Amusing Ourselves to Death by Neil Postman Page B

would be used solely, or even very much, for the duplication of icons. From its beginning in the fifteenth century, the press was perceived as an extraordinary opportunity for the display and mass distribution of written language. Everything about its technical possibilities led in that direction. One might even say it was invented for that purpose.
    The technology of television has a bias, as well. It is conceivable to use television as a lamp, a surface for texts, a bookcase, even as radio. But it has not been so used and will not be so used, at least in America. Thus, in answering the question, What is television?, we must understand as a first point that we-are not talking about television as a technology but television as a medium. There are many places in the world where television, though the same technology as it is in America, is an entirely different medium from that which we know. I refer to places where the majority of people do not have television sets, and those who do have only one; where only one station is available; where television does not operate around the clock; where most programs have as their purpose the direct furtherance of government ideology and policy; where commercials are unknown, and “talking heads” are the principal image; where television is mostly used as if it were radio. For these reasons and more television will not have the same meaning or power as it does in America, which is to say, it is possible for a technology to be so used that its potentialities are prevented from developing and its social consequences kept to a minimum.
    But in America, this has not been the case. Television has found in liberal democracy and a relatively free market economy a nurturing climate in which its full potentialities as a technology of images could be exploited. One result of this has been that American television programs are in demand all over the world. The total estimate of U.S. television program exports is approximately 100,000 to 200,000 hours, equally divided among Latin America, Asia and Europe. 1 Over the years, programs like “Gunsmoke,” “Bonanza,” “Mission: Impossible,” “Star Trek,” “Kojak,” and more recently, “Dallas” and “Dynasty” have been as popular in England, Japan, Israel and Norway as in Omaha, Nebraska. I have heard (but not verified) that some years ago the Lapps postponed for several days their annual and, one supposes, essential migratory journey so that they could find out who shot J.R. All of this has occurred simultaneously with the decline of America’s moral and political prestige, worldwide. American television programs are in demand not because America is loved but because American television is loved.
    We need not be detained too long in figuring out why. In watching American television, one is reminded of George Bernard Shaw’s remark on his first seeing the glittering neon signs of Broadway and 42nd Street at night. It must be beautiful, he said, if you cannot read. American television is, indeed, a beautiful spectacle, a visual delight, pouring forth thousands of images on any given day. The average length of a shot on network television is only 3.5 seconds, so that the eye never rests, always has something new to see. Moreover, television offers viewers a variety of subject matter, requires minimal skills to comprehend it, and is largely aimed at emotional gratification. Even commercials, which some regard as an annoyance, are exquisitely crafted, always pleasing to the eye and accompanied by exciting music. There is no question but that the best photography in the world is presently seen on television commercials. American television, in other words, is devoted entirely to supplying its audience with entertainment.
    Of course, to say that television is entertaining is merely banal. Such a fact is hardly threatening to a culture, not even worth writing a book about. It may even be a reason for rejoicing. Life, as we like to say, is