“Everybody experiences far more than he understands. Yet it is experience, rather than understanding, that influences behavior, especially in collective matters of media and technology, where the individual is almost inevitably unaware of their effects upon him.”*…
In the early 1970’s Marshall McLuhan and his son set out to discover if there might be general principles of technology, attributes, and effects common to all products of human innovation, to all of these artificial extensions of ourselves. Eric’s son, Andrew McLuhan shares their findings…
… Toward the end of his life, a life which ended before his 70th birthday, Avant Garde magazine asked Marshall McLuhan what he considered his greatest achievement. His reply?
“I consider my greatest achievement is the discovery that all human artifacts, all the extensions of man, are patterned structurally in the mode of the word. Whether it is a medium like radio, a bull dozer, or a safety pin; whether it is the word or a law of science, all these utterings and outerings of man have a four-part structure which is that of metaphor itself. I will illustrate this discovery from the character of money, which:
(a) enhances the speed of exchange
(b) obsolesces barter
(c) retrieves potlatch (conspicuous waste) and
(d) when pushed to its limits, flips or reverses its character into credit.
A book of these things is due to appear, title ‘The Laws of the Media’.”
But no one was interested in publishing it. It wasn’t published until 1988 when Eric McLuhan finally got someone – University of Toronto Press – to put it out as ‘Laws of Media: The New Science.’ The subtitle was a deliberate nod to Francis Bacon (Novum Organon) and Giambattista Vico (Scienza Nuova) of which tradition the McLuhans felt their work was part.
I have noticed more people using the laws of media, or the ‘tetrad’ (group of four) as it’s called, lately.
The laws of media can’t tell you everything about any technology, but they give you four reliable places from which to begin to explore what any technology is and what it does – another way of saying ‘the medium is the message.’ Particularly, it’s a way of examining the form of a thing and not just its content. The content of a medium, what we do with it, pay attention to, is always both the smaller part of the situation, and the less affective area. In Understanding Media McLuhan brilliantly paraphrases T S Eliot when he describes content as the juicy piece of meat carried by the burglar to distract the watchdog of the mind. The content keeps us busy, hold our attention, while the media do their work rearranging us, our lives, our world. To enlist Mary Poppins, content is the spoonful of sugar that helps the medicine go down.
The four things the McLuhans discovered are that:
Any given technology enhances or amplifies some aspect of us. We create tools to do something we already do faster, more easily or efficiently. Gloves to save our hands. Computers, to calculate. Telephone, that our voice carries across the world.
“It is a persistent theme of this book that all technologies are extensions of our physical and nervous systems to increase power and speed.” (‘Understanding Media: The Extensions of Man’ 1964)
It obsolesces, it upsets or displaces, disrupts something already in a dominant position. The Linotype machine put 90% of typesetters out of work. Twitter broke the news that television and radio networks used to.
“Now today, we speak of the book as obsolete. This means the book is acquiring ever new uses in the age of Xerox and the age of paperbacks.” (Marshall and Eric McLuhan in conversation, 1971)
It retrieves, or brings back something from the past, however near or far, in a new form. Text messaging put a telegraph in your pocket. The man in the car, the knight in shining armour.
“What recurrence or retrieval of earlier actions and services is brought into play simultaneously by the new form? What older, previously obsolesced ground is brought back and inheres in the new form?” ‘Laws of Media: The New Science’ 1988
When pushed past a point, it tends to flip or reverses its utility or characteristics. A glass of wine or two can make for a good time, relieve stress, grease the social wheels. A few bottles… quite the opposite. Information assists informed, timely decisions, too much information leads to overload, paralysis.
“When pushed to the limits of its potential the new form will tend to reverse what had been its original characteristics. What is the reversal potential of the new form?” (Laws of Media: The New Science 1988)
For example, here’s a tetrad from Laws of Media:
Xerox:
enhances: the speed of the printing press
obsolesces: the assembly-line book
reverses into: everybody becomes a publisher
retrieves: the oral tradition
Laws of Media: The New Science (Marshall and Eric McLuhan, 1988)
While media can be complex in nature and do many things, Marshall and Eric found that all media, without exception, do these four things. As remarkable as this discovery is – so remarkable that Marshall McLuhan considered it his most impressive achievement – almost equally remarkable is that so few people know about it.
