Podcasts about marshal mcluhan

Canadian educator, philosopher, and scholar

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The End of Tourism
S6 #7 | Ecologias de los Medios | Carlos Scolari

The End of Tourism

Play Episode Listen Later Jun 17, 2025 64:03


Mi entrevistado en este episodio es Carlos A. Scolari, Catedrático del Departamento de Comunicación de la Universitat Pompeu Fabra – Barcelona. Ha sido Investigador Principal de diversos proyectos de investigación internacionales y estatales, desde el proyecto H2020 TRANSLITERACY (entre 2015 y 2018) hasta el proyecto LITERAC_IA, que comenzó en 2024 y dirige junto a María del Mar Guerrero. Sus últimos libros son Cultura Snack (2020), La guerra de las plataformas (2022) y Sobre la evolución de los medios (2024). Ahora está trabajando en un libro sobre los fósiles mediáticos.Notas del Episodio* Historia de ecologia de los medios* Historia de Carlos* Diferencias entre el anglosfero y el hispanosfero* La coevolucion entre tecnologia y humanos* La democratizacion de los medios* Evolucion de los medios* Alienacion y addiccion* Como usar los medios conscientementeTareaCarlos A. Scolari - Pagina Personal - Facebook - Instagram - Twitter - Escolar GoogleSobre la evolución de los mediosHipermediaciones (Libros)Transcrito en espanol (English Below)Chris: [00:00:00] Bienvenido al podcast el fin de turismo Carlos. Gracias por poder hablar conmigo hoy. Es un gran gusto tener tu presencia aquí conmigo hoy. Carlos: No gracias a ti, Chris, por la invitación. Es un enorme placer honor charlar contigo, gran viajero y bueno, yo nunca investigué directamente el tema del turismo.Pero bueno, entiendo que vamos a hablar de ecología de los medios y temas colaterales que nos pueden servir para entender mejor, darle un sentido a todo esto que está pasando en el mundo del turismo. Bueno, yo trabajo en Barcelona. No vivo exactamente en la ciudad, pero trabajo, en la universidad en Barcelona, en la zona céntrica.Y bueno, cada vez que voy a la ciudad cada día se incrementa la cantidad de turistas y se incrementa el debate sobre el turismo, en todas sus dimensiones. Así que es un tema que está la orden del día, no? Chris: Sí, pues me imagino que aunque si no te gusta pensar o si no quieres pensar en el turismo allá, es inevitable tener como una enseñanza [00:01:00] personal de esa industria.Carlos: Sí, hasta que se está convirtiendo casi en un criterio taxonómico, no? ...de clasificación o ciudades con mucho turista ciudades o lugares sin turistas que son los más buscados hasta que se llenan de turistas. Entonces estamos en un círculo vicioso prácticamente. Chris: Ya pues, que en algún memento se que se cambia, se rompe el ciclo, al menos para dar cuenta de lo que estamos haciendo con el comportamiento.Y, yo entiendo que eso también tiene mucho que ver con la ecología de los medios, la falta de capacidad de entender nuestros comportamientos, actitudes, pensamientos, sentimientos, etcétera. Entonces, antes de seguir por tu trabajo y obras, este me gustaría preguntarte de tu camino y de tu vida.Primero me pregunto si podrías definir para nuestros oyentes qué es la ecología de los medios y cómo te [00:02:00] interesó en este campo? Cómo llegaste a dedicar a tu vida a este estudio?Carlos: Sí. A ver un poco. Hay una, esta la historia oficial. Diríamos de la ecología de los medios o en inglés "media ecology," es una campo de investigación, digamos, eh, que nace en los años 60. Hay que tener en cuenta sobre todos los trabajos de Marshall McLuhan, investigador canadiense muy famoso a nivel mundial. Era quizá el filósofo investigador de los medios más famosos en los años 60 y 70.Y un colega de el, Neil Postman, que estaba en la universidad de New York en New York University un poco, digamos entre la gente que rodeaba estos dos referentes, no, en los años 60, de ahí se fue cocinando, diríamos, lo que después se llamó la media ecology. Se dice que el primero que habló de media ecology que aplicó esta metáfora a los medios, fue el mismo Marshall McLuhan en algunas, conversaciones privadas, [00:03:00] cartas que se enviaban finales dos años 50, a principios de los 60, se enviaban los investigadores investigadora de estos temas?Digamos la primera aparición pública del concepto de media ecology fue una conferencia en el año 1968 de Neil Postman. Era una intervención pública que la hablaba de un poco como los medios nos transforman y transforman los medios formar un entorno de nosotros crecemos, nos desarrollamos, no. Y nosotros no somos muy conscientes a veces de ese medio que nos rodea y nos modela.El utilizó por primera vez el concepto de media ecology en una conferencia pública. Y ya, si vamos a principio de los años 70, el mismo Postman crea en NYU, en New York University crea el primer programa en media ecology. O sea que ya en el 73, 74 y 75, empieza a salir lo que yo llamo la segunda generación, de gente [00:04:00] formada algunos en estos cursos de New York.Por ejemplo Christine Nystrom fue la primera tesis doctoral sobre mi ecology; gente como, Paul Levinson que en el año 1979 defiende una tesis doctoral dirigida por Postman sobre evolución de los medios, no? Y lo mismo pasaba en Toronto en los años 70. El Marshall McLuhan falleció en el diciembre del 80.Digamos que los años 70 fueron su última década de producción intelectual. Y hay una serie de colaboradores en ese memento, gente muy joven como Robert Logan, Derrick De Kerchove, que después un poco siguieron trabajando un poco todo esta línea, este enfoque. Y ahí hablamos del frente canadiense, eh?Toda esta segunda generación fue desarrollando, fue ampliando aplicando. No nos olvidemos de Eric McLuhan, el hijo de Marshall, que también fue parte de toda esta movida. [00:05:00] Y si no recuerdo mal en el año 2000, se crea la asociación la Media Ecology Association, que es la Asociación de Ecología de los Medios, que es una organización académica, científica, que nuclea a la gente que se ocupa de media ecology. Si pensamos a nivel más científico epistemológico, podemos pensar esta metáfora de la ecología de los medios desde dos o tres perspectivas. Por un lado, esta idea de que los medios crean ambientes. Esta es una idea muy fuerte de Marsha McLuhan, de Postman y de todo este grupo, no? Los medios - "medio" entendido en sentido muy amplio, no, cualquier tecnología podría ser un medio para ellos.Para Marsha McLuhan, la rueda es un medio. Un un telescopio es un medio. Una radio es un medio y la televisión es un medio, no? O sea, cualquier tecnología puede considerarse un medio. Digamos que estos medios, estas tecnologías, generan un [00:06:00] ambiente que a nosotros nos transforma. Transforma nuestra forma, a veces de pensar nuestra forma de percibir el mundo, nuestra concepción del tiempo del espacio.Y nosotros no somos conscientes de ese cambio. Pensemos que, no sé, antes de 1800, si alguien tenía que hacer un viaje de mil kilómetros (y acá nos acercamos al turismo) kilómetros era un viaje que había que programarlo muchos meses antes. Con la llegada del tren, ya estamos en 1800, esos kilómetros se acortaron. Digamos no? Ahí vemos como si a nosotros hoy nos dicen 1000 kilómetros.Bueno, si, tomamos un avión. Es una hora, una hora y cuarto de viaje. Hoy 1000 kilómetro es mucho menos que hace 200 años y incluso a nivel temporal, se a checo el tiempo. No? Todo eso es consecuencia, digamos este cambio, nuestra percepción es consecuencia de una serie de medios y tecnologías.El ferrocarril. Obviamente, hoy tenemos los aviones. Las mismas redes digitales que, un poco nos han llevado esta idea de "tiempo [00:07:00] real," esta ansiedad de querer todo rápido, no? También esa es consecuencia de estos cambios ambientales generados por los medios y las tecnologías, eh? Esto es un idea muy fuerte, cuando McLuhan y Postman hablaban de esto en los años 60, eran fuertes intuiciones que ellos tenían a partir de una observación muy inteligente de la realidad. Hoy, las ciencias cognitivas, mejor las neurociencia han confirmado estas hipótesis. O sea, hoy existen una serie de eh metodología para estudiar el cerebro y ya se ve como las tecnologías.Los medios afectan incluso la estructura física del cerebro. No? Otro tema que esto es histórico, que los medios afectan nuestra memoria. Esto viene de Platón de hace 2500 años, que él decía que la escritura iba a matar la memoria de los hombres. Bueno, podemos pensar nosotros mismos, no, eh?O por lo menos esta generación, que [00:08:00] vivimos el mundo antes y después de las aplicaciones móviles. Yo hace 30 años, 25 años, tenía mi memoria 30-40 números telefónicos. Hoy no tengo ninguno. Y en esa pensemos también el GPS, no? En una época, los taxistas de Londres, que es una ciudad latica se conocían a memoria la ciudad. Y hoy eso, ya no hace falta porque tienen GPS.Y cuando han ido a estudiar el cerebro de los taxistas de Londres, han visto que ciertas áreas del cerebro se han reducido, digamos, así, que son las áreas que gestionaban la parte espacial. Esto ya McLuhan, lo hablaba en los años 60. Decía como que los cambios narcotizan ciertas áreas de la mente decía él.Pero bueno, vemos que mucha investigación empírica, bien de vanguardia científica de neurociencia está confirmando todas estos pensamientos, todas estas cosas que se decían a los años 60 en adelante, por la media ecology. Otra posibilidad es entender [00:09:00] esto como un ecosistema de medios, Marshall McLuhan siempre decía no le podemos dar significado,no podemos entender un medio aislado de los otros medios. Como que los medios adquieren sentido sólo en relación con otros medios. También Neil Postman y mucha otra gente de la escuela de la media ecology, defiende esta posición, de que, bueno, los medios no podemos entender la historia del cine si no la vinculamos a los videojuegos, si no lo vinculamos a la aparición de la televisión.Y así con todos los medios, no? Eh? Hay trabajos muy interesantes. Por ejemplo, de como en el siglo 19, diferentes medios, podríamos decir, que coevolucionaron entre sí. La prensa, el telégrafo. El tren, que transportaba los diarios también, aparecen las agencias de noticias. O sea, vemos cómo es muy difícil entender el desarrollo de la prensa en el siglo XIX y no lo vinculamos al teléfono, si no lo vinculamos a la fotografía, si no lo vinculamos a la radio fotografía, [00:10:00] también más adelante.O sea, esta idea es muy fuerte. No también es otro de los principios para mí fundamentales de esta visión, que sería que los medios no están solos, forman parte de un ecosistema y si nosotros queremos entender lo que está pasando y cómo funciona todo esto, no podemos, eh, analizar los medios aislados del resto.Hay una tercera interpretación. Ya no sé si es muy metafórica. No? Sobre todo, gente en Italia como el investigador Fausto Colombo de Milán o Michele Cometa, es un investigador de Sicilia, Michele Cometa que él habla de l giro, el giro ecomedial. Estos investigadores están moviéndose en toda una concepción según la cual, estamos en único ecosistema mediático que está contaminado.Está contaminado de "fake news" está contaminado de noticias falsas, está contaminado de discursos de odio, etcétera, etc. Entonces ellos, digamos, retoman esta metáfora ecológica para decir [00:11:00] precisamente tenemos que limpiar este ecosistema así como el ecosistema natural está contaminado, necesita una intervención de limpieza, digamos así de purificación, eh? También el ecosistema mediático corre el mismo peligro, no? Y esta gente también llama la atención, y yo estoy muy cerca de esta línea de trabajo sobre la dimensión material de la comunicación. Y esto también tiene que ver con el turismo, queriendo, no? El impacto ambiental que tiene la comunicación hoy.Entrenar una inteligencia artificial implica un consumo eléctrico brutal; mantener funcionando las redes sociales, eh, tiktok, youtube, lo que sea, implica millones de servidores funcionando que chupan energía eléctrica y hay que enfriarlos además, consumiendo aún más energía eléctrica. Y eso tiene un impacto climático no indiferente.Así que, bueno, digamos, vemos que está metáfora de lo ecológico, aplicado los medios da para dos o tres interpretaciones. Chris: Mmm. [00:12:00] Wow. Siento que cuando yo empecé tomando ese curso de de Andrew McLuhan, el nieto de Marshall, como te mencioné, cambio mi perspectiva totalmente - en el mundo, en la manera como entiendo y como no entiendo también las nuestras tecnologías, mis movimientos, etcétera, pero ya, por una persona que tiene décadas de estudiando eso, me gustaría saber de de como empezaste. O sea, Andrew, por ejemplo tiene la excusa de su linaje, no de su papá y su abuelo.Pero entonces, como un argentino joven empezó aprendiendo de ecología de medios. Carlos: Bueno, yo te comento. Yo estudié comunicación en argentina en Rosario. Terminé la facultad. El último examen el 24 de junio del 86, que fue el día que nacía el Lionel Messi en Rosario, en Argentina el mismo día. Y [00:13:00] yo trabajaba, colaboraba en una asignatura en una materia que era teorías de la comunicación.E incluso llegué a enseñar hasta el año 90, fueron tres años, porque ya después me fui vivir Italia. En esa época, nosotros leíamos a Marshall McLuhan, pero era una lectura muy sesgada ideológicamente. En América latina, tú lo habrás visto en México. Hay toda una historia, una tradición de críticas de los medios, sobre todo, a todo lo que viene de estados unidos y Canadá está muy cerca de Estados Unidos. Entonces, digamos que en los años 70 y 80 y y hasta hoy te diría muchas veces a Marshall McLuhan se lo criticó mucho porque no criticaba los medios. O sea el te tenía una visión. Él decía, Neil Postman, si tenía una visión muy crítica. Pero en ese caso, este era una de las grandes diferencias entre Postman y McLuhan, que Marshall McLuhan, al menos en [00:14:00] público, él no criticaba los medios. Decía bueno, yo soy un investigador, yo envío sondas. Estoy explorando lo que pasa. Y él nunca se sumó... Y yo creo que eso fue muy inteligente por parte de él... nunca se sumó a este coro mundial de crítica a los medios de comunicación. En esa época, la televisión para mucha gente era un monstruo.Los niños no tenían que ver televisión. Un poco lo que pasa hoy con los móviles y lo que pasa hoy con tiktok. En esa época en la televisión, el monstruo. Entonces, había mucha investigación en Estados Unidos, que ya partía de la base que la televisión y los medios son malos para la gente. Vemos que es una historia que se repite. Yo creo que en ese sentido, Marshall McLuhan, de manera muy inteligente, no se sumó ese coro crítico y él se dedico realmente a pensar los medios desde una perspectiva mucho más libre, no anclada por esta visión yo creo demasiado ideologizada, que en América Latina es muy fuerte. Es muy fuerte. Esto no implica [00:15:00] bajar la guardia, no ser crítico. Al contrario.Pero yo creo que el el verdadero pensamiento crítico parte de no decir tanto ideológica, decimos "esto ya es malo. Vamos a ver esto." Habrá cosas buenas. Habrá cosas mala. Habrá cosa, lo que es innegable, que los medios mas ya que digamos son buenos son va, nos transforman. Y yo creo que eso fue lo importante de la idea McLuhaniana. Entonces mi primer acercamiento a McLuhan fue una perspectiva de los autores críticos que, bueno, sí, viene de Estados Unidos, no critica los medios. Vamos a criticarlo a nosotros a él, no? Y ese fue mi primer acercamiento a Marshall McLuhan. Yo me fui a Italia en la decada de 90. Estuve casi ocho años fuera de la universidad, trabajando en medios digitales, desarrollo de páginas, webs, productos multimédia y pretexto. Y a finales de los 90, dije quiero volver a la universidad. Quiero ser un doctorado. Y dije, "quiero hacer un doctorado. Bueno. Estando en Italia, el doctorado iba a ser de semiótica." Entonces hizo un [00:16:00] doctorado. Mi tesis fue sobre semiótica de las interfaces.Ahi tuve una visión de las interfaces digitales que consideran que, por ejemplo, los instrumentos como el mouse o joystick son extensiones de nuestro cuerpo, no? El mouse prolonga la mano y la mete dentro de la pantalla, no? O el joystick o cualquier otro elemento de la interfaz digital? Claro. Si hablamos de que el mouse es una extensión de la mano, eso es una idea McLuhaniana.Los medios como extensiones del ser humano de sujeto. Entonces, claro ahi yo releo McLuhan en italiano a finales de los años 90, y me reconcilio con McLuhan porque encuentro muchas cosas interesantes para entender precisamente la interacción con las máquinas digitales. En el a 2002, me mudo con mi familia a España. Me reintegro la vida universitaria. [00:17:00] Y ahí me pongo a estudiar la relación entre los viejos y los nuevos medios. Entonces recupero la idea de ecosistema. Recupero toda la nueva, la idea de ecología de mi ecology. Y me pongo a investigar y releer a McLuhan por tercera vez. Y a leerlo en profundidad a él y a toda la escuela de mi ecology para poder entender las dinámicas del actual ecosistema mediático y entender la emergencia de lo nuevo y cómo lo viejo lucha por adaptarse. En el 2009, estuve tres meses trabajando con Bob Logan en the University of Toronto. El año pasado, estuve en el congreso ahí y tuvimos dos pre conferencias con gente con Paolo Granata y todo el grupo de Toronto.O sea que, tengo una relación muy fuerte con todo lo que se producía y se produce en Toronto. Y bueno, yo creo que, a mí hoy, la media ecology, me sirve muchísimo junto a otras disciplina como la semiótica para poder entender el ecosistema [00:18:00] mediático actual y el gran tema de investigación mío hoy, que es la evolución del la ecosistema mediático.Mm, digamos que dentro de la media ecology, empezando de esa tesis doctoral del 79 de Paul Levinson, hay toda una serie de contribuciones, que un poco son los que han ido derivando en mi último libro que salió el año pasado en inglés en Routledge, que se llama The Evolution of Media y acaba de salir en castellano.Qué se llama Sobre La Evolución De los Medios. En la teoría evolutiva de los medios, hay mucha ecología de los medios metidos. Chris: Claro, claro. Pues felicidad es Carlos. Y vamos a volver en un ratito de ese tema de la evolución de medios, porque yo creo que es muy importante y obviamente es muy importante a ti. Ha sido como algo muy importante en tu trabajo. Pero antes de de salir de esa esquina de pensamiento, hubo una pregunta que me mandó Andrew McLuhan para ti, que ya ella contestaste un poco, pero este tiene que ver entre las diferencias en los [00:19:00] mundos de ecología de medios anglofonos y hispánicos. Y ya mencionaste un poco de eso, pero desde los tiempos en los 80 y noventas, entonces me gustaría saber si esas diferencias siguen entre los mundos intelectuales, en el mundo anglofono o hispánico.Y pues, para extender su pregunta un poco, qué piensas sería como un punto o tema o aspecto más importante de lo que uno de esos mundos tiene que aprender el otro en el significa de lo que falta, quizás. Carlos: Si nos focalizamos en el trabajo de Marshall McLuhan, no es que se lo criticó sólo de América Latina.En Europa no caía simpático Marshall McLuhan en los 60, 70. Justamente por lo mismo, porque no criticaba el sistema capitalista de medios. La tradición europea, la tradición de la Escuela de Frankfurt, la escuela de una visión anti [00:20:00] capitalista que denuncia la ideología dominante en los medio de comunicación.Eso es lo que entra en América Latina y ahí rebota con mucha fuerza. Quizá la figura principal que habla desde América Latina, que habló mucho tiempo de América latina es Armand Mattelart. Matterlart es un teórico en la comunicación, investigador de Bélgica. Y él lo encontramos ya a mediados de los años 60 finales de los 60 en Chile en un memento muy particular de la historia de Chile donde había mucha politización y mucha investigación crítica, obviamente con el con con con con el capitalismo y con el imperialismo estadounidense. Quizá la la obra clásica de ese memento es el famoso libro de Mattelart y Dorfman, eh, eh? Para Leer El Pato Donald, que donde ellos desmontan toda la estructura ideológica capitalista, imperialista, que había en los cics en las historietas del pato Donald.Ellos dicen esto se publicó a [00:21:00] principio los 70. Es quizá el libro más vendido de la comic latinoamericana hasta el día de hoy, eh? Ellos dicen hay ideología en la literatura infantil. Con el pato Donald, le están llenando la cabeza a nuestros niños de toda una visión del mundo muy particular.Si uno le el pato Donald de esa época, por lo menos, la mayor parte de las historia del pato Donald, que era, había que a buscar un tesoro y adónde. Eran lugares africana, peruviana, incaica o sea, eran países del tercer mundo. Y ahí el pato Donald, con sus sobrinos, eran lo suficientemente inteligentes para volverse con el oro a Patolandia.Claro. Ideológicamente. Eso no se sostiene. Entonces, la investigación hegemónica en esa época en Europa, en Francia, la semiología pero sobre todo, en América latina, era ésa. Hay que estudiar el mensaje. Hay que estudiar el contenido, porque ahí está la ideología [00:22:00] dominante del capitalismo y del imperialismo.En ese contexto, entra McLuhan. Se traduce McLuhan y que dice McLuhan: el medio es el mensaje. No importa lo que uno lee, lo que nos transforma es ver televisión, leer comics, escuchar la radio. Claro, iba contramano del mainstream de la investigación en comunicación. O sea, digamos que en América latina, la gente que sigue en esa línea que todavía existe y es fuerte, no es una visión muy crítica de todo esto, todavía hoy, a Marshal McLuhan le cae mal, pero lo mismo pasa en Europa y otros países donde la gente que busca una lectura crítica anti-capitalista y anti-sistémica de la comunicación, no la va a encontrar nunca en Marshall McLuhan, por más que sea de América latina, de de de Europa o de Asia. Entonces yo no radicaría todo esto en un ámbito anglosajón y el latinoamericano. Después, bueno, la hora de McLuhan es bastante [00:23:00] polisemica. Admite como cualquier autor así, que tiene un estilo incluso de escritura tan creativo en forma de mosaico.No era un escritor Cartesiano ordenadito y formal. No, no. McLuhan era una explosión de ideas muy bien diseñada a propósito, pero era una explosión de ideas. Por eso siempre refrescan tener a McLuhan. Entonces normal que surjan interpretaciones diferentes, no? En estados unidos en Canadá, en Inglaterra, en Europa continental o en Latinoamérica o en Japón, obviamente, no? Siendo un autor que tiene estas características. Por eso yo no en no anclaría esto en cuestiones territoriales. Cuando uno busca un enfoque que no tenga esta carga ideológica para poder entender los medios, que no se limite sólo a denunciar el contenido.McLuhan y la escuela de la ecología de los medios es fundamental y es un aporte muy, muy importante en ese sentido, no? Entonces, bueno, yo creo que McLuhan tuvo [00:24:00] detractores en Europa, tuvo detractores en América latina y cada tanto aparece alguno, pero yo creo que esto se ido suavizando. Yo quiero que, como que cada vez más se lo reivindica McLuhan.La gente que estudia, por ejemplo, en Europa y en América latina, que quizá en su época criticaron a McLuhan, todas las teorías de la mediatización, por ejemplo, terminan coincidiendo en buena parte de los planteos de la media ecology. Hoy que se habla mucho de la materialidad de la comunicación, los nuevos materialismos, yo incluyo a Marshall McLuhan en uno de los pioneros des esta visión también de los nuevos materialismos. Al descentrar el análisis del contenido, al medio, a la cosa material, podemos considerar a macl también junto a Bruno Latour y otra gente como pionero, un poco de esta visión de no quedarse atrapados en el giro lingüístico, no, en el contenido, en el giro semiótico e incorporar también la dimensión material de la comunicación y el medio en sí.