Professional Documents
Culture Documents
Laureano Ralon
Argentinean Center for International Studies
Marcelo Vieta
York University
McLuhan and
Phenomenology
Abstract Keywords
This article builds on the notion that McLuhan is “beyond categorization” in existential
the sense that his thought—much like the media of communication he sought to phenomenology
understand—is in constant flux. Attempts to reduce the multiple resonances of Marshall McLuhan
McLuhan’s work to an explicit “message” or text, either by erroneously assigning Martin Heidegger
ready-made labels such as “technological determinism” or by uncritically worship- media ecology
ping an accumulation of mummified insights, are destined to fail. McLuhan should phenomenology of
be engaged by an authentic appropriation of the possibilities inherent in his work. media
This requires apprehending his work as a medium (a body of thought to think from,
through, and with) rather than containing hard truths to be understood explicitly.
The key is to engage with his probes as explorations at the level of ground; it is about
deploying his insights in order to uncover “areas of inattention”—that is, digging
up possibilities for interpreting mediated reality from out of unlikely regions in his
oeuvre. A mostly unexplored area of inquiry within McLuhan studies is the connec-
tion between the perceptual model of his “general media theory” and Heideggerian-
inspired phenomenologies. This article brings McLuhan’s media theory—grounded
on the senses, embodiment, and mediation—into conversation with existential
phenomenology—grounded on perception, existence, and lived-through world expe-
rience. This article plumbs an unexplored hidden existential side to McLuhan that
should be examined for the mutual benefit of McLuhan studies, media theory, and
phenomenology.
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[P]henomenology [is] that which I have been presenting for many years in
non-technical terms.
—Marshall McLuhan (Letter to Roger Poole, July 24, 1978)
Marshall McLuhan’s claim that the tools we shape in turn shape us is argu-
ably the common thread running through all of his published books and arti-
cles on media and technology. Starting in the late 1940s and extending to
his two posthumously published books in the late 1980s, McLuhan argued
consistently and forcefully—if not poetically—that the introduction and use of
any technology contours not only aspects of our sociocultural lives but, more
subtly, our sense of self and our relations with things and others in the world.
This is McLuhan’s technologically mediated reality pervading his entire general
media theory, which is his ontology of existence amidst human artifacts.
Fundamentally, McLuhan’s ontology is a theory of mediated reality grounded
in a perceptual model of experience (Striegel, 1978). This article explores
McLuhan’s general theory of technologically mediated reality that reveals him
to be an existential phenomenological philosopher of mediated experience;
there is a compelling affinity between existential phenomenology—grounded
as it is in perception, existence, and lived-through world experience—and
media ecology—grounded as it is in the senses, embodiment, and mediation.
More specifically, this article begins to explore a promising connec-
tion between Marshall McLuhan, one of the forefathers of media ecology,
and Martin Heidegger, one of the founders of existential phenomenology.
McLuhan’s perceptual model of experience in many ways runs parallel to
and shares similarities with the philosophies of existential and hermeneutic
phenomenology inspired by Heidegger. Both McLuhan and post-Husserlian
phenomenologies, for example, emerged from the common well of intel-
lectual nourishment rooted in the 20th century’s human-centered and anti-
positivist critiques of modernity (Gordon, 1997; Ihde, 1983; Marchand, 1998;
Striegel, 1978). As Michael Heim (2005) identified, the strongest complemen-
tary chord resonating between McLuhan and Heidegger is the notion that
technologies have a profound influence on our existential (lived-through) sense
of reality: “Both Heidegger and McLuhan,” observed Heim, “saw intimate
connections between information technology and the way the mind works”
(p. 357). This connection lies mainly in the central ontological place given
to technology by both Heidegger and McLuhan: “What synchronized their
visions,” Heim explained, “is the crucial role that technology plays in defin-
ing reality, in operating as an invisible backdrop within which the content or
entities of the world appear” (p. 357). Where Heideggerian-inspired phenom-
enologies propose that we come to know our “humanness” via daily, practi-
cal encounters in, with, and through the world (i.e., “being-in-the-world”),
this article proposes that McLuhan’s media program can be said to put
forward the notion that we come to know ourselves and our world—saturated
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One of the exciting things about seeing one image morph into another
is to realize that two seemingly very different faces or other visual forms
can be interchanged and blended in a way that illustrates their connec-
tions. (The result is much like seeing a child who somehow looks like
both parents, even though the parents look nothing like each other.) In
this metaphor lies a potential method for both extending and moving
beyond McLuhan. I’d like to see more attempts to morph McLuhan with
those who seem to know nothing about media in the McLuhanesque
sense.
