Understanding McLuhan/Understanding McLuhan (1996)(Voyager)[Mac-PC].iso/pc/mcluhan.dxr/07105_Field_TCUM T670.txt

Text File | 1996-04-10 | 1KB | 16 lines

among the senses and the media that seems so natural to
Eisenstein or René Clair. For the Russian, especially, it is easy to
approach any situation structurally, which is to say,
sculpturally. To Eisenstein, the overwhelming fact of film was
that it is an “act of juxtaposition.” But to a culture in an
extreme reach of typographic conditioning, the juxtaposition
must be one of uniform and connected characters and
qualities. There must be no leaps from the unique space of the
tea kettle to the unique space of the kitten or the boot. If such
objects appear, they must be levelled off by some continuous
narrative, or be “contained” in some uniform pictorial space. All
that Salvador Dali had to do to create a furor was to allow the
chest of drawers or the grand piano to exist in its own space
against some Sahara or Alpine backdrop. Merely by releasing
objects from the uniform continuous space of typography we
got modern art and poetry. We can measure the psychic