The Battlestar Galactica Guide to Great Literature

As they contemplated Season Four, Battlestar Galactica's writers confronted the narrative mess of the previous three years and exclaimed "There must be some way out of here!"

Would-be screenwriters, novelists and playwrights can learn an important lesson from this past week’s Battlestar Galactica finale. For those not tuned into the BSG universe, the series finale revealed that Starbuck, the plucky fighter pilot who died and came back to life a few seasons back, was not quite human. You may think that BSG’s writers mixed up coffee brands in their minds, Starbuck’s Incorporated with Chock Full 0’ Nuts (that heavenly coffee), when they reincarnated Starbuck not as an android or a clone or some other high SciFi concept, but rather as a true angel. In fact, Angel Starbuck allowed the writers to conveniently tie up of a number of loose ends, contradictory story arcs and mythological red herrings that kept viewers coming back for more Human/Cylon action week after week and season after interrupted season.

In true Deus ex Machina fashion, Angel Starbuck leads the wandering BSG survivors to Earth, not the cinder Earth they previously visited, but our own true Earth of 150,000 years ago where the primitive native inhabitants sat around their campfires humming Bob Dylan tunes. The various BSG humans, Cylons and hybrids disembark, toss their advanced technology into the nearest convenient fusion recycler, scatter themselves to the Earth’s four corners and presumably become fruitful and multiply. Having completed her angelic mission, Angel Starbuck simply vanishes, leaving Lee Adama ("Apollo") to wonder on God's inscrutability.

Flash forward to our present-day world on the verge of creating its own Cylons thanks to Japanese robotics advances, and we witness two angels in America. They appear in the guise of Cylon Caprica 6 and Human Gaius Baltar strolling arm-in-arm through the streets of Manhattan, and go about wryly commenting on our civilization’s chance to get the cybernetics thing right this time.

So Battlestar Galactica turns out to have been about angels, not robots, divine intervention, not binary interpolation. A better title for the series might have been "Cylons In The Hands of An Angry God." This is where the other arts can learn a lesson from television in general and Battlestar Galactica in particular. No matter how dire the circumstances, how severe the situation, how irreconcilable the protagonists, there is no conceivable story line that can’t be resolved by supernatural agency.

A survey of the great literature of the world reveals that, with the exception of The Bible, The Koran, John Milton's Paradise Lost and possibly James Joyce's Finnegans Wake, no writer of note has hit upon this simple device to resolve the dramatic crises of their writings. In tale after tale, protagonists suffer the slings and arrows of outrageous fortune without the benefit of divine intervention.

Imagine a Shakespeare's Hamlet, Act V, where an Angel prince Hamlet exchanges the poison drinks and weapons for less lethal alternatives and convinces usurper Claudius to voluntarily abdicate his throne to a newly heroic Prince of Denmark.

Or an Arthur Miller's Death of a Salesman where a reincarnated Angel Ben Loman appears bearing a new, lucrative sales route to bestow on his father.

How about an update of Margaret Mitchell's Gone With The Wind where Angel Melanie reappears and leads the South to victory, saves baby Bonnie from her equestrian mishap and convinces Rhett and Scarlett that they were truly meant for each other.

And of course, there would be a Herman Melville's Moby Dick where another angelic Starbuck finally nails the great white whale for Captain Ahab with a propitious cast of his harpoon.

You can see the possibilities.

Post-modern critics may argue that dramatic art isn’t like that. In our poetry, our plays, our books and our movies, bad things happen to good people all the time and recently deceased revenants with heavenly bodies don’t always appear to make things right.

Aristotle taught us that art imitates nature. Isn't it about time that art imitate the supernatural?

What We Know About Battlestar Galactica

Any sufficiently advanced technology is indistinguishable from magic

The final season of Battlestar Galactica has begun and the teaser commercials have posed the question: Who is the 5th secret Cylon? While this will be the focus of the final ten BSG episodes, there are a number of other questions the series has presented that may not be resolved by the final curtain.

1. Why do Cylons’ spines glow red when they make love?
It would seem that such an obvious sexual tell would be counterproductive for a cadre of seductive simulacrums. In all the years of sexual subversion, did no human ever wonder why their incredibly attractive partners insisted on the missionary position?

We do know that Cylons like sex as much as the next automaton and that they are genetically compatible with humans. They claim to experience “Love” and they purport, at times, to having free will. One can only conclude that the glowing red spine was a feature meant to be included only in Christmas Cylons, but someone slipped in production.

2. How did Cylons develop monotheism?

BSG humans are portrayed as generally secular and polytheistic. Neither Greek nor Hebrew, but rather both and more, human BSG characters sport names or appellations like "Adama," "Apollo," "D'Anna" and for the coffee worshippers amongst us "Starbuck." Their twelve colonial worlds correspond to the twelve signs of the zodiac. They say things like "Thank the Gods" and "Gods help us."

The robotic Cylons are monotheistic, fanatical and proselytizing. Despite their claim that their one god is “love,” or perhaps because of it, they bring about the destruction of the twelve human colonies, killing billions of people and then zealously pursue the few survivors. There is one chilling scene from the first season where the Cylon attack is imminent and Number 6 bends over a carriage to kill an infant. It is unclear whether this is an act of mercy or a preemptive strike.

The odd thing is that the Cylons, being robots, have already achieved eternal life. They literally cannot be killed. Or rather, we see them continually dying and then being reborn. Their reincarnation factory vessels are even called “resurrection ships.” A reborn Cylon is not a type or a clone. It is a recreation of the dead individual Cylon, downloaded from the original with memories and emotions intact. In other words, one of the core motivators of many of Earth’s religions is already an integral part of Cylon existence. The only exception to the rule is if a Cylon dies out of range of a resurrection complex. Then they truly die.

If, in spite of being formed in the image of their creators, Cylons reject polytheism, how did they stumble across monotheism?

