The Medium Is The Massage

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For the phrase coined by Marshall McLuhan, see The medium is the message.
The Medium Is the Massage: An Inventory of Effects is a book co-created by media analyst Marshall McLuhan and graphic designer Quentin Fiore, with coordination by Jerome Agel. It was published by Bantam books in 1967 and became a bestseller with a cult following. The U.K. edition was published by Allen Lane Penguin Books using cover art by Newsweek photographer Tony Rollo.
Cover of the first UK paperback edition, published by Penguin Books (1967)
The book is 160 pages in length and composed in an experimental, collage style with text superimposed on visual elements and vice versa. Some pages are printed backwards and are meant to be read in a mirror. Some are intentionally left blank. Most contain photographs and images both modern and historic, juxtaposed in startling ways.
The title is a play on McLuhan's often-quoted phrase "The medium is the message." The book was initiated by Quentin Fiore.[1] McLuhan adopted the term "massage" to denote the effect of numerous media in how they 'massage' the human sensorium.
According to biographer, W. Terrence Gordon:[2]
[B]y the time it appeared in 1967, McLuhan recognized his saying was a cliché, and welcomed the opportunity to throw it back on the compost heap of language to recycle and revitalize it. But the new title is more than McLuhan indulging his insatiable taste for puns, more than a clever fusion of self-mockery and self-rescue — the subtitle is 'An Inventory of Effects,' underscoring the lesson compressed into the original saying.
However, the FAQ section on the website maintained by McLuhan's estate says Gordon's interpretation is incomplete and makes its leap of logic for McLuhan to leave it as-is:[3]
Why is the title of the book The Medium is the Massage and not The Medium is the Message? The title is a mistake. After the book came back from the typesetter's, it had on the cover 'Massage'. The title was supposed to read The Medium is the Message, but the typesetter made an error. After McLuhan saw the typo, he exclaimed, 'Leave it alone! It's great, and right on target!' Now there are four readings for the last word of the title, all of them accurate: Message and Mess Age, Massage and Mass Age.
Marshall McLuhan argues that technologies—from clothing to the wheel to the book and beyond—are the messages, rather than the content of the communication. Basically, in its fundamental essence, The Medium is the Massage is a graphical and creative representation of his "medium is the message" thesis explored in Understanding Media.
By playing on words and using the term "massage," McLuhan suggests that modern audiences enjoy mainstream media as soothing, enjoyable, and relaxing. However, the pleasure we find in this media is deceiving, as the changes between society and technology are incongruent, perpetuating an 'Age of Anxiety'.
All media work us over completely. They are so pervasive in their personal, political, economic, aesthetic, psychological, moral, ethical, and social consequences, they leave no part of us untouched, unaffected, unaltered. (p. 26).
The Medium is the Massage demonstrates the ways the mainstream media are extensions of human senses; they ground us in physicality, but expand our ability to perceive our world to an extent impossible without them. These extensions of perception contribute to McLuhan's theory of the global village, which would bring humanity full-circle to an industrial analogue of tribal mentality.
Finally, McLuhan describes points of change in how people view their universe and the ways in which those views are affected and altered by the adoption of new mainstream media. "The technique of invention was the discovery of the [19th century]," brought on by the adoption of fixed points of view and perspective by typography; while "[t]he technique of the suspended judgment is the discovery of the twentieth century," brought on by the bard abilities of radio, movie, and television programming.[4]
Fiore, at the time a prominent graphic designer and communications consultant, composed the visual illustration of these effects compiled by Jerome Agel. Near the beginning of the book, Fiore adopted a pattern in which an image demonstrating a MainStream media effect was presented with a textual synopsis on the facing page. The reader experiences a repeated shifting of analytic registers—from "reading" typographic print to "scanning" photographic facsimiles—reinforcing McLuhan's argument in this book: each mainstream medium produces a different "massage" or "effect" on the human sensorium.
An audio recording based on the book was made by Columbia Records in the late 1960s, produced by John Simon but otherwise keeping the same credits as the book.[5] The recording consists of a pastiche of statements made by McLuhan interrupted by other speakers, including people speaking in various phonations and falsettos, discordant sounds and 1960s incidental music in what could be considered a deliberate attempt to translate the disconnected images seen on TV into an audio format, resulting in the prevention of a connected stream of conscious thought. Various audio recording techniques and statements are used to illustrate the relationship between spoken, literary speech and the characteristics of electronic audio media. McLuhan biographer Philip Marchand called the recording "the 1967 equivalent of a McLuhan video."[6]
^ McLuhan & Fiore, 1967
^ Gordon, p. 175.
^ "Commonly Asked Questions about McLuhan – The Estate of Marshall McLuhan". marshallmcluhan.com. Retrieved 2019-12-04.
^ Understanding Media, p. 68.
^ The Medium Is the Massage, Marshall McLuhan, Quentin Fiore. John Simon, producer. Conceived and co-ordinated by Jerome Agel. Columbia Stereo CS 9501, Mono CL 2701, ca. 1968
^ Marchand (1998), p.187.
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For the book by Marshall McLuhan, see The Medium Is the Massage.
