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The Medium Is the Monster: Epigraph

The Medium Is the Monster
Epigraph
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table of contents
  1. Cover
  2. Acknowledgments
  3. Introduction
  4. 1. Technology, Frankenstein, and . . . Canada?
  5. 2. Refocusing Adaptation Studies
  6. 3. Frankenstein and the Reinvention of “Technology”
  7. 4. The Medium Is the Monster: McLuhan’s “Frankenpheme” of Technology
  8. 5. Monstrous Adaptations: McLuhanesque Frankensteins in Neuromancer and Videodrome
  9. 6. “Technology Implies Belligerence”: Pattern Propagation in Canadian Science Fiction
  10. 7. Is It Live or Is It Deadmau5? Pattern Amplification in Canadian Electronic Dance Music
  11. 8. Monster Mines and Pipelines: Frankenphemes of Tar Sands Technology in Canadian Popular Culture
  12. Conclusion
  13. References
  14. Index

Epigraph | The Medium Is the Monster | AU Press—Digital Publications

Even the most abstract categories, in spite of their validity for all epochs—because of their abstract nature—are yet in the precise terms of this abstraction themselves as much the product of historical conditions and possess their full validity only in respect of and within these conditions.

Karl Marx, Grundrisse ([1857] 1983, 390)

The Québec film-maker, Jean-Claude Labrecque, once said of the threat of cultural obliteration posed by new technologies of communication: “It’s like snow; it keeps falling and all you can do is go on shoveling.” Technology as snow, or maybe as a nuclear winter; that’s the Canadian, and by extension, world situation now.

Arthur Kroker, Technology and the Canadian Mind (1984, 129)

The malicious horizon made us the essential thinkers of technology.

Dionne Brand, No Language Is Neutral (1990, 23)

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