There is a school of cultural evolutionary thought that suggests that a pre-existing condition to the adoption of monotheism is a phonetic alphabet and some degree of literacy. In a 1977 Issue of ETC: The Journal of General Semantics, in an article titled "Alphabet, Mother of Invention," Marshall McLuhan (yes, that Marshall McLuhan) and Robert K. Logan speculate on the possible origin of monotheism:

"Western thought patterns are highly abstract, compared with Eastern. There developed in the West, and only in the West, a group of innovations that constitute the basis of Western thought. These include (in addition to the alphabet) codified law, monotheism, abstract science, formal logic, and individualism. All of these innovations, including the alphabet, arose within the very narrow geographic zone between the Tigris-Euphrates river system and the Aegean Sea, and within the very narrow time frame between 2000 B.C. and 500 B.C. We do not consider this to be an accident. While not suggesting a direct causal connection between the alphabet and the other innovations, we would claim, however, that the phonetic alphabet played a particularly dynamic role within this constellation of events and provided the ground or framework for the mutual development of these innovations." (Emphasis added)

While the final verdict on this Media Ecological interpretation of religious thought is still out, there surely is some confusion over how the artificial intelligence products of the pantheistic human culture of BSG could arrive at the notion of one God. Religious robots, while intriguing, remain a problem, especially self-ordained monotheistic robots.

Computer processing, as we understand it, requires at least binary notation, which would imply a minimum of two gods. I believe that the depiction of Cylons as monotheistic in the absence of human mortality or alphabetic literacy can only be seen as a true leap of faith on the part of BSG's creators.

3. Why didn’t the Cylons make their “skin jobs” better than they are?
Humanoid Cylons are stronger, arguably smarter and definitely sexier than their human counterparts. However, given the range of possibilities presented by human/android genetics, one wonders why the Cylons didn’t do more?

How about x-ray vision or invulnerability? Is a spider-like precognition out of the question? At the very least, all Cylons could have been equipped with metallic claws that pop out of their knuckles on command.

When you compare humanity’s current evolutionary state to our closest monkey’s uncle, it is clear we are far superior. Our brains are so large we only need to use 10% and often use much less. Every year some Olympian or Marathoner runs faster, jumps higher, or swims more synchronously. To your average orangutan, we must seem like the types of Super Hominid into which they’d all like to evolve. For those of us already at the summit of Earth’s evolutionary trail, where is there to go but up, as in “Up, Up and Away!”?

It may be that Cylons, while clearly superior to humans in every conceivable way, lack the ability to imagine the next great steps in humanoid evolution and the amount of spandex required.

4. Why do the Cylons want to breed half-human/half-Cylon children? Why have children at all?
Any parent who has been on the receiving end while changing a diaper, who has been involved in any school science project or who has attempted sound moderately coherent while explaining the facts of life to a pre-pubescent human child would wonder why Cylons wouldn’t design their offspring to skip right to adulthood. Would-be Cylon parents will soon discover that it is not possible to annihilate the remainder of the human race while coordinating a schedule of after-school activities.

5. Finally, who is the fifth Cylon? What’s the deal with Starbuck? And what about Earth-that-was?

I personally believe that Starbuck is Amelia Earhart and Colonel Tigh is Jimmy Hoffa. The fifth Cylon is not Ellen Tigh, he's Howard Hughes. Or maybe Walt Disney's head. Wait. Didn't he invent animatronics?

That's it! The Cylons are Disney World Character refugees, who fled Earth when Lawrence Lessig finally got Congress to approve term limits on corporate copyrights! First they evolved from singing bears and cavorting pirates into “toaster-heads.” Now they swing full circle back to humanoid approximations of perfection, but they have not been able to completely eliminate the desire to slavishly cater to the pre-adult offspring of their creators.

If this “Magic Kingdom Galactica” hypothesis is true, we should be on the lookout for an upcoming Battlestar Galactica episode that would be a dead giveaway: “Cylons On Ice”.

Rating The Internet

Seven words that you can never say on TV but are OK on the internet

When I seek out entertainment, I depend on the various ratings organizations to help me avoid explicit portrayals of sex, gratuitous graphic violence, foul language or unacceptable vulgarity. I am familiar with the movie ratings systems which warn me of "R" or "NR" or "PG-13" content. When I turn on the TV, I check the rating box in the upper left-hand corner of the screen, and reach for my remote at the first sign of offensive material. When I purchase a video game, I make sure there is no "A", "M" or even "T" on the box.

While there is no comparable safeguard for web browsing, some simple common sense measures have heretofore stood me in good stead. I don't respond to email promises to increase the size of my penis or enhance my sexual experiences. I don't reply to requests from correspondents with names like "CandyPantsXXX" or "NaughtyGirlOXOX" who promise to be my friend or relieve my boredom. Most off-limits web sites reveal their intentions right away by bombarding you with racy music, presenting pre-pubescent nymphs who want you to "get to know them" and, finally, soliciting your credit card number in order to see more.

So imagine my surprise as I was browsing the web site of the Parents Television Council, "ParentsTV.org," which purports to survey and rate the content of television programming for the parents of impressionable children, so they don't have to. According to their "About Us" link, the Parents Television Council "is a non-partisan education organization advocating responsible entertainment. It was founded in 1995 to ensure that children are not constantly assaulted by sex, violence and profanity on television and in other media." Attached to each program is a color code rating, green, yellow, red to serve as a parental guide. These codes are defined briefly as follows:

Red: "Show may include gratuitous sex, explicit dialogue, violent content, or obscene language, and is unsuitable for children"
Yellow: "The show contains adult-oriented themes and dialogue that may be inappropriate for youngsters."
Green: "Family-friendly show promoting responsible themes and traditional values.
Blue: "Not yet rated by the PTC."

Well naturally I wanted to know more about what actually goes into the various ratings categories, and so, ignoring the warning that the ratings details contain "graphic descriptions," I clicked on. I don't think I can adequately describe my horror at what I discovered.