[00:25:00] Chris: Muy bien. Muy bien, ya. Wow, es tanto, pero lo aprecio mucho. Gracias, Carlos. Y me gustaría seguir preguntándote un poco ahora de tu propio trabajo. Tienes un capítulo en tu libro. Las Leyes de la Interfaz titulado "Las Interfaces Co-evolucionan Con Sus Usuarios" donde escribes "estas leyes de la interfaz no desprecian a los artefactos, sus inventores ó las fuerzas sociales. Solo se limitan á insertarlos á una red socio técnica de relaciones, intercambios y transformaciones para poder analizarlos desde una perspectiva eco-evolutiva."Ahora, hay un montón ahí en este paragrafito. Pero entonces, me gustaría preguntarte, cómo vea los humanos [00:26:00] co-evolucionando con sus tecnologías? Por ejemplo, nuestra forma de performatividad en la pantalla se convierte en un hábito más allá de la pantalla.Carlos: Ya desde antes del homo sapiens, los homínidos más avanzados, digamos en su momento, creaban instrumentos de piedra. Hemos descubierto todos los neandertales tenían una cultura muy sofisticada, incluso prácticas casi y religiosas, más allá de la cuestión material de la construcción de artefactos. O sea que nuestra especie es impensable sin la tecnología, ya sea un hacha de piedra o ya sea tiktok o un smartphone. Entonces, esto tenemos que tenerlo en cuenta cuando analizamos cualquier tipo de de interacción cotidiana, estamos rodeados de tecnología y acá, obviamente, la idea McLuhaniana es fundamental. Nosotros creamos estos medios. Nosotros creamos estas tecnologías.Estas tecnologías también nos reformatean. [00:27:00] McLuhan, no me suena que haya usado el concepto de coevolución, pero está ahí. Está hablando de eso. Ahora bien. Hay una coevolución si se quiere a larguísimo plazo, que, por ejemplo, sabemos que el desarrollo de instrumentos de piedra, el desarrollo del fuego, hizo que el homo sapiens no necesitara una mandíbula tan grande para poder masticar los alimentos. Y eso produce todo un cambio, que achicó la mandíbula le dejó más espacio en el cerebro, etcétera, etcétera. Eso es una coevolución en término genético, digamos a larguísimo plazo, okey. También la posición eréctil, etcétera, etcétera. Pero, digamos que ya ahí había tecnologías humanas coevolucionando con estos cambios genéticos muy, muy lentos.Pero ahora tenemos también podemos decir esta co evolución ya a nivel de la estructura neuronal, entonces lo ha verificado la neurociencia, como dije antes. Hay cambio físico en la estructura del cerebro a lo largo de la vida de una persona debido a la interacción con ciertas tecnologías. Y por qué pasa eso?Porque [00:28:00] la producción, creación de nuevos medios, nuevas tecnologías se ido acelerando cada vez más. Ahi podemos hacer una curva exponencial hacia arriba, para algunos esto empezó hace 10,000 años. Para algunos esto se aceleró con la revolución industrial. Algunos hablan de la época el descubrimiento de América.Bueno, para alguno esto es un fenómeno de siglo xx. El hecho es que en términos casi geológicos, esto que hablamos del antropoceno es real y está vinculado al impacto del ser humano sobre nuestro ambiente y lo tecnológico es parte de ese proceso exponencial de co evolución. Nosotros hoy sentimos un agobio frente a esta aceleración de la tecnología y nuestra necesidad. Quizá de adaptarnos y coevolucionar con ella. Como esto de que todo va muy rápido. Cada semana hay un problema nuevo, una aplicación nueva. Ahora tenemos la inteligencia artificial, etc, etcétera. Pero esta sensación [00:29:00] no es nueva. Es una sensación de la modernidad. Si uno lee cosas escritas en 1,800 cuando llega el tren también la gente se quejaba que el mundo iba muy rápido. Dónde iremos a parar con este caballo de hierro que larga humo no? O sea que esta sensación de velocidad de cambio rápido ya generaciones anteriores la vivían. Pero evidentemente, el cambio hoy es mucho más rápido y denso que hace dos siglos. Y eso es real también. Así que, bueno, nuestra fe se va coevolucionando y nos vamos adaptando como podemos, yo esta pregunta se la hice hace 10 años a Kevin Kelly, el primer director de la revista Wire que lo trajimos a Barcelona y el que siempre es muy optimista. Kevin Kelly es determinista tecnológico y optimista al mismo tiempo. Él decía que "que bueno que el homo sapiens lo va llevando bastante bien. Esto de co evolucionar con la tecnología." Otra gente tiene una [00:30:00] visión radicalmente opuesta, que esto es el fin del mundo, que el homo sapiens estamos condenados a desaparecer por esta co evolución acelerada, que las nuevas generaciones son cada vez más estúpidas.Yo no creo eso. Creo, como McLuhan, que los medios nos reforman, nos cambian algunas cosas quizás para vivir otras quizá no tanto, pero no, no tengo una visión apocalíptica de esto para nada. Chris: Bien, bien. Entonces cuando mencionaste lo de la televisión, yo me acuerdo mucho de de mi niñez y no sé por qué. Quizás fue algo normal en ese tiempo para ver a tele como un monstruo, como dijiste o quizás porque mis mis papás eran migrantes pero fue mucho de su idea de esa tecnología y siempre me dijo como no, no, no quédate ahí tan cerca y eso.Entonces, aunque lo aceptaron, ellos comprendieron que el poder [00:31:00] de la tele que tenía sobre las personas. Entonces ahora todos, parece a mí, que todos tienen su propio canal, no su propio programación, o el derecho o privilegio de tener su propio canal o múltiples canales.Entonces, es una gran pregunta, pero cuáles crees que son las principales consecuencias de darle a cada uno su propio programa en el sentido de como es el efecto de hacer eso, de democratizar quizás la tecnología en ese sentido? Carlos: Cuando dices su propio canal, te refieres a la posibilidad de emitir o construir tu propia dieta mediática.Chris: Bueno primero, pero puede ser ambos, claro, no? O sea, mi capacidad de tener un perfil o cuenta mía personal. Y luego como el fin del turismo, no? Y luego otro. Carlos: Sí, a ver. Yo creo que, bueno, esto fue el gran cambio radical que empezó a darse a partir la década del 2000 o [00:32:00] sea, hace 25 años. Porque la web al principio sí era una red mundial en los años 90. Pero claro la posibilidad de compartir un contenido y que todo el mundo lo pudiera ver, estaba muy limitado a crear una página web, etcétera. Cuando aparecen las redes sociales o las Web 2.0 como se la llamaba en esa época y eso se suma los dispositivos móviles, ahí se empieza a generar esta cultura tan difundida de la creación de contenido. Hasta digamos que hasta ese momento quien generaba contenido era más o menos un profesional en la radio y en la televisión, pero incluso en la web o en la prensa o el cine. Y a partir de ahí se empieza, digamos, a abrir el juego. En su momento, esto fue muy bien saludado fue qué bueno! Esto va nos va a llevar a una sociedad más democrática. 25 años después, claro, estamos viendo el lado oscuro solamente. Yo creo que el error hace 25 años era pensar solo las posibilidades [00:33:00] buenas, optimistas, de esto. Y hoy me parece que estamos enredados en discursos solamente apocalípticos no?No vemos las cosas buenas, vemos solo las cosas malas. Yo creo que hay de las dos cosas hoy. Claro, hoy cualquier persona puede tener un canal, sí, pero no todo el mundo crea un canal. Los niveles de participación son muy extraños, o sea, la mayor parte de la población de los usuarios y usuarias entre en las redes. Mira. Mete un me gusta. Quizá un comentario. Cada tanto comparte una foto. Digamos que los "heavy users" o "heavy producers" de contenido son siempre una minoría, ya sea profesionales, ya sea influencers, streamers, no? Es siempre, yo no sé si acá estamos en un 20-80 o un 10-90 son estas curvas que siempre fue así? No? Si uno ve la Wikipedia, habrá un 5-10 por ciento de gente que genera contenido mucho menos incluso. Y un 90 por ciento que se [00:34:00] beneficia del trabajo de una minoría. Esto invierte la lógica capitalista? La mayoría vive de la minoría y esto pasaba antes también en otros, en otros sistemas. O sea que en ese sentido, es sólo una minoría de gente la que genera contenido de impacto, llamémoslo así, de alcance mayor.Pero bueno, yo creo que el hecho de que cualquier persona pueda dar ese salto para mí, está bien. Genera otra serie de problemas, no? Porque mientras que genera contenido, es un profesional o un periodista, digamos, todavía queda algo de normas éticas y que deben cumplir no? Yo veo que en el mundo de los streamers, el mundo de los Tik tokers etcétera, etcétera, lo primero que ellos dicen es, nosotros no somos periodistas. Y de esa forma, se inhiben de cualquier, control ético o de respeto a normas éticas profesionales. Por otro lado, las plataformas [00:35:00] Meta, Google, todas. Lo primero que te dicen es nosotros no somos medio de comunicación. Los contenidos los pone la gente.Nosotros no tenemos nada que ver con eso. Claro, ellos también ahí se alejan de toda la reglamentación. Por eso hubo que hacer. Europa y Estados Unidos tuvo que sacar leyes especiales porque ellos decían no, no, las leyes del periodismo a nosotros no nos alcanzan. Nosotros no somos editores de contenidos.Y es una mentira porque las plataformas sí editan contenido a través los algoritmos, porque nos están los algoritmos, nos están diciendo que podemos ver y que no está en primera página. No están filtrando información, o sea que están haciendo edición. Entonces, como que se generan estas equivocaciones.Y eso es uno de los elementos que lleva esta contaminación que mencioné antes en el en los ámbitos de la comunicación. Pero yo, si tuviera que elegir un ecosistema con pocos enunciadores pocos medios controlados por profesionales y este ecosistema [00:36:00] caótico en parte contaminado con muchos actores y muchas voces, yo prefiero el caos de hoy a la pobreza del sistema anterior.Prefiero lidiar, pelearme con y estar buscar de resolver el problema de tener mucha información, al problema de la censura y tener sólo dos, tres puntos donde se genera información. Yo he vivido en Argentina con dictadura militar con control férreo de medios, coroneles de interventores en la radio y la televisión que controlaban todo lo que se decía.Y yo prefiero el caos de hoy, aún con fake news y todo lo que quieras. Prefiero el caos de hoy a esa situación. Chris: Sí, sí, sí, sí. Es muy fuerte de pensar en eso para la gente que no han vivido en algo así, no? Osea algunos familiares extendidos han vivido en mundos comunistas, en el pasado en el este de Europa y no se hablan [00:37:00] exactamente así.Pero, se se hablan, no? Y se se dicen que lo que lo que no tenía ni lo que no tiene por control y por fuerza. Entonces, en ese como mismo sentido de lo que falta de la memoria vivida, me gustaría preguntarte sobre tu nuevo libro. Y sobre la evolución de medios. Entonces me gustaría preguntarte igual por nuestros oyentes que quizás no han estudiado mucho de la ecología de los medios Para ti qué es la evolución de los medios y por qué es importante para nuestro cambiante y comprensión del mundo. O sea, igual al lado y no solo pegado a la ecología de medios, pero la evolución de los medios,Carlos: Sí, te cuento ahí hay una disciplina, ya tradicional que es la historia y también está la historia de la comunicación y historia de los medios. [00:38:00] Hay libros muy interesantes que se titulan Historia de la Comunicación de Gutenberg a Internet o Historia de la Comunicación del Papiro a Tiktok. Entonces, qué pasa? Esos libros te dicen bueno, estaba el papiro, después vino el pergamino, el manuscrito, después en 1450 vino Gutenberg, llegó el libro. Pero eso el libro no te cuentan que pasó con el manuscrito, ni que pasó con el papiro. Y te dicen que llega la radio en 1920 y en 1950 llega la televisión y no te dicen que pasó con la radio, que pasó con el cine.Son historias lineales donde un medio parece que va sustituyendo al otro. Y después tenemos muchos libros muy buenos también. Historia de la radio, historia de la televisión, historia de internet, historia del periodismo. Como dije antes, retomando una idea, de McLuhan no podemos entender los medios aislados.Yo no puedo entender la evolución de la radio si no la vinculo a la prensa, a [00:39:00] la televisión y otro al podcast. Okey, entonces digo, necesitamos un campo de investigación, llamémoslo una disciplina en construcción, que es una teoría y también es metodología para poder entender el cambio mediático, todas estas transformaciones del ecosistema de medios a largo plazo y que no sea una sucesión de medios, sino, ver cómo esa red de medios fue evolucionando. Y eso yo lo llamo una teoría evolutiva o una "media evolution" Y es lo que estoy trabajando ahora. Claro, esta teoría, este enfoque, este campo de investigación toma muchas cosas de la ecología de los medios, empezando por Marshall McLuhan pero también gente de la tradición previa a la media ecology como Harold Innis, el gran historiador, economista de la comunicación y de la sociedad, que fue quizás el intelectual más famoso en Canadá en la primera mitad del siglo XX. Harold Innis que influenció mucho a Marshall McLuhan [00:40:00] Marshall McLuhann en la primera página de Gutenberg Galaxy, dice este libro no es otra cosa que una nota al pie de página de la obra de Harold Innis Entonces, Harold Innis que hizo una historia de los tiempos antiguos poniendo los medios al centro de esa historia. Para mí es fundamental. Incluso te diría a veces más que McLuhan, como referencia, a la hora de hacer una teoría evolutiva del cambio mediático. Y después, obviamente tomo muchas cosas de la historia de los medios.Tomo muchas cosas de la arqueología de los medios (media archeology). Tomo cosas también de la gente que investigó la historia de la tecnología, la construcción social de la tecnología. O sea, la media evolution es un campo intertextual, como cualquier disciplina que toma cosas de todos estos campos para poder construir una teoría, un enfoque, una mirada que sea más a largo plazo, que no sea una sucesión de medios, sino que vea la evolución de todo el ecosistema mediático, prestando mucha atención a las relaciones [00:41:00] entre medios, y con esta visión más compleja sistémica de cómo cambian las cosas.Yo creo que el cambio mediático es muy rápido y necesitamos una teoría para poder darle un sentido a todo este gran cambio, porque si nos quedamos analizando cosas muy micro, muy chiquititas, no vemos los grandes cambios. No nos podemos posicionar... esto un poco como el fútbol. Los mejores jugadores son los que tienen el partido en la cabeza y saben dónde está todo. No están mirando la pelota, pero saben dónde están los otros jugadores? Bueno, yo creo que la media evolution sirve para eso. Más allá de que hoy estemos todos hablando de la IA generativa. No? Tener esta visión de de conjunto de todo el ecosistema mediático y tecnológico, yo creo que es muy útil.Chris: Mm. Wow Increíble, increíble. Sí. Sí. Pienso mucho en como las nuevas generaciones o las generaciones más jóvenes en el día de hoy. O sea, [00:42:00] al menos más joven que yo, que la mayoría, como que tiene 20 años hoy, no tienen una memoria vívida de cómo fuera el mundo, sin redes sociales o sin el internet. Y así como me voy pensando en mi vida y como yo, no tengo una memoria de vida como fuera el mundo sin pantallas de cualquier tipo, o sea de tele de compus. No solo de internet o redes. Carlos: Sí, no, te decia que mi padre vivió, mi padre tiene 90 años y él se recuerda en el año 58, 59, su casa fue la primera en un barrio de Rosario que tuvo televisión y transmitían a partir de la tarde seis, siete de la tarde. Entonces venían todos los vecinos y vecinas a ver televisión a la casa de mi abuela. Entonces cada uno, cada generación tiene sus historias. No? Chris: Ajá. Ajá. Sí. Pues sí. Y también, como dijiste, para [00:43:00] entender los medios como sujetos o objetos individuales, o sea en su propio mundo, no? Este recuerdo un poco de la metáfora de Robin Wall Kimmerer que escribió un libro que se llama Braiding Sweetgrass o Trenzando Pasto Dulce supongo, en español. Y mencionó que para entender el entendimiento indígena, digamos entre comillas de tiempo, no necesitamos pensar en una línea, una flecha desde el pasado hacia el futuro. Pero, un lago, mientras el pasado, presente, y futuro existen, a la vez, en ese lago.Y también pienso como en el lugar, el pasado, presente, y el futuro, como todos esos medios existiendo a la vez, como en un lago y obviamente en una ecología de su evolución de sus cambios. Carlos: Es, muy interesante eso. Después te voy a pedir la referencia del libro porque, claro, [00:44:00] McLuhan siempre decía que el contenido de un medio es otro medio. Entonces, puede pasar que un medio del pasado deja su huella o influye en un medio del futuro. Y entonces ahí se rompe la línea temporal. Y esos son los fenómenos que a mí me interesa estudiar. Chris: Mmm, mmm, pues Carlos para terminar, tengo dos últimas preguntas para ti. Esta vez un poco alineado con el turismo, y aunque no estas enfocado tanto en en el estudio de turismo. Por mis estudios y investigaciones y por este podcast, he amplificado esa definición de turismo para ver cómo existiría más allá de una industria. Y para mí, el turismo incluye también el deseo de ver una persona, un lugar o una cultura como destino, como algo útil, temporal en su valor de uso y por tanto, desechable. Entonces, me gustaría [00:45:00] preguntarte, si para ti parece que nuestros medios populares, aunque esto es un tiempo, digamos con más libertad de otros lugares o tiempos en el pasado, más autoritarianos o totalitarianos? Si te ves la posibilidad o la evidencia de que nuestros medios digamos como mainstream más usados, están creando o promoviendo un , un sentido de alienación en la gente por efectivamente quedarles a distancia al otro o la otra.Carlos: Yo ya te dije no, no tengo una visión apocalíptica de los medios. Nunca, la tuve. Esto no quita de que los medios y como dijimos antes, tienen problemas. Generan también contaminación. Llamémoslo así si seguimos con la metáfora, ? El tema de alienación viene desde hace [00:46:00] muchísimos años. Ya cuando estudiaba en la universidad, nunca sintonicé con las teorías de la alienación.El concepto de alienación viene del siglo XIX. Toda una teoría de la conciencia, el sujeto, el proletario, llamémoslo, así que tenía que tomar conciencia de clase. Bueno, las raíces de esa visión del concepto alienación vienen de ahí. Yo, a mí nunca me convenció, justamente. Y acá si interesante.El aporte de América Latina en teorías de la comunicación siempre fue diferente. Fue reivindicar la resignificación, la resemantización el rol activo del receptor, cuando muchas veces las teorías que venían de Europa o Estados Unidos tenían esta visión del receptor de la comunicación como un ser pasivo. En ese sentido, la media ecology nunca entró en ese discurso porque se manejaba con otros parámetros, pero digamos que lo que era el mainstream de la investigación de estados unidos, pero también de Europa, siempre coincidían en esto en considerar el receptor pasivo, alienado, [00:47:00] estupidizado por los medios. Y yo realmente nunca, me convenció ese planteo, ni antes ni hoy, ni con la