"The medium is the message" is a phrase coined by the Canadian communication theorist Marshall McLuhan and the name of the first chapter[1] in his Understanding Media: The Extensions of Man, published in 1964.[2][3] McLuhan proposes that a communication medium itself, not the messages it carries, should be the primary focus of study. He showed that artifacts as media affect any society by their characteristics, or content.[4]
McLuhan uses the term 'message' to signify content and character. The content of the medium is a message that can be easily grasped and the character of the medium is another message which can be easily overlooked. McLuhan says "Indeed, it is only too typical that the 'content' of any medium blinds us to the character of the medium". For McLuhan, it was the medium itself that shaped and controlled "the scale and form of human association and action".[5] Taking the movie as an example, he argued that the way this medium played with conceptions of speed and time transformed "the world of sequence and connections into the world of creative configuration and structure".[6] Therefore, the message of the movie medium is this transition from "lineal connections" to "configurations".[6] Extending the argument for understanding the medium as the message itself, he proposed that the "content of any medium is always another medium"[7] – thus, speech is the content of writing, writing is the content of print, and print itself is the content of the telegraph.
McLuhan frequently punned on the word "message", changing it to "mass age", "mess age", and "massage". A later book, The Medium Is the Massage was originally to be titled The Medium is the Message, but McLuhan preferred the new title, which is said to have been a printing error.[8]
Concerning the title, McLuhan wrote:
The title "The Medium Is the Massage" is a teaser—a way of getting attention. There's a wonderful sign hanging in a Toronto junkyard which reads, 'Help Beautify Junkyards. Throw Something Lovely Away Today.' This is a very effective way of getting people to notice a lot of things. And so the title is intended to draw attention to the fact that a medium is not something neutral—it does something to people. It takes hold of them. It rubs them off, it massages them and bumps them around, chiropractically, as it were, and the general roughing up that any new society gets from a medium, especially a new medium, is what is intended in that title".[9]
McLuhan argues that a "message" is, "the change of scale or pace or pattern" that a new invention or innovation "introduces into human affairs".[10]
McLuhan understood "medium" as a medium of communication in the broadest sense. In Understanding Media he wrote: "The instance of the electric light may prove illuminating in this connection. The electric light is pure information. It is a medium without a message, as it were, unless it is used to spell out some verbal ad or name."[11] The light bulb is a clear demonstration of the concept of "the medium is the message": a light bulb does not have content in the way that a newspaper has articles or a television has programs, yet it is a medium that has a social effect; that is, a light bulb enables people to create spaces during nighttime that would otherwise be enveloped by darkness. He describes the light bulb as a medium without any content. McLuhan states that "a light bulb creates an environment by its mere presence".[7] Likewise, the message of a newscast about a heinous crime may be less about the individual news story itself (the content), and more about the change in public attitude towards crime that the newscast engenders by the fact that such crimes are in effect being brought into the home to watch over dinner.[12]
In Understanding Media, McLuhan describes the "content" of a medium as a juicy piece of meat carried by the burglar to distract the watchdog of the mind.[11] This means that people tend to focus on the obvious, which is the content, to provide us valuable information, but in the process, we largely miss the structural changes in our affairs that are introduced subtly, or over long periods of time.[12] As society's values, norms, and ways of doing things change because of the technology, it is then we realize the social implications of the medium. These range from cultural or religious issues and historical precedents, through interplay with existing conditions, to the secondary or tertiary effects in a cascade of interactions that we are not aware of.[12]
On the subject of art history, McLuhan interpreted Cubism as announcing clearly that the medium is the message. For him, Cubist art required "instant sensory awareness of the whole"[13] rather than perspective alone. In other words, with Cubism one could not ask what the artwork was about (content),[13] but rather consider it in its entirety.
^ McLuhan, Marshall (1964). Understanding Media: The Extensions of Man. ISBN 81-14-67535-7.
^ Beynon-Davies, Paul (2011). "Communication: The medium is not the message". Significance. London: Palgrave Macmillan UK. pp. 58–76. doi:10.1057/9780230295025_4. ISBN 978-1-349-32470-5.
^ Originally published in 1964 by Mentor, New York; reissued 1994, MIT Press, Cambridge, Massachusetts with an introduction by Lewis Lapham
^ Euchner, Jim (2016-08-26). "The Medium is the Message". Research-Technology Management. Informa UK Limited. 59 (5): 9–11. doi:10.1080/08956308.2016.1209068. ISSN 0895-6308.
^ McLuhan, Understanding Media, p. 9.
^ a b McLuhan, Understanding Media, p. 12.
^ a b McLuhan, Understanding Media, p. 8.
^ "Commonly Asked Questions about McLuhan – The Estate of Marshall McLuhan". marshallmcluhan.com. Retrieved 2019-12-04.
^ McLuhan, Marshall (1967-03-19). "McLuhan: Now The Medium Is The Massage". New York Times. Retrieved 2018-09-04.
^ Federman, Mark (July 23, 2004). "What is the Meaning of The Medium is the Message?". individual.utoronto.ca. Retrieved 2019-03-23.
^ a b McLuhan, Marshall (1964) Understanding Media, Routledge, London
^ a b c Federman, M. (2004, July 23). What is the Meaning of the Medium is the Message? Retrieved from http://individual.utoronto.ca/markfederman/article_mediumisthemessage.htm .
^ a b McLuhan, Understanding Media, p. 13.
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