

"It does not necessarily rest on a true or false, a direct or indirect empirical base; rather, it stems from the awareness of a certain logical necessity, that of attributing certain properties to a given being because empirical deduction has previously connected this being with others on the basis of a set of correlative properties." (5)

Lévi-Strauss has borrowed the notion of redundancy from communication theory to explain the rationale behind this procedure. Imagine that you are the story teller of a culture that relies on oral communication for the transmission of its body of knowledge. Let us assume for the sake of argument that you are fully aware of the hidden structural associations that your stories are portraying. How would you insure that the information contained in those tales would survive the erosion of time and the individual idiosyncrasies of future story tellers? One way would be to take the basic message or messages and repeat them over and over again using different formats and imagery. Though the stories would seem to be about different heroes, animals, events, and so on, the underlying struc­ture would be more or less the same throughout. Furthermore, future story tellers would internalize these structures so that they would tend to reject any alterations which went against the general pattern.

That's why, in our secondary orality culture, ads want to insinuate themselves into every aspect of our lives: Not just as an accepted part of television and radio and magazines but also in movies and broadway theaters, in our schools and workplaces. Can our places of worship be far behind?

The type of thought manifest in television advertising represents the symbolic realization of the lesson of the medium itself. A medium of images and sounds, TV's biases toward the non-discursive are represented and reinforced in the narratives of advertising.

(1)McLuhan, M. (2005). "Notes on the Media as Art Forms" in Marshall McLuhan - Unbound, E. McLuhan and W. Terrence Gordon, eds. (Corte Madera, CA: Gingko Press), pp 8-9.

(2) Levi-Strauss, C. (1971). “The Deduction of the Crane,” in Structural Analysis of Oral Tradition, Maranda, P. and Maranda E.K., Eds. (p. 3). Philadelphia: University of Pennsylvania Press.

(3) Ibid. (p. 3)

(4) McLuhan, M. (1994). Understanding Media: The Extension of Man (p. 17). Cambridge, MA: The MIT Press.

(5) Levi-Strauss, C. Op. Cit, (p. 3)

On Ray Bradbury’s Fahrenheit 451

I am happy to see my 2007 article about Ray Bradbury and his novel, Fahrenheit 451, cited as part a bibilography connected with the National Endowment for the Arts "Big Read". I reproduce it here, or you can go to Blogcritics where it was originally published here.

Rock, Paper, Video: Ray Bradbury Interprets Fahrenheit 451
An author is not always the best interpreter of his own work.

In a recent interview in the LA Weekly News, speculative fiction master Ray Bradbury claimed that most people have misinterpreted his seminal classic Fahrenheit 451. According to Bradbury, F451 was not about censorship and the threat of a tyrannous government. It was about the way television will make us into a nation of non-readers, which means being non-reflective, hedonistic and conformist.

Bradbury now asserts that Montag and other readers in his future dystopia were pursued because they refused to conform to the television-induced stupor of the general population, not because they subverted book burning. Books were burned, not as an act of suppression, but because they were irrelevant.

As books are burned and reading becomes a crime, what do the literate rebels in Fahrenheit 451 do? They each memorize a book, and on their deathbeds they pass that work on orally to a descendant. Bradbury rightly intuited that as electronic media superseded print, the values and concerns of our culture would change. But, being literate himself, Bradbury couldn't imagine that a society without literature could be anything but childish and shallow.

Borrowing from Northrop Frye, I would like to suggest that often the author of a work doesn't always fully comprehend its significance, but I would like to go one step further. Sometimes, authors are more intuitive than they themselves realize. Fahrenheit 451 may or may not be a book about government censorship, but the more important idea that Bradbury offered way back in 1953 was that electronic media would return us to an oral culture, or as Walter J.Ong later termed it, a condition of secondary orality.

Media Ecologists identify three major eras in the development of human cultures: orality, literacy and secondary orality. Pure oral cultures existed before writing was invented and had to devise various tricks and mnemonic devices to pass hard-won knowledge from generation to generation. Rhymes, rhythms, parables and puns helped preserve oral culture. Personal skills that were valued included memory, voice and the ability to weave an encyclopedian epic from standard poetic pieces. "Rhapsodist" was Classical Greek for "weaver."

When writing was invented, information could be preserved outside of human memory, and essential cultural activities of orality like story telling and singing became pastimes. Reading, writing and 'rithmetic became the tools to educate our children. It then became of concern which medium was used to preserve the writing. Durable media like stone were long lasting, but hard to carry around. Portable media like papyrus and later, paper were easy to transport, but didn't last nearly as long. Writing not only allowed the preservation of culture, but also the distribution of that information far beyond its source of origination.

In secondary orality, the major institutions and beliefs of a culture are once again driven by modes of thought and practices based on oral communication, not literacy. Linear thinking gives way to gestalt thinking, logic is replace by intuition, and we begin to think with our "guts" rather than our heads. Computer hardware takes the place of human brain cells for information storage, but oral activities like singing return to center stage. The tools of cultural transmission may be the same as those of primary orality, but the arts are informed by a legacy of writing.

So, is Ray Bradbury an early Media Ecologist? One could say that all writers of speculative fiction are practicing speculative Media Ecology. In Bradbury's case, he could predict the outcome of adopting a new media environment without fully grasping the influence of electronic media. It is significant that by the end of Fahrenheit 451, the TV-addicted culture has destroyed itself in war and the secondary orality rebels move to rebuild society. Their ultimate supremacy signifies the ascendancy of secondary orality, not its defeat.

Sakai and Social Networking

I'm attending the 2007 Sakai Conference in California this week. The Sakai Foundation, a consortium of colleges and universities, oversees the creation of a new “open source” course management system (CMS).

For those of you not connected to an academic institution (Anyone? Anyone?), a CMS such as Blackboard, WebCT, ANGEL, Desire2Learn and now, Sakai, provides university faculty with computer network resources to design and manage their classes.

Within the confines of their particular university's network professors can post their syllabi online, conduct discussions or chats, run quizzes and other evaluation tools, disseminate copies of their course materials and maintain their grade books electronically.

What Sakai brings to the equation is control. True to the “open source” movement, the Sakai code is completely completely free. This means that not only can any individual or institution take the code and do anything they want with it (use it, sell it, change it) but any corporation could do the same. Meanwhile, Sakai members provide staff and resources to develop the product, approve enhancements and correct bugs.

The open source movement, as compared to corporate software development, benefits from many, many eyes surveying the product and providing suggestions. The process provides for speedier product updates and better, more error-free code. Those of us whom Microsoft still sees as guinea pigs for their latest software (Vista anyone? Anyone?) can appreciate this.

Twice a year those institutions involved in the Sakai initiative gather at some appropriate location to share their knowledge and experiences.

But Sakai and open source software isn't what I want to talk about in this post. I want to draw your attention to an article that appeared this past Sunday in the New York Times Week in Review, available here and to the letter to the editor I submitted which is available here.

