in Seurat's pointillisme, and is still continued in the newspaper mesh of dots that is called "wirephoto." Within a year of Daguerre's discovery, Samuel F. B. Morse was taking photo- graphs of his wife and daughter in New York City. Dots for the eye (photograph) and dots for the ear (telegraph) thus met on top of a skyscraper. A further cross-fertilization occurred in Talbot's invention of the photo, which he imagined as an extension of the camera obscura, or pictures in "the little dark room," as the Italians had named the picture play-box of the sixteenth century. Just at the time when mechanical writing had been achieved by movable types, there grew up the pastime of looking at moving images on the wall of a dark room. If there is sunshine outside and a pin-hole in one wall, then the images of the outer world will appear on the wall opposite. This new discovery was very exciting to painters, since it intensified the new illusion of perspective and of the third dimension that is so closely related to the printed word. But the early spectators of the moving image in the sixteenth century saw those images upside down. For this reason the lens was introduced --in order to turn the picture right side up. Our normal vision is also upside down. Psychically, we learn to turn our visual world right side up by translating the retinal impression from visual into tactile and kinetic terms. Right side up is apparently something we feel but cannot see directly. To the student of media, the fact that "normal" right-side-up vision is a translation from one sense into another is a helpful hint about the kinds of activity of distortion and translation that any language or culture induces in all of us. Nothing amuses the Eskimo more than for the white man to crane his neck to see the magazine pictures stuck on the igloo walls. For the Eskimo no more needs to look at a picture right side up than does a child before he has learned his letters on a line. Just why Westerners should be disturbed to find that natives have to learn to read
Understanding Media by Marshall McLuhan Page 210 Page 212