the media analyst can be recognized only by those trained in the language of vision and of the plastic arts in general. The copy writer has to be a strip-tease artist who has entire empathy with the immediate state of mind of the audience. Such, indeed, is also the aptitude of the popular novelist or song writer. It follows that any widely accepted writer or entertainer embodies and reveals a current set of attitudes that can be verbalized by the analyst. "Do you read me, Mac?" But were the words of the Vogue writer to be considered merely on literary or editorial grounds, their meaning would be missed, just as the copy in a pictorial ad is not to be considered as literary statement but as mime of the psychopathology of everyday life. In the age of the photograph, language takes on a graphic or iconic character, whose "meaning" belongs very little to the semantic universe, and not at all to the republic of letters. If we open a 1938 copy of Life, the pictures or postures then seen as normal now give a sharper sense of remote time than do objects of real antiquity. Small children now attach the phrase "the olden days" to yesterday's hats and overshoes, so keenly are they attuned to the abrupt seasonal changes of visual posture in the world of fashions. But the basic experience here is one that most people feel for yesterday's newspaper, than which nothing could be more drastically out of fashion. Jazz musicians express their distaste for recorded jazz by saying, "It is as stale as yesterday's newspaper." Perhaps that is the readiest way to grasp the meaning of the photograph in creating a world of accelerated transience. For the relation we have to "today's newspaper," or verbal jazz, is the same that people feel for fashions. Fashion is not a way of being informed or aware, but a way of being with it. That, however, is merely to draw attention to a negative aspect of the photograph. Positively, the effect of speeding up temporal sequence is to abolish time, much as the telegraph and cable abolished space. Of course the photograph does both. It wipes out our national