To my chagrin, I learned that the "Red" designation refers to the following words (out of modesty, I have replaced letters with random characters): "Sh*t, d&ck, pr$ck, f@ck, !sshole, c^ck, G—damn, profaning Jesus Christ." These words in their unexpurgated form were accompanied by explicit details of the types of sex and violence, and their frequency, that would warrant red, yellow or green designations.

I also learned that the frequency of "veiled or mild innuendo" or "responsible discussion of sexual issues" may bump the rating from "green" to "yellow," where even one depiction or mention of "sexual innuendo, marital sex, sex implied, homosexuality, pre-coital and/or post-coital or responsible discussion of pornography or masturbation" would suffice. More than three occurrences of the former per half hour gets the bump from green to yellow. Three or more per half hour of the latter group gets the red. I think you get the idea.

Here via a link available to anyone, of any age, is web content that would offend everyone, of every age, from the youngest sprout to the oldest beanstalk. So the question springs to mind, who rates the raters? If we can't rely on our media censors to clean up their act, who can we trust? The Parents Television Council may be performing a noble function visavis television, film and literature, but I'm afraid that until they censor themselves, I cannot in good conscience recommend their website.

For that matter, their example suggests that any website, no matter how innocuous, may contain offensive material. Until an organization takes the burden of discovery off of me by publishing a comprehensive rating list of all internet web sites, I'll just have to console myself by listening to my new collection of George Carlin CDs.

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)

Education in the Age of Secondary Orality

The first humans lived under conditions of primary orality. Individual memory was the only way to transmit cultural heritage from one generation to the next. Learning was based on oral modes with parables, puns, poesy and music central tools of the "educational" system. 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.

During the manuscript and print eras, written documents replaced memory as the primary means of transmitting information over time and space. Copying texts became a means of acquiring knowledge, with remnants of memorization persisting. We learned our ABC's by song and memorized math tables and poetry while at the same time our teachers required written examinations of memorized material.

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." Educators used video for distance learning and to perpetuate the lecture model of education of the manuscript age. Students experienced increasing alienation in the classroom as the culture's true pedagogy was conducted via mass media-based advertising organizations.

With video cell phones, cheap editing technology, internet access and so on, what once was available to few is now available to many. What was private has now become public. The World Wide Web has added a readily accessible "Memory Well" to enable total 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 – without resorting to memorization or physical texts.

This ability easily to retrieve many if not all of our artifacts will bring about a shift in our culture's notion of what is important to know and how to educate our young. It has already generated a crisis in the copyright arena as students unwittingly cut and paste together their assignments from material available online.

Our political leaders and media personalities must now cope with the new power the Memory Well has given to data retrieval. This has profound implications for politics, education, social policy and the mass media themselves, including broadcast news organizations and the traditional press.

Our educators must anticipate the characteristics of this cultural shift and design an education system that prepares our students to live in the era of "secondary" orality. We must learn how to mentor the Millennial Generation.

Performance Enhancing Drugs

In case you've been sleeping for the last 42 years, this Sunday the sports/media event known as the Super Bowl takes place. This penultimate football event, which might well be called "normal football on steroids," reminds us of all the media attention paid to the use of performance enhancing drugs in professional sports. Recent news reports of performance enhancing drug use have included sports ranging from track and field to cycling to major league baseball. These reports have focused on the transgressions of individual athletes rather than the significance of sports programming in our television culture and its influence on our attitudes concerning drug use.

From a Media Ecology perspective, it is possible to examine television content as a function of the television medium itself. As a "one to many" medium, American television acts to dictate and reinforce acceptable social norms and behavior. The content of television seems to have fallen by accident into three distinct categories : entertainment, news and advertising. In fact, these broad categories of programming each stake out a different level of social behavior to manage and control.

Advertising: TV ads deal with social versus antisocial behavior on a personal level. Television advertisements are full endorsements of performance enhancing drugs, from Pepto Bismol to Claritin to Viagra. Participation in social events and personal relationships is made possible for the individual by the use of the proper product. Sometimes the performance enhancing claim is subtle, as in ads for "smart" cereals, cold medications or vitamin supplements. Sometimes it is overt, as in ads for male and female fragrances, erectile dysfunction medications or body building shampoos.

Entertainment: Television entertainment shows are chiefly concerned with social versus anti-social behavior on an interpersonal level. The archetypal television program sets up one or more characters who exist at the borderline of social acceptance, whether they are juveniles learning the ropes, clown characters who are unaware or otherwise ignore social norms, or villains who attempt to subvert the existing social equilibrium and replace it with one of their own.

In all instances the depiction of rule breaking and resolution acts to reinforce those rules. In terms of drug usage as a breaking of social rules, Showtime's Weeds stands out in particular, though it tends to deal with the supposed social dynamics of the drug trade rather than the psychodynamics of the drug itself. Otherwise, most TV entertainment discussions of drug use and its consequences are relegated to occasional afternoon specials and to all episodes of House.

News: Television infotainment shows (otherwise known as "News Broadcasts") address this social/anti-social opposition at the public level. Public order is disturbed by rogue political activists, events of nature or common criminals. Though the particular infraction may not have been resolved by the time of the newscast, the very act of reporting frames the event in terms of acceptable and unacceptable behavior. In each case there are implicit or explicit rules which have been broken and then are reaffirmed. These programs are also full of reports about the drug or alcohol induced exploits of our celebrities, individuals whose very notariety hinges on reporting of their latest binges.

Sports: Where do sports broadcasts fit into to the structure of television content? Sports, as the WWF demonstrates each week, are mainly entertainment broadcasts. Sports participants are tightly bound by the rules of the particular sport. While any given standard entertainment program is about the breaking of rules, sports events are about abiding by rules. Each sport has a cadre of referees, line judges or umpires whose sole purpose is to make sure that the rules of the game are strictly adhered to.

In that sense, all sports are totally "made up." That is, the parties involved, no matter how adversarial they may seem, all agree to the set of rules of play. Rules determine what is allowed and what isn't, and ultimately who wins and who loses. What is acceptable or unacceptable behavior varies from sport to sport, but some set of rules always applies. At the same time, the outcome of the sporting event is not determined. The playing of a sport may be entertainment, but the result of that play is news.

