Very few people can look a wholesale social, cultural and psychological transformation taking place on an unparalleled scale steadily in the eye…
McLuhan’s point is that when it comes to the impact of new media on the human consciousness – both individual and collective – content is an irrelevance; we have to look not at what is on the screen, but how the screen is used. McLuhan saw in the early 1960s that all the brouhaha about what imagery was shown on television and what words were spoken was so much guff; the transformation from what he termed “the linear Gutenberg technology” to the “total field” one implied by the instantaneity of electricity was all that mattered, and this was a change in the human mind as well as the human hand. McLuhan’s global village is indeed all about us now, and it already exhibits social, psychological and cultural behaviours that are entirely different from those implicit in the technologies of mass broadcast and individual, concentrated absorption…
For those who think that narrative art forms are in a state of crystalline stasis it’s worth taking a slightly longer view: film is only just over a century old, the novel as we commonly understand it a mere two centuries old – the copyrights that protected them are about 150 years old. At the moment, the wholesale reconfiguration of art is only being retarded by demographics: the middle-aged possessors of Gutenberg minds remain in the majority in western societies, and so we struggle to impose our own linearity on a simultaneous medium to which it is quite alien. The young, who cannot read a text for more than a few minutes without texting, who rely on the web for both their love affairs and their memories of heartache, and who can sometimes find even cinema difficult to take unless it comes replete with electronic feedback loops, are not our future: we, the Gutenberg minds have no future, and our art forms and our criticism of those art forms will soon belong only to the academy and the museum.”
How can we better help our clients (and indeed ourselves) look this transformation in the eye?
How can we help ‘Gutenberg minds’ make the transition?
What are we doing to trace and understand these new social, psychological and cultural behaviours?
And what will it mean to produce content for a ‘post-Gutenberg’ world?