These will be the ways of the king who will reign over you: he will take your sons and appoint them to his chariots and to be his ...horsemen, and to run before his chariots; and he will appoint for himself commanders of thousands and commanders of fifties, and some to plow his ground and to reap his harvest, and to make his implements of war and the equipment of his chariots. He will take your daughters to be perfumers and cooks and bakers. He will take the best of your fields and vineyards and olive orchards and give them to his courtiers. He will take one-tenth of your grain and of your vineyards and give it to his officers and his courtiers. He will take your male and female slaves, and the best of your cattle and donkeys, and put them to his work. He will take one-tenth of your flocks, and you shall be his slaves. And in that day you will cry out because of your king, whom you have chosen for yourselves...LESSATTRIBUTION DETAIL »
The discussion of the whole problem of technology ... has been strangely led astray through an all-too-exclusive concentration upo...n the service or disservice the machines render to men. The assumption here is that every tool and implement is primarily designed to make human life easier and human labor less painful.... But ... homo faber, the toolmaker, invented tools and equipment in order to erect a world, not ... to help the human life process. The question therefore is not so much whether we are the masters or the slaves of our machines, but whether machines still serve the world and its things, or if, on the contrary, they and the automatic motion of their processes have begun to rule and even destroy world and things.LESSATTRIBUTION DETAIL »
Analogies between the stage and the screen assume that they deal with the same material. But they don't. The material of the scree...n is not actual objects but images fixed on the film. And the very fact that they have their being on film endows these images with properties which are never found in actual objects. For instance, on the stage the actor moves in real space and time. He cannot even cross the room without performing a definite number of movements. On the screen an action may be shown only in terminal points with all its intervening moments left out. Similarly, in watching a performance on the stage the spectator is governed by the actual conditions of space and time. Not so in the case of the movie spectator. Thanks to the moving camera he is able to view the scene from all kinds of angles, leaping from a long-distance view to a close-range inspection of every detail. It is obvious that with this extraordinary power of handling space and time--by elimination and emphasis, according to its dramatic needs--the motion picture can never be content with modeling itself after the stage.LESSATTRIBUTION DETAIL »
Pop artists deal with the lowly trivia of possessions and equipment that the present generation is lugging along with it on its sa...fari into the future.LESSATTRIBUTION DETAIL »
Hell is out of fashion--institutional hells at any rate. The populated infernos of the 20th century are more private affairs, the ...gaps between the bars are the sutures of one's own skull.... A valid hell is one from which there is a possibility of redemption, even if this is never achieved, the dungeons of an architecture of grace whose spires point to some kind of heaven. The institutional hells of the present century are reached with one-way tickets, marked Nagasaki and Buchenwald, worlds of terminal horror even more final than the grave.LESSATTRIBUTION DETAIL »
Mental health data from the 1950's on middle-aged women showed them to be a particularly distressed group, vulnerable to depressio...n and feelings of uselessness. This isn't surprising. If society tells you that your main role is to be attractive to men and you are getting crow's feet, and to be a mother to children and yours are leaving home, no wonder you are distressed.LESSATTRIBUTION DETAIL »
Computer science only indicates the retrospective omnipotence of our technologies. In other words, an infinite capacity to process... data (but only data--i.e. the already given) and in no sense a new vision. With that science, we are entering an era of exhaustivity, which is also an era of exhaustion.LESSATTRIBUTION DETAIL »
One should speak of television's cold light, and why it is inoffensive to the imagination (including the imagination of children).... It is innocuous because it no longer conveys an imaginary, for the simple reason that it is no longer an image. Here it contrasts with the cinema which (though increasingly contaminated by television) is still endowed with an intense imaginary--because it is an image. This is not simply to speak of film as a mere screen or visual form, but as a myth, something that still resembles a double, a mirror, a fantasy, a dream, etc. None of this is in the TV image. It doesn't suggest anything, it mesmerizes.... It is only a screen or, better, it is a miniaturized terminal that immediately appears in your head (you are the screen and the television is watching you), transistorizes all your neurons and passes for a magnetic tape--a tape, not an image.LESSATTRIBUTION DETAIL »
Two archetypes pervade Western thinking on the subject of how reality is best apprehended, archetypes that have their ultimate ori...gin in Plato and Aristotle. For Plato sense data were at best a distraction from knowledge, which was the province of unaided reason. For Aristotle, knowledge consisted in generalizations, but these were derived in the first instance from information gathered from the outside world. These two models of human thinking, termed rationalism and empiricism, respectively, formed the major intellectual legacy of the West down to Descartes and Bacon, who represented, in the seventeenth century, the twin poles of epistemology.LESSATTRIBUTION DETAIL »