the traditional arts. The painter could no longer depict a world that had been much photographed. He turned, instead, to reveal the inner process of creativity in expressionism and in abstract art. Likewise, the novelist could no longer describe objects or happenings for readers who already knew what was happening by photo, press, film, and radio. The poet and novelist turned to those inward gestures of the mind by which we achieve insight and by which we make ourselves and our world. Thus art moved from outer matching to inner making. Instead of depicting a world that matched the world we already knew, the artists turned to presenting the creative process for public participation. He has given to us now the means of becoming involved in the making-process. Each development of the electric age attracts, and demands, a high degree of producer-orientation. The age of the consumer of processed and packaged goods is, therefore, not the present electric age, but the mechanical age that preceded it. Yet, inevitably, the age of the mechanical has had to overlap with the electric, as in such obvious instances as the internal combustion engine that requires the electric spark to ignite the explosion that moves its cylinders. The telegraph is an electric form that, when crossed with print and rotary presses, yields the modern newspaper. And the photograph is not a machine, but a chemical and light process that, crossed with the machine, yields the movie. Yet there is a vigor and violence in these hybrid forms that is self-liquidating, as it were. For in radio and TV --surely electric forms from which the mechanical principle has been excluded --there is an altogether new relation of the medium to its users. This is a relation of high participation and involvement that, for good or ill, no mechanism had ever evoked. Education is ideally civil defense against media fall-out. Yet Western man has had, so far, no education or equipment for meeting any of the new media on their own terms. Literate man is not only numb and vague in the presence of film or photo, but he intensifies his ineptness by a defensive arrogance and