This is the problem with sports programming. It is both news and entertainment. It crosses established boundaries of television content. It is a "made up" activity, but not in the same way that a comedy or drama is "made up."

So we have a basic opposition within the content structure presented by American television. On the one hand we have advertisements, where the performance enhancing drugs or products must be used, and on the opposite end we have sports where the performance enhancing drug must not be used. In between we have differing interations of this primary opposition, with entertainment and news content reflecting multiple variations of this use/don't use opposition.

The point is that we aren't concerned with the effect of drug use, or the unfair advantages performance enhancing drugs might give to advertising, entertainment or news personalities. We are concerned with the advantages performance enhancing drugs might give to professional atheletes. In their case, the use of any drug is itself a violation of the rules which state that, though any given athelete might already represent an outlier of norms concerning physical strength and ability, they shouldn't do anything "artificial" to enhance their already considerable talents.

It is not an accident that the way television content is differentiated conforms to Levi-Strauss's Canonical Formula regarding mythology:

fx(a):fy(b)::fx(b):f(a-1)(x)

In this case, the ultimate transformation promoted by corporate television (use our advertisers' products) begins with sports fx(a), the function of which is to avoid performance enhancing drugs, ie, to remain in a "natural" state. Proceeding through analogous functional areas where drug use is largely ignored fy(b) (entertainment) or is a tolerated aberration fx(b)(News), we arrive at the final iteration where the desired state is acceptance of performance enhancing drugs or products as the necessary state of being f(a-1)(x) (advertising).

The uproar created by sport-related drug use is a function of the relative position of sports in the structure of television programming, not the drug use itself.

Spawn of the Terminator

The Terminator franchise finds new worlds to conquer

In the recent TV resurrection of the Terminator trilogy, The Sara Connors Chronicles, we are presented with a new type of Terminator. In the movies we've seen Terminators take the form of muscle-bound body builders, slippery liquid-metal meanies and Fergalicious babes. In the Chronicles the newest terminator comes in the form of a teenage high school waif complete with hall pass. Played by Summer Glau, this pubescent Terminator can kick ass with the best of them, but so far has largely refrained from committing mass slaughter, preferring to slink around the Connors house in the buff (perhaps producing a different kind of mayhem.)

This is the true revelation of this latest attempt to cash in on the Terminator franchise: Terminators can come in any shape or size. In fact, if Chronicles does well in the ratings, we can expect to see the following Terminator spinoffs:

Look Who's Terminating
An infant Terminator appears and no one realizes he's a stone cold killer.

Welcome Back, Terminator
A high school teacher seems too good to be true, and in fact, he is. Gives "Sweat Hogs" a new meaning.

Leave It To Bereaver
Pre-teen high jinx as middle America is infiltrated by a juvenile Terminator. Something really new for Ward and June to worry about each week.

The Beverly Terminators
A group of clueless Terminators moves into a California mansion. First episode: They meet the Governator.

I Love Lucite
Terminators can be solid or liquid, why not plastic? A sort of "I Married a Terminator," as a zany female Terminator performs hilarious slapstick executions with near perfect comedic timing and then has some 'splaining to do.

Of course, none of these scripted shows can begin until the writers strike is settled. In the meantime reality-based Terminator shows will have to fill the gap. Old formats take on new relevance when killer robot-based:

Whose End of the Line Is It Anyway?

Who Wants to be Terminated?

Skynet's Next Top Model

Big Brother

And of course,

Survivor

You get the idea.

My Blogging Milesone (Part 4): The End of the American Republic

The recent Pakistani constitutional crises provides me with an opportunity to reiterate some political observations concerning our own democracy.

Those of us who were required to take civics classes in high school learned that our constitution provides sufficient checks and balances to fend of the aspirations of a would-be king or a monolithic political party. The salient point of my June 14th article was this: the enduring legacy of this radical neocon Republican era may be the formulation and proof of the idea that our constitutional form of government can be overthrown from within.

Republicans in the Nixon and Reagan eras nipped away at Constitutional safeguards; the present Bush/Cheney administration neocons have swallowed them whole. While we may have weathered the current crisis, the anti-democratic institutions are still in place to try it again some time in the near future.

So here once again is my recipe for overthrowing the American Republic:

1. Subvert the news media: It is clear that the major media outlets, and their journalists and editors, have been compromised in various ways. Not only have they become self-editing, but also the administration is adept at playing the news cycles. News organizations focused on the bottom line have closed overseas bureaus, cut experienced staff, depleted research resources and pandered to the gossip mongers. Without a truly adversarial Fourth Estate, this administration has led us into war, politicized public agencies, committed any number of felonies and thumbed their noses at the other branches of government.


2. Stack the courts with anti-Constitutional judges: This is not an issue of left or right or conservative or progressive. This is an issue of upholding and defending the Constitution, as it was intended by the Founding Fathers. Republican appointees who put party above the Constitution allow the Republic to fail.


3. Distract the public: This may be contingent on #1. The main stream media fill their airwaves and pages with non-news trivia. These modern bread and circus pageants distract the population from understanding and pursuing the own best interests.


4. Cripple the military: The Iraq adventure has accomplished two key things. It has severely stretched our professional military and it has depleted our national guard resources, both in manpower and material. It has also allowed the creation of a large private army that is loyal to their corporations ahead of their country. The Romans had their Praetorian Guards. We have Blackwater.
   
   Another unintended consequence of the occupation in Iraq is the filtering of any senior military opposition to the administration's agenda. Military yes-men have risen to the top, the naysayers have taken early retirement.


5. Weaken the middle class: With more of us scrambling to meet our financial obligations, fewer of us have sufficient time to devote to investigating political wrongdoing and participating in its correction.


6. Game the political process: Republicans have been adept at filling local election positions with those key players who can help stack the deck in their favor. Control of local election oversight positions has been used to influence election rules, purge voter lists and swing close contests to their party. Districts have been gerrymandered to ensure reelection of the incumbent.

