For me any of the little gestures I make are all tentative probes. That's why I feel free to make them sound as outrageous or extreme as possible. Until you make it extreme, the probe is not very efficient.

All words at every level of prose and poetry and all devices of language and speech derive their meaning from figure / ground relation.

By phonemic transformation into visual terms, the alphabet became a universal, abstract, static container of meaningless sounds.

The pre-atomist multisensory void was an animate, pulsating, and moving vibrant interval, neither container nor contained, acoustic space penetrated by tactility.

The space of early Greek cosmology was structured by logos - resonant utterance or word.

Logos is the formal cause of the kosmos and all things, responsible for their nature and configuration.

Relativity theory forced the abandonment, in principle, of absolute space and absolute time.

Once introduced discontinuity, once challenge any of the properties of visual space, and as they flow from each other, the whole conceptual framework collapses.

The audience, as ground, shapes and controls the work of art.

Newton, and 'proper scientific method' after him, conducted attention to 'continuous description' of experimental phenomena instead of to causes.

While Poe and the Symbolists were exploring the irrational in literature, Freud had begun to explore the resonant figure/ground double-plot of the conscious and unconscious.

Technologies themselves, regardless of content, produce a hemispheric bias in the users.

Cultural dominance by either the left or the right hemisphere is largely dependent upon environmental factors.

It is always the psychic and social grounds, brought into play by each medium or technology, that readjust the balance of the hemispheres and of human sensibilities into equilibrium with those grounds.

Radical changes of identity, happening suddenly and in very brief intervals of time, have proved more deadly and destructive of human values than wars fought with hardware weapons.

The artist is the person who invents the means to bridge biological inheritance and the environments created by technological innovation.

In tetrad form, the artefact is seen to be not netural or passive, but an active logos or utterance of the human mind or body that transforms the user and his ground.

Interface, of the resonant interval as 'where the action is', whether chemical, psychic or social, involves touch.

The fall or scrapping of a cultural world puts us all into the same archetypal cesspool, engendering nostalgia for earlier conditions.

Older cliches are retrieved both as inherent principles that inform the new ground and new awareness, and as archetypal nostalgia figures with transformed meaning in relation to the new ground.

At electric speed, all forms are pushed to the limits of their potential.

Today we experience, in reverse, what pre-literate man faced with the advent of writing.

The media themselves are the avant-garde of our society. Avant-garde no longer exists in painting, music and poetry, it's the media themselves.

We now live in a technologically prepared environment that blankets the earth itself. The humanly contrived environment of electric information and power has begun to take precedence over the old environment of "nature." Nature, as it were, begins to be the content of our technology.

The unformulated message of an assembly of news items from every quarter of the globe is that the world today is one city. All war is civil war. All suffering is our own.

Once we have surrendered our senses and nervous systems to the private manipulation of those who would try to benefit from taking a lease on our eyes and ears and nerves, we don't really have any rights left. Leasing our eyes and ears and nerves to commercial interests is like handing over the common speech to a private corporation, or like giving the earth's atmosphere to a company as a monopoly.

Physiologically, man in the normal use of technology (or his variously extended body) is perpetually modified by it and in turn finds ever new ways of modifying his technology. Man becomes, as it were, the sex organs of the machine world, as the bee of the plant world, enabling it to fecundate and to evolve ever new forms. The machine world reciprocates man's love by expediting his wishes and desires, namely, in providing him with wealth. One of the merits of motivation research has been the revelation of man's sex relation to the motorcar.

A man's reach must exceed his grasp or what's a metaphor?

All media work us over completely. They are so pervasive in their personal, political, economic, aesthetic, psychological, moral, ethical, and social consequences that they leave no part of us untouched, unaffected, unaltered. The medium is the massage. Any understanding of social and cultural change is impossible without a knowledge of the way media work as environments. All media are extensions of some human faculty - psychic or physical.

Media, by altering the environment, evoke in us unique ratios of sense perception...When these ratios change, men change.

Electric circuitry profoundly involves men with one another. Information pours upon us, instantaneously and continuously.

Environments are invisible. Their groundrules, pervasive structure, and overall patterns elude easy perception.

The invention of printing did away with anonymity, fostering ideas of literary fame and the habit of considering intellectual effort as private property.

Youth instinctively understand the present environment - the electric drama. It lives mythically and in depth.

In television, images are projected at you. You are the screen. The images wrap around you. You are the vanishing point.

Until writing was invented, man lived in acoustic space: boundless, directionless, horizonless, in the dark of the mind, in the world of emotion, by primordial intuition, terror. Speech is a social chart of this bog.

We look at the present through a rear-view mirror. We march backwards into the future.

The professional tends to classify and to specialize, to accept uncritically the ground rules of the environment. The ground rules provided by the mass response of his colleagues serves as a pervasive environment of which he is contentedly unaware.

All media are extensions of some human faculty -- psychic or physical.

There is absolutely no inevitability, so long as there is a willingness to contemplate what is happening.

It's misleading to suppose there's any basic difference between education & entertainment. This distinction merely relieves people of the responsibility of looking into the matter.

When we invent a new technology, we become cannibals. We eat ourselves alive since these technologies are merely extensions of ourselves. The new environment shaped by electric technology is a cannibalistic one that eats people. To survive one must study the habits of cannibals.

I don't explain-I explore.

Casting my perils before swains.

Sentimentality, like pornography, is fragmented emotion; a natural consequence of a high visual gradient in any culture.

Headlines are icons, not literature.

We live invested in an electric information environment that is quite as imperceptible to us as water is to fish.

The city no longer exists except as a cultural ghost for tourists. Any highway eatery with its TV set, newspaper and magazine is as cosmopolitan as New York or Paris.

The metropolis today is a classroom; the ads are its teachers. The traditional classroom is an obsolete detention home, a feudal dungeon.

Until writing was invented, we lived in acoustic space: boundless, directionless, horizonless, the dark of the mind, the world of emotion, primordial intuition, terror. Speech is a social chart of this bog.