Amusing Ourselves to Death Read Online Free PDF Page B

suggestion, it so fixes a conception in our minds that we cannot imagine the one thing without the other: Light is a wave; language, a tree; God, a wise and venerable man; the mind, a dark cavern illuminated by knowledge. And if these metaphors no longer serve us, we must, in the nature of the matter, find others that will. Light is a particle; language, a river; God (as Bertrand Russell proclaimed), a differential equation ; the mind, a garden that yearns to be cultivated.
    But our media-metaphors are not so explicit or so vivid as these, and they are far more complex. In understanding their metaphorical function, we must take into account the symbolic forms of their information, the source of their information, the quantity and speed of their information, the context in which their information is experienced. Thus, it takes some digging to get at them, to grasp, for example, that a clock recreates time as an independent, mathematically precise sequence; that writing recreates the mind as a tablet on which experience is written; that the telegraph recreates news as a commodity. And yet, such digging becomes easier if we start from the assumption that in every tool we create, an idea is embedded that goes beyond the function of the thing itself. It has been pointed out, for example, that the invention of eyeglasses in the twelfth century not only made it possible to improve defective vision but suggested the idea that human beings need not accept as final either the endowments of nature or the ravages of time. Eyeglasses refuted the belief that anatomy is destiny by putting forward the idea that our bodies as well as our minds are improvable. I do not think it goes too far to say that there is a link between the invention of eyeglasses in the twelfth century and gene-splitting research in the twentieth.
    Even such an instrument as the microscope, hardly a tool of everyday use, had embedded within it a quite astonishing idea, not about biology but about psychology. By revealing a world hitherto hidden from view, the microscope suggested a possibility about the structure of the mind.
    If things are not what they seem, if microbes lurk, unseen, on and under our skin, if the invisible controls the visible, then is it not possible that ids and egos and superegos also lurk somewhere unseen? What else is psychoanalysis but a microscope of the mind? Where do our notions of mind come from if not from metaphors generated by our tools? What does it mean to say that someone has an IQ of 126? There are no numbers in people’s heads. Intelligence does not have quantity or magnitude, except as we believe that it does. And why do we believe that it does? Because we have tools that imply that this is what the mind is like. Indeed, our tools for thought suggest to us what our bodies are like, as when someone refers to her “biological clock,” or when we talk of our “genetic codes,” or when we read someone’s face like a book, or when our facial expressions telegraph our intentions.
    When Galileo remarked that the language of nature is written in mathematics, he meant it only as a metaphor. Nature itself does not speak. Neither do our minds or our bodies or, more to the point of this book, our bodies politic. Our conversations about nature and about ourselves are conducted in whatever “languages” we find it possible and convenient to employ. We do not see nature or intelligence or human motivation or ideology as “it” is but only as our languages are. And our languages are our media. Our media are our metaphors. Our metaphors create the content of our culture.

2.
    Media as Epistemology
    It is my intention in this book to show that a great media-metaphor shift has taken place in America, with the result that the content of much of our public discourse has become dangerous nonsense. With this in view, my task in the chapters ahead is straightforward. I must, first, demonstrate how, under the governance of the printing press,