Meantime, the countryside, as oriented and fashioned by plane, by highway, and by electric information-gathering, tends to become once more the nomadic trackless area that preceded the wheel. The beatniks gather on the sands to meditate haiku. The principal factors in media impact on existing social forms are acceleration and disruption. Today the acceleration tends to be total, and thus ends space as the main factor in social arrangements. Toynbee sees the acceleration factor as translating the physical into moral problems, pointing to the antique road crowded with dog carts, wagons, and rickshaws as full of minor nuisance, but also minor dangers. Further, as the forces impelling traffic mount in power, there is no more problem of hauling and carrying, but the physical problem is translated into a psychological one as the annihilation of space permits easy annihilation of travelers as well. This principle applies to all media study. All means of interchange and of human in terassociation tend to improve by acceleration. Speed, in turn, accentuates problems of form and structure. The older arrangements had not been made with a view to such speeds, and people begin to sense a draining-away of life values as they try to make the old physical forms adjust to the new and speedier movement. These problems, however, are not new. Julius Caesar's first act upon assuming power was to restrict the night movement of wheeled vehicles in the city of Rome in order to permit sleep. Improved transport in the Renaissance turned the medieval walled towns into slums. Prior to the considerable diffusion of power through alphabet and papyrus, even the attempts of kings to extend their rule in spatial terms were opposed at home by the priestly bureaucracies. Then complex and unwieldy media of stone inscription made wide ranging empires appear very dangerous to such static monopolies. The struggles between those who exercised power over the hearts of men and those who sought to control the physical resources of nations were not of one time and place.

Understanding Media by Marshall McLuhan - Page 108 Understanding Media by Marshall McLuhan Page 107 Page 109