televisión de los 70 y 80, ni con el tiktok de hoy.Esto no quita que puede haber gente que tenga alguna adicción, etcétera, etcétera. Pero yo no creo que toda la sociedad sea adicta hoy a la pantallita. Deja de ser adicción. Okey. Esto no implica que haya que no tener una visión crítica. Esto no implica que haya que eventualmente regular los usos de ciertas tecnologías, obviamente.Pero de ahí a pensar que estamos en un escenario apocalíptico, de idiotización total del homo sapiens o de alienación. Yo no lo veo, ni creo que lo los estudios empíricos confirmen eso. Más allá que a veces hay elecciones y no nos gusten los resultados.Pero ahí es interesante, porque cuando tu propio partido político pierde, siempre se le echa la culpa a los medios porque ganó el otro. Pero cuando tu partido político gana, nadie dice nada de los medios. Ganamos porque somos mejores, [00:48:00] porque tenemos mejores ideas, porque somos más democráticos, porque somos más bonitos.Entonces, claro te das cuenta que se usan los medios como chivo expiatorio para no reconocer las propias debilidades políticas a la hora de denunciar una propuesta o de seducir al electorado.Chris: Claro, claro. Ya pues estos temas son vastos y complejos. Y por eso me gusta, y por eso estoy muy agradecido por pasar este tiempo contigo, Carlos.Pero los temas requieren un profundo disciplina para comprender, o al menos según yo, como alguien que está muy nuevo a estos temas. Entonces, a nuestra época, parece que somos, según yo, arrastrados a una velocidad sin precedentes. Nuestras tecnologías están avanzando y quizás socavando simultáneamente nuestra capacidad de comprender lo que está sucediendo en el mundo. Los usamos como protesta a veces como, como mencionaste, [00:49:00] pero sin una comprensión más profunda de cómo nos usan también. Entonces tengo la curiosidad por saber qué papel desempeña la ecología de los medios en la redención o curación de la cultura en nuestro tiempo. Cómo podría la ecología de los medios ser un aliado, quizás, en nuestros caminos? Carlos: Sí, yo creo que esta idea estaba presente, no? En los teóricos de la media ecology, digamos la primera generación.Ahora que lo pienso, estaba también en la semiótica de Umberto Eco, no? Cuando decía la semiótica más allá de analizar cómo se construye significado, también aporta a mejorar la vida significativa, o sea, la vida cultural, la vida comunicacional, nuestro funcionamiento como sujeto, digamos. Y yo creo que en ese sentido, la media ecology también.Digamos, si nosotros entendemos el ecosistema mediático, vamos a poder sacarlo mejor [00:50:00] coevolucionar mejor. Vamos a ser más responsables también a la hora de generar contenidos, a la hora de retwittear de manera a veces automática ciertas cosas. Yo creo que es todo un crecimiento de vivir una vida mediática sana, que yo creo que hoy existe esa posibilidad.Yo estoy en Twitter desde el 2008-2009 y sólo dos veces tuve así un encontronazo y bloqueé a una persona mal educada. Después el resto de mi vida en Twitter, es rica de información de contactos. Aprendo muchísimo me entero de cosas que se están investigando. O sea, también están uno elegir otras cosas.Y por ejemplo, donde veo que yo hay que hay redes que no me aportan nada, no directamente ni entro. También es eso de aprender a sacar lo mejor de este ecosistema mediático. Y lo mismo para el ecosistema natural. Así como estamos aprendiendo a preocuparnos de dónde viene la comida, [00:51:00] cuánto tiempo se va a tardar en disolver este teléfono móvil por los componentes que tiene. Bueno, también es tomar conciencia de eso. Ya sea en el mundo natural, como en el mundo de la comunicación. Y yo creo que todos estos conocimientos, en este caso, la media ecology nos sirve para captar eso, no? Y mejorar nosotros también como sujetos, que ya no somos más el centro del universo, que esta es la otra cuestión. Somos un átomo más perdido entre una complejidad muy grande. Chris: Mm. Mm, pues que estas obras y trabajos y estudios tuyos y de los demás nos da la capacidad de leer y comprender ese complejidad, no?O sea, parece más y más complejo cada vez y nos requiere como más y más discernimiento. Entonces, yo creo que pues igual, hemos metido mucho en tu voluntad y capacidad de [00:52:00] hacer eso y ponerlo en el mundo. Entonces, finalmente Carlos me gustaría a extender mi agradecimiento y la de nuestros oyentes por tu tiempo hoy, tu consideración y tu trabajo.Siento que pues, la alfabetización mediática y la ecología de los medios son extremadamente deficientes en nuestro tiempo y su voluntad de preguntar sobre estas cosas y escribir sobre ellas es una medicina para un mundo quebrantado y para mi turístico. Entonces, así que muchísimas gracias, Carlos, por venir hoy.Carlos: Gracias. Te agradezco por las preguntas. Y bueno, yo creo que el tema del turismo es un tema que está ocupa lugar central hoy. Si tú estuvieras en Barcelona, verías que todos los días se está debatiendo este tema. Así que yo creo que bueno, adelante con esa reflexión y esa investigación sobre el turismo, porque es muy pertinente y necesaria.Chris: Pues sí, gracias. [00:53:00] Igual yo siento que hay una conexión fuerte entre esas definiciones más amplias de turismo y la ecología de medios. O sea, ha abierto una apertura muy grande para mí para entender el turismo más profundamente. Igual antes de terminar Carlos, cómo podrían nuestros oyentes encontrar tus libros y tu trabajo?Sé que hemos hablado de dos libros que escribiste, pero hay mucho más. Muchísimo más. Entonces, cómo se pueden encontrarlos y encontrarte?Carlos: Lo más rápido es en en mi blog, que es hipermediaciones.com Ahí van a encontrar información sobre todos los libros que voy publicando, etcétera, etc. Y después, bueno, yo soy muy activo, como dije en Twitter X. Me encuentran la letra CEscolari y de Carlos es mi Twitter. Y bueno, también ahí trato de difundir información sobre estos [00:54:00] temas.Como dije antes, aprendo mucho de esa red y trato de también devolver lo que me dan poniendo siempre información pertinente. Buenos enlaces. Y no pelearme mucho.Chris: Muy bien, muy bien, pues voy a asegurar que esos enlaces y esas páginas estén ya en la sección de tarea el sitio web de El fin del turismo cuando sale el episodio. Igual otras entrevistas y de tus libros. No hay falta. Entonces, con mucho gusto, los voy compartiendo. Bueno, Carlos, muchísimas gracias y lo aprecio mucho.Carlos: Muchas gracias y nos vemos en México.English TranscriptionChris: [00:00:00] Welcome to the podcast The End of Tourism, Carlos. Thank you for being able to speak with me today. It's a great pleasure to have you here with me today.Carlos: No, thank you, Chris, for the invitation. It is a great pleasure and honor to chat with you, a great traveler and, well, I have never directly investigated the subject of tourism.Well, I understand that we are going to talk about media ecology and collateral issues that can help us better understand, give meaning to all that is happening in the world of tourism. Well, I work in Barcelona. I don't live in the city exactly, but I work at the university in Barcelona, in the central area.Well, every time I go to the city, the number of tourists increases every day and the debate on tourism in all its dimensions increases. So it is a topic that is on the agenda, right?Chris: Yes, well I imagine that even if you don't like to think or if you don't want to think about tourism there, it is inevitable to have a personal lesson [00:01:00] from that industry.Carlos: Yes, to the point that it is almost becoming a taxonomic criterion, right? ...of classification or cities with a lot of tourists, cities or places without tourists that are the most sought after until they are filled with tourists. So we are practically in a vicious circle.Chris: Well, at some point I know that it changes, the cycle breaks, at least to account for what we are doing with the behavior.And I understand that this also has a lot to do with the ecology of the media, the lack of ability to understand our behaviors, attitudes, thoughts, feelings, etc. So, before continuing with your work and deeds, I would like to ask you about your path and your life.First, I wonder if you could define for our listeners what media ecology is and how you [00:02:00] became interested in this field? How did you come to dedicate your life to this study?Carlos: Yes. Let's see a little bit. There is one, this is the official history. We would say media ecology, it is a field of research, let's say, that was born in the 60s. We must take into account above all the work of Marshall McLuhan, a Canadian researcher who is very famous worldwide. He was perhaps the most famous media researcher philosopher in the 60s and 70s.And a colleague of his, Neil Postman, who was at New York University, was a bit, let's say, among the people who surrounded these two references, no, in the 60s, from there it was brewing, let's say, what was later called media ecology. It is said that the first person to talk about media ecology, who applied this metaphor to the media, was Marshall McLuhan himself in some private conversations, [00:03:00] letters that were sent to each other in the late 50s, early 60s, by researchers on these topics?Let's say the first public appearance of the concept of media ecology was a lecture in 1968 by Neil Postman. It was a public speech that talked about how the media transforms us and how the media transforms us, forming an environment in which we grow, develop, and so on. And we are sometimes not very aware of this environment that surrounds us and shapes us.He first used the concept of media ecology in a public lecture. And then, if we go back to the early 70s, Postman himself created the first program in media ecology at NYU, at New York University. So, in 73, 74 and 75, what I call the second generation began to emerge, of people [00:04:00] some of whom were trained in these courses in New York.For example, Christine Nystrom was the first PhD thesis on my ecology; people like Paul Levinson who in 1979 defended a PhD thesis directed by Postman on the evolution of the media, right? And the same thing happened in Toronto in the 70s. Marshall McLuhan died in December 80.Let's say that the 70s were his last decade of intellectual production. And there are a number of collaborators at that time, very young people like Robert Logan, Derrick De Kerchove, who later continued to work a bit along these lines, along these lines. And there we talk about the Canadian front, eh?This whole second generation was developing, expanding and applying. Let's not forget Eric McLuhan, Marshall's son, who was also part of this whole movement. [00:05:00] And if I remember correctly, in 2000, the Media Ecology Association was created, which is the Media Ecology Association, which is an academic, scientific organization that brings together people who deal with media ecology.If we think at a more scientific epistemological level, we can think of this metaphor of media ecology from two or three perspectives. On the one hand, this idea that media create environments. This is a very strong idea of Marsha McLuhan, of Postman and of this whole group, isn't it? The media - "medium" understood in a very broad sense, no, any technology could be a medium for them.For Marsha McLuhan, the wheel is a medium. A telescope is a medium. A radio is a medium and television is a medium, right? I mean, any technology can be considered a medium. Let's say that these media, these technologies, generate a [00:06:00] environment that transforms us. It transforms our way, sometimes our way of thinking, our way of perceiving the world, our conception of time and space.And we are not aware of that change. Let's think that, I don't know, before 1800, if someone had to make a trip of a thousand kilometers (and here we are approaching tourism) kilometers was a trip that had to be planned many months in advance. With the arrival of the train, we are already in 1800, those kilometers were shortened. Let's say no? There we see as if today they tell us 1000 kilometers.Well, yes, we take a plane. It's an hour, an hour and a quarter of a journey. Today, 1000 kilometres is much less than 200 years ago and even in terms of time, time has changed. Right? All of that is a consequence, let's say, of this change, our perception is a consequence of a series of media and technologies.The railroad. Obviously, today we have airplanes. The same digital networks that have somewhat brought us this idea of "time [00:07:00] real," this anxiety of wanting everything fast, right? That is also a consequence of these environmental changes generated by the media and technologies, eh? This is a very strong idea, when McLuhan and Postman talked about this in the 60s, they were strong intuitions that they had from a very intelligent observation of reality. Today, cognitive sciences, or rather neuroscience, have confirmed these hypotheses. In other words, today there are a series of methodologies to study the brain and we can already see how technologies...The media even affects the physical structure of the brain. Right? Another thing that is historical is that the media affects our memory. This comes from Plato 2,500 years ago, who said that writing would kill the memory of men. Well, we can think for ourselves, right?Or at least this generation, who [00:08:00] lived in a world before and after mobile apps. 30 years ago, 25 years ago, I had 30-40 phone numbers in my memory. Today I don't have any. And let's also think about GPS, right? At one time, taxi drivers in London, which is a Latin city, knew the city by heart. And today, that's no longer necessary because they have GPS.And when they went to study the brains of London taxi drivers, they saw that certain areas of the brain had shrunk, so to speak, which are the areas that manage the spatial part. McLuhan already talked about this in the 60s. He said that changes narcotize certain areas of the mind, he said.But well, we see that a lot of empirical research, very cutting-edge neuroscience research is confirming all these thoughts, all these things that were said in the 60s onwards, by media ecology. Another possibility is to understand [00:09:00] this as a media ecosystem, Marshall McLuhan always said we cannot give it meaning,We cannot understand a medium in isolation from other media. It is as if media only acquire meaning in relation to other media. Neil Postman and many other people from the school of media ecology also defend this position, that, well, we cannot understand the history of cinema if we do not link it to video games, if we do not link it to the appearance of television.And so with all the media, right? Eh? There are some very interesting works. For example, about how in the 19th century, different media, we could say, co-evolved with each other. The press, the telegraph. The train, which also transported newspapers, news agencies appeared. I mean, we see how it is very difficult to understand the development of the press in the 19th century and we don't link it to the telephone, if we don't link it to photography, if we don't link it to radio photography, [00:10:00] also later on.I mean, this idea is very strong. It is also one of the principles that I consider fundamental to this vision, which would be that the media are not alone, they are part of an ecosystem and if we want to understand what is happening and how all this works, we cannot, uh, analyze the media in isolation from the rest.There is a third interpretation. I don't know if it's too metaphorical, right? Above all, people in Italy like the researcher Fausto Colombo from Milan or Michele Cometa, he is a researcher from Sicily, Michele Cometa who talks about the turn, the ecomedia turn. These researchers are moving in a whole conception according to which, we are in a unique media ecosystem that is contaminated.It is contaminated by "fake news" it is contaminated by false news, it is contaminated by hate speech, etc., etc. So they, let's say, take up this ecological metaphor to say [00:11:00] We have to clean this ecosystem just as the natural ecosystem is contaminated, it needs a cleaning intervention, let's say a purification, eh?The media ecosystem is also in the same danger, isn't it? And these people are also calling attention, and I am very close to this line of work on the material dimension of communication. And this also has to do with tourism, right? The environmental impact that communication has today.Training an artificial intelligence involves a huge amount of electricity; keeping social networks running, eh, TikTok, YouTube, whatever, involves millions of servers running that suck up electricity and also have to be cooled, consuming even more electricity. And that has a significant impact on the climate.So, well, let's say, we see that this metaphor of the ecological, applied to the media, gives rise to two or three interpretations.Chris: Mmm. [00:12:00] Wow. I feel like when I started taking that course from Andrew McLuhan, Marshall's grandson, as I mentioned, it changed my perspective completely - on the world, on the way I understand and how I don't understand our technologies, my movements, etc. But now, from a person who has been studying this for decades, I would like to know how you started. I mean, Andrew, for example, has the excuse of his lineage, not his father and his grandfather.But then, as a young Argentine, he began learning about media ecology.Carlos: Well, I'll tell you. I studied communication in Argentina, in Rosario. I finished college. The last exam was on June 24, 1986, which was the day that Lionel Messi was born in Rosario, Argentina, on the same day. And [00:13:00] I worked, I collaborated in a class in a subject that was communication theories.And I even taught until 1990, three years, because after that I went to live in Italy. At that time, we read Marshall McLuhan, but it was a very ideologically biased reading. In Latin America, you must have seen it in Mexico. There is a whole history, a tradition of criticism from the media, especially of everything that comes from the United States, and Canada is very close to the United States.So, let's say that in the 70s and 80s and until today I would tell you that Marshall McLuhan was often criticized because he did not criticize the media. I mean, he had a vision. He said, Neil Postman, yes, he had a very critical vision. But in that case, this was one of the big differences between Postman and McLuhan, that Marshall McLuhan, at least in [00:14:00] public, he did not criticize the media. He said, well, I am a researcher, I send out probes. I am exploring what is happening.And he never joined in... And I think that was very clever of him... he never joined in this worldwide chorus of criticism of the media. At that time, television was a monster for many people.Children were not supposed to watch television. A bit like what happens today with cell phones and what happens today with TikTok. At that time, television was the monster. At that time, there was a lot of research in the United States, which was already based on the premise that television and the media are bad for people.We see that it is a story that repeats itself. I think that in that sense, Marshall McLuhan, very intelligently, did not join that critical chorus and he really dedicated himself to thinking about the media from a much freer perspective, not anchored by this vision that I believe is too ideologized, which is very strong in Latin America. It is very strong. This does not imply [00:15:00] letting down one's guard, not being critical. On the contrary.But I think that true critical thinking starts from not saying so much ideology, we say "this is already bad. Let's look at this." There will be good things. There will be bad things. There will be things, which is undeniable, that the media, even if we say they are good, will transform us. And I think that was the important thing about the McLuhanian idea.So my first approach to McLuhan was from the perspective of critical authors who, well, yes, come from the United States, they don't criticize the media. We're going to criticize him, right? And that was my first approach to Marshall McLuhan.I went to Italy in the 90s. I was out of college for almost eight years, working in digital media, web development, multimedia products, and pretext. And in the late 90s, I said, I want to go back to college. I want to be a PhD. And I said, "I want to do a PhD. Well. Being in Italy, the PhD was going to be in semiotics." So I did a [00:16:00] PhD. My thesis was on semiotics of interfaces.There I had a vision of digital interfaces that consider, for example, instruments like the mouse or joystick as extensions of our body, right? The mouse extends the hand and puts it inside the screen, right? Or the joystick or any other element of the digital interface? Of course. If we talk about the mouse being an extension of the hand, that is a McLuhanian idea.The media as extensions of the human being as a subject. So, of course, I reread McLuhan in Italian at the end of the 90s, and I reconciled with McLuhan because I found many interesting things to understand precisely the interaction with digital machines.In 2002, I moved with my family to Spain. I returned to university life. [00:17:00] And there I began to study the relationship between old and new media. Then I recovered the idea of ecosystem. I recovered the whole new idea, the id

