Vol 1 No 2 (Autumn 2020) Online: jps.library.utoronto.ca/index.php/nexj Visit our WebBlog: newexplorations.net The Artist’s Emergent Journey Clinton Ignatov—The McLuhan Institute—
[email protected] To examine computers as a medium in the style of Marshall McLuhan, we must understand the origins of his own perceptions on the nature of media and his deep-seated religious impetus for their development. First we will uncover McLuhan’s reasoning in his description of the artist and the occult origins of his categories of hot and cool media. This will prepare us to recognize these categories when they are reformulated by cyberneticist Norbert Wiener and ethnographer Sherry Turkle. Then, as we consider the roles “black boxes” play in contemporary art and theory, many ways of bringing McLuhan’s insights on space perception and the role of the artist up to date for the work of defining and explaining cyberspace will be demonstrated. Through this work the paradoxical morality of McLuhan’s decision to not make moral value judgments will have been made clear. Introduction In order to bring Marshall McLuhan into the 21st century it is insufficient to retrieve his public persona. This particular character, performed in the ‘60s and ‘70s on the global theater’s world stage, was tailored to the audiences of its time. For our purposes today, we’ve no option but an audacious attempt to retrieve, as best we can, the whole man. To these ends, while examining the media of our time, we will strive to delicately reconstruct the human-scale McLuhan from what has been left in both his public and private written corpus.