A Quote by Marshall McLuhan

Ads are the cave art of the twentieth century. — © Marshall McLuhan
Ads are the cave art of the twentieth century.
The cave art of Madison Avenue has been by far the most innovative and educative art form of the twentieth century.
Film is more than the twentieth-century art. It's another part of the twentieth-century mind. It's the world seen from inside. We've come to a certain point in the history of film. If a thing can be filmed, the film is implied in the thing itself. This is where we are. The twentieth century is on film. You have to ask yourself if there's anything about us more important than the fact that we're constantly on film, constantly watching ourselves.
The humanities and science are not in inherent conflict but have become separated in the twentieth century. Now their essential unity must be re-emphasized, so that twentieth-century multiplicity may become twentieth-century unity.
The thriller is the cardinal twentieth-century form. All it, like the twentieth century, wants to know is: Who's Guilty?
The nineteenth century planted the words which the twentieth century ripened into the atrocities of Stalin and Hitler. There is hardly an atrocity committed in the twentieth century that was not foreshadowed or even advocated by some noble man of words in the nineteenth.
One of the major changes in attitude that occurred in the world of art as we moved from the nineteenth into the twentieth century was that the twentieth century artist became more involved with personal expression than with celebrating exclusively the values of the society or the church. Along with this change came a broader acceptance of the belief that the artist can invent a reality that is more meaningful than the one that is literally given to the eye. I subscribe enthusiastically to this.
Christian art today should be twentieth-century art.
The twentieth century had produced a literature in Ireland that kept a tense distance from the sources of faith - and for good reason. Irish writing had suffered a terrible censorship in the twentieth century.
It has become part of the accepted wisdom to say that the twentieth century was the century of physics and the twenty-first century will be the century of biology.
Photography is the dominant and fascinating and only authentic folk art of the twentieth century.
Patronizing the Arts is a brilliantly nuanced assessment of why universities must become art patrons. Learning from the twentieth-century university's embrace of Big Science, Garber argues that twenty-first-century universities must rigorously devote their attention to Big Art. Provocative, witty, and layered, Patronizing the Arts cogently demonstrates the advantages for both art and the university in this new and radical alliance.
Given that the nineteenth century was the century of Socialism, of Liberalism, and of Democracy, it does not necessarily follow that the twentieth century must also be a century of Socialism, Liberalism and Democracy: political doctrines pass, but humanity remains, and it may rather be expected that this will be a century of authority ... a century of Fascism. For if the nineteenth century was a century of individualism it may be expected that this will be the century of collectivism and hence the century of the State.
Because the twentieth century was a century of violence, let us make the twenty-first a century of dialogue.
The twentieth century must be a century of the Blessed Sacrament if it means to be a century of resurrection and of life
Today's Uncle Tom doesn't wear a handkerchief on his head. This modern, twentieth-century Uncle Thomas now often wears a top hat. He's usually well-dressed and well-educated. He's often the personification of culture and refinement. The twentieth-century Uncle Thomas sometimes speaks with a Yale or Harvard accent. Sometimes he is known as Professor, Doctor, Judge, and Reverend, even Right Reverend Doctor. This twentieth-century Uncle Thomas is a professional Negro -by that I mean his profession is being a Negro for the white man.
As far as I can see, the history of experimental art in the twentieth century is intimately bound up with the experience of intoxification.
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