united states america tv american new york university history tiktok canada children europe english ai google internet france media england japan mexico training canadian phd africa european italy solo evolution toronto spanish italian spain europa argentina web barcelona laws pero espa tambi chile cuando quiz cada peru latin wikipedia despu estados unidos gps latinas esto historia belgium ahora somos era latin america nunca italia hasta lionel messi toda ia wire nyu tener hispanic tourism frankfurt londres xx new york university sus tienes deja hemos eso jap otro pues francia nosotros otra fue quiero algunos nuestras latin american eastern europe plato primero latinoam inglaterra comunicaci termin entonces canad claro mm asociaci ellos rosario creo transforma xix escuela siendo habr buenos igual argentine incluso sicily chilean medios plat notas vemos neanderthals esos interface routledge tomo siento genera tik en europa donald duck anthropocene postman inca sicilia obviamente kevin kelly anglo saxons gutenberg mete estando entrenar pienso umberto eco estuve catedr las leyes ecolog llam prefiero admite anglophone papyrus marshall mcluhan dorfman frankfurt school robin wall kimmerer digamos justamente generan ganamos chriss pensemos braiding sweetgrass osea ahi cartesian neil postman carlos s recupero bruno latour okey evolucion aprendo mcluhan interfaz ideologically duckburg chris yeah chris well chris yes robert logan paul levinson marshal mcluhan chris okay carlos scolari chris aj
Youth Culture Today with Walt Mueller