The article by Alex Wright, Friending, Ancient or Otherwise, discusses the new ways of social networking enabled by such online sites as MySpace and Facebook. Wright writes:

The growth of social networks — and the Internet as a whole — stems largely from an outpouring of expression that often feels more like “talking” than writing: blog posts, comments, homemade videos and, lately, an outpouring of epigrammatic one-liners broadcast using services like Twitter and Facebook status updates (usually proving Gertrude Stein’s maxim that “literature is not remarks”).

In the course of his examination of social networking, Wright quotes my friend Lance Strate who has taking to social networking in a big way (1,335 MySpace friends!) and intends to teach a course on the subject at Fordham University this fall:

“Orality is the base of all human experience,” says Lance Strate, a communications professor at Fordham University and devoted MySpace user. He says he is convinced that the popularity of social networks stems from their appeal to deep-seated, prehistoric patterns of human communication. “We evolved with speech,” he says. “We didn’t evolve with writing.”

Lance's own blog, that, for reasons I can't fathom, he has titled "Lance Strate's Blog Time Passing" can be accessed here. His MySpace site is here. When Lance first posted notice of his contribution to social networking I offered this comment, which I later modified for submission to the New York Times:

My take on the social networking phenomena is that it represents a retrieval, though sped up to electric speeds, of the culture of correspondence of the 18th and 19th centuries.

I don't quite see how a system of communication based on messages like this, typed into the internet, can reflect the biases of oral cultures, but maybe that's what happens when letter writing is pushed to the extreme and flips into its opposite.

To which Lance replied:

I understand your point, Bob, but part of the distinctive quality of correspondence is the length of time that it takes the message to be delivered. Speeding up the interaction restores some of the immediacy of face-to-face interaction, which is why people tend to fall into conversational modes online, rather than draw on formal letter-writing. And letter-writing was a very pure kind of literary activity, where handwriting was the closest thing to a sense of presence, whereas in social networking we have profile pictures, we also have picture albums that others can check out, and potentially there are sound recordings available as MP3s, and video uploads. It is a multimedia environment that represents something much closer to physical presence than letter writing.

As a model media ecologist, Bob, you know that retrieval is one of McLuhan's four laws of media, but it's probably the most problematic one of all. and yes, you could say that e-mail obsolesces (another law) telephone conversations and retrieves letter writing, but I don't think that begins to cover the enormity of the social networking phenomenon. web 2.0, as it is sometimes referred to, is about adding more flexibility and interactivity to the original world-wide web, which was about making the internet more like a mass medium such as publishing, the internet having been a way to make electronic communications more flexible and interactive. it's been a real information war, as our friend Doug Rushkoff has argued. now, what would Levi-Strauss have to say about that?

And to which I responded:

I can't presume to speak for Levi-Strauss, especially concerning the new media social networks, about which, I believe, he has not stated an opinion.

However, if I did presume to put words into Levi-Strauss's mouth, I might suggest that social networking as it is manifested in places like MySpace and Facebook is neither social nor networking in the classic anthropological sense. It may represent the illusion of social networking, just like Second Life presents the illusion of life. It may be next to (ie "meta") social networking, the way metaphysics is "next to" physics.

Native oral cultures exist within three general systems: kinship, mythological and taboo. Kinship systems, as defined by structural anthropologists, are systems of the mutual exchange of goods and women that define social hierarchies and social obligations. Mythological systems operate to overcome or deny the inherent contradictions that exists in a culture's explanation of the world, thereby reinforcing and maintaining the assumptions, interpretations and belief systems of that culture. Taboo systems define what is touchable and what in untouchable in the environment. All these systems allow their participants to create and maintain categories into which they can divide the concrete elements of their particular environment.

The New York Times article mentions that you have 1,335 MySpace friends. That makes me think of the old joke about Chicago's Mayor Daly who would throw parties and invite 10,000 of his closest friends. Surely our definition of "friends" must change as the number approaches the thousands.

So Levi-Strauss might argue that the internet based "social networks" do not meet the requirements of the traditional social networks of oral societies, and so must be something else. We call them social networks the way we first called the automobile the "horseless carriage" or the radio the "wireless."

My own impression is that social networks have more to do with "I" than "Thou" and so represent, not social networks, but rather personal expression. We think we are communicating with other people, but we are really carrying on an elaborate conversation with ourselves.

Which brings us back to Sakai and the open source conference. There is some heresy spreading at the conference that the goal of Sakai, that is, to emulate the functionality of existing CMS's, is "rear view mirror" thinking. Many university faculty are moving beyond the limitations of course management software in the design and conduct of their courses, taking advantage of the vast array of social networking tools available on the internet. Many require their students to start a blog about the class. Some actively incorporate use of Facebook or MySpace into their syllabi. Some predict that to survive and compete against commercial competitors Sakai's course management software must evolve to take advantage of the capabilities of Web 2.0, the fully realized internet.

Sakai open source software development and MySpace-type social networking. Neither could exist without the internet. Both take advantage of the self-reflexive, self correcting characteristics of "many to many" communications. Both represent a new metaphor of social interaction that is still in its infancy.

We may yet witness the formation of elaborate kinship systems, based not on tribal relations but network connections. We may participate in the creation of a new mythologic system, one whose narrative explains the social networks that have come into being and hides whatever internal contradictions arise. And we may or may not become aware of a new set of taboos that appear as if by magic to help us maintain our new categories.

In short, we see the beginnings of what Marshall McLuhan called the elaborate social infrastructure brought about and sustained by any new medium of communication, in this case, the internet.

My Bad: My Other Blogging Milestone (Part 2)

(Updated below)

Well, according to my blog host's count, I haven't posted 68 entries to this blog, I've posted 89 (including the last post celebrating my 68th posting milestone.) This is an opportunity I've let slip by. Not having properly celebrated my 68th post, I am now at a loss about how best to celebrate this, my 90th entry.

I had some thoughts about the new Beatles homage movie "Across the Universe" and how the incorporation of song lyrics into our stories and our lives is symptomatic of a culture entering secondary orality, but that's a topic for another day.

I was going to comment on the how the recent excesses of the Republican noise machine regarding a 12-year-old beneficiary of SCHIP coverage illustrates McLuhan's tetrad. In other words, what has been a highly effective propaganda machine has been pushed past its limits until it has reversed into its opposite, that is, anti-propaganda. That also doesn't seem appropriate.

I know. I'll continue my rerun summary of previous posts!

Some of my posts have constituted blatant efforts to circulate new thought memes into the blogosphere in the hopes of coining the next cultural catch phrase and thereby achieve my 15 minutes of fame.

Thus, in my December 13, 2006 post I celebrated the inclusion of a comment I phoned into Air America Radio:

Announcer: The following is an actual call to Air America Radio.

I think we liberals tend to celebrate and then say "OK. We're done. Let's go back to our own private lives." I think we need to be wary of conservatives, or radical conservatives, or fascists. The structures are still there for them to come back. And next time they come back they'll be smarter and they'll have taken into account the mistakes they made this time.

I didn't receive any callbacks after those commercials ran their course, nor did I receive any residuals.

