How often does it occur that information provided you on the morning radio or television, or in the morning newspaper, causes you to alter your plans for the day, or to take some action you would not otherwise have taken, or provides insight into some problem you are required to solve? … But most of our daily news is inert, consisting of information that gives us something to talk about but cannot lead to any meaningful action.
Prior to the age of telegraphy, the information-action ratio was sufficiently close so that most people had a sense of being able to control some of the contingencies in their lives. What people knew about had action-value. In the information world created by telegraphy, this sense of potency was lost, precisely because the whole world became the context for news. Everything became everyone’s business. For the first time, we were sent information which answered no question we had asked, and which, in any case, did not permit the right to reply.
We may say then that the contribution of the telgraph to public discourse was to dignify irrelevance and amplify impotence. But this was not all: Telegraphy also made public discourse essentially incoherent. It brought into being a world of broken time and broken attention. The principal strength of the telegraph was its capacity to move information, not collect it, explain it or analyze it.
The telegraph is suited only to flashing messages, each to be quickly replaced by a more up-to-date message. Facts push other facts into and then out of consciousness at speeds that neither permit nor require evaluation.
The telegraph introduced a kind of public conversation whose form had startling characteristics: Its language was the language of headline – sensational, fragmented, impersonal. News took the form of slogans, to be noted with excitement, to be forgotten with dispatch. Its language was also entirely discontinuous. One message had no connection to that which preceded or followed it.
But what I am claiming here is not that television is entertaining but that it has made entertainment itself the natural format for the representation of all experience.