Several decades ago, media and communication theorist Marshal McLuhan was warning us that the technological tools we create and embrace have long-term effects that are not always positive. He said, “first we shape our tools, and then our tools shape us.” Now that the smartphone has been present in our culture and lives for over seventeen years, we are seeing how our lives and relationships are changing. A college professor named Brandon McDaniel coined a term that describes one such negative effect. The term is technoference. Simply stated, technoference occurs when our attention to screens disrupts our personal communication or time spent with others, including our family and friends.  We constantly check our screens when we are in the presence of others or in conversation with others. Recent surveys tell us that more and more kids are complaining about the technoference that comes when parents spend too much time on their phones. Do you need to change your habits?

El Viajero de la Ciencia - Carlos Alameda
Viajero 149 | ¿La IA generativa está dañando la Educación?

El Viajero de la Ciencia - Carlos Alameda

Play Episode Listen Later Nov 21, 2024 27:21


La Inteligencia Artificial ha irrumpido en el ámbito educativo a una velocidad impactante. Los científicos se preguntan si tendrá un efecto devastador en las capacidades cognitivas humanas o potenciará el cerebro como si fueran un organismo más de nuestro cuerpo en línea con la conocida metáfora de McLuhan. Marshal McLuhan, conocido investigador en Comunicación, utilizó la metáfora de la tecnología como una extensión de nuestro cuerpo. Cada nueva tecnología amplía nuestras capacidades físicas y mentales, actuando como una extensión de nosotros mismos. Por ejemplo, el teléfono extiende nuestra voz, la televisión extiende nuestra vista y el automóvil extiende nuestras piernas. La pregunta es ¿la IA generativa está preparada para ser una extensión de nuestro pensamiento, nos puede ayudar a aprender más y mejor? Si quieres acceder al contenido del artículo científico súmate a nuestro boletín: http://eepurl.com/iHax6s Aquí te dejo el enlace al vídeo sobre Google NotebookLM: https://youtu.be/nWPRfD8W2Nw

Common Good Podcast
Pete Davis: Nostalgia & Prophecy

Common Good Podcast

Play Episode Listen Later Sep 5, 2024 38:59 Transcription Available


Joey Taylor & Sam Pressler speak with Pete Davis about Join or Die, which he directed with Rebecca Davis.The Lost Prophets PodcastPete's Interview with SamDedicated by Pete DavisBowling Alone by PutnamThe Upswing by PutnamSum of Us by McGheeAgainst Everyone with Conner Habib PodcastWeird Studies PodcastLindy Effect - Nicholas Nassim TalebThe MaintainersQuest for Community by NisbetFebruary 2nd, 1968 by Wendell Berry Small is Beautiful by SchumacherThe Creation of the American Republic by WoodOur Divided Political Heart by DionneTriplets of Evil Speech by KingBoy in the Bubble by Paul SimonJane Macelevy, Eddie Glaude, Frederick Law Olmsted, Abraham Joshua Heschel, Jane Jacobs, Buckminster Fuller, Ralph Nader, Paul Goodman, Ella Baker, Ivan Illich, Dorothy Day, Peter Maurin, Marshal McLuhan, Tony Judt, Thomas Merton, Michael Lind, Frank Capra, Elias Krim, Roberto Unger, Alexis De Tocqueville, Priya Parker

The Agenda with Steve Paikin (Audio)
Is the Medium Still a Generational Message?

The Agenda with Steve Paikin (Audio)

Play Episode Listen Later Jan 12, 2024 28:43


Is the Medium Still the Generational Message?When Canadian media theorist and futurist Marshall McLuhan wrote his most influential works in the 1960s, it's hard to imagine he really envisioned our world as it is, in all its technological and social media complexity. Still, his notion that, ,the medium is the message, endures, and even invites us to consider how the evolution of the media ecosystem has rippled across, and perhaps even, shaped subsequent generations. For insights on whether the avalanche of media makes us better informed than we were in the past we invite, in order of generational seniority: from the baby boom: Suanne Kelman career journalist and professor of journalism, now retired; from generation X: Paolo Granta, associate professor of Book and Media Studies at the University of St. Michael's College in the University of Toronto; from the millennial generation: Noor Malik, a marketing professional; and from gen Z, TikTok content creator, Hazel Thayer.See omnystudio.com/listener for privacy information.

Critical Media Studies
Marshall McLuhan - The Medium is the Massage: An Inventory of Effects

Critical Media Studies

Play Episode Listen Later Nov 10, 2023 79:26


In this episode Barry and Mike discuss Marshal McLuhan's seminal text, The Medium is the Massage: An Inventory of Effects. They discuss the form of the book and some of the key opening arguments.

Futuristic
Futuristic #9 – Your AI Girlfriend

Futuristic

Play Episode Listen Later Aug 7, 2023 78:14


Steve's “exploring” AI girlfriends, Cameron's using Code Interpreter, there's a new cancer drug in human trials, Worldcoin has launched, room-temperature superconductor hype, Tesla conquers the car market, Transhumanism, Marshal McLuhan and how to make AI trustworthy.

The Agenda with Steve Paikin (Audio)
Is the Medium Still a Generational Message?

The Agenda with Steve Paikin (Audio)

Play Episode Listen Later Jun 7, 2023 28:43


Is the Medium Still the Generational Message?When Canadian media theorist and futurist Marshall McLuhan wrote his most influential works in the 1960s, it's hard to imagine he really envisioned our world as it is, in all its technological and social media complexity. Still, his notion that, ,the medium is the message, endures, and even invites us to consider how the evolution of the media ecosystem has rippled across, and perhaps even, shaped subsequent generations. For insights on whether the avalanche of media makes us better informed than we were in the past we invite, in order of generational seniority: from the baby boom: Suanne Kelman career journalist and professor of journalism, now retired; from generation X: Paolo Granta, associate professor of Book and Media Studies at the University of St. Michael's College in the University of Toronto; from the millennial generation: Noor Malik, a marketing professional; and from gen Z, TikTok content creator, Hazel Thayer.See omnystudio.com/listener for privacy information.

Critical Media Studies
Raymond Williams - Television, pt. 2

Critical Media Studies

Play Episode Listen Later Feb 3, 2023 63:53


Barry and Mike pick up their discussion on Raymond Williams' monograph, Television: Technology and Cultural From. In their previous episode they covered the idea that media technologies are answers to specific problems, rather than inventions looking for applications. In this episode they discuss how Williams' ideas fit and clash with Marshal McLuhan's ideas of media as being self-determining. In short, they look at whether the tensions between Williams and McLuhan is a case of a terminological incompatibility, or whether the two philosophies of media technologies really do argue for different models and outcomes.

Against All Oddities
Episode 42 - Road Trips

Against All Oddities

Play Episode Listen Later Jun 6, 2022 63:09


On today's episode we'll be traveling down some conceptually treacherous roads as we explore the meaning of “the road trip”.  We discuss many things including Crawfish Swarms, The Pink man of West Virginia, Peanut butter toilets, long distance biking, creepy motels, south of the border, the Sheline's remix, the state of Florida, Marshal McLuhan and Joseph Campbell and everything in between. So grab your gear and jump on shotgun, this is Against All Oddities.

The Bill Walton Show
Episode 157: “Standing Up For Truth” with Kevin Hassett

The Bill Walton Show

Play Episode Listen Later Oct 19, 2021 46:33


First year economics classes usually begin the semester with the principles of supply and demand. You learn that incentives matter and that to suggest otherwise is to betray basic principles of economics - and human nature. You learn that you can ignore or violate these fundamental laws, but that you cannot change them. You learn that throughout history the societies that have succeeded recognize and respect these economic laws - they use them to their advantage. Well, someone needs to get this message to progressive Democrats - and soon -  because they have become completely unmoored from economic realities. And their agenda will end in economic disaster. In fact, it's already happening. Joining me on this episode to talk about economics and his work with Donald Trump, is my old friend, Kevin Hassett, who served in the Trump administration as Senior Advisor to the President and as his Chairman of the Council of Economic Advisers. His latest book The Drift, analyzes America's slide into socialism and how to arrest the decline. Kevin shares many fascinating insights into Donald Trump's effective economic policies and his personality. “The public persona of Donald Trump is much, much different from what he was like when we were actually in the Oval Office or in the West Wing, working on real policy problems,” Kevin shares. “Behind closed doors, he is an incredibly nice guy, who's very thoughtful and likes to see all the sides of the arguments.”   In Kevin's book, The Drift he goes far back into Socialism's roots. “Joseph Schumpeter, the famous economist, back in the 1920s, looked ahead to America's future,” Kevin explains. “He said, the socialists are going to win. What's going to happen is capitalism's going to work for a while. And as we get really rich, we're going to send our kids to college. And the colleges are going to be basically places that indoctrinate folks to be socialists." “And the best universities are going to be the best socialists."   It's hard to do to justice to Kevin's many brilliant insights in an email summary. So I do hope you'll join in listening to our wide ranging conversation about Trump, socialism, the internet, Marshal McLuhan, social media, and the need to stand together to get the truth out. “We control respectability, we control the truth. We need to have the confidence to stand up and defend capitalism because it's true and it works.” He also shares whether he thinks Donald Trump will run for President again.  

Journal of Life
Episode 40|| In Conversation #2 || The Medium is the Message

Journal of Life

Play Episode Listen Later Sep 5, 2021 53:23


Please subscribe to our YouTube channel: https://youtube.com/c/JournalofLife There has been a surge in our information sources in the past decade or so especially with the advent of social media. Most of the community is gathering their information from one or the pother social media platform. Now, here is a food for thought: What if the info is not just info but a means to manipulate and control? How do we decide if the platform owner is not just using the platform but filtering the info too according to their own whims? In such a situation how does one remain uninfluenced? Marshal McLuhan's Theory sheds light on this issue. Also, what is the importance of language? How does Language shape reality? How is language being attacked in the contemporary world? Discussing all of these questions and much more in the new episode of 'In conversation' series of our podcast 'Journal of Life.' Hope you guys like it!! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/siddhartha-jha3/message

The Massage: Presented by The McLuhan Institute
"The Medium is the Message" Marshall McLuhan | feat. Andrew McLuhan (Part 1)

The Massage: Presented by The McLuhan Institute

Play Episode Listen Later Jan 2, 2021 29:29


Subscribe to TMI Newsletter for all updates: https://mcluhaninstitute.substack.com/welcome Marshall McLuhan is one of the most famous media theorists because he basically started the field. If we want to understand our tools, theories, discursive life, or even consciousness itself, then we have to understand media... because as McLuhan argues, the medium IS the message. What characterizes us now in the age of the internet? The internet and the plurality of new media has added dimensions to the human condition. We are joined for Marshal McLuhan's birthday by his grandson, Andrew McLuhan. Andrew is putting his father and his frandfather's legacy into practice through the McLuhan institute. I look forward to talking about how technology shapes our understanding, and beginning the long journey of thinking with the McLuhans as we move forward into increasingly complex times. --- The McLuhan Institute exists to explore and understand the personal and social effects and implications of technology, following the pioneering work of Marshall McLuhan.

medium marshall mcluhan mcluhan marshal mcluhan mcluhan institute
The Massage: Presented by The McLuhan Institute
"The Medium is the Message" Marshall McLuhan | feat. Andrew McLuhan (Part 2)

The Massage: Presented by The McLuhan Institute

Play Episode Listen Later Jan 2, 2021 42:11


Subscribe to TMI Newsletter for all updates: https://mcluhaninstitute.substack.com/welcome Marshall McLuhan is one of the most famous media theorists because he basically started the field. If we want to understand our tools, theories, discursive life, or even consciousness itself, then we have to understand media... because as McLuhan argues, the medium IS the message. What characterizes us now in the age of the internet? The internet and the plurality of new media has added dimensions to the human condition. We are joined for Marshal McLuhan's birthday by his grandson, Andrew McLuhan. Andrew is putting his father and his frandfather's legacy into practice through the McLuhan institute. I look forward to talking about how technology shapes our understanding, and beginning the long journey of thinking with the McLuhans as we move forward into increasingly complex times. --- The McLuhan Institute exists to explore and understand the personal and social effects and implications of technology, following the pioneering work of Marshall McLuhan.

medium marshall mcluhan mcluhan marshal mcluhan mcluhan institute
Anomic Age: The John Age Show
Episode 81 Thall

Anomic Age: The John Age Show

Play Episode Listen Later Nov 20, 2020 81:42


Nelson Thall is with us today to discuss the Kennedy assassination, Marshal McLuhan, the Nazi connections in the United States, and so much more. Mr. Thall will focus on how McLuhan was destroyed for revealing too much information into the mainstream regarding communication, propaganda, and the use of media as a medium of control. Guest Link McLuhanesque Tactics

ZenGlop The Podcast
128: modular synthesis, control voltage and a bit of Marshal McLuhan

ZenGlop The Podcast

Play Episode Listen Later Sep 30, 2020 13:22


One way of describing modular synthesis is to look at the studio as oscillators,  filters and envelopes  modulated by control voltage. To paraphrase Marshal McLuhan we flip to the simultaneous and extend the ganglia of our nervous systems when we compose in the electronic studio.  Send me a note at zenglop@gmail.com.An earlier blog post I wrote about McLuhan: https://www.zenglop.net/zenglop/2013/03/mcluhan-auditory-space.htmlI'm making a push to build up my youtube channel.  Here's an easy link to subscribe.  https://www.youtube.com/channel/UCoOlX6NXyQBABYljo1vAuHA?sub_confirmation=1

ZenGlop The Podcast
128: modular synthesis, control voltage and a bit of Marshal McLuhan

ZenGlop The Podcast

Play Episode Listen Later Sep 30, 2020 13:22


One way of describing modular synthesis is to look at the studio as oscillators,  filters and envelopes  modulated by control voltage. To paraphrase Marshal McLuhan we flip to the simultaneous and extend the ganglia of our nervous systems when we compose in the electronic studio.  Send me a note at zenglop@gmail.com.An earlier blog post I wrote about McLuhan: https://www.zenglop.net/zenglop/2013/03/mcluhan-auditory-space.htmlI'm making a push to build up my youtube channel.  Here's an easy link to subscribe.  https://www.youtube.com/channel/UCoOlX6NXyQBABYljo1vAuHA?sub_confirmation=1

North Star Podcast
Alex Danco: Funding the Future

North Star Podcast

Play Episode Listen Later May 4, 2020 103:14


Today’s guest is Alex Danco, one of my favorite writers in the world. Back when I was in college and before I started writing, Alex was one of the first people who made me say “Wow I want to write like this for a living.” For years, he worked on the Discover team at Social Capital where he wrote a weekly newsletter called Snippets. Now, he’s joining the Shopify Money team, where he’s building the future of financing merchants and entrepreneurs with everything they do. This episode begins with a conversation about a book called Technological Revolutions and Financial Capital. It’s a favorite of investors like Fred Wilson and Marc Andreessen and Alex breaks it all down for us. Then, we talk about cities and the growth of suburbs in North America. And finally, we talk about the mechanics of writing online. ____________________________ Shownotes 2:10- How Alex found Carlotta Perez and her book Technological Revolutions and Financial Capital through the work of Bill Janeway. Why, if you are creating an unknown truly new product, you cannot know the value of your equity. How the venture capital community uses tested milestones to show potential value to investors. 10:20- An overview of the two main ways that risky business ventures were funded before VC. How financial capital and production capital exist fundamentally in tension with each other. Carlotta Perez’s theory on the life cycle of financial bubbles. 17:15- Is entrepreneurship across the US growing or shrinking today? Why the current VC and tech industry is a great example of "we shape our tools and then they shape us." Why founders are increasingly interested in funding that prioritizes optionality. 27:00- Why venture capital values opposite indicators of success than the general economy. Why so much education for innovators is focused on venture capitalism. Why Alex believes that financial Twitter will help fill the role of intellectual stimulation for people managing boring businesses.  34:30- Why Alex writes 5,000 words a week. How writing in public can help in ways that just thinking does not.  39:10- How to find "the villain" in your writing. How Alex believes urbanization and intellectual migration to cities will change in the US in the future. Jane Jacobs and the idea of complete communities versus gentrification. 48:18- Why complete communities are now found in the suburbs. The growing pains of Toronto. Why so many world-class musicians have come out of Toronto. How do highways create local culture? 59:10- What the organic, long-lived nature of cities means for how they change. How autonomous vehicles will change cities. How the pricing power and efficiency of large companies distorts the true cost of shipping, healthcare, and education. 1:08:10- How audio changes our brains. How the feed-forward system works in our sensory perception and motor function. Alex explains Claude Shannon's information theory and Marshal McLuhan quote "the medium is the message." 1:21:42- Why audio is the most information-heavy medium. Why great writing is not written the way that the author speaks. How Alex interprets the classic Nixon/Kennedy debate story.  1:27:22- What the rise of podcasts means for media consumption and mental processing in the US. Why Donald Trump thrives in an audio environment.  1:32:07- How Alex uses summarizing to improve his writing. How publishing every week informs Alex's content. Why the background information in your writing is some of the most important material in your post. 1:37:14 How Alex crafted his piece Social Status in Silicon Valley. How to create new ideas and work using an anchor in what you know.