On January 4, 2007 I reissued my 25-year-old claim that the content of television broadcasts conform to a classic structural dichotomy of culture vs. nature (or social vs. anti-social), and having settled that, implied that we move beyond content analysis and criticism to examine the medium itself:

Within this schema, news broadcasts fall somewhere in between shows and ads in terms of entertainment value vs. propaganda, while shows and ads may have little or nothing to do with the objective world, dividing their productions in terms of their intention to entertain or propagandize. (This is not to say that no show ever has propagandistic intentions, or that no advertising executive ever wishes to entertain. But in general, each is more concerned with the demands of his own domain. Program producers must attract an audience, and advertisers must sell their products.)

It could be stated that if the hidden structure of advertising has to do with an opposition between culture and nature on a personal level, then within the other legs of the triad there are other hidden structures that determine how the particular material is developed and conveyed. I would tentatively suggest that television programming is concerned chiefly with "social versus antisocial behavior on an interpersonal level," while the news deals with this same general opposition at the "public" level. Within this perspective, the various legs of the triad always favor the status quo, since the definition of what constitutes antisocial behavior depends on who is defining social or acceptable behavior.

Part of the reason Fox News is so disturbing is that they continually violate the supposed boundaries between news, entertainment and advertising propaganda.This is why the current concentration of media ownership is so pernicious. As part of a major media conglomerate, Fox News can frame their news reports according to their own views of social vs. antisocial public behavior and so they slip down the television triangle both toward propaganda and toward entertainment. Just as foods which are fit for consumption even though "rotten" (alcoholic beverages for example) constitute a special exception to general culinary rules, news which has become propagandized, or created largely to entertain, constitutes a violation of the traditional definition of news and requires adjustments in how we consume reality.

Whoops. There's that Republican noise machine again. For the complete discussion of this, see my paper, "The Savage Mind on Madision Avenue," posted here.

Finally, at least for Part 2 of this series of reruns, there is my attempt to interpret blogging itself in terms of McLuhan's Laws of the Media:

Blogging enhances “many to many” communication. As a medium, blogging allows me to get my message out to many without the need of access to television, radio, print or film production facilities. Blogging also allows me to receive messages from many sources.

Blogging obsolesces one to one or many to one communications. Telephone chats and television binges are replaced by blogging connections.

Blogging retrieves the habits of 18th letter correspondents or diarists. Though this varies widely, at the minimum blogging requires that we capture and express our thoughts via the keyboard. Some bloggers go much further than that.

When pushed to an extreme, blogging reverses into total narcissism. I write only to myself, for myself. I put myself into the blogosphere, and seeing my own image, become entranced.

I think this blogging tetrad holds up pretty well, especially the part about total narcissism.

Well, on to Part 3!

UPDATE: My Bad Again!

One of these days I'll figure this blogging stuff out. It seems that I have only published 68 (now 69) blogs, with 22 other drafts in the works. Many of these drafts may never seen the light of day. So in the immortal words of Emily Latella, "Never Mind!"

The Synagogue as a Multi-Media Environment

Vestigial elements of past cultures persist within our own and affect our public discourse and our artistic creations. This notion is the basis of my recently published paper The Heart of the Matter (Proceedings, 2005 Media Ecology Association Convention) where I trace the concept of the heart as the seat of consciousness through various times and different media. Though we know today that the heart is not the organ of thought and memory, our casual expressions reveal the hidden vestige of past beliefs. We speak of memorizing “by heart.” Our song lyrics remind us that our heart is an open book, or a window into our true feelings and emotions.

Another good example of this principle of persistence can be found in most synagogues. Visit any Saturday morning Torah service at any synagogue and you will witness a multi-media environment that manifests traces of all the pre-modern media eras of mankind.

In my congregation, the Rabbi leads the service, but most of the heavy liturgical carrying is performed (literally) by the Cantor. The Cantor himself is a bard, a remnant of the oral culture of our ancestors. His chants employ mnemonic devices and multiple repetitions to enhance comprehension and memorization. He recites the Torah from a manuscript scroll to an audience who, while they aren’t busy making copies as would have monastic scribes in the Middle Ages, respond orally just like members of any pre-literate culture. At the same time, with all these pre-literate vestiges evident throughout the ceremony, Jews are characterized as the “People of the Book.”

While several media are represented in the Jewish service, they are all word based. Images are proscribed by the Second Commandment, and so pictures, paintings and sculptures are not allowed. No illuminated texts. And of course, no film, no video, no Powerpoints. So it could be argued that Judaism acts as a counterpoint to our modern mass media-saturated culture.

Neil Postman argued in Building a Bridge to the Eighteenth Century that our schools should operate as conserving opponents to the continuous non-discursive bombardment of electronic media in order to preserve and perpetuate the beliefs and values of the Enlightenment. These values include such things as individual liberty, rational discourse and democratic decision making. Along with the Sabbath and Holiday liturgy, other aspects of Judaism demonstrate a conserving characteristic very much in sync with Postman's suggestions. The Jewish holidays reflect remnants of the rituals and living conditions of earlier societies. Harvest festivals, year-end story-telling cycle celebrations, days of atonement and renewal, commemorations of significant historic events may not signify in modern cultures what they did to early farmer/shepards, but they act as reminders of other times and other places. Jewish males are circumcised, passing through a ritual of physical mutilation or transformation that corresponds to those of pre-literate societies all over the world. Jewish dietary restrictions also reflect those of pre-literate cultures, which, according to Claude Levi-Strauss, have less to do with what is good to eat, than what is good to think with.

Whether we will ever see a K-12 curriculum founded on Postman's suggestions is debatable. However, it is clear that the liturgies and rituals of Judaism perform this very function. By excluding non-discursive media, by copying and disseminating the manuscript form, and by actively promoting the practices of pre-literate chanting and poesy, Judaism confronts modern media-generated attitudes and beliefs and offers alternatives based on tried and true social and cultural practices.

Rock, Paper, Video: Ray Bradbury Interprets Fahrenheit 451

An author is not always the best interpreter of his own work.

In a recent interview in the LA Weekly News speculative fiction master Ray Bradbury claimed that most people have misinterpreted his seminal classic Fahrenheit 451. According to Bradbury, F451 was not about censorship and the threat of a tyrannous government. It was about the way television will make us into a nation of non-readers, which means being non-reflective, hedonistic and conformist.

Bradbury now asserts that Montag and other readers in his future dystopia were pursued because they refused to conform to the television-induced stupor of the general population, not because they subverted book burning. Books were burned, not as an act of suppression, but because they were irrelevant.

As books are burned and reading becomes a crime, what do the literate rebels in Fahrenheit 451 do? They each memorize a book, and on their deathbeds they pass that work on orally to a descendent. Bradbury rightly intuited that as electronic media superseded print, the values and concerns of our culture would change. But, being literate himself, Bradbury couldn’t imagine that a society without literature could be anything but childish and shallow.

Borrowing from Northrop Frye, I would like to suggest that often the author of a work doesn’t always fully comprehend its significance, but I would like to go one step further. Sometimes, authors are more intuitive than they themselves realize. Fahrenheit 451 may or may not be a book about government censorship, but the more important idea that Bradbury offered way back in 1953 was that electronic media would return us to an oral culture, or as Walter J.Ong later termed it, a condition of secondary orality.

