Editing Understanding Media (section)

==Concept of "media"==
[[File:Marshall McLuhan.jpg|thumb|[[Marshall McLuhan]]]]
McLuhan uses interchangeably the words ''medium'', ''media'', and ''technology''.

For McLuhan a ''medium'' is "any extension of ourselves" or, more broadly, "any new technology".<ref name="p7">p.7</ref> Contrastly, in addition to forms such as [[newspaper]]s, [[television]], and [[radio]], McLuhan includes the [[light bulb]],<ref name="p8-9">pp.8-9</ref> [[car]]s, [[speech]], and [[language]] in his definition of ''media'': all of these, as technologies, mediate our communication; their forms or structures affect how we perceive and understand the world around us.

McLuhan says that conventional pronouncements fail in studying media because they focus on content, which blinds them to the psychic and social effects that define the medium's true significance. McLuhan observes that any medium "amplifies or accelerates existing processes", introducing a "change of scale or pace or shape or pattern into human association, affairs, and action", which results in "psychic, and social consequences".<ref name="p7" /><ref name="p8-9" /> This is the real "meaning or message" brought by a medium, a social and psychic message, and it depends solely on the medium itself, regardless of the 'content' emitted by it.<ref name="p7" /> This is basically the meaning of "[[the medium is the message]]".

To demonstrate the flaws of the common belief that the message resides in how the medium is used (the content), McLuhan provides the example of [[mechanization]], pointing out that regardless of the product (e.g., [[corn flakes]] or [[Cadillac]]s), the impact on workers and society is the same.<ref name="p7" />

In a further exemplification of the common unawareness of the real meaning of media, McLuhan says that people "describe the scratch but not the itch".<ref name="p10">p.10</ref> As an example of "media experts" who follow this fundamentally flawed approach, McLuhan quotes a statement from "General" [[David Sarnoff]] (head of [[RCA]]), calling it the "voice of the current [[somnambulism]]".<ref name="p11">p.11</ref> Each medium "adds itself on to what we already are", realizing "amputations and extensions" to our senses and bodies, shaping them in a new technical form. As appealing as this remaking of ourselves may seem, it really puts us in a "narcissistic hypnosis" that prevents us from seeing the real nature of the media.<ref name="p11" /> McLuhan also says that a characteristic of every medium is that its content is always another (previous) medium.<ref name="p8-9" /> For an example in the new millennium, the [[Internet]] is a medium whose content is various media which came before it—the printing press, radio and the moving image.

An overlooked, constantly repeated understanding McLuhan has is that moral judgement (for better or worse) of an individual using media is very difficult, because of the psychic effects media have on society and their users. Moreover, media and technology, for McLuhan, are not necessarily inherently "good" or "bad" but bring about great change in a society's way of life. Awareness of the changes are what McLuhan seemed to consider most important, so that, in his estimation, the only sure disaster would be a society not perceiving a technology's effects on their world, especially the chasms and tensions between generations.

The only possible way to discern the real "principles and lines of force" of a medium (or structure) is to stand aside from it and be detached from it. This is necessary to avoid the powerful ability of any medium to put the unwary into a "subliminal state of Narcissus trance", imposing "its own assumptions, bias, and values" on him. Instead, while in a detached position, one can predict and control the effects of the medium. This is difficult because "the spell can occur immediately upon contact, as in the first bars of a melody".<ref name="p15">p.15</ref> One historical example of such detachment is [[Alexis de Tocqueville]] and the medium of [[typography]]. He was in such position because he was highly literate.<ref name="p15"/> Instead, an historical example of the embrace of technological assumptions happened with the [[Western world]], which, heavily influenced by [[literacy]], took its principles of "uniform and continuous and sequential" for the actual meaning of "rational".<ref name="p15"/>

McLuhan argues that media are ''languages'', with their own structures and systems of grammar, and that they can be studied as such. He believed that media have ''effects'' in that they continually shape and re-shape the ways in which individuals, societies, and cultures perceive and understand the world. In his view, the purpose of [[media studies]] is to make visible what is invisible: the effects of media technologies themselves, rather than simply the messages they convey. [[Media studies]] therefore, ideally, seeks to identify patterns within a medium and in its interactions with other media. Based on his studies in [[New Criticism]], McLuhan argued that technologies are to words as the surrounding culture is to a poem: the former derive their meaning from the context formed by the latter. Like [[Harold Innis]], McLuhan looked to the broader culture and society within which a medium conveys its messages to identify patterns of the medium's effects.<ref>[http://www.collectionscanada.ca/innis-mcluhan/002033-2010-e.html Old Messengers, New Media: The Legacy of Innis and McLuhan] {{webarchive|url=https://web.archive.org/web/20071001082647/http://www.collectionscanada.ca/innis-mcluhan/002033-2010-e.html |date=2007-10-01 }}, a virtual museum exhibition at Library and Archives Canada</ref>

==="Hot" and "cool" media===

In the first part of ''Understanding Media,'' McLuhan also states that different media invite different degrees of participation on the part of a person who chooses to consume a medium. Some media, such as film, were "hot" - that is, they enhance one single [[sense]], in this case [[Visual perception|vision]], in such a manner that a person does not need to exert much effort in filling in the details of a movie image. McLuhan contrasted this with "cool" TV, which he claimed requires more effort on the part of viewer to determine meaning, and [[comics]], which due to their minimal presentation of visual detail require a high degree of effort to fill in details that the cartoonist may have intended to portray. A movie is thus said by McLuhan to be "hot", intensifying one single sense "high definition", demanding a viewer's attention, and a comic book to be "cool" and "low definition", requiring much more conscious participation by the reader to extract value.<ref>''Understanding Media'', p. 22.</ref>

"Any hot medium allows of less participation than a cool one, as a lecture makes for less participation than a seminar, and a book for less than a dialogue."<ref>''Understanding Media'', p. 25.</ref>

Hot media usually, but not always, provide complete involvement without considerable stimulus. For example, print occupies visual space, uses visual senses, but can immerse its reader. Hot media favour analytical precision, quantitative analysis and sequential ordering, as they are usually sequential, linear and logical. They emphasize one sense (for example, of sight or sound) over the others. For this reason, hot media also include [[radio]], as well as [[film]], the [[lecture]] and [[photography]].

Cool media, on the other hand, are usually, but not always, those that provide little involvement with substantial stimulus. They require more active participation on the part of the user, including the perception of abstract patterning and simultaneous comprehension of all parts. Therefore, according to McLuhan cool media include [[television]], as well as the [[seminar]] and [[cartoons]]. McLuhan describes the term "cool media" as emerging from jazz and popular music and, in this context, is used to mean "detached".<ref>See [http://archives.cbc.ca/IDC-1-74-342-1818/people/mcluhan/clip4 CBC Radio Archives]</ref>