They found four things which applied in all cases, but never stopped looking for a fifth. I know my father Eric was still keeping an eye or ear out for a fifth common dimension, something that would apply without exception to all media. A few people have ventured one thing or another but they did not satisfy my father’s criteria…
… The ‘laws of media’ can’t tell you everything about any medium, but it does give us something remarkable: predictability. We know that anything we can come up with will do these four things. It will amplify some part of us. It will make something obsolete. It will bring something back from the past in a new form. It will, when pushed, flip. This is an incredible advantage when it comes to new media. It gives us a real head start on being able to anticipate the effects of new forms on us and our world…
… [Per the title quote above] The point of the tetrad, the point of media studies at all, is to make media visible. To force us to pay attention to what’s happening all around us, sometimes only slightly beneath our awareness, sometimes buried deeply underneath. The true user experience is what we don’t notice but which shapes us all the same…
More (including how to “make” tetrads yourself): “Laws of (New) Media.”
* Marshall McLuhan, Understanding Media: The Extensions of Man, 1964
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As we engage with the emergent, we might recall that it was on this date in 1993 that ABC and CBS simultaneously broadcast their own movies based on the Amy Fisher story with ABC’s starring Drew Barrymore and CBS’s starring Alyssa Milano. NBC had already scooped the other networks, airing their own version (starring Noelle Parker) about six days prior.
“…my age is as a lusty winter, / Frosty, but kindly…”*…
Aging is tough; Catherine Hiller offers a guide…
For some people, being old just comes naturally. They’ve acted old for years, and they know just what to do. They are the lucky ones—the “old souls,” if you will. For many others, being old just seems weird. They think, Really? How did I get here? What do I wear? How do I navigate this new geography?
This guide is expressly written for those who are bewildered by the face in the mirror and somehow think that 70 qualifies as middle-aged. These people need gentle guidance so that they, too, can enjoy the special perks of being old, beyond the senior discounts. This guide aims to help newcomers fit in with their cohort and enjoy their well-earned privileges.
At 79, I know something about old age, and I’ve compiled the following guidelines hoping they will empower you to enjoy your entitlements…
Read on for such useful tips as…
… Your health is vital to you, so it must be important to others as well. People want to hear about your ailments, even the minor ones, as well as all the cures you’ve ever tried. Your every test result is intriguing to your family and friends, so you should discuss the details. Oddly, the health problems of others are of little interest to you, unless they mirror your own…
… Everything really was better when you were young. Your mind tells you that every generation feels this way (including the Athenians in the Golden Age, 400 years BC), but your heart tells you that this time, you are actually right! You came of age in the Summer of Love, which lasted about a decade. There was joy in the air, and a sense of personal and social freedom. Humankind would progress. Everything would be better! Be sure to talk to your children and grandchildren constantly about what it was like when you were young, and how very much worse things are today.
Embrace your inner curmudgeon! You have every right to be cranky, because many things are difficult, and the news is always appalling. At this point, you’ve had many disappointments, and likely some physical problems as well. There’s no need to mute your general displeasure. Being old is the time to express it fully, forcefully and funnily. (At least you assume your tirades are amusing.)…
… Your clothing choices will be determined entirely by comfort. In this, you and other old people are in the fashion vanguard. Remember the “little old ladies in tennis shoes”? Well, who wears sneakers now? Only everyone, all the time! Celebrate your preference for flowing clothes in neutral colors. Turns out some of you have been “coastal grandmothers” long before it was a thing. For years you’ve been wearing pants with elastic waistbands or drawstrings, predating and predicting pandemic dressing, when everyone wore sweatpants. Turns out old people are the true fashionistas!…
More pearls at: “How to Be Old,” from @oldstermag.bsky.social.
* Shakespeare, As You Like It, Act II, Scene 3
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As we muse on maturity, we might note that today is National Buffet Day, an annual celebration of an occasion for the senescent to practice most of the advice Hiller gives in the piece featured above.
“The public domain is the basis for our art, our science, and our self-understanding. It is the raw material from which we make new inventions and create new cultural works.”*…
From Nancy Drew to Animal Crackers to The Maltese Falcon, 1930’s greatest works enter the U.S. public domain on January 1, 2026. Aaron Moss counsels us to expect celebration, confusion, and at least one Betty Boop slasher film…
The weather’s getting colder, the nights are getting longer, and Hollywood has decided Betty Boop would be more marketable as a serial killer. It can only mean one thing: Public Domain Day 2026 is upon us.