Media Ecologists identify three major eras in the development of human cultures: orality, literacy and secondary orality. Their basic premise is that the dominant medium of an era creates a communication environment that determines the nature of the culture. Pure oral cultures existed before writing was invented and had to devise various tricks and mnemonic devices to pass hard-won knowledge from generation to generation. Rhymes, rhythms, parables and puns helped preserve oral culture. Personal skills that were valued included memory, voice and the ability to weave an encyclopedian epic from standard poetic pieces. "Rhapsodist" was Classical Greek for "weaver."

When writing was invented, information could be preserved outside of human memory, and essential cultural activities of orality like story telling and singing became pastimes. Reading, writing and ‘rithmetic became the tools to educate our children. It then became of concern which medium was used to preserve the writing. Durable media like stone were long lasting, but hard to carry around. Portable media like papyrus and later, paper were easy to transport, but didn’t last nearly as long. Writing not only allowed the preservation of culture, but also the distribution of that information far beyond its source of origination.

In secondary orality, the major institutions and beliefs of a culture are once again driven by modes of thought and practices based on oral communication, not literacy. Linear thinking gives way to gestalt thinking, logic is replace by intuition, and we begin to think with our “guts” rather than our heads. Computer hardware takes the place of human brain cells for information storage, but oral activities like singing return to center stage. The tools of cultural transmission may be the same as those of primary orality, but the arts are informed by a legacy of writing.

So, is Ray Bradbury an early Media Ecologist? One could say that all writers of speculative fiction are practicing speculative Media Ecology. In Bradbury’s case, he could predict that a new social environment would be created by the adoption of a new medium of communication without fully grasping the influence of electronic media. He certainly got it right in his later work, The Martian Chronicles, where the Martian environment completely transforms human settlers into new Martians. It is significant that by the end of Fahrenheit 451, the TV-addicted culture has destroyed itself in war and the secondary orality rebels move to rebuild society. Their ultimate supremacy signifies the ascendancy of secondary orality, not its defeat.

Drawing From The Internet Memory Well

As internet technologies provide access to media memories, everyone will have to watch what they say--over and over again.

In the current online issue of Newsweek, Eleanor Clift alludes to Marshall McLuhan's prophecy that externalizing aspects of the human nervous system will result in a significant change in our media ecology. We used to hear about news items “disappearing down the memory hole." With the advent of YouTube, blogs, Google, Lexis-Nexis and other web-based resources, we can now draw almost anything from the Internet-based Memory Well. Clift notes that:

Thanks to technology, what goes on in the confines of Congress doesn't have to stay in the chambers’ corridors. “There’s no more transparent moment than putting something on the Internet,” says Karina Newton, director of new media for Speaker Pelosi. It’s her job to glean the moments and put them out on YouTube, and what breaks through is sometimes a surprise. Massachusetts Rep. Barney Frank being heckled by Republicans and asking, “Does whining come out of my time,” drew nearly 50,000 hits. A 10-minute clip of bureaucratic jousting about what constitutes a power-point presentation attracted almost 100,000 viewers. “It’s where the message and the medium come together,” says Newton, echoing Marshall McLuhan, whose “the medium is the message” defined the television age.

The Memory Well will redefine private vs. public areas. As Joshua Meyerowitz described in No Sense of Place: The Impact of Electronic Media on Social Behavior, the older mass media have already blurred the distinctions between adult and child, between genders and between social classes. Even so, some areas remained more “hidden” than others.

When we lived under conditions of primary orality, human memory was the only way to transmit cultural heritage from one generation to the next. During the manuscript and print eras, written documents replaced memory as the primary means of transmitting information over time and space. In the early years of electronic media, only a few had access to external memory devices to record and preserve our culture. An electronic broadcast would be sent to many, but then disappear into the "aether."

With video cell phones, cheap editing technology and internet access, what once was available to few is available to many. What was private has now become public. And the Internet has added a readily accessible Memory Well to enable cultural recall and dissemination. Items dropped down the Memory Well no longer vanish forever. We now can retrieve video, audio, text and photos at will.

The ability easily to retrieve many if not all of our artifacts will bring about an ontological shift in our culture. For example, in oral cultures a person’s word was his bond. Without written records to provide proof, people had to depend on the spoken word to bind agreements. Our political leaders must now cope with a new power the Memory Well has given to the spoken word. This has profound implications for politics, education, social policy and the mass media themselves, including broadcast news organizations and the press.

Jon Stewart, among many others, already makes great use of the Memory Well to call our leaders and celebrities to account. Juxtapositioning what they say now with what they said then generates laughter now, but will have more dire consequences in the future as the new Media Well-based standards take hold.

The Best of Times for a Media Ecologist

We Media Ecologists truly are blessed to live within the current media environment. Not only do we see an affirmation (for good or ill) of Marshall McLuhan's global village in the World Wide Web, but we also see the playing out of many of the key areas of inquiry we've pursued these many years. The current political climate reaffirms Neil Postman's claim that we have been amusing ourselves to death. Every day the newspapers, television news broadcasts and political websites give us new examples of propaganda to use in our teachings , confirming our study of Jacques Ellul. The recent vote to augment funding of the Iraq War, but with a timetable for withdrawal, could be used as a classic example of Paul Watzlawick's "double bind." In our public discourse, in our entertainment and in our educational institutions we see evidence of the transition to a secondary orality as described by Walter Ong. We think magically, or as Levi-Strauss noted, we engage in transcendental rather than empirical deduction.

We can't seem to focus on the key issues. We are easily distracted by propagandistic techniques. We have trouble distinguishing manufactured fantasies from reality. We have lost our ablity to think logically about solving our problems, preferring image over substance. We fiddle while Rome burns. In other words, contemporary society manifests the very characteristics of cultural disfunction brought about by technology and media that Media Ecologists have predicted for the past 35+ years.

What better time could there be to be a Media Ecologist?

Is the Internet Medium the Message?

In a recent post on Spotlight blogging the field of Digital Media and Learning, Howard Gardner asks "Is the Medium the Message" in the digital age and then responds:

I have no doubt that, over time, the new digital media (NDM) will change our minds—both their contents and their manner of processing information. But the most profound media effects occur slowly. Plato was afraid that writing would change thinking and memory, and he was right about that—but it took decades, perhaps centuries, for the ways that we write to alter the way that we speak, categorize, remember, or distort. So, too, the changes that were wrought by the printing press, the telegraph, and the broadcast media were substantial, but not immediately manifest or understood.

Though he is much criticized nowadays, Marshall McLuhan had genuine insights here. McLuhan argued that new media invariably begin by presenting the contents of the old media: radio and movies first presented the theatrical stage, television initially was visually-presented radio, and so on. This characterization is even true of the NDM, whose initial games, webcasts, search engines, and social networks draw heavily on prototypes developed in a predigital age. It takes time to arrive at the forms of presentation that take advantage of the distinctive features of each new medium.

On the other hand, another of McLuhan’s aphorisms may prove timebound. McLuhan famously contended “The medium is the message.” The classic example here is the 1960 television debates between John F. Kennedy and Richard M. Nixon. Those who heard the debates on radio thought that the authoritative-sounding Vice President had won on points; those who watched the debates on television felt more in synch with the young Senator from Massachusetts. But increasingly, the print, broadcast, and other communication media are merging; in the future, users may pay no attention to the source of, or the means employed by, converging media.