The current takeover attempt has failed due to corruption and incompetence spread throughout all three branches of our government. It isn't too hard to imagine a future in which a more competent, less corrupt cabal of political radicals succeeds where their predecessors failed. The blueprint for a future successful takeover of the United States has already been created for them.

What would a Media Ecology patriot do?

Clearly the field of Media Ecology has a lot to offer in the analysis of what is happening in our society, if not a solution to the problem. Championed by Terry Moran as a part of the NYU program in Media Ecology, the impact of propaganda on our public discourse has always been a key aspect of Media Ecological analysis. Neil Postman's Crazy Talk, Stupid Talk and Amusing Ourselves to Death, provide us with cogent arguments concerning the degradation of public discourse brought on by the sloppy use of language and unthinking acceptance of broadcast media-based news programming.

Other key Media Ecological figures like Lance Strate and Paul Levinson have provided a solid foundation in the Media Ecology tradition concerning the various attacks on our Constitutional rights and the impact of media biases. A hint: Media Ecologists are pro civil rights and anti media biases.

So what should an ME patriot do? Clearly analysis must be balanced by action, and I'm happy to say that among the honors granted annually by the Media Ecology Association is an award for the best example of Media Ecology praxis. Following the lead of Strate and Levinson, Media Ecologists should make greater efforts to publish in the various popular print media and make their presence known in broadcast and new media. Now more than ever, Media Ecologists should participate in the election cycle, lending their expertise to any candidate who champions the Constitution over party politics. This would include fact checking, media production skills, technology assessments and yes, practical approaches to counteracting propaganda and political dirty tricks.

To repeat: Our contemporary neo-cons have succeeded in introducing the idea that the our Constitutional form of government can be subverted from within. The immediate threat may be abating, but the danger remains.

When future historians attempt to pinpoint exactly when the United States ceased being a constitutional democracy, they could do no better than to choose the years between 2000 and 2008, in other words, the second Bush administration. This may prove to be the era when the seeds were planted that led to the end of the American Republic and the beginning of the American empire.

The Bionic Woman Meets James Joyce

I'm taking a brief respite (or am I giving my readers a brief respite?) from my reviews of past postings to ask an important mass cultural question. In considering this question, I don't mean to give the impression that I watch this particular television program, or any television other than public broadcasting for that matter.



On this week's Bionic Woman, Jaime Sommers attended "Stanwich College" in order to track down a dealer in "neuro control" chips. Jaime pretended to be a neuroscience major, because, after all, anyone can fake expertise in a complex field like neuroscience if they just read a book or two. But that’s not really what bothered me, after all, even Jaime pointed out the impossibility of this.

Jaime’s dorm roommate, a "science expert," is having a problem writing a paper about James Joyce's short story "The Dead." "Oh, that's easy," Jaime says. Then, explaining what's going on in the story, Jaime continues, "Joyce was saying that the dead are all around us and we can't escape them. Almost exactly the opposite of his book, Ulysses, which is all about life and sex and humor." Say what?

The girls agreed to swap homework assignments to play to their strengths. This is okay because Jaime works for a top secret government agency that has her do things a lot worse than cheat on college work. What I want to know though is if anyone besides me disturbed by the fact that the bionic woman wants to be a Joyce scholar? (Disclaimer: I majored in English Literature in college with a concentration in Herman Melville and a minor in Joyce. My senior paper, "Melville's Quarrel With God," still has them rolling in the aisles back at my alma mater.)

You don't have to channel surf very far to find dubious mass media takes on political science, physics, and biology on the one hand, and time travel, paranormal, and extraterrestrials on the other. It's not bad enough that television shows have co-opted all the real and imaginary sciences, now they have to assimilate English literature as well?

Let’s not have television characters portray scholarly aspirations unless they are hunting vampires, navigating through star gates, or enabling Lex Luther to kill Superboy. Let’s keep our clear demarcation between high and low cultures and between super heroics and scholars in residence.

By the way, Jaime Sommers got an "A" on her Joyce paper. James Joyce, who will always be with us, has decided to take a long sea voyage with Herman Melville.

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!"

Dan Rather: The Six Million Dollar Newsman

A few thoughts about Dan Rather's heroic (Quixotic?) assault on CBS.

The recent $70M lawsuit brought by Dan Rather against CBS is being billed as a violation of contractual obligations, but it actually stems from a change in broadcast journalism standards that moves the audience's focus from the news story to the news reporter.

I worked at CBS News in the early 1980s when it was tolerated as a cost center but was still the jewel in the corporation’s crown. More specifically, I worked indirectly for Dan Rather as a budget analyst for CBS Reports before it was axed as a non-revenue producing program by new CBS owner Lawrence Tisch. Prior to 1982, the reportage of CBS News was based on a print model where certain standards of journalism were acknowledged, if not always adhered to. Tisch believed the new information environment of broadcast journalism required a subtle (or perhaps not so subtle) change in journalism practices. This is to say that CBS News, under William Paley, aspired to the print model of journalism, while CBS since Lawrence Tisch has adopted broadcast standards that have more to do with ratings than with writings. Along with Rupert Murdoch and other media moguls, Tisch decided to exploit the gap between what the public wanted to know and what the public needed to know.

My son, a graduate of the New York University Film School (formally known as the Tisch School of the Arts - no kidding), recently pointed out to me the differences in the narrative biases of print vs. broadcast media. Print allows the author to create a scene, to develop a narrative based on complex situations and subtle character interactions. Film and broadcast narratives don’t have time for this. Instead, they focus on creating a hero.

Dan Rather, who once was featured on the cover of Time Magazine as CBS News' "Six-Million-Dollar Man," ascended to the CBS anchor chair during this "print to broadcast" transition period. While he almost always tried to stay true to print journalism standards, the pull of broadcast narrative biases was strong. His early work on CBS Reports adhered to the earlier standards of print journalism. His stint as a highly paid anchorman often descended into personal heroics.

