Neil Postman Quotes

In saying no one knew about the ideas implicit in the telegraph, I am not quite accurate. Thoreau knew. Or so one may surmise. It is alleged that upon being told that through the telegraph a man in Maine could instantly send a message to a man in Texas, Thoreau asked, "But what do they have to say to each other?" In asking this question, to which no serious interest was paid, Thoreau was directing attention to the psychological and social meaning of the telegraph, and in particular to its capacity to change the character of information -- from the personal and regional to the impersonal and global.

I should go so far as to say that embedded in the surrealistic frame of a television news show is a theory of anticommunication, featuring a type of discourse that abandons logic, reason, sequence and rules of contradiction. In aesthetics, I believe the name given to this theory is Dadaism; in philosophy, nihilism; in psychiatry, schizophrenia. In the parlance of the theater, it is known as vaudeville.

I will try to demonstrate by concrete example that television's way of knowing is uncompromisingly hostile to typography's way of knowing; that television's conversations promote incoherence and triviality; that the phrase "serious television" is a contradiction in terms; and that television speaks in only one persistent voice-the voice of entertainment.

The Bill of Rights is largely a prescription for preventing government from restricting the flow of information and ideas. But the Founding Fathers did not foresee that tyranny by government might be superseded by another sort of problem altogether, namely, the corporate state, which through television now controls the flow of public discourse in America.

Our television set keeps us in constant communion with the world, but it does so with a face whose smiling countenance is unalterable. The problem is not that television presents us with entertaining subject matter but that all subject matter is presented as entertaining, which is another issue altogether.

Voting, we might even say, is the next to last refuge of the politically impotent. The last refuge is, of course, giving your opinion to a pollster, who will get a version of it through a desiccated question, and then will submerge it in a Niagara of similar opinions, and convert them into--what else?--another piece of news. Thus we have here a great loop of impotence: The news elicits from you a variety of opinions about which you can do nothing except to offer them as more news, about which you can do nothing.

Television screens saturated with commercials promote the utopian and childish idea that all problems have fast, simple, and technological solutions. You must banish from your mind the naive but commonplace notion that commercials are about products. They are about products in the same sense that the story of Jonah is about the anatomy of whales.

By bringing together in compact form all the arts of show business-music, drama, imagery, humor, celebrity-the television commercial has mounted the most serious assault on capitalist ideology since the publication of Das Kapital. To understand why, we must remind ourtselves that capitalism, like science and liberal democracy, was an outgrowth of the Enlightenment. Its principal theorists, even its most prosperous practitioners, believed capitalism to be based on the idea that both buyer and seller are sufficiently mature, well informed and reasonable to engage in transactions of mutual self-interest.

Every television program must be a complete package in itself. No previous knowledge is to be required. There must not be even a hint that learning is hierarchical, that it is an edifice constructed on a foundation. The learner must be allowed to enter at any point without prejudice. This is why you shall never hear or see a television program begin with the caution that if the viewer has not seen the previous programs, this one will be meaningless. Television is a nongraded curriculum and excludes no viewer for any reason, at any time. In other words, in doing away with the idea of sequence and continuity in education, television undermines the idea that sequence and continuity have anything to do with thought itself.

Stern reported that 51 percent of viewers could not recall a single item of news a few minutes after viewing a news program on television. Wilson found that the average television viewer could retain only 20 percent of the information contained in a fictional televised news story. Katz et al. found that 21 percent of television viewers could not recall any news items within one hour of broadcast.

But it is not time constraints alone that produce such fragmented and discontinuous language. When a television show is in process, it is very nearly impermissible to say, "Let me think about that" or "I don't know" or "What do you mean when you say...?" or "From what sources does your information come?" This type of discourse not only slows down the tempo of the show but creates the impression of uncertainty or lack of finish. It tends to reveal people in the act of thinking, which is as disconcerting and boring on television as it is on a Las Vegas stage. Thinking does not play well on television, a fact that television directors discovered long ago. There is not much to see in it. It is, in a phrase, not a performing art. But television demands a performing art.