Noam Chomsky

Noam Chomsky and Edward S. Herman derived the title of their book Manufacturing Consent: The Political Economy of the Mass Media (1988).

http://en.wikipedia.org/wiki/Public_Opinion

Full text

http://xroads.virginia.edu/~Hyper2/CDFinal/Lippman/contents.html

Excerpts:

“The world that we have to deal with politically is out of reach, out of sight, out of mind. It has to be explored, reported, and imagined. Man is no Aristotelian god contemplating all existence at one glance. He is the creature of an evolution who can just about span a sufficient portion of reality to manage his survival, and snatch what on the scale of time are but a few moments of insight and happiness. Yet this same creature has invented ways of seeing what no naked eye could see, of hearing what no ear could hear, of weighing immense masses and infinitesimal ones, of counting and separating more items than he can individually remember. He is learning to see with his mind vast portions of the world that he could never see, touch, smell, hear, or remember. Gradually he makes for himself a trustworthy picture inside his head of the world beyond his reach.

Those features of the world outside which have to do with the behavior of other human beings, in so far as that behavior crosses ours, is dependent upon us, or is interesting to us, we call roughly public affairs. The pictures inside the heads of these human beings, the pictures of themselves, of others, of their needs, purposes, and relationship, are their public opinions. Those pictures which are acted upon by groups of people, or by individuals acting in the name of groups, are Public Opinion with capital letters. And so in the chapters which follow we shall inquire first into some of the reasons why the picture inside so often misleads men in their dealings with the world outside. Under this heading we shall consider first the chief factors which limit their access to the facts. They are the artificial censorships, the limitations of social contact, the comparatively meager time available in each day for paying attention to public affairs, the distortion arising because events have to be compressed into very short messages, the difficulty of making a small vocabulary express a complicated world, and finally the fear of facing those facts which would seem to threaten the established routine of men's lives.

The analysis then turns from these more or less external limitations to the question of how this trickle of messages from the outside is affected by the stored up images, the preconceptions, and prejudices which interpret, fill them out, and in their turn powerfully direct the play of our attention, and our vision itself. From this it proceeds to examine how in the individual person the limited messages from outside, formed into a pattern of stereotypes, are identified with his own interests as he feels and conceives them. In the succeeding sections it examines how opinions are crystallized into what is called Public Opinion, how a National Will, a Group Mind, a Social Purpose, or whatever you choose to call it, is formed.”

“Whether the reasons for privacy are good or bad, the barriers exist. Privacy is insisted upon at all kinds of places in the area of what is called public affairs. It is often very illuminating, therefore, to ask yourself how you got at the facts on which you base your opinion. Who actually saw, heard, felt, counted, named the thing, about which you have an opinion? Was it the man who told you, or the man who told him, or someone still further removed? And how much was he permitted to see? When he informs you that France thinks this and that, what part of France did he watch? How was he able to watch it? Where was he when he watched it? What Frenchmen was he permitted to talk to, what newspapers did he read, and where did they learn what they say? You can ask yourself these questions, but you can rarely answer them. They will remind you, however, of the distance which often separates your public opinion from the”

“Millions of those who are watching him can read hardly at all. Millions more can read the words but cannot understand them. Of those who can both read and understand, a good three-quarters we may assume have some part of half an hour a day to spare for the subject. To them the words so acquired are the cue for a whole train of ideas on which ultimately a vote of untold consequences may be based. Necessarily the ideas which we allow the words we read to evoke form the biggest part of the original data of our opinions. The world is vast, the situations that concern us are intricate, the messages are few, the biggest part of opinion must be constructed in the imagination.”

“For the most part we do not first see, and then define, we define first and then see. In the great blooming, buzzing confusion of the outer world we pick out what our culture has already defined for us, and we tend to perceive that which we have picked out in the form stereotyped for us by our culture.” [Alice’s comment about how she liked Las Vegas Paris better than the real Paris]\

“This lady might well have been the patron of a pageant which a friend of mine once attended. It was called the Melting Pot, and it was given on the Fourth of July in an automobile town where many foreign-born workers are employed. In the center of the baseball park at second base stood a huge wooden and canvas pot. There were flights of steps up to the rim on two sides. After the audience had settled itself, and the band had played, a procession came through an opening at one side of the field. It was made up of men of all the foreign nationalities employed in the factories. They wore their native costumes, they were singing their national songs; they danced their folk dances, and carried the banners of all Europe. The master of ceremonies was the principal of the grade school dressed as Uncle Sam. He led them to the pot. He directed them up the steps to the rim, and inside. He called them out again on the other side. They came, dressed in derby hats, coats, pants, vest, stiff collar and polka-dot tie, undoubtedly, said my friend, each with an Eversharp pencil in his pocket, and all singing the Star-Spangled Banner.

To the promoters of this pageant, and probably to most of the actors, it seemed as if they had managed to express the most intimate difficulty to friendly association between the older peoples of America and the newer. The contradiction of their stereotypes interfered with the full recognition of their common humanity. The people who change their names know this. They mean to change themselves, and the attitude of strangers toward them.”