Rather once walked off the news set when his time was pre-empted to carry the end of a sporting event. He thought he was making a stand for journalistic standards, but it was generally interpreted as a celebrity hissy-fit. The stress of working under new broadcast assumptions led Rather to end his nightly broadcasts with the admonition "Courage." Compare that with Edward R. Murrow's "Good night and good luck" or Walter Cronkite's "And that's the way it is."

It is ironic, though not unexpected that, in being pilloried by the CBS brass, Rather has followed the path of the hero (see Joseph Campbell) and now returns to tilt at the corporate windmill.

iPhone Unbound!

Recent iPhone/AT&T news suggests additional ways to liberate old technology.

In his New York Times article published this week, Brad Stone describes how a clever 17-year-old with a soldering iron, a few software tools and entirely too much free time has found a way to release the iPhone from the AT&T lock, opening it up to connection to T-Mobile. (“With Software and Soldering, a Non-AT&T iPhone.” New York Times. August 25, 2007.)

This instance of technological liberation is a good introduction to a new service I am offering. Just as clever technologists are finding ways around iPhone/AT&T bondage, I have found ways to liberate other technology for the benefit of all:

• With a simple device, whose details I will post on the internet later today, you can convert any appliance from AC to DC, thereby releasing your household from Con Edison dependency. I think it was Abbey Hoffman who said "Appliances want to be free!" Or maybe he said "Steal this toaster!" I forget.
  
• An amazingly simple set of instructions will allow even a child to change from one channel on any TV set to another. This opens the device up to literally dozens of channels you may not have been aware of. Similarly, those of you who still listen to the radio may be amazed to discover that there are ways to change reception to differing types of music and even talk.
  
• A cheap, easy to apply software patch will allow your computer printer to print in almost any conceivable language. Simple plastic appliqués convert your current keyboard to the alphabet of your choice.
  
• Those of you who use your microwave only to boil water may be amazed to learn that the device can be modified to heat or cook many different types of food. As a first lesson, I will supply a package of specially developed popping corn with a simple set of instructions on how to pop in a microwave. In some cases, this may be as simple as pushing a button.

Future technology enhancement services:

1. Discover additional capabilities of your ten-speed bicycle
2. Scissors, left or right-handed?
3. Your stove can bake and broil too.
4. Shifting car gears.
5. Handy refills let you re-use that old stapler.
6. New bulbs for old: light up your life!
7. Left and right eyes provide binocular vision.
8. Tips for re-oxygenating your own blood without technology. Breathe in, breathe out!
   

Anyone wishing to contract for these or other valuable technology enhancement services, please send me a note via the US postal service. My iPhone is not currently working.

Culture vs. Nature: Women and Advertising in the New Media

As the new media liberate traditional advertising, women may want to reevaluate their roles.

It may seem that economic factors and competition from new media are forcing advertisers to reevaluate how to get their messages across; to engage in product placement and other tricks to penetrate the clutter. In fact this is just the tail wagging the dog. It has always been inevitable that the "content" what we call "ads" would move from the confines of the 15 or 30 seconds spaces between the old content presented by traditional electronic media or the column inches of traditional print media to become involved in every aspect of our lives. Advertising in general wrestles with the same types of concerns that structural anthropologist Claude Lévi-Strauss discerned in the mythology of "primitive" South American Indians. That is, in a context relevant to our modern sensibilities, ads are really dealing with an opposition between nature and culture. In doing so, they provide structure to our lives, disseminate guidelines for how to look and feel, and mandate what rituals to perform to be fully human.

Think about how the average person in Homeric Greece related to The Iliad or The Odyssey. These performance/poems weren't just the "literature" of Greek culture, separate from the general experience. As Eric Havelock, Marshall McLuhan and others have pointed out, The Iliad and The Odyssey constituted cultural how-to manuals, presenting the proper ways for Greek men and women to conduct ceremonies, the proper relationship of Greeks toward their gods and the proper things to believe about just about everything in their world. Claude Lévi-Strauss added that such cultural encyclopedias reconcile or deny the inevitable contradictions within a culture. By doing so, they promote well-being and peace of mind of the members of the culture.

We still can't see that modern advertising, in all its manifestations, performs the same functions in our modern culture that The Iliad and The Odyssey performed in ancient Greece, or that the tales about frogs and honey bees and jaguars performed for native South Americans. In doing so, advertising explains and reconciles the contradictions that must inevitably exist in the lexicon of a complex culture, or deny that those contradictions exist. To help better grasp this concept, I’d like to ask the following question: Why do women in our culture wear makeup?

One response is that our culture still distinguishes men from women along a culture/nature opposition. The religious and scientific stories of our culture tell us that as human beings we are outside or above the constraints of the natural world. At the same time we come into this world through childbirth, we get sick, we age and die, we suffer from various bodily afflictions. How do we reconcile this contradiction?

Lévi-Strauss cites an instance where an anthropological field investigator asks his native informant why his people apply so many tattoos to their bodies. "Because we are not animals" is the reply. They complete the transition from nature to culture, they make themselves cultural beings rather than natural ones, via tattoos and the fact that they are not within nature makes them want to do so. The implication is that they distinguish themselves from the natural order by decorating their skin.

What I am suggesting is that when women apply makeup they are doing the same thing. They are making themselves into cultural beings. By applying a corporate (meaning collective) mask, women tap into a source of collective power. Men don't need to wear makeup because they are, by definition, already cultural. Of course, much advertising operates along this borderline, and because both men and women buy their products, advertisers pitch to both sexes. Ads say “If you have a problem with a bodily function (i.e. nature) we have a cultural product that can help.”

This also applies to sexual attraction. In order to attract a mate both men and women have to look sharp by applying proper grooming aids, and smell sharp by applying proper perfumes, but women must go much further. They must color and condition their hair. They must paint their eyes, their lips and their faces. They must remove hair from inappropriate places on their bodies. Ads never discuss (beyond the obvious sexual claims) why they must do this, only how.

