Essential McLuhan 20 Because of the circulating point of view in this book, there is no need for it to be read in any special order. Any part of the book provides one or more views of the same social landscape. Ever since Buckhardt saw that the meaning of Machiavelli’s method was to turn the state into a work of art by the rational manipulation of power, it has been an open possibility to apply the method of art analysis to the critical evaluation of society. That is attempted here. The Western world, dedicated since the sixteenth century to the increase and consolidation of the power of the state, has developed an artistic unity of effect which makes artistic criticism of that effect quite feasible. Art criticism is free to point to the various means employed to get the effect, as well as to decide whether the effect was worth attempting. As such, with regard to the modern state, it can be a citadel of inclusive awareness amid the dim dreams of collective consciousness. I wish to acknowledge the advantage I have enjoyed in reading unpublished views of Professor David Riesman on the consumer mentality. To Professor W.T.Easterbrook I owe many enlightening conversations on the problems of bureaucracy and enterprise. And to Professor Felix Giovanelli I am in debt not only for the stimulus of discussion but for his prolonged assistance with the many publishing problems which have attended the entire work. The Mechanical Bride Anybody who takes time to study the techniques of pictorial reportage in the popular press and magazines will easily find a dominant pattern composed of sex and technology. Hovering around this pair will usually be found images of hectic speed, mayhem, violence, and sudden death. Look and Life are only the most obvious places in which to study this cluster of interests. Amid what otherwise may appear as a mere hodgepodge of isolated events, this very consistent pattern stands out. I do not pretend to understand all of it, but it is there for everyone to study, and it is certainly linked to the patterns noted in “Love-Goddess Assembly Line.” Many a time have the legs in this exhibit stood on their pedestal by the tall column of Life’s staff, emblemizing the trick that keeps the big team clicking. They are the slick and visible sign of the dynamo purring contentedly in the Time and Life building, but not only there. And they need to be seen in association with those window displays of car engines on a revolving pedestal, with pistons sliding smoothly Noticed any very spare parts lately? Have you got what it takes to hook a date? See us for the highest bid on your old model. “The walk,” “the legs,” “the body,” “the hips,” “the look,” “the lips.” Did she fall off a wall? Call all the king’s horses and men. while a loudspeaker conveys Strauss waltzes to those on the sidewalk. To the mind of the modern girl, legs, like busts, are power points which she has been taught to tailor, but as parts of the success kit rather than erotically or sensuously. She swings her legs from the hip with masculine drive and confidence. She knows that “a long-legged gal can go places.” As such, her legs are not intimately associated with her