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tetrad

I’ve been reading a lot of Marshall McLuhan in the last several months. I know he’s not the most fashionable critic anymore, but I admire his attitude toward culture. I’ve heard some call him a “futurist” but this seems to run directly counter to McLuhan as I read him. If anything, McLuhan is a medievalist who has adapted himself to our futurist culture in order to bring a rather old timey message.

McLuhan created what he called a “tetrad.” The general idea is that for every new medium, four things always happen.

1. The new medium enhances some aspect of us or our life.
2. The new medium obsolesces some aspect of us or our life.
3. The new medium, when pushed to its maximum, ultimately reverses some aspect of our life.
4. The new medium retrieves some past aspect of us or our life.

For example, the car:

1. It enhances speed.
2. It obsolesces the horse and buggy.
3. When there are many cars on the road, it ultimately ends up reversing that speed (in the form of traffic jams)
4. It retrieves the “knight in shining armor” in the form of the boy with the bitchin’ car.

Now pondering on the advance of the press (and now the digital age), I’ve been thinking about the effects of various mediums on poetry (which is itself a medium). When poetry was primarily oral, it was filled with mnemoic devices of all sorts that allowed for it to be memorized easily. Even during the manuscript era, poetry was necessarily oral poetry. Yet with the growth of the printed manuscript, one didn’t have to memorize as much anymore.

I have not done any formal research, but I suspect that as the written/printed word gained ground, the formal constraints on poetry (which were originally there to allow for oral memory) began to fall by the wayside. They were no longer necessary, though it seems the inertia of tradition kept these conventions in place for a while. Once the instrumental use was gone, it was only a matter of time before poets began exploring less oral-friendly forms.

Now, of course, we are entering the digital age, and I suspect the next thing to go (indeed has already gone) is the poetic line itself. Words no longer need the inertia of the line to carry them forward if digital animation can do so. WC Williams (with his visual foot) was already pushing in that direction, as has prose poetry. Is it possible that the poetic line as the bread and butter of poetry may be on its way out?

I would not be surprised if anyone has advanced this thesis before.  Could anybody point me to another author who has written on this topic?