A Quote by Marshall McLuhan
Positively, the effect of speeding up temporal sequence is to abolish time, much as the telegraph and cable abolished space. Of course, the photograph does both.
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What differentiates time from space is that time does have a direction. In that sense it is different from space. I think that's certainly true that whereas spatial dimensions don't have direction or an arrow, time does. It runs from past to future. But I see that arrow of time as rooted in a deeper metaphysical reality, namely the reality of temporal becoming - of things coming to be and passing away. That is why time has this arrow. But it's not sufficient to simply say that time and space are distinct because time has a direction. The question will be: why does it have a direction?
Communications devices were always used to effect change, to effect revolution. Telephone, telegraph - these all seemed like very big enhancements at the time.
We are living in a very pivotal time. The time that we inherit from science is a time to humble you, to dwarf you. It tells you that the sun will not fluxuate for another billion years, that species come and go, and, in other words, on a temporal scale you don't matter. And that now doesn't matter. But when you look at the release of energy, the asymptotic speeding up of processes, we tend to be xenophobically oriented toward the human.
It is a hugely embarrassing situation to find myself in, I'm a professional driver and to be caught speeding and to have my licence taken away for speeding, it would have an effect on my reputation.
Technology gives us the facilities that lessen the barriers of time and distance - the telegraph and cable, the telephone, radio, and the rest.
Wars usually have the effect of speeding up the process of history.
The movie, by sheer speeding up of the mechanical, carried us from the world of sequence and connections into the world of creative configurations and structure.
Time is what keeps the light from reaching us. There is no greater obstacle to God than time: and not only time but temporalities, not only temporal things but temporal affections, not only temporal affections but the very taint and smell of time.
The weapons of war must be abolished before they abolish us.
A photograph records both the thing in front of the camera and the conditions of its making... A photograph is also a document of the state of mind of the photographer. And if you were to extend the idea of the set-up photograph beyond just physically setting up the picture, I would argue that the photographer wills the picture into being.
One of the great intellectual mistakes Einstein made is that he thought that space and time are physically or ontologically entangled. In the present non-spatial universal computational program, space and time happen to be entangled to the extent that, under certain unique circumstances, changes in spatial measurements indicate changes in temporal ones. However, a change in the program itself may cause space and time to disentangle.
Praise is nothing that accumulates. Praise is a sequence, especially if you've toiled for a long time. Praise does not pile up. So in a way, you can't get too much. I don't consider it to be a quantity that you can measure by volume.
The way in which the photograph records experience is also different from the way of language. Language makes sense only when it is presented as a sequence of propositions. Meaning is distorted when a word or sentence is, as we say, taken out of context; when a reader or listener is deprived of what was said before, and after. But there is no such thing as a photograph taken out of context, for a photograph does not require one. In fact, the point of photography is to isolate images from context, so as to make them visible in a different way.
But the European Union does not have a concept of national identity. It was set up to abolish that idea, not to abolish German national identity because that was trying to save itself.
Any rehearsal process - I find, anyway - does have quite an effect on me, and I very much live in that world for the whole period of time that I'm involved with the production. But normally, afterwards with a little bit of space, I can come right back out of it again.
If you look at a photograph, and you think, 'My isn't that a beautiful photograph,' and you go on to the next one, or 'Isn't that nice light?' so what? I mean what does it do to you or what's the real value in the long run? What do you walk away from it with? I mean, I'd much rather show you a photograph that makes demands on you, that you might become involved in on your own terms or be perplexed by.
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