understanding, that influences behavior, especially in collective matters of media and technology, where the individual is almost inevitably unaware of their effect upon him. Some may find it paradoxical that a cool medium like TV should be so much more compressed and condensed than a hot medium like film. But it is well known that a half minute of television is equal to three minutes of stage or vaudeville. The same is true of manuscript in contrast to print. The "cool" manuscript tended toward compressed forms of statement, aphoristic and allegorical. The "hot" print medium expanded expression in the direction of simplification and the "spelling-out" of meanings. Print speeded up and "exploded" the compressed script into simpler fragments. A cool medium, whether the spoken word or the manuscript or TV, leaves much more for the listener or user to do than a hot medium. If the medium is of high definition, participation is low. If the medium is of low intensity, the participation is high. Perhaps this is why lovers mumble so. Because the low definition of TV insures a high degree of audience involvement, the most effective programs are those that present situations which consist of some process to be completed. Thus, to use TV to teach poetry would permit the teacher to concentrate on the poetic process of actual making, as it pertained to a particular poem. The book form is quite unsuited to this type of involved presentation. The same salience of process of do-it-yourself-ness and depth involvement in the TV image extends to the art of the TV actor. Under TV conditions, he must be alert to improvise and to embellish every phrase and verbal resonance with details of gesture and posture, sustaining that intimacy with the viewer which is not possible on the massive movie screen or on the stage. There is the alleged remark of the Nigerian who, after seeing a TV western, said delightedly, "I did not realize you valued human life so little in the West." Offsetting this remark is the