form, offering not windows on the world like the old picture magazines, but presenting corporate images of society in action. Whereas the spectator of a picture magazine is passive, the reader of a news magazine becomes much involved in the making of meanings for the corporate image. Thus the TV habit of involvement in mosaic image has greatly strengthened the appeal of these news magazines, but at the same time has diminished the appeal of the older pictorial feature magazines. Both book and newspaper are confessional in character, creating the effect of inside story by their mere form, regardless of content. As the book page yields the inside story of the author's mental adventures, so the press page yields the inside story of the community in action and interaction. It is for this reason that the press seems to be performing its function most when revealing the seamy side. Real news is bad news --bad news about somebody, or bad news for somebody. In 1962, when Minneapolis had been for months without a newspaper, the chief of police said: "Sure, I miss the news, but so far as my job goes I hope the papers never come back. There is less crime around without a newspaper to pass around the ideas." Even before the telegraph speed-up, the newspaper of the nineteenth century had moved a long way toward a mosaic form. Rotary steam presses came into use decades before electricity, but typesetting by hand remained more satisfactory than any mechanical means until the development of linotype about 1890. With linotype, the press could adjust its form more fully to the news-gathering of the telegraph and the news-printing of the rotary presses. It is typical and significant that the linotype answer to the long-standing slowness of typesetting did not come from those directly engaged with the problem. Fortunes had been vainly spent on typesetting machines before James Clephane, seeking a fast way of writing out and duplicating shorthand notes, found a way to combine the typewriter and the typesetter. It was the typewriter that solved the utterly differentKRE5S
Understanding Media by Marshall McLuhan Page 225 Page 227