“There is, of course, some connection between the scene outside and the mind through which we watch it, just as there are some long-haired men and short-haired women in radical gatherings. But to the hurried observer a slight connection is enough. If there are two bobbed heads and four beards in the audience, it will be a bobbed and bearded audience to the reporter who knows beforehand that such gatherings are composed of people with these tastes in the management of their hair. There is a connection between our vision and the facts, but it is often a strange connection. A man has rarely looked at a landscape, let us say, except to examine its possibilities for division into building lots, but he has seen a number of landscapes hanging in the parlor. And from them he has learned to think of a landscape as a rosy sunset, or as a country road with a church steeple and a silver moon. One day he goes to the country, and for hours he does not see a single landscape. Then the sun goes down looking rosy. At once he recognizes a landscape and exclaims that it is beautiful. But two days later, when he tries to recall what he saw, the odds are that he will remember chiefly some landscape in a parlor.

Unless he has been drunk or dreaming or insane he did see a sunset, but he saw in it, and above all remembers from it, more of what the oil painting taught him to observe, than what an impressionist painter, for example, or a cultivated Japanese would have seen and taken away with him. And the Japanese and the painter in turn will have seen and remembered more of the form they had learned, unless they happen to be the very rare people who find fresh sight for mankind. In untrained observation we pick recognizable signs out of the environment. The signs stand for ideas, and these ideas we fill out with our stock of images. We do not so much see this man and that sunset; rather we notice that the thing is man or sunset, and then see chiefly what our mind is already full of on those subjects.”

“But modern life is hurried and multifarious, above all physical distance separates men who are often in vital contact with each other, such as employer and employee, official and voter. There is neither time nor opportunity for intimate acquaintance. Instead we notice a trait which marks a well known type, and fill in the rest of the picture by means of the stereotypes we carry about in our heads. He is an agitator. That much we notice, or are told. Well, an agitator is this sort of person, and so he is this sort of person. He is an intellectual. He is a plutocrat. He is a foreigner. He is a "South European." He is from Back Bay. He is a Harvard Man. How different from the statement: he is a Yale Man. He is a regular fellow. He is a West Pointer. He is an old army sergeant. He is a Greenwich Villager: what don't we know about him then, and about her? He is an international banker. He is from Main Street.

The subtlest and most pervasive of all influences ere those which create and maintain the repertory of stereotypes. We are told about the world before we see it. We imagine most things before we experience them. And those preconceptions, unless education has made us acutely aware, govern deeply the whole process of perception. They mark out certain objects as familiar or strange, emphasizing the difference, so that the slightly familiar is seen as very familiar, and the somewhat strange as sharply alien. They are aroused by small signs, which may vary from a true index to a vague analogy. Aroused, they flood fresh vision with older images, and project into the world what has been resurrected in memory. Were there no practical uniformities in the environment, there would be no economy and only error in the human habit of accepting foresight for sight. But there are uniformities sufficiently accurate, and the need of economizing attention is so inevitable, that the abandonment of all stereotypes for a wholly innocent approach to experience would impoverish human life.

What matters is the character of the stereotypes, and the gullibility with which we employ them. And these in the end depend upon those inclusive patterns which constitute our philosophy of life. If in that philosophy we assume that the world is codified according to a code which we possess, we are likely to make our reports of what is going on describe a world run by our code. But if our philosophy tells us that each man is only a small part of the world, that his intelligence catches at best only phases and aspects in a coarse net of ideas, then, when we use our stereotypes, we tend to know that they are only stereotypes, to hold them lightly, to modify them gladly. We tend, also, to realize more and more clearly when our ideas started, where they started, how they came to us, why we accepted them. All useful history is antiseptic in this fashion. It enables us to know what fairy tale, what school book, what tradition, what novel, play, picture, phrase, planted one preconception in this mind, another in that mind.

Those who wish to censor art do not at least underestimate this influence. They generally misunderstand it, and almost always they are absurdly bent on preventing other people from discovering anything not sanctioned by them. But at any rate, like Plato in his argument about the poets, they feel vaguely that the types acquired through fiction tend to be imposed on reality. Thus there can be little doubt that the moving picture is steadily building up imagery which is then evoked by the words people read in their newspapers. In the whole experience of the race there has been no aid to visualization comparable to the cinema. If a Florentine wished to visualize the saints, he could go to the frescoes in his church, where he might see a vision of saints standardized for his time by Giotto. If an Athenian wished to visualize the gods he went to the temples. But the number of objects which were pictured was not great. And in the East, where the spirit of the second commandment was widely accepted, the portraiture of concrete things was even more meager, and for that reason perhaps the faculty of practical decision was by so much reduced. In the western world, however, during the last few centuries there has been an enormous increase in the volume and scope of secular description, the word picture, the narrative, the illustrated narrative, and finally the moving picture and, perhaps, the talking picture.

Photographs have the kind of authority over imagination to-day, which the printed word had yesterday, and the spoken word before that. They seem utterly real. They come, we imagine, directly to us without human meddling, and they are the most effortless food for the mind conceivable. Any description in words, or even any inert picture, requires an effort of memory before a picture exists in the mind. But on the screen the whole process of observing, describing, reporting, and then imagining, has been accomplished for you. Without more trouble than is needed to stay awake the result which your imagination is always aiming at is reeled off on the screen. The shadowy idea becomes vivid; your hazy notion, let us say, of the Ku Klux Klan, thanks to Mr. Griffiths, takes vivid shape when you see the Birth of a Nation. Historically it may be the wrong shape, morally it may be a pernicious shape, but it is a shape, and I doubt whether anyone who has seen the film and does not know more about the Ku Klux Klan than Mr. Griffiths, will ever hear the name again without seeing those white horsemen.”

Propaganda: The Formation of Men's Attitudes [Paperback]

Jacques Ellul (Author), Konrad Kellen (Translator), Jean Lerner (Translator)