(p. 15, italics added)
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that McLuhan was its “patron saint” is but the most salient example of such
worship (Shachtman, 2002).
The problem with these approaches is that they tend to gloss over the
complexity of McLuhan’s general media theory, which is intricately inter-
twined with his artistic method, his eclectic style, and his multifaceted person-
ality (Babe, 2000, p. 12; see also Striegel, 1978, pp. 100-103). This glossing over
has barred any attempt at understanding his work since. Scholars must think
McLuhanistically (i.e., dealing with McLuhan on his own terms by approach-
ing his vast work from a different standpoint than a superficial reading of
parts of his texts). In other words, his work must engage playfully with his
general theory and method in “constant flux,” as opposed to merely compil-
ing an accumulation of mummified theoretical insights disguised as clichés
(i.e., “the medium is the message,” “the global village,” etc.). It is alarm-
ing that what remains most alive in mainstream discourse about McLuhan
today is a simplified take on some of his probes and aphorisms. To this day,
people continue to encounter McLuhan through these and other metaphors
without fully understanding the significance of his general media theory
(Ralon, 2009a, p. 1).
More than 30 years ago, James F. Striegel (1978) was already warning
that “McLuhan has been misquoted, misapplied, and misunderstood since
he began writing about communication techniques and technologies over
25 years ago” (p. 2). McLuhan continues to be misunderstood (Ralon &
Levinson, 2010), and the difficulties always are the same, not helped, admit-
tedly, by McLuhan’s own evasive and provocative claim that he had no theo-
ries to ground his work and by his overreliance on a pun-filled style of prose.
These traits, however, should come as no surprise: A professor of English
literature with an interest in poetry and rhetoric, McLuhan’s ability to synthe-
size highly complex ideas and package them in catchy phrases was undoubt-
edly one of his greatest strengths (Theall, 2001, p. 26). McLuhan’s talent as
a synthesizer, however, is simultaneously the principle fodder for those that
criticize his work. Striegel (1978) observed:
[h]is apoditic [sic] statements and his tendency to subsume widely differ-
ing academic disciplines without explanation led to his rapid segrega-
tion from the recognized mainstreams of scholarly investigation. Easily
objectivated both socially and geographically as the Toronto School of
Communications Research, McLuhan and his work could be effectively
circumscribed outside the bounds of legitimate academic research and
sidestepped as a little more than a curious and occasionally irritating
symbol system.
(p. 2)
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“Taking McLuhan seriously,” then, does not mean taking every statement he
makes literally or explicitly (Meyrowitz, 1996); it means, rather, that McLuhan’s
probes and aphorisms should be contextualized and considered within the
horizons of his general theory and beyond. Read more holistically, one then
begins to see the figural patterns that emerge from a rich wellspring of intel-
lectual ground that McLuhan nurtured throughout his professional life.