What is an advertisement in a new media web site? Is it presenting a narrative, like television advertising, or is it evoking a response through a still image, like print advertising? The answer is probably both and neither. Banner ads on a web site try to be TV commercials or they try to be print ads and yet they aren’t really either. This is a prime illustration of Marshall McLuhan's assertion that we are numb to the true impact of our media. By shifting the communication paradigm, the new media allow advertising myths to burst out of the confines of the traditional media. While the new media sorts itself out, the advertising of the old media breaks out and becomes the content of our everyday lives. As the mythic avatars of our culture, advertising icons want to insinuate themselves into every aspect of our lives, and we subconsciously want them to do so.

Our collective body of advertising defines what is cultural and what is natural, and offers concise advice on how we can best exist in culture rather than nature. This collective resource, acting as a sort of cultural encyclopedia, performs the same function in our age that the Homeric epics performed in classical Greece. The new media are taking our existing cultural encyclopedia and transforming it into a wikipedia. How this transformation affects our social institutions, our belief structures and our notions concerning gender remains to be seen.

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.

Look What’s Happened to Me! (I Can’t Believe Myself)

For super heroes, evolution is not a theory.

Our continuing pop culture fascination with mutant super humans suggests a hidden subtext promoting evolution over creationism. Like many of my generation, I’ve seen just about every superhero TV show or movie (except The Fantastic Four, nuff said). I used to watch the original Adventures of Superman when I was a boy. I caught the original Batman TV series, The Greatest American Hero (origin of the best TV theme song ever!), Wonder Woman, The Six Million Dollar Man, The Bionic Woman, Buffy, TV-Star Trek series I, II, III, IV and V, and so on. (I include Star Trek even though the super powered characters were generally non-human). The latest chapter in video-hero evolution is Heroes, which each Monday night kicks 24’s butt.

Recently I’ve seen all the old and new Superman movies (should I say golden and tarnished silver age?), Batman Begins (which, compared to the other Batman films should have been called Batman Gets It Right), X-Men, Dos Equis, Triple Sec, and, of course, Spidey. (Does anyone besides me think that making Peter Parker a “webmaster” in the current Spider-Man comic series is just a little too cute?)

So here I am, a fifty-something baby boomer who has been brought up via the mass media on the Nietzschian belief that there can be supermen, that evolution is leading inexorably to human beings who can fly through the air, lift heavy things, cling to walls, change the weather (back at you, Mark Twain!), bend space and time and stretch their bodies like silly putty.

And why not? When you compare humanity’s current evolutionary state to our closest monkey’s uncle, it is clear that we are far superior. Our brains are so large that we only need to use 10% and often use much less. Every year some Olympian or Marathoner runs faster, jumps higher, swims more synchronously. To your average orangutan, we must seem like the types of Super Hominid into which they’d all like to evolve. But for those of us already at the top of the evolutionary trail, where is there to go but up, as in “up, up and away!”?

One clear advantage we have over the other apes is the ability to imagine the next steps in evolution and the amount of spandex that will be involved. No longer dependent on random genetic mutation to help us forage more efficiently for food or increase our ability to procreate, we can conceive of the types of super abilities that enable us to best the evil mutants who clearly didn’t get the evolutionary memo.

Evolution is no longer an environmental issue: It is a moral issue, which brings us back to creationism. If the purpose of evolution is not survival, but the triumph of good over evil, and if these stories are told with the aid of continually improving CGI, what chance have the stories collected in the Bible? If our morals and mores depend not on divine direction but on random mutation, what gives with that old time religion? One of the creepier aspects of Superman Returns, among many creepy things, was the rather obvious portrayal of the Man of Steel as a sort of divine intervener. Can a feature based on Ruben Bolling’s Godman be far behind?

By the way, I missed Heroes this week, but I did see Spider-Man 3 over the weekend.

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.

Spiritual Laryngitis

I have not posted since the tragic events that occurred last Monday in Virginia for a number of reasons. Since frequent posting seems to be the life’s blood of blogging, I think it is appropriate and necessary to explore why I haven’t posted.

The first reason might be called spiritual laryngitis. Like Melville’s Billy Budd, my first reaction to any severe emotional shock is loss of voice. I mean this quite literally. It is not only that I am not sure what to say, but also that I am quite unable to say anything at all. I sweat and strain, but my larynx remains frozen. As the parent of college-age children, my identification with those left to mourn is strong. I truly identify with them and the senseless loss they are experiencing. So the primary cause of my inability to speak is grief.

Second is the foreboding sense that this has happened before, and, quite likely, it will happen again. Our country has neither the political will to control gun availability, nor the compassion towards the mentally ill to fully support appropriate treatment. My paralyzed reaction to this disaster, my shock in the face of the incomprehensible, is also due to latent, inexpressible anger.

In terms of typing a post to this blog, this paralysis extends to that part of my brain that allows me to compose my thoughts for writing and enter them into my computer. What is the appropriate thing to say in the face of disaster? How do you express sorrow in a mass medium?

The bios I have read and seen of the killer describe him as a silent, withdrawn individual, one who appeared have something in common with another Melville character, Bartleby the Scrivener. Bartleby brooded in silence and chose, in his despair, to end his own life. The Virginia Tech killer’s self-immolation required, for reasons we may never fathom, the inclusion of 32 innocent lives and the wounding of any equal number of others.

One way you don’t express your sorrow was illustrated by NBC this past week. NBC’s decision to air the VT killer’s video was not due to a lack of other ways to deliver the newsworthy content of the recordings. There has been quite a bit of controversy over the appropriateness and/or newsworthiness of airing the killer’s self-aggrandizing video. It was not speechlessness that required the airing of the tape. It was competitive, commercial considerations which trumped a sense of decency, an acknowledgement of the damage such a viewing might cause, both to the families of the victims, and to the country at large.

In reacting to this tragedy we tap more deeply the sense of astonishment and outrage we experienced during the Don Imus imbroglio. Imus, who certainly has not ever experienced speechlessness, turned his mock but racist ire toward non-public, innocent Rutgers students. Accomplished young women all, they didn’t deserve such treatment for the sake of Imus’s ego or his radio ratings.