Regular observers of copyright law’s favorite holiday know the drill: on January 1, 2026, a new crop of creative works from 1930 (along with sound recordings from 1925) will enter the public domain in the United States—ready to be remixed, recycled, or repurposed into B-grade horror films and ill-advised erotica.
This year’s film class is stacked with classics: Howard Hughes’s aviation epic Hell’s Angels (Jean Harlow’s screen debut and, at the time, the most expensive movie ever made); The Big Trail, featuring John Wayne in his first starring role; Greta Garbo’s first talkie, Anna Christie; Bing Crosby’s film debut in King of Jazz; and 1930 Best Picture winner All Quiet on the Western Front. There’s plenty of comedy too, including the Marx Brothers’ Animal Crackers, Laurel and Hardy’s Another Fine Mess, and Soup to Nuts, best remembered for featuring an early iteration of the Three Stooges.
Among the standout literary works in the Public Domain Day Class of 2026 are heavyweights like William Faulkner’s As I Lay Dying, Dashiell Hammett’s The Maltese Falcon, Edna Ferber’s bestseller Cimarron, and Evelyn Waugh’s champagne-soaked satire Vile Bodies. Children’s literature fans can look forward to Swallows and Amazons by Arthur Ransome, Watty Piper’s The Little Engine That Could, and Elizabeth Coatsworth’s Newbery Medal winner The Cat Who Went to Heaven.
Not to take anything away from Hammett’s Sam Spade, but it’s an especially strong year for female detectives—both young and old. The earliest Nancy Drew mysteries from 1930 hit the U.S. public domain on January 1, 2026, as does the first outing of the genteel Miss Marple in Agatha Christie’s The Murder at the Vicarage. Maybe they can team up to solve the mystery of why Hollywood is only interested in using public domain characters to make schlocky horror films.
In the world of comics and animation, two Disney shorts featuring early versions of Pluto are also set to enter the public domain. The future canine star first appeared as an unnamed bloodhound in 1930’s The Chain Gang before resurfacing later that year as Minnie Mouse’s pet “Rover” in The Picnic. He wouldn’t officially become Mickey’s dog Pluto until 1931’s The Moose Hunt—a film set to enter the U.S. public domain in 2027…
Read on for a rundown of more film, characters, and music that’s about to be more freely available: “Public Domain Day 2026 Is Coming: Here’s What to Know,” from @copyrightlately.bsky.social.
* James Boyle, The Public Domain: Enclosing the Commons of the Mind
The Holidays are upon us, and with them, (R)D’s annual solstice hiatus. Regular service will resume on or around January 2; in the meantime (and in lieu of an almanac entry), two seasonal offerings.
First, a collection of pieces from JSTOR: “Winter Holidays“…
December means the winter holidays are upon us: Solstice, Hanukkah, Kwanzaa, St. Stephen’s Day, and New Year’s Eve, with all your favorite wintertime traditions. Celebrate with some seasonal scholarship below. All stories contain free links to the supporting academic research on JSTOR. Happy Holidays!
And then, with your correspondent’s seasonal best, two timely tunes:
“Language is the road map of a culture. It tells you where its people come from and where they are going”*…
From Colin Gorrie, how our world also shapes our language– and in the example he uses, also our sense of duty…
Debt is old. It’s older than writing. The first writing system, Sumerian cuneiform, evolved out of marks used for accounting. From the beginning, writing was used to track who had what, and, crucially, who owed what to whom.
The influence of debt also extends to language more generally. In many languages, including English, the experiences of owing and being owed provided the blueprint for more abstract notions of duty, necessity, and obligation.
Words meaning ‘to owe’ developed into abstract expressions of obligation so often that it’s useful to have a name for the phenomenon. I call it the owe-to-ought pipeline, named after one of the clearest cases of this development. The word ought is, in fact, nothing but the old past tense form of owe.
This pipeline shows us something about how language changes and develops over time. First, it shows how easily words can slide from one meaning to another, although that’ll be no surprise to anyone who has watched the development of slang over a few decades.
The more important lesson owe-to-ought teaches us has to do with where grammar comes from. Wait, don’t run away! This isn’t a grammar lesson. What I want to show you is how languages create grammar — a collection of abstract meanings such as plurality and verb tense — out of the concrete realities of our shared human experience.
And what human experience is more common than debt?