In sharp contrast, then, with the fragmentary method of focusing on the
most visible clichés in his work (i.e., isolated phrases like “The medium is
the message,” which McLuhan would have criticized for being all figure and
no ground), what is required to better understand and reveal an existential/
phenomenological McLuhan is a playfully absorptive approach that discloses
hidden areas of concern. Meyrowitz’ method of “morphing” is one such
playful—and fruitful—approach to McLuhan’s work. It also is complementary
to McLuhan’s assertion that “we make sense not in cognition, but in recogni-
tion and replay,” that is, in the experiences and encounters of everyday life
(McLuhan & Nevitt, 1972, p. 3). Morphing McLuhan with, for example, criti-
cal theory (as Paul Grosswiler has done) or phenomenology (as we do here)
implies a more proactive handling of McLuhan—a Marshalling of McLuhan,
as Meyrowitz (2001, p. 20) so astutely put it; this is quite an improvement
from the common disposition of passively contemplating his work from a
theoretical standpoint. Indeed, morphing as a method appears to us to at
least be consistent with a more holistic, even phenomenological form of
understanding, favoring the interpretative and hermeneutic “know-how”
associated with “skillful coping” (Dreyfus, 1991, p. 67) and pattern recogni-
tion. This approach is for us more compelling than the theoretical “about-
ness” of armchair theorizing.
But is a morphing of McLuhan with, say, phenomenology, enough? On
closer examination, one of the shortcomings of “morphing” is that it requires
the fusion or synthesis of two images (figures) to the detriment or neglect of
their context (ground). Again, this was precisely McLuhan’s main criticism
of positivistic approaches to communication theory and the scientific method
generally. Moreover, we should not forget that McLuhan’s work was about
“balance rather than synthesis” (Dowler, 2000), and in this respect, like exis-
tential phenomenology, McLuhan’s method was more Heideggerian than
Hegelian. A more effective strategy for advancing McLuhan than simply
morphing concepts or figures together consists of conducting “explorations”
at the level of ground—that is, digging up the possibilities that McLuhan’s
work offers us from unlikely places, out of which tangible figures can then
come into their own. As Roman Onufrijchuk (1998) pointed out, “a significant
aspect of McLuhan’s contribution to media theory may also be found in what
he did not say but implied throughout his work” (p. 202, italics added).
To be fair, although the use of the term morphing remains problematic
because of the reasons just enumerated, Meyrowitz’ method produced some
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those who wish to transform must bear within themselves the power of
a fidelity that knows how to preserve. And one cannot feel this power
growing within unless one is up in wonder. And no one can be caught
up in wonder without travelling to the outermost limits of the possible.
(par. 16 )
The problem with focusing only on clichés and key phrases is that it tends to
remove McLuhan from the picture and negates the “eventful” character of
his work. Furthermore, it reduces and objectifies his thought and negates its
continued resonance for understanding the technologically mediated world.
This not only violates the principle of transforming while preserving; we
believe the results it yields are not so useful and fail to advance McLuhan in
meaningful ways.
Hence, without denying the valuable connections established by Grosswiler
et al.—as well as other powerful contributions grounded in critical theory, most
notably, Gary Genosko’s Marshall McLuhan: Critical Evaluations in Cultural
Theory (2005)—we take a step back and tackle the unexplored possibility of a
phenomenological McLuhan, which we argue is valid and genuine insofar as it
is grounded in McLuhan’s general media theory (most notably, its perceptual
model), as well as by his own interests in phenomenology during the late 1970s.
If this phenomenological reinterpretation of McLuhan comes as a surprise, it
should not be forgotten that Heideggerian-inspired existential philosophy has
provided much inspiration to critical and social theorists throughout the 20th
century. One example is his influence on the neo-Marxian contributions of
the Frankfurt School, even though, at the same time, the Frankfurt School
critiqued Heidegger on many occasions and from many angles (Jay, 1973).
Nevertheless, the fact remains that the Frankfurt School was an interdiscipli-
nary one, and as such, many of its insights into instrumental and technologi-
cal rationality, its critiques of modernity’s privileging of formal reason, and in
particular, its influence on the relations between subjects and objects, were
derived partly from Heidegger and other existentialist philosophers. Marcuse
was, after all, a student of Heidegger, and Habermas, although extremely criti-
cal of Heidegger, actually borrowed much from him to develop his ontology
of freedom. In fact, Iain Thomson went as far as to argue that postmodernism
really begins with Heidegger:
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well as influencing “the alteration of social and psychic environments” (p. 4).