Here, I think, lies the key to the impact this event has had on many of us who have no direct connection with the Virginia Tech population. They were innocent. They were not the cause of the killer’s grievance and should not have been part of his ghastly personal catharsis. That we could react as a nation in horror of these events shows that we can still distinguish between fiction and reality, even if both are delivered to us in a mediated form.

It was also an instance of one of the major gatekeepers of television succumbing to the biases of the medium itself. Neil Postman noted that:

“What is not televisable doesn't exist on TV... What gets on the news are those things for which you have film footage.”(1)

While the medium of television may have a bias toward the visual, the human gatekeepers of the medium could choose not to succumb to it. One of Postman’s gift to his students of Media Ecology is the mandate that we must adopt a moral stance to the impact of media and technology on our society and we must speak out.

Thus in the space of one week I experienced outrage to the killings at Virginia Tech, which left me speechless, and outrage to NBC’s decision to engage in exploitation journalism, which gave me back my voice.

(1) Postman, N. "TV Has Culture by the Throat: A Conversation With Neil Postman." U.S. News and World Report, December 23, 1985. p. 58.

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.

The 'Savage Mind' on Madison Avenue

My 1980 article, The 'Savage Mind' on Madison Avenue: A Structural Study of Television Advertising, is based on a series of live presentations I gave in the 1970's where visual aids were essential. It first appeared in print in the Spring, 1980 issue of ETC: A Review of General Semantics. I've created a separate blog for this article to which I added recordings of the original television commercials and a few extra graphics.

One of the problems faced by anyone working within a rich media environment is that many traditional academic outlets are still largely print oriented. Anyone who has had to convert audiovisual material to print will attest to the fact that something gets lost in the translation. As we move deeper into Walter J. Ong's era of secondary orality, this problem will only get worse.

I always felt the textual descriptions I created of the television ads I used in my study didn't do justice to the originals. In order to better capture my original intention I needed a venue where I could accompany my discussion with the actual recorded examples. After a thirty year delay, the rich media environment of the blogosphere (with some assistance from YouTube) has made this a reality.

Cylon Monotheism: Religion in Battlestar Galactica

There have been a number of recent posts concerning this season of SciFi Channel's "Battlestar Galactica." Over at his blog PaulLevinson.net, Paul writes:

"The opening sequence of episodes in the Fall were among the best of anything I've ever seen on television. Picking up perfectly from the stunning events at the end of the second season, the first shows this past Fall put BSG easily in the company of the best of Star Trek.

The last few minutes of the season finale on Sunday were similarly superb. We'll be talking all summer about how those four people - four! - on Galactica could really be Cylons, and who the fifth still unidentified Cylon really is.”

And in his blog Lance Strate's Blog Time Passing Lance notes that:

“A wonderful touch is that the Cylons are religious--they talk about God, truly believe in God, and their aggressive and violent actions are rooted in their religious convictions.”

I concur that Battlestar Galactica is wonderful, both as Sci-Fi and as television drama of any kind. However, I find the Cyclon's religious affectations confusing and troubling within the total context of the show.

BG humans are portrayed as generally secular and polytheistic. Neither Greek nor Hebrew, but rather both and more, the human characters sport names or appellations like "Adama," "Apollo," "D'Anna" and for the coffee worshippers amongst us "Starbuck." Their twelve colonial worlds correspond to the twelve signs of the zodiac. They say things like "Thank the Gods" and "Gods help us."

The robotic Cylons are monotheistic, fanatical and proselytizing. Despite their claim that their one god is “love,” or perhaps because of it, they bring about the destruction of the twelve human colonies, killing billions of people and then zealously pursue the few survivors. There is one chilling scene from the first season where the Cylon attack is imminent and Number 6 bends over a carriage to kill an infant. It is unclear whether this is an act of mercy or a preemptive strike.

The odd thing is that the Cylons, being robots, have already achieved eternal life. They literally cannot be killed. Or rather, we see them continually dying and then being reborn. Their reincarnation factory vessels are even called “resurrection ships.” A reborn Cylon is not a type or a clone. It is a recreation of the dead individual Cylon, downloaded from the original with memories and emotions intact. In other words, one of the core motivators of many of Earth’s religions is already an integral part of Cylon existence. The only exception to the rule is if a Cylon dies out of range of a resurrection complex. Then they truly die.

If, in spite of being created in the image of their creators, Cylons reject polytheism, how did they stumble across monotheism?

In a 1977 Issue of ETC: The Journal of General Semantics, in an article titled "Alphabet, Mother of Invention," Marshall McLuhan and Robert K. Logan speculate on the possible origin of monotheism:

"Western thought patterns are highly abstract, compared with Eastern. There developed in the West, and only in the West, a group of innovations that constitute the basis of Western thought. These include (in addition to the alphabet) codified law, monotheism, abstract science, formal logic, and individualism. All of these innovations, including the alphabet, arose within the very narrow geographic zone between the Tigris-Euphrates river system and the Aegean Sea, and within the very narrow time frame between 2000 B.C. and 500 B.C. We do not consider this to be an accident. While not suggesting a direct causal connection between the alphabet and the other innovations, we would claim, however, that the phonetic alphabet played a particularly dynamic role within this constellation of events and provided the ground or framework for the mutual development of these innovations."

Perhaps Cylons, while surely literate, as robots are not subject to McLuhan's and Logan's media assertions. One could argue that Battlestar Galactica is not media ecological at all, and therefore need not adhere to the tenants of ME. The humans of BG can develop an advanced civilization without the benefit of alphabetic literacy, or, if their alphabet is phonetic, they can retain their polytheism in spite of it.

Religious robots, while intriging, remain a problem, especially self-ordained monotheistic robots. I believe that the depiction of Cylons as monotheistic in the absence of human mortality or alphabetic literacy can only be seen as a true leap of faith on the part of Battlestar Galactica's creators.