Understanding McLuhan/Understanding McLuhan (1996)(Voyager)[Mac-PC].iso/pc/mcluhan.dxr/08807_Field_TCGG T572.txt

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

     This overwhelming example of print as visual, sequential,
uniform, and lineal was not lost on human sensibility in the
sixteenth century. But before turning to its more dramatic
manifestations it is necessary to indicate, as Ong has done,
that the obsession with “method” in the Renaissance finds its
archetype in “the process of setting up type taken from a font.
In each instance, the composition of continuous discourse is a
matter of building up discourse by arranging pre-existing parts
in a spatial pattern.” (p. 168) And it is obvious that Ramus
exercised his extraordinary appeal by being close to the new
patterns of sensibility that people experienced in their contact
with typography. The new “typographic man” who shot into
prominence with printing will get full attention a little later on in
connection with individualism and nationalism. Here we are
concerned to find out the ways in which print structured ideas
of applied  knowledge by separation and division, moving always