Furthermore, McLuhan sought in his perceptually centered tetradic method to
understand this technologically mediated experience at the micro-perceptual
level before any theories of that experience (Gordon, 1997, p. 204; Striegel,
1978, p. 4). McLuhan’s perceptual model was thus congruent with Husserl’s
plan for phenomenology but with a specific interest in technologically medi-
ated life: it offers a subject-centered perspective of the lived experience of
mediated reality as opposed to the “abstracted and objectified” theory of
human experience preoccupying the positivistically minded fields of social
science (Striegel, 1978, p. 5). This parallels the same research stance advo-
cated by all branches of phenomenology: to bracket out a priori theories as
much as possible and go directly to the heart of the “things themselves” as
they engage with the lived-body’s intentional powers.
It is here, at the bodily level, where McLuhan’s affinity with existen-
tial phenomenology is strongest. This is particularly evident in McLuhan’s
understanding of sensory ratios, technologically mediated experience, and
perception—what Striegel terms McLuhan’s modalities of perception (Striegel,
1978, p. 4). A hermeneutical phenomenology also is palpable in McLuhan’s
understanding of the “interpretive recognition” (p. 4) required for conscious
awareness of the social and psychic changes imposed on individuals by the
use of human artifacts.
Striegel’s work is crucial, for re-reading McLuhan today for at least two
reasons. First, because he was among the first to thoroughly counter the claim
that McLuhan had no rigorous theories, a claim often leveled, as we have
already pointed out, in order to question the integrity of his work. Second,
because Striegel was among the first to suggest the possibility of a phenom-
enological McLuhan when, for example, he claimed that McLuhan’s percep-
tual model looks at “the effects of innovation on the individual’s… subjective
perception and interpretation of experience” (Striegel, 1978, p. 4).
A third reason positions McLuhan’s perceptual model of mediated expe-
rience within the phenomenological tradition. The roots of the phenomeno-
logical movement and McLuhan’s general media theory can be traced back to
the same fervent humanist—anti-positivist—revivals in philosophy, art, social
science, and literature of the late 19th and early 20th centuries that countered
detached Cartesian intellectualism and modernity’s scientism and positivism
(Gordon, 1997; Marchand, 1998). This intellectual movement, returning to the
experiencing- and interpreting-subject, infused itself into the academic and
cultural veins of the age, positioning human subjectivity and perception at the
center of reality (Hakim, 2001), by exploring notions such as the “plasticity”
of time and reality (Striegel, 1978, p. 14). Inspired by Kant, Kierkegaard, and
Nietzsche at the expense of Descartes’ dualism and Hume’s, Berkeley’s, and
Locke’s “Ways of Ideas” (Leahey, 2001, pp. 41-47), the focus on the “unique-
ness of human perception” (Striegel, 1978, p. 14)—furthered by the life philoso-
phies of James, Bergson, Dilthey, and others—inspired American Pragmatism,
the Chicago School of sociology, ethnomethodology, Gestalt psychology, and
phenomenology. This intellectual movement also had a large influence on all
aspects of 20th century “stream of consciousness” literature such as Joyce, Poe,
Pound, and the symbolist poets that inspired both McLuhan (Striegel, 1978)
and existentialist philosophers (Pollio et al., 1997). Husserl himself wrote
of “the living unity of consciousness as it flows along in a stream of experi-
ences” (Husserl, cited in Sawicki, 2001, sect, five, par. 1). It is from this intel-
lectual atmosphere that McLuhan also drew inspiration in part for his own
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perceptual model of subjective experience, his media theory, and the notion
that communication technologies extend the human body, senses, and mind
(Marchand, 1998; Striegel, 1978). It is also from this intellectual fervor that
20th-century phenomenological philosophies in part emerge from.