I think Dr. Gardner spot on with regard to the biases of current media and the impact they are having on our society. In our analysis of culture, we Media Ecologists consider the biases regarding time and space of a medium and what attitudes, beliefs and institutions those biases encourage. Harold Innis would have noted whether a medium has permanence and therefore enables communication over time, or is portable and therefore encourages communication over space. This frame of reference has been amended by Walter J. Ong who noted that the salient feature of any human culture is whether it is completely or primarily oral and shapes it cultural institutions around the oral/aural transmission of information or is literate, possessing a means of writing down and transmitting information through sight.

Marshall McLuhan would have added that any technology can be investigated in a four-fold manner. What does it enhance? What does it obsolesce? What does it retrieve that had been lost? What does it reverse into when pushed to an extreme?

The older media have a spatial bias. They can influence mass audiences over great distances, but until recently, were ephemeral. Access to recordings of old programming or even films was not universally available. In primary orality, human memory and speech were the means by which information was stored and transmitted. In the manuscript and print era, writing allowed a disconnect between the source of the message and the recipient. Until recently, any film, TV or radio program was here today and gone tomorrow, thereby mimicking the operation of primary orality cultures. Our transmission of the content of those media remained largely oral, with some commentary in writing.

With regard to the Internet and the accompanying digital media (cell phones, cheap digital recorders and editors, etc.) it seems to me that the medium of the Internet encourages and augments the transition begun with film, radio and television to a culture of secondary orality. The new digital media remove the spatial bias of the older media by allowing the recording and replay of anything anywhere. The Internet allows for the immediate retrieval and replay of almost everything and adds external memory to our secondary orality media. This is the true transformation of our culture that we are witnessing. For example, before YouTube, the recent Imus imbroglio would have been inconceivable. His comments would have faded away immediately after they were delivered. The new media preserves moments like these (Imus’ racial slur, George Allen’s “macaca” remark, etc.) for continuous review.

Postscript to "Cylon Monotheism": Blechman's Communication Appendices (Part 1)

In his blog Lance Strate's Blog Time Passing, Lance answers my questions concerning the monotheism of Cylons on Battlestar Galactic:

"The Cylons are Battlestar Galactica's very own Spartoi, they are the new beings sown from the dragon's teeth, they have a Phoenician/Semitic link”

and

“Human beings are symbols that stand for God. And the Cylons, being monotheists, want to wipe out humanity so that they can take our place as the primary symbols
of God.”

I think that Lance’s insight that the Cylons are a modern correlative of Cadmus’s dragon's teeth is fantastic!

Before I comment further on Lance’s insights, let me make a few meta-communication comments about these series of posts. I call these Blechman’s Communication Appendices, as in vestigial remnants whose true function no one can figure out, but that can cause a real pain.

Appendix #1: Every cultural artifact has pedagogic content. Lance and I have been having a theological discussion based on a pop-culture artifact, a Sci-Fi program on cable TV that is based on a cheesy Star Wars wannabe from the 1970’s. Just as contemporary Homeric scholars recognize that the Iliad and the Odyssey were cultural encyclopedias for Classical Greeks. (See Eric Havelock, Preface to Plato, Joseph Campbell’s Mask of God series, and, of course, Claude Lévi-Strauss’s Mythologiques.), the products of our culture are also encyclopedias, providing instruction on both the content and the medium itself. Every story, art work or musical composition, we read, view or hear contains a lesson in the ways and mores of our culture.

For example, each song we listen to contains instruction in musicology, as defined by our culture. Even the simplest bubble-gum rock song instructs it listeners in our culture’s rules of rhyme, meter, musical notation and storytelling. Some of us learn the lesson better than others, which explains the difference between a Mozart on one end of the spectrum and, say, me on the other. Some lessons can be taught formally and some can be absorbed by osmosis.

Contrary to Jacques Derrida, as I understand him, there is a meaning in the content of a cultural artifact. It doesn’t reside entirely in the reader. For a society to exist, there must be an agreement of basic premises, a basic understanding of the structure of reality and the meanings of signs within that reality. Symbols have meanings which are defined, but even there, a consensus must be agreed upon for the symbols to have any practical use. I don’t mean that you and I can read the same book or view the same movie and not get different meanings out of the experience. However, there must be a fundamental basis that we agree on without interpretation. Just as we must agree upon the Laws of Gravity, even if we don’t approve of them, there are givens without which no culture could function. Pre-literate, technologically less advanced cultures show these “gravity agreements” in their body of myths which, as Lévi-Strauss pointed out, exist to shore up the consensus of reality by denying contradictions or explaining them away.

Appendix #2: Although there are some restrictions, members of a given culture will decide on the use of a particular medium, based on their existing media and cultural biases. As Lance (quoting Lynn White, Jr.)points out: “an innovation opens a door, it does not command.” Still, different media have different biases and encourage certain beliefs and behaviors. Maybe the phonetic alphabet doesn’t force monotheism, but it lays the foundation for its acceptance. I find it inconsistent that, given the diversity of the twelve planets of the Battlestar Galactica universe and the seeming universality of a phonetic alphabet, no one has thought of monotheism before the coming of the Cylons. Maybe they experienced a more rapid transition from a literate to a secondary orality culture, but that still doesn’t explain the Cylon’s acceptance of one God.

Appendix #3: Vestigial elements of past cultures persist within our own. This appendix is the basis of my soon-to-be published paper The Heart of the Matter (Proceedings, 2005 Media Ecology Association Convention) where I trace the concept of the heart as the seat of consciousness through various times and different media. Though we no longer think of the heart as the seat of memory and consciousness, our casual expressions reveal the hidden vestige of past beliefs. We speak of memorizing “by heart.” Our song lyrics remind us that our heart is an open book, or a window into our true feelings and emotions.

Another good example of this principle can be found in most synagogues on any given Saturday. Within the Jewish Shabbat Service are examples and remnants of multiple media environments. In my congregation, the Rabbi leads the service, but most of the heavy carrying is performed (literally) by the Cantor. The Cantor himself is a bard, a remnant of the oral culture of our ancestors. His chants involve mnemonic devices and multiple repetitions to enhance comprehension and memorization. He chants the manuscript of the Torah from a scroll to a group who, while they aren’t making copies as monastic scribes would have, are responding as members of an oral culture would. At the same time, with all these pre-literate vestiges evident throughout the ceremony, Jews are characterized as the “People of the Book.”

Back to Battlestar Galactica
Lance Strate writes:

Which brings me to a point of great significance for our discussion, the myth of the origin of the Greek alphabet, which McLuhan discusses in both The Gutenberg
Galaxy (and see my previous post on Gutenberg!) and Understanding Media: The Extensions of Man. According to Greek myth, the alphabet was introduced by Cadmus, who was a Phoenecian, in fact the son of the king of Phoenecia. This acknowledges the Semitic origin of the alphabet, and it follows that the Semites of Phoenecia, traders who sailed all around the Mediterranean, would be the source of the alphabet's dissemination to Greece. The Greeks called it the Phoenecian alphabet, from which is derived the term phonetic. Cadmus was told by the oracle at Delphi to found a town, which became the city of Thebes. Before doing so, however, he was forced to slay a dragon, and then, following Athena's instructions, sowed the dragon's teeth, from which sprung up a race of men called Spartes (Greek for sown"). All of them were armed for battle and savage, and Cadmus tricked them into fighting among themselves until only five were left, the ancestors of the five noble families of Thebes, who took Cadmus as their king.

