TAYAH LEE

In The Medium is the Massage, Marshall McLuhan and Quentin Fiore argue that the ambiguous environment of new media causes society to adhere to performative theory using allusions and visual imagery. For example, the repeatedly yet altering images on pages 82 to 83 and 86 to 87 convey the ambiguity of new media environments; and the allusion to the story “The Emperor’s New Clothes” on page 88 parallels the society of the story with society of today as they both adhere to performative theory: that people learn, perform, and ignore social roles.

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Using creatively presented visual imagery, McLuhan et al. argue that despite the ambiguity of new media environments, the majority of people still adhere to the first component of performative theory and learn social roles. Pages 82 and 83 present a cut-off image of what appears to be a collection of buildings. Along with the partial title “enviro,” the layout is incomplete and undefined. On pages 86 and 87, the layout is extended, revealing the full image of Fairmount Water Works and the second half of the word: “nment.” These shifting visuals demonstrate that environments are vague and not well-defined. The authors explain, “Environments are invisible. Their groundrules, pervasive structure, and overall patterns elude easy perception” (84-85). This pertains to the unspoken rules of new media. For example, there is no public declaration of Facebook etiquette; there are no written guidelines to dictate if a photo is “Instagram worthy.” These rules are implicit and not easily perceived, but are inherently learned by society.

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The second element of performative theory, people perform social roles, can be seen in McLuhan et al.’s allusion to the story, “The Emperor’s New Clothes.” The authors write, “‘Well-adjusted’ courtiers, having vested interests, saw the Emperor as beautifully appointed,” even though he donned no clothing (88). In this case, those considered “well-adjusted” were those who were able to conform to the unspoken rules and norms; again corresponding with today’s society. People perform social roles to fit into ambiguous environments, such as that of new media. Just as the courtiers in the allusion praised the Emperor with everyone else, members of society today get caught following the masses in the avenue of new media to avoid estrangement.

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The previously described allusion also encompasses the last element of performative theory. Even while performing their social role, the courtiers ignored that they were doing so. Similar to this situation, the environment of the new media causes people to ignore and not question the rules they are adhering to. Similar to the distant aunt who likes every photo and composes letters to family members in comment sections on Facebook, those who tend to ignore norms in the media are often seen as “antisocial” and “rarely well-adjusted” (88).

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In conclusion, the ambiguity of new media environments and their pressure for societies to adhere to performative theory is conveyed through McLuhan and Fiore’s visual imagery and allusions in The Medium is the Massage. While the authors reference incomplete pictures and undefined places, readers of the new generation relate these things to the undefined rules of new media and their incomplete understanding of its guidelines. Just as the courtiers in the story learned, performed, and ignored their social roles for the sake of avoiding alienation, members of society today do the same.

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Works Cited

• McLuhan, Marshall, and Quentin Fiore. The Medium is the Massage. Ginko Press, 2001.