By Hadley Cantril
On Halloween evening 1938, Orson Welles broadcast a radio version of the H. G. Wells fable, The conflict of the Worlds. What listeners heard sounded so reasonable that at the least 1000000 have been fearful via note that ''strange creatures'' from Mars had landed in vital New Jersey and have been ''unleashing a dangerous assault.'' numerous thousand have been so terrified they bumped into the streets, drove away of their automobiles, or referred to as the police for info approximately tips to break out. Why did such a lot of panic whilst the situations pronounced have been so inconceivable? that's simply the query Hadley Cantril, then a tender social psychologist, got down to solution. utilizing a mixture of study equipment, Cantril exhibits that the effect of the printed had much less to do with what went out over the air than with the ''standards of judgment'' humans did or didn't use in comparing what they have been listening to.
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This adaptation of mythological pictures reﬂects on Marinetti’s ideology of the future in a problematic way. In fact, the Futurist constructs in his founding manifesto an antagonistic tension between mythical pictures and modern technology: “Mythology and the Mystic Ideal are defeated at last. ” On the other hand, he celebrated the emergence of mythological creatures: centaurs and angels. Marinetti refers in the ﬁrst sentence to the mythological memory of the Occidental world and in the second to the newly emerged technological imaginary that recognizes the man-machine hybrids of car drivers, pilots, or factory workers as centaurs, and airplanes as angels, and thus blends mythological ﬁgures into a mass industrial world—giving technology a divine power.
Friends, away! Let’s go! Mythology and the Mystic Ideal are defeated at last. 26 The text does not open with a clear enumeration of programmatic points; it does not simply peddle propaganda or give shape to a political utopia. 27 It is not so much a unique creative form of expression as an attempt to create a founding myth of Futurism—the myth of a society about to wake up. This is radical news, because it tells the reader about the dawn of a new era. The instantaneous character of the scene is emphasized through ubiquitous presence of electric light.
With noble gesture and with decency. Until insanity, until unconsciousness. How can one dismiss everything eel-like and journal-like, everything nice and preppy, everything overmoralized, animalized, affected. By saying Dada. Dada is the soul of the world, Dada is the showstopper. Dada is the best lilymilksoap in the world. Dada Herr Rubiner, Dada Herr Korrodi, Dada Herr Anastasius Lilienstein. 70 Ball’s claim that “Dada” is an “international” word is central to his manifesto. At ﬁrst, the emphasis on the international character of Dada can be understood as a general political statement suggesting that for Dada nationality is meaningless.