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consumers. There are as well other, more subtle organizations of the social not around narratives and politics but around aesthetics and feeling states. One sees the popularity of Samuel Barber’s Adagio for Strings and the ‘O, Fortuna’ from Orff’s Carmina Burana appearing in film and television commercials. These latter are not known as high art, and are rarely seen in terms of the contexts of ideas and aesthetic in which they emerged. Rather, they appear as cultural tropes of affect and shared pathos in the service of advertising or as background to movies such as Platoon. >>> The fate of the public is similar to the fate of the physical world in the era of digital communications. One is asked in the Microsoft advertisement, ‘Where do you want to go today?’, and one is exhorted by AT&T to ‘Reach out and touch someone’ on the telephone. Such statements are not just hyperbole; they are also strangely revealing in promising precisely what the particular technologies cannot deliver. The obvious action one cannot perform on a phone is touch someone, and the missing potential of the internet is the mobility to take one somewhere. Just as TV dinners cannot create domestic harmony but point to one of the key sites in the loss of domesticity, so communication technologies cannot create communities but only point toward their impending extinction through the duplicitous promise of creating them. _Î_ L i t e r a c y : I n t he s a me m a n ner, t he c o n st a n t r ei nven t i o n o f l it e ra c y i n v a r i o u s a r e a s o f c u lt u r e p o i n t s t o w a r d t h e l o ss o f a p r i o r k i n d o f P44
S E R I A L PAG E I D E N T I F I C AT I O N N o. :
New age of orality ...