again to use sensory language, and that is what I 
have tried to do. I think that that perception, my 
initial perception about this, certainly came from 
McLuhan. Whenever I write about media, or when I 
write about high art, I am trying to use a very 
explosive, high-impact—some people would 
describe it as muscular sound—that’s coming from 
the way I—it’s coming from a big, bold graphics of 
advertisements. Coming from the big, bold colors 
and size of 1950s Technicolor Cinemascope movies 
and so on. I’ve joined McLuhan in this to Walter 
Pater, the great aesthete who said in the 19th 
century that the way you should write about 
criticism is in terms of the way the artwork strikes