This is the story of three families of words: owe, should, and the word debt itself. Understand these three families, and you’ll understand how the English language built its way of expressing duty, necessity, and obligation — not to mention guilt and sin — out of the raw materials of accounting…
A case study in how our vocabulary (and our sense of obligation) evolved: “How debt shaped the way we speak,” from @colingorrie.bsky.social.
* Rita Mae Brown
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As we acknowledge our antecedents, we might recall that it was on this date in 1950 that Rose Marie Reid was granted one of her several patents, US2535018A. A swimwear designer and manufacturer, Reid has already been the first swimsuit designer to use inner brassieres, tummy-tuck panels, stay-down legs, elastic banding, brief skirts, and foundation garments in swimwear, and the first designer to introduce dress sizes in swimwear, designing swimwear for multiple sizes and types of bodies, rather than just producing one standard size. This patent was, in its way, even more revolutionary– it was for a one-piece bathing suit made of elastic fabric “embodying a novel construction for causing it to snugly fit the body of a wearer in a flattering manner [that would] shape and support portions of the body of the wearer in areas of the bust and abdomen in a flattering manner without discomfort or impedance to free movements of the body.” The elastic fabric and elastic securing bands were designed to enable the garment to be put on without having buttoned openings which would “detract from the appearance of the garment.”
Reid assigned her patent to her company and enjoyed huge sales success, in part due to her impact in Hollywood and the motion picture industry. Famous screen actresses (e,g, Rita Hayworth, Marilyn Monroe, Jane Russell, and Rhonda Fleming) wore her swimsuits. And her suits also appeared in several California beach party films from the late 1950s and the early 1960s, including Gidget, Muscle Beach Party, and Where the Boys Are.
“The study of taxonomy in its broadest sense is probably the oldest branch of biology or natural history as well as the basis for all the other branches, since the first step in obtaining any knowledge of things about us is to discriminate between them and to learn to recognize them”*…
The Holotypic Occlupanid Research Group (HORG) is a tongue-in-cheek non-profit organization founded in 1994 by John Daniel (a visual effects artist with a background in invertibrate zoology). It playfully researches and classifies plastic bread clips, calling them “occlupanids,” as if they were a species in a scientific taxonomy (Kingdom: Plasticae), documenting their diverse forms from around the world. They treat these common, often-ignored objects as fascinating organisms, collecting specimens and creating a taxonomy and a database of their shapes, colors, and “species”…
This site contains several years of research in the classification of occlupanids. These small objects are everywhere, dotting supermarket aisles and sidewalks with an impressive array of form and color. The Holotypic Occlupanid Research Group has taken on the mantle of classifying this most common, yet most puzzling, member of phylum Plasticae…
Occlupanids are generally found as parasitoids on bagged pastries in supermarkets, hardware stores, and other large commercial establishments. Their fascinating and complex life cycle is unfortunately severely under-researched. What is known is that they take nourishment from the plastic sacs that surround the bagged product, not the product itself, as was previously thought. Notable exceptions to this habit are those living off rubber bands and on analog watch hands.
In most species, they often situate themselves toward the center of the plastic bag, holding in the contents. This leads to speculation that the relationship may be more symbiotic than purely parasitic.
Their stunning diversity and mysterious habits have entranced many a respectable scientist into studying, collecting, and cataloging specimens late into the night.
This site contains several years of research in the classification of occlupanids. For those of you who do not consume sliced bread, occlupanids do not form an important part of your life. For the rest of the world, These small objects are everywhere, dotting supermarket aisles and sidewalks with an impressive array of form and color.
The Holotypic Occlupanid Research Group has taken on the mantle of classifying this most common, yet most puzzling, member of phylum Plasticae.
They’ve even created a handy, free print-your-own set of cut-out identifcation placards “for the excitable amateur scientists out there who want to start their own collection!”
Ready, set, browse: HORG- Holotypic Occlupanid Research Group
For more on HORG, see here and here.
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As we contemplate classification, we might send insightful birthday greetings to a man who revolutionized the understanding of the taxonomy of his field, Harold Varmus; he was born on this date in 1939. A microbiologist and medical doctor, he shared (with J. Michael Bishop) the 1989 Nobel Prize in Physiology or Medicine for discovery of the cellular origin of retroviral oncogenes— a discovery that led to great strides in the understanding, diagnosis, and treatment of a variety of cancers.
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