74 quotes
The levelling of inflexion and of wordplay became part of the program of applied knowledge in the seventeenth century. (p. 265)
The Gutenberg Galaxy (1962)
With Gutenberg Europe enters the technological phase of progress, when change itself becomes the archetypal norm of social life. (p. 177)
The Gutenberg Galaxy (1962)
The typographic logic created “the outsider,” the alienated mass, as the type of integral, that is, intuitive and irrational, man. (p. 241)
The Gutenberg Galaxy (1962)
Until more than two centuries after printing nobody discovered how to maintain a single tone or attitude throughout a prose composition. (p. 154)
The Gutenberg Galaxy (1962)
A theory of cultural change is impossible without knowledge of the changing sense ratios effected by various externalizations of our senses. (p. 49)
The Gutenberg Galaxy (1962)
The “natural magic” of the camera obscura anticipated Hollywood in turning the spectacle of the external world into a consumer commodity or package. (p. 146)
The Gutenberg Galaxy (1962)
The reduction of the tactile qualities of life and language constitute the refinement sought in the Renaissance and repudiated now in the electronic age. (p. 272)
The Gutenberg Galaxy (1962)
The sheer increase in the quantity of information movement favoured the visual organization of knowledge and the rise of perspective even before typography. (p. 128)
The Gutenberg Galaxy (1962)
Marlowe anticipated Whitman's barbaric yawp by setting up a national PA system of blank verse – a rising iambic system of sound to suit the new success story. (p. 223)
The Gutenberg Galaxy (1962)
Renaissance Italy became a kind of Hollywood collection of sets of antiquity, and the new visual antiquarianism of the Renaissance provided an avenue to power for men of any class. (p. 136)
The Gutenberg Galaxy (1962)
The invention of typography confirmed and extended the new visual stress of applied knowledge, providing the first uniformly repeatable “commodity,” the first assembly-line, and the first mass-production. (p. 142)
The Gutenberg Galaxy (1962)
Current concern with reading and spelling reform steers away from visual to auditory stress. (p. 54)
The Gutenberg Galaxy (1962)
A fixed point of view becomes possible with print and ends the image as a plastic organism. (p. 144)
The Gutenberg Galaxy (1962)
The medieval student had to be paleographer, editor, and publisher of the authors he read. (p. 109)
The Gutenberg Galaxy (1962)
The celebrated earthy tactility of Rabelais is a massive backwash of receding manuscript culture. (p. 170)
The Gutenberg Galaxy (1962)
African audiences cannot accept our passive consumer role in the presence of film. (p. 44)
The Gutenberg Galaxy (1962)
Typography tended to alter language from a means of perception and exploration to a portable commodity. (p. 183)
The Gutenberg Galaxy (1962)
Typography extended its character to the regulation and fixation of languages. (p. 229)
The Gutenberg Galaxy (1962)
The anguish of the third dimension is given its first verbal manifestation in poetic history in King Lear. (p. 18)
The Gutenberg Galaxy (1962)
Heidegger surf-boards along on the electronic wave as triumphantly as Descartes rode the mechanical wave. (p. 280)
The Gutenberg Galaxy (1962)