backward, starting with the effect, so now with industry and plan-nine In general, electric speed-up requires complete knowledge of ultimate effects. Mechanical speed-ups, however radical in their reshaping of personal and social life, still were allowed to happen sequentially. Men could, for the most part, get through a normal life span on the basis of a single set of skills. That is not at all the case with electric speed-up. The acquiring of new basic knowledge and skill by senior executives in middle age is one of the most common needs and harrowing facts of electric technology. The senior executives, or "big wheels," as they are archaically and ironically designated, are among the hardest pressed and most persistently harassed groups in human history. Electricity has not only demanded ever deeper knowledge and faster interplay, but has made the harmonizing of production schedules as rigorous as that demanded of the members of a large symphony orchestra. And the satisfactions are just as few for the big executives as for the symphonists, since a player in a big orchestra can hear nothing of the music that reaches the audience. He gets only noise. The result of electric speed-up in industry at large is the creation of intense sensitivity to the interrelation and interprocess of the whole, so as to call for ever-new types of organization and talent. Viewed from the old perspectives of the machine age, this electric network of plants and processes seems brittle and tight. In fact, it is not mechanical, and it does begin to develop the sensitivity and pliability of the human organism. But it also demands the same varied nutriment and nursing as the animal organism. With the instant and complex interprocesses of the organic form, automated industry also acquires the power of adaptability to multiple uses. A machine set up for the automatic production of electric bulbs represents a combination of processes that were previously managed by several machines. With a single attendant, it can run as continuously as a tree in its intake and output.
Understanding Media by Marshall McLuhan Page 391 Page 393