Global Village
Book and concept
The Concept
For one meaning of the term, as related to the Global Village movement, see our entry on Global Villages, which is also about a global movement to create interconnected ecovillages.
From the Wikipedia:
"Global village describes the phenomenon of the entire world becoming more interconnected as the result of the propagation of media technologies throughout the world. The term was coined by Canadian media theorist Marshall McLuhan in his books The Gutenberg Galaxy: The Making of Typographic Man (1962) and Understanding Media (1964). Literary scholar Sue-Im Lee describes how the term global village has come to designate “the dominant term for expressing a global coexistence altered by transnational commerce, migration, and culture” (as cited in Poll, 2012). Economic journalist Thomas Friedman's definition of the global village as a world “tied together into a single globalized marketplace and village” is another contemporary understanding of the term (as cited in Poll, 2012)."
(https://en.wikipedia.org/wiki/Global_village)
The Book
* Book: The Global Village: Transformations in World Life and Media in the 21st Century. Marshall McLuhan, 1989.
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From the Wikipedia:
"In his posthumous book, The Global Village: Transformations in World Life and Media in the 21st Century (1989), McLuhan, collaborating with Bruce R. Powers, provides a strong conceptual framework for understanding the cultural implications of the technological advances associated with the rise of a worldwide electronic network. This is a major work of McLuhan's as it contains the most extensive elaboration of his concept of acoustic space, and provides a critique of standard 20th-century communication models such as the Shannon–Weaver model.
McLuhan distinguishes between the existing worldview of visual space—a linear, quantitative, classically geometric model—and that of acoustic space—a holistic, qualitative order with an intricate, paradoxical topology: "Acoustic Space has the basic character of a sphere whose focus or center is simultaneously everywhere and whose margin is nowhere." The transition from visual to acoustic space was not automatic with the advent of the global network, but would have to be a conscious project. The "universal environment of simultaneous electronic flow" inherently favors right-brain Acoustic Space, yet we are held back by habits of adhering to a fixed point of view. There are no boundaries to sound. We hear from all directions at once. Yet Acoustic and Visual Space are inseparable. The resonant interval is the invisible borderline between Visual and Acoustic Space. This is like the television camera that the Apollo 8 astronauts focused on the Earth after they had orbited the Moon.
McLuhan illustrates how it feels to exist within acoustic space by quoting from the autobiography of Jacques Lusseyran, And There Was Light. Lusseyran lost his eyesight in a violent accident as a child, and the autobiography describes how a reordering of his sensory life and perception followed:
- When I came upon the myth of objectivity in certain modern thinkers, it made me angry. So, there was only one world for these people, the same for everyone. And all the other worlds were to be counted as illusions left over from the past. Or why not call them by their name—hallucinations? I had learned to my cost how wrong they were. From my own experience I knew very well that it was enough to take from a man a memory here, an association there, to deprive him of hearing or sight, for the world to undergo immediate transformation, and for another world, entirely different, but entirely coherent, to be born. Another world? Not really. The same world, rather, but seen from a different angle, and counted in entirely new measures. When this happened all the hierarchies they called objective were turned upside down, scattered to the four winds, not even theories but like whims.
Reading, writing, and hierarchical ordering are associated with the left brain and visual space, as are the linear concept of time and phonetic literacy. The left brain is the locus of analysis, classification, and rationality. The right brain and acoustic space are the locus of the spatial, tactile, and musical. "Comprehensive awareness" results when the two sides of the brain are in true balance. Visual Space is associated with the simplified worldview of Euclidean geometry, the intuitive three dimensions useful for the architecture of buildings and the surveying of land. It is linearly rational and has no grasp of the acoustic. Acoustic Space is multisensory. McLuhan writes about robotism in the context of Japanese Zen Buddhism and how it can offer us new ways of thinking about technology. The Western way of thinking about technology is too related to the left brain, which has a rational and linear focus. What he called robotism might better be called androidism in the wake of Blade Runner and the novels of Philip K. Dick. Robotism-androidism emerges from the further development of the right brain, creativity and a new relationship to spacetime (most humans are still living in 17th-century classical Newtonian physics spacetime). Robots-androids will have much greater flexibility than humans have had until now, in both mind and body. Robots-androids will teach humanity this new flexibility. And this flexibility of androids (what McLuhan calls robotism) has a strong affinity with Japanese culture and life. McLuhan quotes from Ruth Benedict's The Chrysanthemum and the Sword an anthropological study of Japanese culture published in 1946:
- Occidentals cannot easily credit the ability of the Japanese to swing from one behavior to another without psychic cost. Such extreme possibilities are not included in our experience. Yet in Japanese life the contradictions, as they seem to us, are as deeply based in their view of life as our uniformities are in ours.
The ability to live in the present and instantly readjust."