Good Point Podcast
93 - Movie Review Uncut Gems Mandy

Good Point Podcast

Play Episode Listen Later Feb 6, 2020 85:51


Metrograph http://metrograph.com/ Moviepass https://www.moviepass.com/ Cineville https://www.cineville.nl/en/card The Criterion Channel https://www.criterionchannel.com/ Uncut Gems https://a24films.com/films/uncut-gems Good Time https://www.imdb.com/title/tt4846232/ Adam Sandler Netflix Deal https://www.theverge.com/2020/1/31/21116858/adam-sandler-netflix-deal-four-movies-murder-mystery-most-viewed-2019 Punch Drunk Love https://www.youtube.com/watch?v=VNeZi1y_v88 Kevin Garnett https://en.wikipedia.org/wiki/Kevin_Garnett Moneyball https://en.wikipedia.org/wiki/Moneyball Me Too https://en.wikipedia.org/wiki/Me_Too_movement Gomorrah https://www.youtube.com/watch?v=egtdYTuRKto Curb Your Enthusiasm https://www.hbo.com/curb-your-enthusiasm Jacob the Jeweler https://en.wikipedia.org/wiki/Jacob_Arabo The Weekend https://www.theweeknd.com/ Atlanta https://www.fxnetworks.com/shows/atlanta Lakeith Stanfield https://www.imdb.com/name/nm3147751/ Ozu https://en.wikipedia.org/wiki/Yasujir%C5%8D_Ozu Wim Wenders https://www.wim-wenders.com/ Tokyo-ga: Wim Wenders and Chishu Ryu - YouTube https://www.youtube.com/watch?v=C70WutMsyGk https://www.youtube.com/watch?v=KiAWJKgrAko&app=desktop Mandy https://www.youtube.com/watch?v=rI054ow6KJk Charles Manson https://en.wikipedia.org/wiki/Charles_Manson Panos Cosmatos https://en.wikipedia.org/wiki/Panos_Cosmatos George P Cosmatos https://www.imdb.com/name/nm0181902/ Quentin Tarantino https://en.wikipedia.org/wiki/Quentin_Tarantino Kung Fury https://www.youtube.com/watch?v=bS5P_LAqiVg Stranger Things https://www.youtube.com/watch?v=b9EkMc79ZSU ET https://www.youtube.com/watch?v=qYAETtIIClk Back to the Future https://www.youtube.com/watch?v=qvsgGtivCgs Nicholas Cage Screaming https://www.youtube.com/watch?v=S73swRzxs8Y Johnny Depp https://www.imdb.com/name/nm0000136/ KODI https://en.wikipedia.org/wiki/Kodi_(software) Predator catch phrases https://www.youtube.com/watch?v=dKGgvPaNP8Q Pink Floyd https://en.wikipedia.org/wiki/Pink_Floyd Johnny Rotten https://www.youtube.com/watch?v=xlUHXKhSadg Duchamp Aesthetic Echo https://books.google.ca/books?id=Ipb1BJQXXSgC&pg=PA130&lpg=PA130&dq=duchamp+aesthetic+echo&source=bl&ots=pF2aHN4A9C&sig=ZW4T7jyu6dQ1IxudOldbd1yi9yU&hl=en&sa=X&ved=0ahUKEwiyn-jX287TAhVF0oMKHfI5ALkQ6AEINDAE#v=onepage&q=duchamp%20aesthetic%20echo&f=false Mandy shot digitally https://www.afcinema.com/Cinematographer-Benjamin-Loeb-discusses-his-work-on-Mandy-by-Panos-Cosmatos.html?lang=fr The Blair Witch Project https://www.youtube.com/watch?v=a_Hw4bAUj8A Kirie Irving ruins teams https://www.sbnation.com/nba/2020/1/16/21068905/kyrie-irving-brooklyn-nets-trade-comments-controversy-kevin-durant Game of runs http://www.hoopskills.com/game-of-runs Jeremy on Youtube https://www.youtube.com/user/jeremybailey06 Next in Fashion https://www.imdb.com/title/tt10394770/ Marshal McLuhan https://www.marshallmcluhan.com/ Pina https://www.youtube.com/watch?v=CNuQVS7q7-A Kirosawa’s Rashomon https://www.youtube.com/watch?v=xCZ9TguVOIA Cloud Rap https://open.spotify.com/playlist/37i9dQZF1DX5jNEiuvPyWr Mac Pro https://www.apple.com/mac-pro/ Star Trek https://ca.startrek.com/ Jeff Goldblum on Disney+ https://disneyplusoriginals.disney.com/show/the-world-according-to-jeff-goldblum Nicholas Cage Movie About Nicholas Cage https://nypost.com/2020/02/03/nicolas-cages-meta-movie-about-nicolas-cage-gets-2021-release-date/ Seduce And Destroy with Josh Safdie, Benny Safdie & Paul Thomas Anderson https://a24films.com/notes/2019/12/seduce-and-destroy-with-josh-safdie-benny-safdie-and-paul-thomas-anderson

GreenKnight
GreenKnight 02 Marshal McLuhan an Introduction

GreenKnight

Play Episode Listen Later Jan 16, 2020 31:52


“Make the world work  for 100% of humanity in the shortest possible time through spontaneous cooperation without ecological offense or the disadvantage of anyone.”                                                                                                   -Bucky Fuller There's no reason why we shouldn't attempt this. 2 in order for this to happen as I said in the last podcast wealthy people don't have to give up their stuff and don't have to give up their money, we just need to develop a system that allows everyone to participate and to be the benefit from the value that we have generated as human beings through our technology overtime. we have the technology to do that nowUnderstanding Media, The Extensions of Man-Marshal McLuhan

extensions marshal mcluhan
Christian History Almanac
Tuesday, December 31, 2019

Christian History Almanac

Play Episode Listen Later Dec 31, 2019 5:55


On this day, we remember John Wycliffe and Marshal McLuhan. The reading is selected stanzas from "God Rest Ye Merry Gentlemen." We’re a part of 1517 Podcasts, a network of shows dedicated to delivering Christ-centered content. Our podcasts cover a multitude of content, from Christian doctrine, apologetics, cultural engagement, and powerful preaching. Support the work of 1517 today.

Face2Face with David Peck
Episode 430 - Bob Logan on Science & Copenhagen

Face2Face with David Peck

Play Episode Listen Later Apr 13, 2019 37:46


Bob Logan and Face2Face host David Peck talk about the new play Copenhagen, complementarity, futurism, science for peace, wisdom over knowledge and having lunch with Neils Bohr.Find out more about Copenhagen and purchase tickets here. Synopsis Two tiny particles colliding can cause a nuclear reaction. It is 1941, nations race to perfect The Bomb, and two scientists meet in occupied Denmark for a conversation that will change the course of history. Copenhagen is a story of language, spoken and unspoken, and heard and unheard. An individual speaks to not only connect to another person, but to know where they stand in their relationship to reality; to experiment and test the boundaries of where they end and where the universe begins. In the language of quantum physics, we divide an atom into smaller and smaller pieces to get to its core – the sub-atomic world. Michael Frayn (Noises Off, Democracy) invites us to bear witness to the ultimate ethical impasse. Biography Bob is the physics Consultant for the Soulppeer production of Copenhagen and is Prof. Emeritus - Dept. of Physics & the School of the Environment and a Fellow of St. Michael’s College at the University of Toronto. He is also the Chief Scientist of the sLab at OCAD Univ. He taught the Poetry of Physics and Physics of Poetry course at U of T. He once had lunch with Niels Bohr when he was a student at MIT and collaborated and co-authored a book with Marshal McLuhan.He was also active in the business world operating a computer training company 1982-2000 and a web development company from 1994 to 2000 through which he did extensive consulting in knowledge management. He was active in politics from1974 to date. He has served as an advisor to PM Pierre Eliot Trudeau, policy chair of the Ontario wing of the federal Liberal Party and an advisor to various federal cabinet ministers. He is also an author or editor of 12 books and many articles in refereed journals. He is currently engaged in consulting in the electricity sector as an associate of Elenchus Consulting. He continues to teach The Poetry of Physics at the U. of Toronto where he is Prof. Emeritus. In June 2011, he was presented with the Walter J. Ong Award for Career Achievement in Scholarship by the Media Ecology Association.Photo Credit: Daniel Malavasi Image Copyright: Daniel Malavasi and Soulpepper theatre. Used with permission. Music Copyright: David Peck and Face2Face. Used with permission. For more information about David Peck’s podcasting, writing and public speaking please visit his site here. With thanks to Josh Snethlage and Mixed Media Sound. See acast.com/privacy for privacy and opt-out information.

Macro Micro Michael Marco & Startups at the Edge (M4Edge)
Technological change and psychological lock-in with Bob Swartz of Impossible Objects

Macro Micro Michael Marco & Startups at the Edge (M4Edge)

Play Episode Listen Later Mar 29, 2019 54:40


Today’s episode is a conversation with Bob Swartz, the founder and chairman of Impossible Objects. Although that title does a disservice to his resume. He literally grew up in in the manufacturing business, watching his father figure out how to design and build things; he’s been a consultant to the MIT Media lab, he’s got several patents, which he’s licensed to major corporations … through his own patent licensing company; he’s founded and operated software companies, advertising companies, telephony companies; he is a true polymath. He’s also something of a philosopher, which makes for a wonderful conversation.As for Bob's current company, Impossible Objects, It uses a composite based additive manufacturing process - CBAM - which yields superior material properties. Like the other additive manufacturing companies we interview for this miniseries, Impossible Objects is aimed for the big boy manufacturing market – some of the users they brag about include Ford and the US Air Force. But this conversation with Bob is about much more than their customers, its about technological change, psychological lock in, economic ripple effects of new technologies, and more. AND, outside of a fantastic and fanstastical scene in Woody Allen’s Annie Hall, this conversation has my favorite use of Marshal McLuhan to make a point. :)If you haven’t already done so, you may want to check out episode 1 with Ben Redwood of 3DHubs, both to help you understand some of the technical terms used in this conversation – Ben goes through many of the different technologies that make up the current universe of 3D printing, and to get the URLs for some free material about 3DPrinting, created by 3DHubs. Ben also talks about the industry at large, which may give you some useful context. One last thing – immediately after the conversation with Bob, we’ve got a quick update from Ricky Buch, so stick around for Ricky's Reports from the Edge.

Art Dealer Diaries Podcast
New York Gallery Owner and Native American Art Specialist John Molloy host Dr. Mark Sublette

Art Dealer Diaries Podcast

Play Episode Listen Later Sep 26, 2018 39:38


John Molloy the president of ATADA discusses the future of the Antique Tribal Arts Dealer Association and how it pertains to collecting early Native American Art and what is being done to help fight the trade of culturally sensitive objects. John shares his life story of getting into the Indian arts profession and how he now deals in contemporary art in New York City along with the antique Native Material. Interesting discussion on Marshal McLuhan and his influence on John's life.

Guys We Know
On Norman Mailer and Marshall McLuhan

Guys We Know

Play Episode Listen Later Sep 21, 2017 59:09


Ron and I discuss a 1968 television debate/discussion between Norman Mailer and Marshal McLuhan. We/them talk about the stuff that's important to the age we live in. Globalism, traveling, the internet, violence, handjobs, you know, that stuff. Check out the whole 1968 discussion here: https://www.youtube.com/watch?v=PtzxWR-j1xY&t=1082s

Adam Stoner
Is Beats 1 Redefining Radio?

