Television is our culture's principal mode of knowing about itself. Therefore -- and this is the critical point -- how television stages the world becomes the model for how the world is properly to be staged. It is not merely that on the television screen entertainment is the metaphor for all discourse. It is that off the screen the same metaphor prevails. (92)

For in the end, he was trying to tell us what afflicted the people in 'Brave New World' was not that they were laughing instead of thinking, but that they did not know what they were laughing about and why they had stopped thinking.

The problem in the 19th century with information was that we lived in a culture of information scarcity, and so humanity addressed that problem beginning with photography and telegraphy and the - in the 1840s. We tried to solve the problem of overcoming the limitations of space, time, and form.

Everything in our background has prepared us to know and resist a prison when the gates begin to close around us . . . But what if there are no cries of anguish to be heard? Who is prepared to take arms against a sea of amusements? To whom do we complain, and when, and in what tone of voice, when serious discourse dissolves into giggles? What is the antidote to a culture's being drained by laughter?

Through the computer, the heralds say, we will make education better, religion better, politics better, our minds better — best of all, ourselves better. This is, of course, nonsense, and only the young or the ignorant or the foolish could believe it.

. . . Americans are the best entertained and quite likely the least well-informed people in the Western world.

My argument is limited to saying that a major new medium changes the structure of discourse; it does so by encouraging certain uses of the intellect, by favoring certain definitions of intelligence and wisdom, and by demanding a certain kind of content - in a phrase, by creating new forms of truth-telling.