Notwithstanding the above, as Corey Anton (Ralon & Anton, 2010)
recently pointed out, phenomenology often is seen as a catch-all concept that
creates much confusion:
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called the artist “the antennae of the race.” McLuhan (1964) later borrowed
and elaborated on the notion, as the following quotes illustrate:
• The serious artist is the only person able to encounter technology with
impunity, just because he is an expert aware of the changes in sense
perception. (p. 19)
• The artist picks up the message of cultural and technological challenge
decades before its transforming impact occurs. (p. 71)
• The ability of the artist to sidestep the bully blow of new technology of any
age, and to parry such violence with full awareness, is age-old. (p. 72)
• And it is here that the artist can show us how to “ride with the punch,”
instead of “taking it on the chin.” (p. 73)
• Only the dedicated artist seems to have the power for encountering the
present actuality. (p. 77)
In addition to the artist, McLuhan had great hopes in the new sensibilities
of the retribalized youth of the 1960s. In the “Playboy Interview” (1995) he
declared:
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In The Laws of Media (McLuhan & McLuhan, 1988), McLuhan underscored this
opinion when he concluded, “the root problem of phenomenology … is that it
is an all-out attempt by dialectic to invent … or force a sort of ground to surface”
(pp. 10-11). Here again McLuhan seems to be confounding the existential
phenomenology of Heidegger with the more dialectical French existentialism
of Jean-Paul Sartre, whose work has been characterized (albeit a little unfairly)
as a “brilliant misunderstanding of Heidegger” (cited in Dreyfus, 2005). It is
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not our aim here to discuss the differences between Heideggerian and Sartrean
phenomenologies. For our purposes, suffice it to say that Hegelian dialectics
is about synthesis, and synthesis, even as it suggests progress through the
clash of opposites, is still reliant on dichotomies and dualisms. By contrast,
both McLuhan’s and Heidegger’s work are about balance (i.e., circumspec-
tion, ratios, free relation), immersion (i.e., “being in… ,” environments), and
potentiality rather than synthesis and lineal progress. In Heidegger, the prob-
lem of the external world is overcome by an alternative and radical conception
of the self: the thrown human Dasein—“outside and past its fleshy bounda-
ries” (Anton, 2001, p. 22)—replaces the Aristotelian notion of a self-sufficient
substance, the Cartesian notion of a solitary thinking subject, and the Kantian
notion of a transcendental ego. In McLuhan, the problem of the external world
is overcome by the notions of technology as “extensions of ourselves,” which
culminates in the externalization of the nervous system on a global scale that
places man inside the nervous system.
Although an existential side to McLuhan is visible, why did he not see
himself as a phenomenologist? Where did he err in his views about the tradi-
tion? McLuhan’s first critique of phenomenology—that it was a “Cartesian
thing”—was based on the common misconception that, since Heidegger was
Husserl’s student, the former uncritically appropriated and carried on with
the latter’s work when, on the contrary, Heidegger radicalized (existential-
ized) Husserlian transcendental phenomenology. Still, Husserl’s phenomenol-
ogy, McLuhan (McLuhan & McLuhan, 1988) claimed, was too dualistically
Cartesian, dialectically Hegelian, and therefore, contextually insensitive, creat-
ing “a new split between inner and outer experience” (p. 61). This was, for
McLuhan, evident in Husserl’s concept of the “epoché,” that is, the bracketing
out of the world prior to the reduction proper—“a break en bloc with the world-
belief” (Ricoeur, 1967, p. 95). Husserl’s goal was for researchers to suspend
(bracket) all preconceived beliefs and theories so as to arrive at pure conscious-
ness (a science of phenomena) in search of the noematically and noemically
transcendental essences—the invariant structures of human experiences.
In his critique of the epoché, however, it seems that McLuhan missed the
fact that Heidegger also took issue with Husserl’s phenomenological reduc-
tion and his pursuit of transcendental subjectivity, considering “idealistic.”