Adam Stoner

Play Episode Listen Later May 18, 2016


If you enjoy this podcast, consider buying me a coffee: https://adamstoner.com/support ‘Defying Conventions: Is Beats 1 Redefining Radio?' was originally submitted as part of a University of Gloucestershire Radio Production module. With the exception of two small typographical changes, this essay is posted exactly as it was submitted. Appendices have been redacted but bibliography and in-line references remain – get in touch if you need to chase anything. Apple's annual World Wide Developer Conference is a showcase of the company's latest software and technology. Described by CEO Tim Cook as the ‘epicentre of change', 2015 marked their ‘most global conference ever' (Apple, 2015), a fitting stage to announce their new ‘worldwide' and ‘always on' internet radio station, Beats 1. The announcement of Beats 1 came as a footnote to an addendum. The presentation mainly dealt with Apple's latest technological offering, ‘Apple Music' – a streaming service and social network combined, of which the radio station is merely a subsidiary – rather than with Beats 1 Radio directly. Nevertheless, speaker, record producer, and entrepreneur Jimmy Iovine painted it as a nod to the company's history; the minds behind the iPod and media software iTunes were returning to the grassroots of music sharing: radio. This essay will look at the early success and criticisms of Beats 1. It will do this by examining how the station defies established radio theory and is helping to evolve the medium both technologically and stylistically. It will contextualise these findings in the form of current industry practice, as well as what pressures the station may put on commercial and public service radio broadcasting in the United Kingdom. The essay aims to explore the timing and reasons behind the inception of the station and will raise questions behind its ideology. It will draw on a range of practitioner, academic and secondary sources as well as personal listening and theorisation in order to explore whether Apple's Beats 1 is ‘redefining radio'. Defining Radio From the offset, a couple of basic but important distinctions need to be made. As the Radio Advertising Bureau reflect in their 2014 report Audio Now (p.10), new forms of audio are continually emerging. The report highlights three main forms of consumer-level audio, with the latest — ‘on-demand' — being less than ten years old: ‘Owned audio': Here, the consumer owns the physical or digital audio format. This may include digital downloads, gathered legally or otherwise, or physical copies of the sound, such as CD, cassette or vinyl. ‘Live audio': This is the oldest of the three forms. The report refers to it as ‘live radio' but for the purposes of this essay we shall expand its definition to all audio consumed in real-time, as it is performed or transmitted. ‘On-demand': The newest of the three and the most complex to define due to its multifaceted nature. This encapsulates audio where the consumer does not have the original file and listens in isolation. Examples cited in Audio Now include streaming services, podcasts and YouTube videos. This notion of ‘owned audio' can be entirely discounted when discussing Apple Music as a standalone product; the user never gets physical access to the music files, just the right to stream them in exchange for a monthly membership fee of £9.99. The second and third definitions – ‘live audio' and ‘on-demand' respectively – are vital when addressing Beats 1 and Apple Music's other ‘radio'-esqué offerings, the definition of which has been somewhat corrupted by modern-day ‘on-demand' music streaming services. ‘Radio', as understood by the likes of Spotify, Deezer, Pandora, or similar, is intrinsically different from the traditional and well-established institution of radio broadcasting. This is not to say traditional radio is out-dated – far from it – but that ‘on-demand' services have appropriated the name of the medium and have used it incorrectly. There are multiple differences between the two, with the most notable being that the more traditional notion of radio broadcasting features human presence. Chignell (2009, p.33) explains people ‘add meaning' and context, and also provide a sense of co-presence. This is the complete antithesis of so-called ‘radio stations' on streaming services which strip broadcasting of its ‘essential element' (Priestman, 2006, p.36): human-to-human contact. As Corderio (2011, p.499) highlights, there is a long line of radio theorists who contend ‘music playlists, without human interaction, should not be confused with radio', and that radio can be easily defined as public, point-to-point_s_ broadcasting. Priestman describes the aforementioned, human-bare stations as ‘automated web “jukebox[es]”' and for the purposes of this essay, these on-demand web-jukeboxes will be called exactly that. iTunes Radio – the 2013 predecessor of Apple Music – was one such service. Allowing users to create ‘stations' around a single artist or band, algorithms mixed content from one band with similar material by similar artists. As Baldwin (2013) reports, iTunes Radio let users ‘rate the songs (…) as they stream[ed]', thereby learning individual preference in order to modify the output to better suit taste. While iTunes Radio was by no means a failure, algorithms, as Iovine himself admits, ‘can't do it alone' (Dredge, 2015). While movements in the realm of acoustic and computer science are moving in the right direction, machines currently fail to recognise mood, thus playing inappropriate or mismatched tracks sequentially, and cannot provide all important context. Enter Apple Music. While the newer service still contains web-jukeboxes, Apple makes a clear point of distinguishing Beats 1 Radio from them. In the native Music application on iOS, a graphic inviting people to ‘Listen Now' takes centre stage (appendix; a), occupying well over 50% of the screen space. Not only does this force automated-jukebox stations to exist several swipes away but it also separates Beats 1 from these lesser-refined services. The Beats 1 landing page on the Apple website makes a further point of highlighting this distinction by defining the true meaning of radio itself: ‘No matter where you are or when you tune in, you'll hear the same great programming as every other listener' (2015b). This reinforces a concept Chignell (2009, p.74) writes about, co-presence, a theory Scannell and Cardiff (1991) highlight, imagined community, and Marshal McLuhan's Global Village, ‘one world connected by an electronic nervous system' (Stewart, n.d.). Irrespective of scale, collective listening is precisely what radio is all about. As a technology company, there are technological considerations to take in to account when defining what ‘radio' means to Apple. As the smartphone market leader (Forbes, 2015), it is fitting of Apple to create a station that is marketed at, and primarily received on, mobile devices. According to a 2015 report from the International Federation of the Phonographic Industry, the digital music industry is worth $6.85 billion worldwide per annum (IFPI, p.6), with ‘music subscription services' accounting for 22.75% of revenue. On the other hand, ‘radio is a massive $20 billion industry' (Truong, 2015). At a time where physical format sales are declining (IFPI, 2015b), where the revenue share of music streaming is growing exponentially, and where radio is still ‘able to command the largest share of the listening ear' (Lloyd, 2015, p.293), Apple wants in. Moreover, there are some strong statistics to suggest mobile listening is quick becoming a force to be reckoned with. ‘31 minutes a day is the average amount of time spent listening to music on a phone', Global (2015) claims, and ‘65% of “digital audio” streamers' – both live audio and on-demand consumers – ‘listen with head[/ear]phones'. Undoubtedly, radio is an intimate and personal medium, esteemed by consumers (McLeish, 2016, pp.3 to 6). To further emphasise this, by interacting through earphones, listeners are choosing to place broadcasters in their ears, to make the broadcast a part of their body, a sacred trust and one only radio could garner. Global also claim ‘44% of 35-44 year-olds' stream music over tablet devices. Logically, what with early adoption rates and increased technological competence in younger generations who have grown up with this hardware from an early age, this number will only be higher in the 15 to 24 and 25 to 34 demographics, precisely the age of consumer Apple is attempting to capture with Beats 1 Radio. Defying Radio In the words of both Finer (2003, p.32) and Castelles (2003, p.17), the internet is the world's first international radio frequency. Apple not only advertise Beats 1 as being ‘worldwide', but as ‘a truly global listening experience', letting audience members discover ‘what's going on in the world of music'. While parts of this statement are correct – the station can be received in 100 countries around the world (Apple, 2015c), although that is only 51% of the planet – the overall sentiment could not be further from the truth. At present, the BBC World Service is the world's largest international broadcaster (House of Commons, 2010, ev.11) serving over 188 million people per week (BBC, 2009). Whilst the on-air content of each station cannot be compared – the BBC World Service is primarily a news and informational platform, while Beats 1 is purely a music station – there are, in terms of scale, many similarities. Evident from its marketing decisions and branding, Apple's goal is for Beats 1 to adopt an audience of ‘World Service' magnitude – ‘truly global', ‘worldwide'. However, in the same way Beats 1 broadcasts from exclusively Western locations – New York City, London, and Los Angeles – yet claims it is a ‘global' voice, the BBC World Service soldiers in a similar vein. The Operating Agreement of the World Service (BBC Trust, 2012, p.6) sets out English language services as their ‘core offer' and designates 75% of overall output worldwide to English language programming each week. Even the name of the BBC World Service contains a jarring juxtaposition, seating ‘British' and ‘World' two words apart. On the other hand, ‘beats' – acoustically speaking – know no borders and are not unique to any specific genre of music. Here, Beats 1's lack of cultural identity, as far as the name of the station and the simplistic graphical signifiers and branding it uses, allows the station to be transient in nature. However, as O'Malley (2015) reflects, this ‘ill-defined genre remit' hasn't come without criticism – He goes on to state ‘if you make content so broad, it becomes meaningless'. Beats 1 contradicts Priestman's (2006, p.233) argument that ‘web radio works best as a narrow-cast or niche medium' and Nyre's argument (2008, p.192) that music radio stations attempt ‘to attract niche audiences'. Roy Martin, managing editor of Radio Today, claims Beats 1 threatens ‘specialist music stations such as 1Xtra, Kiss [and BBC Radio] 6 Music' (2015). The breadth of music these stations play is replicated on Beats 1 without advertisements or pressures to fill remit goals. Contrasting Martin's sentiment, BBC Radio 1's controller Ben Cooper – who has lost two talents: Head of Music George Ergatoudis to Spotify (Lunden, 2015) and Lowe to Apple – claims ‘a rising tide lifts all boats' (Griffiths, 2015). Martin continues, ‘the likes of Radio Plymouth, The Bee [Lancashire] and Clyde 1 [Glasgow]' need not feel at risk, despite Beats 1 being billed as ‘the world's local station' (Quartz, 2015). Although Beats 1 can attempt to masquerade as local radio, when it comes to discussing truly local news and events, even at its closest level of inspection Beats 1 has to take a national view for fear of alienating other listeners. Locality is what makes radio work and Beats 1, with its syndicated, single, linear programming which never once breaks out in to local titbits, cannot possibly achieve the same effect on its desired scale. The on-air content of Apple's Beats 1 behaves as a BBC Radio 1Xtra and Radio 6 Music hybrid. The station is clearly attempting to promote ‘challenging, innovative' (BBC Trust, 2012b, p.2) music, with a distinctive focus on ‘contemporary black music (…) rarely heard elsewhere' (BBC Trust, 2015, pp.2 to 4), as the aforementioned BBC stations also reflect in their respective remits. Introducing challenging music comes with the need to reason track selection and explain why the creation deserves respect. BBC Radio 6 Music achieves this through interviews and technical discussions, many of which deconstruct musical theory, and through detailed back-announcements that may include the name of record labels, similar musicians, and artist influences. BBC Radio 1 Xtra achieves the same effect by discussing the artists' potential influence in relation to black British culture. This form of education, required by remit, is evident in the plays-per-day of each station, with BBC Radio 6 Music totaling an average of 172 plays per day and 1Xtra averaging 159 (Last FM, 2016, 2016b). The breaks are filled with news, documentaries and interviews. This is a stark contrast to Beats 1, a station that plays an average of 300 songs per weekday, peaking to 600 on weekends due in part to ‘high-track-turnover DJ mix shows that play during prime party hours' (Quartz, 2015). The on-air schedule of Apple's Beats 1 Radio is unlike any other station. Those familiar with radio will be aware of dayparting, ‘the practice of segmenting the broadcast schedule in to blocks (…) programmed for unique audience demographics and listeners' daily habits' (Piasek, 1998). Dayparting helps broadcasters provide more of that all-important context Chignell (2009, p.33) discusses. Nielsen Audio (2015, p.23), one of several U.S. audience rating services, divides a weekday into five such parts. Having slightly adjusted the times for an audience based in the United Kingdom, those dayparts are as follows: 0600 to 9000: Breakfast 0900 to 1600: Daytime 1600 to 1900: Evening Drive Time 1900 to 2300: Late Night 2300 to 0600: Overnight (colloquially known as the ‘graveyard slot') James Cridland believes (2015) ‘it makes no sense putting the money into a great breakfast show (…) because the timezones mean it's always breakfast somewhere'. Beats 1 replays its three flagship programmes – Zane Lowe, Ebro Darden, and Julie Adenuga – on a twelve-hour loop, thus hitting both eastern and western-based audiences with all three shows in any given 24-hour period. The rest of the schedule is comprised of irregular and one-off programmes fronted by musicians from Elton John to HAIM, and organisations like Noisey and Pitchfork. This pre-recorded content, masquerading ‘as live', is broadcast at times relevant to the market Apple is attempting to target. For example, St. Vincent's programme is played at 3 a.m. GMT, 7 p.m. PST (American East-Coast) and 11 a.m. CST (Mainland China), evidently targeting listeners in the Americas and Asia rather than the United Kingdom. Whilst this may seem a strange idea, it works. One of radio's early strengths, the art of ephemeral broadcasting, is being eroded in the age of podcasting, ‘owned audio' and ‘on-demand'. With this comes a pressure for more refined content – producers now must craft sound not only for initial impact, but also for replay value. Transmitting great content once then losing it to the ether is neither cost effective nor clever. LBC – a commercial, London-based news and talk station – is one of the first in the United Kingdom to implement pay-for catch-up services. Subscription services on a rolling monthly basis cost £3.99 (AudioAgain, 2014). In comparison, Beats 1 offers the same catch-up method: pay to become an Apple Music member. ‘While it doesn't quite provide the experience of listening to the show live, (…) every DJ will post a set playlist for their show a few hours after it ends' (iMore, 2015). Most commercial radio stations are yet to offer on-demand catch-up services at all, but some, like Fun Kids – the UK's only radio station aimed at under-12s – have in excess of 80 podcast channels (Think Fun Kids, n.d.). It is as-of-yet unclear whether the pay-for catch-up model works well enough to warrant the long-term investment required by commercial radio stations in order to develop distribution platforms. However, empowering the consumer through this medium provides another point-of-entry to the station and rewards active consumers with the opportunity to replay their favourite moments from past programmes, or to store the show for posterity. Given the high profile musicians Beats 1 has access to and the respective fan-bases of those musicians, Apple's move is clearly another call to subscribe. Once an interview or programme has been broadcast, the only way for dedicated fans to hear that content again – or catch-up, if they missed it first time around – is to pay. Apple know many fans have a fear of missing out, desperate to hear content from their favourite creators, therefore can reasonably assure themselves a select number of subscribers by providing exclusive content hidden behind paywalls. Redefining Radio Being owned by a multinational, technological giant has its advantages. While the equipment Beats 1 uses to broadcast is the same as any other digital radio station, the techniques are certainly groundbreaking. Beats 1 is available in two stream formats, 64 kbps and 256 kbps (Painter, 2015) AAC, superior to DAB's MP2 streams which vary from 64 kbps – for stations including Absolute Radio, Amazing Radio and BBC Radio 5 Live – to 192 kbps – used exclusively by BBC Radio 3 (Laird, 2015). With concern to mobile devices, where the vast majority of stations stream second-by-second, Beats 1 utilises the new HLS streaming format. HLS is HTTP Live Streaming, a new communications protocol developed and implemented by Apple (2014). Designed to be adaptive, devices request stream information in packets of varying quality, and, if at any point diminished bandwidth or download speed causes stress to the stream, devices will request the next packet in a lower quality. This creates the effect of zero buffering, allowing for a smooth and more dynamic listening experience. The highly customisable nature of mobile phones makes this next statistic hard to measure but assuming a couple of reasonable conditions – that a user has biometric Touch ID enabled and has not moved the Music application from the factory default setting in their iPhone's docking bar – an ordinary mobile user can become a Beats 1 listener in only four taps. If Siri's newer hands-free function – ‘Hey Siri' – is enabled, a user can become a listener without even having to touch their device (appendix; b). In stark contrast to popular radio streaming applications such as TuneIn or RadioPlayer – two of numerous for desktop and smartphone – Apple forces consumers to use their dedicated Music application in order to hear Beats 1. The reason behind this decision is simple: Apple is a lover of control; proven by the fact Beats 1 audio steams are encrypted. The keys to decrypt the audio streams lay within the Music application itself. When addressing Apple's design decisions, the company has previously been accused of attempting to create a ‘totalitarian monoculture' (Bissell, 2008), a statement that is hard to defend Apple against. Indeed, in order for a listener to switch from Apple's Beats 1 to a potential rival – say, BBC Radio 1 or Capital FM – they would have to conduct at least eighteen further interactions with their device, first by launching a non-native iPhone application, then by having to search for the station before launching it, an overwhelming contrast in user-friendliness from the potential hands-free starting of Beats 1. Matt Deegan – radio practitioner and Creative Director of Folder Media – emphasised this, explaining the inception of Beats 1 is a move to ‘keep people in the Apple Music ecosystem' (University of Gloucestershire, 2015). On December 29th 2015 it was reported (RadioToday) Beats Electronics LLC., a division of Apple and the owners of the Beats brand, had put in a bid to internationally trademark the names of four potential new stations, Beats 2 through 5 and respective station logos ‘B2' through ‘B5'. Whilst Apple has made their intention to expand its radio arm clear (Billboard, 2015), it is unknown whether the filings are just a protective measure to prevent others piggybacking the Beats Radio brand. In the United Kingdom, the government-approved communications and competition regulator Ofcom, can step-in to ensure monopolies of broadcasting remain fair. If a station like Beats 1 wanted to broadcast on FM, AM, or even DAB, there's a high likelihood that Apple – with their marketing budget in excess of $1 billion USD (United States Securities and Exchange Commission, 2012) and end-goal of creating several ‘Beats'-branded stations – would not be in receipt of an license. This is where broadcasting solely online has measureable advantages, namely in the lack of regulation. Under the sole condition Apple pays for the rights to stream music in the 100 countries Beats 1 is playable from, there are no further restrictions. Although indecency regulations do not apply to its online streams, Apple still chooses to play non-explicit, clean, radio-edited versions of tracks 24/7. ‘[C]ensoring explicit language could be a matter of playing it safe rather than hoping the content flies everywhere it's played,' Kastrenakes (2015) believes, ‘it's likely a way to stay in advertisers' good graces — and it's certainly possible that ads will show up on Beats 1 eventually, especially since it's available for free', he adds. Where a track has a particularly high number of expletives, presenters signpost the non-censored version as ‘now streaming on Apple Music', a call to subscribe to the service for uncensored content ‘as the artist intended'. As Priestman (2006, p.3) reminds us, ‘[r]adio was supposed to mean the end of newspapers [and] television was supposed to mean the end of radio', but as is now evident, newer mediums change their predecessors but do not replace them. Criticism aside, Apple has made some logical additions to the visual and multimedia assets accompanying radio. Beats 1's metadata – ‘data that provides information about other data' (Merriam Webster, n.d.) such as what is playing on the station – is visualised on the iPhone lock-screen (appendix; c, d). If users are Apple Music subscribers they can ‘favourite' tracks, add them to personal playlists for offline ‘on-demand' streaming, and share the station via social media channels. Moreover, the synergy Apple's Beats 1 manages to achieve by embedding its content within the native Music application is unrivalled. Presenters regularly direct listeners to their ‘Connect' pages – the social networking arm of Apple Music – to see content complimentary to on-air discussions. Apple's monopolistic attitude over its content pays-off here, where the dynamo and fluidity of content publishing aids the sense of liveness. While it is clear to see Apple have brought many innovations to the worlds of technology and of music – and is continuing to experiment, along with on-demand streaming services, with the power of radio – I am unconvinced Beats 1 poses a threat to traditional notions of radio broadcasting. I believe Apple has missed a trick by failing to make the station more revolutionary. The stream is ‘live' but its DJs are not, the station is ‘global' but radio works best locally. It is entirely within Apple's capabilities to syndicate international programming with local break-offs, in the same way Heart FM syndicates a national breakfast show with regional news and travel. Similarly, Apple could easily syndicate its presenters across several genres of station, unifying links but playing different tracks, thus narrowcasting to niche audiences while still maintaining an overall brand identity. Absolute Radio's ‘Project Banana', piloted during Christian O'Connell's breakfast show, adopts this method, handing consumers the power to ‘choose the music to suit their tastes, while enjoying and interacting with the show's hosts' live (MediaWeek, 2014). While the station certainly has had success in marketing itself as a ‘breakthrough', in the words of James Cridland (2015) ‘I'm not sure it'll set the world on fire'. Moreover, the move to launch a radio station has attracted many critics, one of which stated it was ‘a terribly exclusive vanity project' (O'Malley, 2015), a statement I'm inclined to agree with. Matt Deegan is correct; Beats 1 is an advertising space for Apple Music, and contains measureable disadvantages for non-subscribers. Nevertheless, Beats 1 does pose serious questions for Station Managers and Radio Futurologists alike, namely around sharing multimedia content, ideas of exclusivity and privilege, and scheduling for maximum impact. Where Beats 1 excels, such as in technological competence and innovation, it is my opinion more traditional stations fall far behind. Here, they really are ‘redefining radio'. In this digital age, stations need to strive for technological excellence and Beats 1 is a prime example. This is not shocking, as the biggest and most valuable technology company in the world owns Beats 1. It is just a shame that, as far as content is concerned, where other stations excel, Beats 1 misses the boat. It comes across clumsy and mismatched, alienating and lazy, rather than the inclusive, ‘worldwide', gritty and new-age aesthetic it needs to succeed. – Bibliography Apple (2014) ‘HTTP Live Streaming Overview' On: iOS Developer Library [Accessed 01 January 2016] Apple (2015) Apple – WWDC 2015. [Online Video], 15 June. [Accessed 01 October 2015] Apple (2015b) Music: Radio [Online] [Accessed 01 October 2015] Apple (2015c) Availability of Apple Music, Apple Music Radio, and iTunes Match [online] [Accessed 01 October 2015] AudioAgain (2014) LBC Podcasts [online] [Accessed 21 January 2016] Baldwin, R. (2013) ‘Apple Dials in iTunes Radio, a New Streaming Music Service'; Wired. [online] [Accessed 24 November 2015] BBC (2009) ‘BBC's international news services attract record global audience of 238 million' On: BBC Press Office. [online] [Accessed 05 January 2015] BBC Trust (2012) Operating Agreement: BBC World Service [online PDF] [Accessed 08 December 2015] BBC Trust (2012b) BBC 6 Music Service Licence [online PDF] [Accessed 30 December 2015] BBC Trust (2015) 1Xtra Service Licence [online PDF] [Accessed 15 January 2015] Billboard (2015) Apple Could Launch Five More Beats Radio Stations, According to Report [online][Accessed 10 December 2015] Bissell, M. (2008) ‘The Totalitarian Regime of Apple' On: Michael Bissell [online] [Accessed 04 January 2016] Castells, M. (2003) The Rise Of The Network Society, The Information Age: Economy, Society And Culture, 2nd edn. Blackwell: Oxford. Chignell, H. (2009) Key Concepts in Radio Studies. Sage: London Cordeiro, P. (2012) ‘Radio becoming r@dio: Convergence, interactivity and broadcasting trends in perspective' In: Participations; Journal of Audience & Reception Studies; Vol. 9, Iss. 2, pp. 492 to 510. Cridland, J. (2015) ‘What We Can Learn From Beats 1' On: RadioInfo [Online][Accessed 24 Oct 2015] Cridland, J. (2015b) ‘What People Are Saying About Apple Music and Beats 1' On: RadioInfo [Online] [Accessed 24 Oct 2015] Dredge, S. (2015) ‘Apple Music intervieiw: ‘Algorithms can't do it alone – you need a human touch'; The Guardian [online] [Accessed 24 November 2015] Finer, J. (2003) Longplayer. Artangel: London. Forbes (2015) Apple Surpassed Samsung As Global Phone Market Leader, Says Report [online] [Accessed 15 December 2015] Global (2015) ‘An Audio Revolution' [online PDF] [Accessed 23 December 2015] Griffiths, S. (2015) ‘Apple Beats 1: Why is Apple bothering with radio?' On: BBC News [online] [Accessed December 29 2015] House of Commons [Foreign Affairs Committee] (2010) The Work of the BBC World Service 2008–09 – Third Report of Session 2009–10 [online PDF] [Accessed 08 January 2016] IFPI (2015) ‘IFPI Digital Music Report 2015: Charting the Path to Sustainable Growth' On: IFPI [online PDF] [Accessed 19 January 2016] IFPI (2015b) IFPI Global Statistics [online] Available at: [Accessed 19 January 2016] iMore (2015) ‘How to listen to Beats 1 shows you've missed' On: iMore. [online] [Accessed 21 January 2016] Kastrenakes, J. (2015) ‘Apple is playing censored songs on Beats 1' On: The Verge.[Accessed 21 January 2015] Laird, J. (2015) ‘Why DAB radio in the UK is broken, and how to fix it' On: TechRadar [online] Available at: [Accessed 30 December 2015] Last FM (2016) ‘BBC Radio 6 Music Scrobble Library' On: Last FM [online] [Accessed 18 January 2016] Last FM (2016b) ‘BBC Radio 1 Xtra Music Scrobble Library' On: Last FM [online] [Accessed 18 January 2016] Lloyd, D. (2015) How To Make Great Radio. Biteback Publishing: London. Lunden, I. (2015) ‘Spotify Poaches BBC Radio Exec In Push For Localised, Curated And Undiscovered Content' On: TechCrunch [online] [Accessed 02 January 2016] Martin, R., On: RadioToday (2015) Trademarks made for more Beats radio stations On: RadioToday [online] [Accessed 28 December 2015] MediaWeek (2014) ‘Absolute Radio launches UK's first tailored music service, dubbed ‘Project Banana'' On: MediaWeek [online] [Accessed 20 January 2016] Merriam Webster (n.d.) Definition: ‘Metadata' [online] [Accessed 21 January 2016] Nielson Audio (2015) Nielsen Monitor-Plus™ Methodology by Medium [online PDF] [Accessed 01 January 2016] Nyre, L. (2008) Sound Media, From Live Journalism To Musical Recording. Routledge: London. O'Malley, J. (2015) ‘Apple Music's Beats 1 Radio Station is Just a Terrible Executive Vanity Project' On: Gizmondo [Online] [Accessed 24 October 2015] Painter, L (2015) ‘Apple Music FAQ: How to set up Apple Music, cancel your subscription, share an account, find tracks you've played in Apple Music' On: MacWorld [online] [Accessed 20 December 2015] Piasek, J., In: Godfrey, D. and Leigh, F. (1998) Historical Dictionary of American Radio. Greenwood Publishing: Portsmouth, US. Priestman, C. (2006) Web Radio: Radio Production for Internet Streaming. Focal Press: Oxford. Radio Advertising Bureau [RAB] (2014) Audio Now. [online] [Accessed 01 December 2015; PDF hard copy retained and available on request] Scannell, P., and, Cardiff, D. (1991) A Social History of British Broadcasting, vol. 1: 1992-1939. Blackwell: Oxford. Stewart, W. (n.d.) ‘Marshall McLuhan Predicts The Global Village' On: Living Internet [online] [Accessed 20 January 2016] Think Fun Kids (n.d.) ‘Podcasts' [online] [Accessed 19 January 2016] Truong, A. (2015) ‘Radio is a massive $20 billion industry, and Apple wants in' On: Quartz [online] [Accessed 20 December 2015] United States Securities and Exchange Commission (2012) Form 10-K, Apple Inc. ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934. [online] Published at Washington D.C.: United States. University of Gloucestershire (2015) Media Festival Lecture: Matt Deegan of Folder Media. [Digital hard copy retained and available upon request] Quartz (2015) ‘We analyzed a month of Beats 1 tracks to figure out Apple's taste in music' On: Quartz [online] [Accessed 12 January 2016]