McLuhan felt there was an important insight in this myth, relating to the association between the alphabet and the military. The significance of the teeth is that they occur naturally in a line, looking relatively identical, and therefore are the body's analogues to the letters of the alphabet (alphabet as extension of the teeth); teeth also have much to do with the consonants of the alphabet, as the action of tongue in relation to teeth results in different sounds (e.g., "s" and "t"). Of course, teeth are
sharp, they are natural weapons, and again they resemble an army of men, at least an orderly one of the sort made possible by the alphabet.

So, do you see where I'm going with this? The Cylons are Battlestar Galactica's very own Spartoi, they are the new beings sown from the dragon's teeth, they have a Phoenician/Semitic link It's not a question of whether the Cylons have the alphabet, or alphabetic literacy. The Cylons are the alphabet sprung to life, they are what you reap when you sow the dragon's teeth. They are the alphabet as it evolves into the printing press, and mechanization takes command, giving rise to mass production, the multiple, identical copies that, ultimately, are written in the letters D-N-A, so send in the clones. As letters on a page, the Cylons naturally worship a divine Author-ity. Looking at it from this angle, Battlestar Galactica is very media ecological.

As manufactured copies of twelve prototypes, Cylons are a modern sci-fi analogue to the dragon’s teeth. Created by humans to serve humans, Cylons represent the unintended consequences of human hubris. “Hubris” from the Greek, meaning “exaggerated self pride or self-confidence (overbearing pride), often resulting in fatal retribution [italics added].” (from Wikipedia.)

Lance’s connection of Cylon’s with Cadmus’s dragons teeth illustrates the operation of these Appendices. The notion of infinitely repeatable robot copies is something we take for granted. The Greek myth of the dragons teeth, while not perceived on the conscious level, may help us to understand why the Cylons are adversaries and how the best intentions of their human creators can have unintended consequences.

Fundamental Religion as a Return to Orality

(Updated below)

Fundamentalists are an example, under secondary orality, of an instance when a literate tradition succumbs to an electronic influence. As an organized religion, fundamentalists present a paradox. They wish to interpret "literally" the recorded residue of oral culture storytelling. But in doing so, they betray the influence of a pre-literate and/or secondary orality world view. Lévi-Strauss noted that a difference in world views between pre-literate and literate cultures is a difference between a synchronic or a diachronic view of existence.

For a pre-literate culture, there is no real history. There is the "before" time and the "now." Time is not a line, it is a circle, with the current people in its center. When ask to explain the existence of a ritual, an animal species or a belief, pre-literate peoples will describe a before time when an ancestor brought about a change to the way things have been ever since. That is a synchronic world view.

Writing and printing allow for concise record keeping, create archives, provide artifacts from times other than our own and therefore encourage the view that time is linear, with a past, present and future. There is a history, a logical sequence of events, and a realization that certain documented causes have led to certain discernable effects. Things that exist now have evolved over time, perhaps a very long time, and have been subject to historical and natural influences. This is a diachronic world view.

In our electronic culture the speed of transmission encourages a return to a synchronic world view. When fundamentalists tell us the world is only as old as the Bible says, approximately 6000 years, they are attempting to bend history to a synchronic viewpoint. Archeological evidence is not important. The scientific demonstration of the mechanism of evolution over millions of years is only a "theory." By denying historical evidence, fundamentalists are attempting to redefine time as circular, with themselves at its center.

That is why fundamentalists appear to be more tolerant of other religions. The distinction they draw is between a synchronic and a diachronic world view, and not between the any particular religious doctrines

Update

The following critique was posted concerning the above discussion:

I think you are entirely wrong on this point. The conflict is between two diachronic viewpoints, one that dates creation 6000 years, and one that pushes it back into the billions. It is the very existence of a diachronic worldview that makes this disagreement possible. That one side is based on scientific fact as it appears in print media, and the other on religious fact as it appears in the book of Genesis, is besides the point. both groups have a historical view. From a synchronic perspective, the moment of creation exists outside of historical time, it's a sacred time that all times connect to rather than a profane time (as per Eliade), and therefore the profane counting of years just would not matter. That's why fundamentalism is a literate phenomenon. Oral cultures are homeostatic and flexible, not rigidly adhering to a fixed text.

Point taken. I think a good case could be made that fundamentalists have abandoned a diachronic, historical perspective in favor of a faith-based synchronic one. There is an old "Beyond the Fringe" skit where a group of unlikely characters gather on a mountaintop to witness the end of the world. They chant "Now is the End. Perish the World!" and nothing happens. As they're leaving one of them says, "Same time tomorrow? One's of these days we'll get it right."

Even though the stories of the Bible can be placed in historical time, adherence to the Bible as a historical chronology effectively removes fundamentalists from historical time and places them in sacred time. The Bible discusses a creation and delineates the descent of mankind from Adam and Eve. Some fundamentalists would claim that within the Bible is the prediction of the "Rapture" and the end of times. This is not history as I understand it, and therefore does not represent a diachronic viewpoint.

Lévi-Strauss states:

"I have suggested elsewhere that the clumsy distinction between 'peoples without history' and others could with advantage be replace by a distinction between what for convenience I called 'cold' and 'hot' societies: the former seeking, by the institutions they give themselves, to annul the possible effects of historical factors on their equilibrium and continuity in a quasi-automatic fashion; the latter resolutely internalizing the historical process and making it the moving power of their development.

....

It is tedious as well as useless, in this connection, to amass arguments to prove that all societies are in history and change: that this is so is patent. But in getting embroiled in a superfluous demonstration, there is a risk of overlooking the fact that human societies react to this common condition in very different fashions. Some accept it, with good or ill grace, and its consequences (to themselves and other societies) assume immense proportions through their attention to it. Others (which we call primitive for this reason) want to deny it and try, with a dexterity which we underestimate, to make the states of their development which they consider 'prior' as permanent as possible." (The Savage Mind, 1966, pp. 233-234)

What I find fascinating in all this is whether we, being ourselves in a transition period between literacy and secondary orality, can draw parallels between pre-literate societies (where there was no possibility of literate influences) and post-literate societies (where literate influences can be assumed). Can the definitions and characterizations Claude Lévi-Strauss assigned to the "savage" mind (what we would call "oral" or "pre-literate") provide guidance to the nature of this transition? Is the "secondary orality" mind "savage" or not?

Kucinich: Congress To Take On FCC

Let's hope that this note in FMQB is the start of a trend. It is clear that without true media reform there cannot be political reform in our election process or governance.

Rep. Dennis Kucinich (D-OH) made an surprise appearance at the convention to announce that he would be heading up a new House subcommittee which will focus on issues surrounding the Federal Communications Commission.