Insteaad, Heidegger (1996) proposed his own unique brand of phenomenol-
ogy as a method for his fundamental ontology: “only as phenomenology is
ontology possible” (p. 35). His phenomenological ontology—the science
of the being of beings (p. 37)—centers around “being-in-the-world,” the
fundamental structure whereby Dasein’s character is defined existentially. To
be thrown into and amidst things in the world means that we are “already
always” fully engaged with the world in acts of pre-reflective awareness
driven by “operative intentionality” (Merleau-Ponty, 1962, p. 429), a state
often referred to as “ongoing skilful coping” (Dreyfus, 1991), or “mindless
everyday coping” (Stewart, 1996, p. 33). The pre-reflective, prelinguistic, and
preconceptual interpretative encounters with our objects of concern take place
at a rock-bottom level of awareness that precedes any attempts at predicating
objectively present-at-hand entities (Anton, 2001, p. 30). That is, we cannot
bracket the lived-through experience of the world and theoretical knowledge
is only derivative of the sort of implicit (preontological) understanding that
characterizes Dasein as thrown being-in-the-world.
In short, Cartesian ontology was rejected by all Heideggerian-influenced
phenomenologies (Moran & Mooney, 2002). Using McLuhan’s own terms,
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Ihde (1983) adopted the absence/presence language to further explain his typol-
ogies of human–technology relations and frame his version of the double nature
of technological existence: “For technology to function well,” Ihde writes,“it must
become a kind of barely noticed background effect. It must itself ‘withdraw’ so that
human action which is embodied through technology can stand out” (p. 52).
In summary, had McLuhan taken a closer look at phenomenology’s critiques
of Cartesianism, the post-Husserlian ways of addressing the phenomenological
practice of bracketing, phenomenology’s methodological position of holding
off on theorizing and relying on description to arrive at the meanings of expe-
rience, and existential phenomenology’s use of Gestalt psychology’s figure/
ground—all fully compatible with his ontology/epistemology—McLuhan might
have provided his own methodology with an array of additional and rigor-
ous tools with which to assess human–technology relations. Once again, it is
not the intention here to dress McLuhan in the robes of an existentialist; rather,
the objective was to expose an existential side of McLuhan that has impor-
tant affinities with Heideggerian-inspired phenomenologies; these should be
explored for the mutual benefit of media ecology and phenomenology. The
process of advancing McLuhan must begin not by morphing, worshipping, or
moving beyond McLuhan, but conducting explorations at the level of ground;
a phenomenological McLuhan is in fact an inherent possibility grounded in
unexplored areas of his multifaceted oeuvre. Having exhibited here a general
connection, we hope to uncover further resonating intervals in future papers.
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Suggested citation
Ralon, L. and Vieta, M. (2011). ‘McLuhan and Phenomenology’. Explorations in
Media Ecology 10: 3+4, pp. 185–206, doi: 10.1386/eme.10.3-4.185_1
Contributor details
Laureano Ralon earned bachelor’s and master’s degrees from Simon Fraser
University School of Communication under the supervision of Dr. Brian
Lewis and Dr. Roman Onufrijchuk. He worked as a teaching assistant for
SFU’s Center for Online and Distance Education, and as a research assist-
ant for the Center for Policy Research on Science and Technology, the New
Media Innovation Center, and the 2006 Telecommunications Policy Review
Panel. Ralon is the founder of Figure/Ground Communication, and has writ-
ten on various topics related to communication, technology and society.
Contact: Eeuu 1947 2G, Capital Federal Buenos Aires 1227, Argentina.
E-mail: laureano@alumni.sfu.ca
Marcelo Vieta is nearing completion of his Ph.D. in Social and Political Thought
at York University in Toronto. Since January 2012, he is visiting post-doc-
toral researcher at the European Research Institute on Cooperative and Social
Enterprises. He also is a research associate at the Centre for Research on Latin
America and the Caribbean, a board member of the Canadian Association
for Studies in Co-operation, and a founding member of the autonomous
community education collective Toronto School of Creativity & Inquiry. He
has published articles in Labor Studies, Affinities, Studies in the Education of
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Laureano Ralon | Marcelo Vieta
Adults, and Canadian Journal of Non-Profit and Social Economy Research, as well
as six book chapters.
E-mails: vieta@yorku.ca; marcelo@vieta.ca
Laureano Ralon and Marcelo Vieta have asserted their right under the
Copyright, Designs and Patents Act, 1988, to be identified as the authors of
this work in the format that was submitted to Intellect Ltd.
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