united states music university spotify live head world new york city english uk apple los angeles house work british podcasts digital dj washington dc global radio western united kingdom iphone forbes bbc journal kiss medium guardian breakfast cd audience ios beats americas redefining glasgow criticism vol creative directors apple music designed late night algorithms billboard wired published elton john djs ipods lowe overnight baldwin owned bbc radio painter commons subscription cardiff deezer iss tunein convergence availability charting tim cook griffiths radio stations pitchfork quartz daytime aac merriam webster trademarks exchange commission laird haim dab b2 xtra gloucestershire sustainable growth international federation bbc world service lbc presenters apple wwdc dredge logically hey siri apple inc evident truong social history online video touch id ofcom irrespective key concepts b5 society and culture jimmy iovine finer transmitting global village noisey bissell castells zane lowe locality ben cooper world service james cridland absolute radio imore appendices 1xtra capital fm lunden hls world wide developer conference scannell audio now long player on the verge beats1 mcleish radio today ifpi bbc radio 1xtra lastfm operating agreement american radio historical dictionary fun kids united states securities heart fm iovine apple beats amazing radio ebro darden radioplayer bbc trust beats radio mediaweek audio revolution matt deegan marshal mcluhan julie adenuga mp2 roy martin folder media
Hoax Busters: Conspiracy or just Theory?
345 - Hoax Busters: The Secret NASA Moon Laser War On The Bat People.

Hoax Busters: Conspiracy or just Theory?

Play Episode Listen Later Aug 10, 2015


Marshal McLuhan , Freemasons, Adam Parfrey, Narcissistic Anonymous Society, Psychopathy, Carl Jung, Sigmund Freud, Moon Lasers, Mythbusters, The Apollo Hoax,9/11 Hollow Towers, Charleston Shooting, Sandy Hook, Nuke Lies, Jesse Waugh, Selection 2016, Fast Food, Calvinism, The Tyrant of Geneva, John Calvin, The Jesuits, Damon calls in, John calls in, Dave calls in, Mike calls in,Sw Illinois calls in, Gerald Celente calls in,hoaxbusterscall.com

Litopia All Shows
The Viral Mind of Susan Blackmore

Litopia All Shows

Play Episode Listen Later Mar 25, 2015 55:00


Meet Susan Blackmore, the world’s foremost expert on memes. The intro to her seminal work The Meme Machine was written by none other than genius biologist and fundamentalist atheist blowhard Richard Dawkins. Her lectures on TED receives millions of views— even despite TED's dishwater-dull format when compared to Litopia After Dark (rowr!) “Man becomes, as it were, the sex organs of the machine world,” said Marshal McLuhan. Never has this been more true. (Full quote: Man becomes, as it were, the sex organs of the machine world, as the bee of the plant world, enabling it to fecundate and to evolve ever new forms.) But do memes actually exist? Or are they simply metaphors to observe our shifting culture? And who is Susan Blackmore anyway? After an out of body experience she studied the paranormal for 24 years, only to arrive at the conclusion it was bollocks— all of it. So who’s to say she won’t soon say the same about memes? But wait, there’s more! Now she’d like for us to consider what she calls temes— technology assisted memes. Replicators so powerful they may yet turn our computers against us— and sooner than you think. Just ask Stephen Hawking. Because your Macbook Pro is spreading words, tunes, images and ideas much faster than your feeble human mind can imagine. Check everything you think you know about memes at the door. Because this show is no lecture. This show is virus inside of your mind. Spread the word. (PS - Blackmore's explosive article on fellow Litopia After Dark guest Susan Greenfield can be found here!) Check out her website! Buy her book! Do it now! Photo by zooterkin >>>>>> Download the show as an audio file Subscribe in iTunes

Litopia After Dark
The Viral Mind of Susan Blackmore

Litopia After Dark

Play Episode Listen Later Mar 25, 2015 55:00


Meet Susan Blackmore, the world’s foremost expert on memes. The intro to her seminal work The Meme Machine was written by none other than genius biologist and fundamentalist atheist blowhard Richard Dawkins. Her lectures on TED receives millions of views— even despite TED's dishwater-dull format when compared to Litopia After Dark (rowr!) “Man becomes, as it were, the sex organs of the machine world,” said Marshal McLuhan. Never has this been more true. (Full quote: Man becomes, as it were, the sex organs of the machine world, as the bee of the plant world, enabling it to fecundate and to evolve ever new forms.) But do memes actually exist? Or are they simply metaphors to observe our shifting culture? And who is Susan Blackmore anyway? After an out of body experience she studied the paranormal for 24 years, only to arrive at the conclusion it was bollocks— all of it. So who’s to say she won’t soon say the same about memes? But wait, there’s more! Now she’d like for us to consider what she calls temes— technology assisted memes. Replicators so powerful they may yet turn our computers against us— and sooner than you think. Just ask Stephen Hawking. Because your Macbook Pro is spreading words, tunes, images and ideas much faster than your feeble human mind can imagine. Check everything you think you know about memes at the door. Because this show is no lecture. This show is virus inside of your mind. Spread the word. (PS - Blackmore's explosive article on fellow Litopia After Dark guest Susan Greenfield can be found here!) Check out her website! Buy her book! Do it now! Photo by zooterkin >>>>>> Download the show as an audio file Subscribe in iTunes

Aruna Ratanagiri Dhamma Talks
Luang Por Munindo - Simply Listen

Aruna Ratanagiri Dhamma Talks

Play Episode Listen Later May 17, 2014 29:00


Simply Listen: Aruna Ratanagiri (29 mins) (keywords) Crisis, helping, thinking, not-thinking, eloquence, meditation, Marshal McLuhan, opinions, strength, conceit, investigation, vegetarian, women, Nyanavira, scriptures, war, pressure, Prince Charles, silence, kindness.

Aruna Ratanagiri Dhamma Talks
Luang Por Munindo - The Craft of Contemplation

Aruna Ratanagiri Dhamma Talks

Play Episode Listen Later Mar 30, 2013 30:00


The Craft of Contemplation: Aruna Ratanagiri (30 mins) (keywords) Marshal McLuhan, fundamentalism, questioning, investigating, concentration, toolkit, samadhi, train, belief, goal, a feeling-enquiry, sati, awareness, mindfulness, wilfulness, 7 factors of enlightenment, equanimity, body, interest, reflective awareness, in the dead of the night, death, fear, ghosts, inner dialogue, non-fear, 32 parts, frustration, enemy, disappointment, energy.

Big Ideas (Video)
Robert K. Logan on The Origin and Evolution of Language

Big Ideas (Video)

Play Episode Listen Later Jul 15, 2011 23:52


University of Toronto Physics professor Robert K. Logan on The Origin and Evolution of Language and the Emergence of Concepts

Big Ideas: Science
Robert K. Logan on The Origin and Evolution of Language

Big Ideas: Science

Play Episode Listen Later Jul 15, 2011 23:52


University of Toronto Physics professor Robert K. Logan on The Origin and Evolution of Language and the Emergence of Concepts

Big Ideas (Audio)
Robert K. Logan on The Origin and Evolution of Language

Big Ideas (Audio)

Play Episode Listen Later Jul 15, 2011 24:16


University of Toronto Physics professor Robert K. Logan on The Origin and Evolution of Language and the Emergence of Concepts