The Presidential candidate said that the committee would be holding "hearings to push media reform right at the center of Washington.” The Domestic Policy Subcommittee of the House Government Reform Committee was to be officially announced this week in Washington, D.C., but Kucinich opted to make the news public early.

In addition to media ownership, the committee is expected to focus its attention on issues such as net neutrality and major telecommunications mergers. Also in consideration is the "Fairness Doctrine," which required broadcasters to present controversial topics in a fair and honest manner. It was enforced until it was eliminated in 1987.

That being said, I don't think that any of the patron saints of Media Ecology believed that consolidation of media ownership was the main item of concern. It is an item of concern, but not the main event. Any technology will influence a society regardless of ownership, or commercial sponsorship or quality of content. In fact, the better the content, the more people who view/listen/use the medium and the greater its influence.

FCC Commissioner Michael Copps was also on hand at the conference and took broadcasters to task for their current content, speaking of "too little news, too much baloney passed off as news.

So we can applaud the actions of Denis Kucinich in beginning a divestiture of media ownership, reestablishing equal access for others than the party in power and holding political and journalistic sources accountable for the truth in their messages. We'd all like to see this.

However, as Neil Postman pointed out, the medium of television does not lend itself to in-depth, rational political discourse. Our evolution from a literary culture (sometimes called a rational one) to a secondary orality culture is still of concern.

The Structural Study of Television Advertising

Anonymous asks:

I do not understand why you want to relate advertising to mythology. Yes, I know that McLuhan refers in his subtitle to folklore, which he does not really explain, so far as I recall.

Apart from McLuhan, I would not have spontaneously thought to relate advertising to mythology. So what exactly prompts you to make this connection?

Because you are a graduate of the NYU Media Ecology program, perhaps you have been influenced by the thought of Neil Postman. Postman sees advertising as bringing irrational influences into decision making about buying things. He notes that the theory of capitalism is that capitalism is supposed to rely on rational decision making. But advertising influences us to make decisions based on non-rational influences.

So are you connecting advertising with mythology to suggest the non-rational influence that advertising can bring into decision making about buying things? Or does Levi-Strauss suggest a connection between advertising and mythology?

You say, "advertising operates in our culture the way mythology operates in primary oral culture." I'm sorry, but this claim is far from self-evident to me. How does mythology operate in primary oral cultures in your estimate (or in Levi-Strauss's estimate)?

MY RESPONSE:

Most attempts to assign meaning to the content of television programming operate under the same mistaken assumptions that plagued linguistics in its early years. The first linguists mistakenly assumed that meaning could be found in the particular sounds of a language, so that words having to do with water would always use the so-called liquid vowels and consonants, and so on. It wasn't until linguists realized that the sounds of a language have no meaning in and of themselves that they were able to arrive at a viable hypothesis concerning the structure and function of languages. Similarly, until scholars concerned with interpreting the mass media realize that the meanings of our popular culture are to be found in the structural configurations and not in the isolated images and symbols, attempts to discover those meanings will be stymied.

In my dissertation I showed how the seemingly random and isolated elements of television advertising conform to a general overall structure, and I suggested that this structure is similar to one that the French anthropologist, Claude Lévi-Strauss, has identified in the myths of primary orality cultures. In order to better explain what I mean I will first give an example of the similarity between the type of logical processes evident in myths and in advertising, and then I will outline briefly what I believe is the general structure of television advertising.

Lévi-Strauss has determined that the logical processes that go into the creation of a myth can be divided into two categories, “empirical deduction,” and “transcendental deduction”:

"Empirical deduction occurs whenever a myth attributes a function value or symbolic meaning to a natural being because of an empirical judgment durably associating the being with the attribution. From a formal point of view the correctness of the empirical judgment is irrelevant."(Levi-Strauss, C. “The Deduction of the Crane,” in Structural Analysis of Oral Tradition, Pierre Maranda and Elli Kongas Maranda, eds. (Philadelphia: University of Pennsylvania Press, 1971), p. 3.

Empirical deduction begins with some observation of reality. It then treats that observation as if it were an abstract concept. This type of mental process can occur using two different types of association. First, through the use of a metonymic association, some observed characteristic or habit of an animal is treated as if it stood for the entire animal. If this characteristic is found elsewhere in the environment, it too is associated with that animal. The metonymic association then becomes a metaphoric assertion. Lévi-Strauss’s term for such uses of metaphor is “imaginary association.”

"An imaginary association…results in the attribution of curative powers against snake bite and tooth decay to seeds shaped like fangs." (Ibid, p.3)

The metonymic association (fangs of a snake) is used to make a metaphoric assertion (fang-shaped seeds cure snake bite). In television advertising we see this type of reasoning regularly. The air bubbles in Baggies sandwich bags make the bag look like an alligator’s skin, so an alligator was used as the product mascot. The Volkswagon “bug,” the Turtlewax turtle, and the old Exxon tiger are further examples of this type of association.

Transcendental deduction operates at another step removed from reality. The characteristic attributed to an animal or an object is removed from any grounding in empirical observation, and is determined by its relative position in the structure as a whole. Lévi-Strauss states that

"It does not necessarily rest on a true or false, a direct or indirect empirical base; rather, it stems from the awareness of a certain logical necessity, that of attributing certain properties to a given being because empirical deduction has previously connected this being with others on the basis of a set of correlative properties." (Ibid, p. 4)

The functioning of transcendental can best be illustrated by using Levi-Strauss’s own example.

According to the Tupi Indians of South America, the tree frog and the bee are opposites. The frog is the master of water because it lives in water that collects in hollow trees, and seems able to find such habitats even during the dry season. However, the bee also lives in hollow trees, but in honey rather than water. Because honey is not water and water is not honey, the two creatures are seen as opposites. (This version of the argument has been simplified for the sake of brevity, and therefore leaves out other determining factors, such as high/low, etc.) The Tupi also see the jaguar as an opposite of the tree frog. While the frog is present master of water, the jaguar (for reasons excluded here) was the former master of fire, which it gave to mankind. These comparisons, which are based at least in part on some empirical observation, now lead to a third comparison which transcends the objective reality:

"If the frog is opposed to the bee, which has honey instead of water (while the frog itself has water instead of honey), we may now introduce transcendental deduction to conclude that the jaguar (opposed to the frog by empirical deduction) must be like the bee and therefore, possess honey in some fashion." (Ibid, p.6)

This line of reasoning explains why Tupi mythology makes the jaguars the first owners of the honey festival. The association “bee equals jaguar” is forced upon the Tupi by the empirical associations they have given the frog, bee and jaguar. Levi-Strauss says that this type of intellectual process is typical mythic thought. Much that appears illogical and contingent in a myth can ultimately be attributed to this combination of empirical (metonymic-metaphoric) deduction and transcendental deduction.

That this type of thinking is also present in the construction of television advertising has not yet been noted.

