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@ -61,7 +61,7 @@ When we translate image into concept, we decompose the image—we analyze it. We
For the elite, the problem is that the more objective and clearer the linear fiction becomes, the more it is impoverished, because ittends to lose contact with the facts it wants to represent (all meaning). Therefore, the messages of linear fiction can no longer be made satisfactorily adequate to the immediate experience we still have of the world. For the mass culture, the problem is that the more technically perfect the images become, the richer they become and the more completely they substitute themselves for the facts they may have originally represented. Therefore, the facts are no longer needed; the images can stand for themselves, and thus lose all their original meaning. They no longer need tobe made adequate to the immediate experience of the world; that experience is thus abandoned. In other words, the world of linear fiction, the world of the elite, is more and more disclosing its merely conceptual, fictitious character — and the world of surface fiction, the world of themasses, is masking its fictitious For the elite, the problem is that the more objective and clearer the linear fiction becomes, the more it is impoverished, because ittends to lose contact with the facts it wants to represent (all meaning). Therefore, the messages of linear fiction can no longer be made satisfactorily adequate to the immediate experience we still have of the world. For the mass culture, the problem is that the more technically perfect the images become, the richer they become and the more completely they substitute themselves for the facts they may have originally represented. Therefore, the facts are no longer needed; the images can stand for themselves, and thus lose all their original meaning. They no longer need tobe made adequate to the immediate experience of the world; that experience is thus abandoned. In other words, the world of linear fiction, the world of the elite, is more and more disclosing its merely conceptual, fictitious character — and the world of surface fiction, the world of themasses, is masking its fictitious
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#sciences #sciences #processthah
The sciences, and other articulations of linear thought such as poetry, literature, and music, are having increasing recourse to imaginal surface thinking; they are able to do so because of the technical advance of surface media. And, in a similar way, these surface media, including painting, graphics, and posters, are having increasing recourse to linear thought, and they can do so because their own technical advance permits it. Although The sciences, and other articulations of linear thought such as poetry, literature, and music, are having increasing recourse to imaginal surface thinking; they are able to do so because of the technical advance of surface media. And, in a similar way, these surface media, including painting, graphics, and posters, are having increasing recourse to linear thought, and they can do so because their own technical advance permits it. Although