Generally, the pro­cess of structural analysis involves the comparing and contrasting of many var­iants of a tale in order to determine what is important and what is not. Levi-Strauss has borrowed the notion of redundancy from communication theory to explain the rationale behind this procedure, Imagine that you are the story teller of a tribe that relies on the oral transmission of its body of knowledge. Let us assume for the sake of argument that you are fully aware of the hid­den structural associations that your stories are portraying. How would you insure that the information contained in those tales would survive the erosion of time and the individual idiosyncrasies of future story tellers? One way would be to take the basic message or messages and repeat them over and over again using different formats and imagery. Though the stories would seem to be about different heroes, animals, events, and so on, the underlying struc­ture would be more or less the same throughout. Furthermore, future story tellers would internalize these structures so that they would tend to reject any alterations which went against the general pattern.

"…mythic thought transcends itself and, going beyond images retaining some rela­tionship with concrete experience, operates in a world of concepts which have been released from any such obligation, and combine with each other in free asso­ciation: by this I mean that they combine not with reference to any external reality but according to the affinities or incompatibilities existing between them in the architecture of the mind." (Levi-Strauss,C. From Honey to Ashes: Introduction to a Science of Mythology, Vol. 2, translated by John and Doreen Wcightman (New York: Harper & Row, 1973), p. 473.)

This point about the use of images in mythology is particularly pertinent to a discussion of television advertising. People in general perceive the television image, not as a referent, but as the object imaged. They do not take into ac­count the fact that in the very act of reproducing the objective world on film or videotape, a transformation occurs. The images become symbols that can be charged with meanings above and beyond the concrete reality of the objects they mimic. One of the consequences of this process of symbolization is that the meanings given to each object are affected by the meaning given to all the other objects in the system.

The following arrangement compares three examples of television advertising in terms of their under­lying structure:


This arrangement shows that although these three advertisements seem to be about entirely different types of products, with different characters and events, their underlying structures are the same. The interesting thing about this correspondence of structural elements is the equivalent function assigned to dirt, children, and arthritis (illness).

Finally if we generalize the structure of the Wisk, L’Eggs and Ben-Gay ads, we arrive at this arrangement.


With this sort of (albeit very brief) analysis it is possible to see that, at least in many television ads, there is a similar underlying structure. In addition, it is possible to discover the same sort of interest in the distinction between nature and culture that Levi-Strauss found in the mythology of primary orality cultures. As you can see, my concern isn't with the intention of the advertisement to sell a product or service. To me this is just McLuhan's juicy meat distracting the watchdogs of our minds while the real effect of television content takes hold. This effect involves a definition of what is "nature" and what is "culture" and what values we assign to each.

Also, if we look at television content writ large, we can, perhaps arbitrarily separate three broad categories: entertainment, news and advertising. Within the larger structure of television, advertising deals with defining social vs. antisocial (or cultural vs. natural) behavior on a personal level. Entertainment shows deal with the same dichotomy on an interpersonal level. News programs are the same opposition on the public level.

Television Advertising Teaches Us How to Think (in an Era of Secondary Orality)

Every television commercial is a lesson in the ways of thought under secondary orality and, as advertising icons spread out to other venues, they act as constant reminders of the secondary orality way to process experience.

Theatrical television is based on literary conventions. Film school students can tell you how every movie is divided into three acts--just like a stage play. One hour theatrical tv programs extend the dramatic arc to four acts, each about 11 minutes long. The drama progresses via thought processes that are linear, based on literacy-based cause and effect logic. TV Ads teach us to think like pre-literate peoples, using the type of non-linear thought processes that Claude Lévi-Strauss divided into "empirical" and "transcendental" deduction.

Empirical deduction occurs whenever a myth attributes a function value or symbolic meaning to a natural being because of an empirical judgment durably associating the being with the attribution. From a formal point of view the correctness of the empirical judgment is irrelevant. (1)

Empirical deduction begins with some observation of reality. It then treats that observation as if it were an abstract concept. This type of mental process can occur using two different types of association. First, through the use of a metonymic association, some observed characteristic or habit of an animal is treated as if it stood for the entire animal. If this characteristic is found elsewhere in the environment, it too is associated with that animal. The metonymic association then becomes a metaphoric assertion. Lévi-Strauss’s term for such uses of metaphor is “imaginary association.”

An imaginary association…results in the attribution of curative powers against snake bite and tooth decay to seeds shaped like fangs. (2)

The metonymic association (fangs of a snake) is used to make a metaphoric assertion (fang-shaped seeds cure snake bite). In classic television advertising we see this type of reasoning regularly. The air bubbles in Baggies sandwich bags make the bag look like an alligator’s skin, so an alligator is used as the product mascot. The Volkswagon “bug,” the Turtlewax turtle, and the old Exxon tiger are further examples of this type of association.

In current advertising, the associations are more subtle. For example, many ads feature automobiles that will never in real life leave a paved road "roughing" it through forests or deserts, avoiding natural obstacles and endowing the driver with the "freedom of the wilderness." The irony of these images is that the car or SUV, which often is given an animal name, is actually the embodiment of culture that provides the driver with protection against the storm. This is why Marshall McLuhan could refer to the automobile and driver as a knight in shining armor:

The car gave to the democratic cavalier his horse and armor and haughty insolence in one package, transmogrifying the knight into a misguided missle. (3)

"Transcendental" deduction operates at another step removed from reality. The characteristic attributed to an animal or an object is removed from any grounding in empirical observation, and is determined by its relative position in the culture's symbolic structure as a whole. Lévi-Strauss states that:

It does not necessarily rest on a true or false, a direct or indirect empirical base; rather, it stems from the awareness of a certain logical necessity, that of attributing certain properties to a given being because empirical deduction has previously connected this being with others on the basis of a set of correlative properties (4)

Lévi-Strauss has borrowed the notion of redundancy from communication theory to explain the rationale behind this procedure. Imagine that you are the story teller of a culture that relies on oral communication for the transmission of its body of knowledge. Let us assume for the sake of argument that you are fully aware of the hid­den structural associations that your stories are portraying. How would you insure that the information contained in those tales would survive the erosion of time and the individual idiosyncrasies of future story tellers? One way would be to take the basic message or messages and repeat them over and over again using different formats and imagery. Though the stories would seem to be about different heroes, animals, events, and so on, the underlying struc­ture would be more or less the same throughout. Furthermore, future story tellers would internalize these structures so that they would tend to reject any alterations which went against the general pattern.

That's why, in our secondary orality culture, ads want to insinuate themselves into every aspect of our lives: Not just as an accepted part of television and radio and magazines but also in movies and broadway theaters, in our schools and workplaces. Can our places of worship be far behind?

The type of thought manifest in television advertising represents the symbolic realization of the lesson of the medium itself. A medium of images and sounds, TV's biases toward the non-discursive are represented and reinforced in the narratives of advertising.

(1) Levi-Strauss, C. (1971). “The Deduction of the Crane,” in Structural Analysis of Oral Tradition, Maranda, P. and Maranda E.K., Eds. (p. 3). Philadelphia: University of Pennsylvania Press.

(2) Ibid. (p. 3)

(3) McLuhan, M. (1994). Understanding Media: The Extension of Man (p. 17). Cambridge, MA: The MIT Press.

(4) Levi-Strauss, C. Op. Cit, (p. 3)