读麦讲演人与媒介（1979）041

　　All these contemporary electric forms have many, many medieval characteristics. They are acoustic; they are not visual. As these acoustic forms go riding through the old visual forms of our establishment, we get a confrontation of horror. This world of interplay leads, I think, to the world of the vampire movies, to the world of horror films, and is a kind of catharsis for that discomfort created by the clash of worlds. The totally alien and incompatible character of the visual and the acoustic, which Bosch in the fifteenth century presented as horror, is presented in our time, too, as horror, but in the opposite way. The scenery is arranged in the opposite pattern.
　　所有这些现代的电子形式都有许多中世纪的特征。它们是听觉的，不是视觉的。当这些听觉形式贯穿我们现存社会体制过时的视觉形式时，我们就遇到了一种包含恐惧的冲突。我认为，这个相互作用的世界，通向吸血鬼电影的世界，通向恐怖电影的世界，是对世界传统所造成的不适的一种宣泄。视觉和听觉完全不同性质且不相容的特征——博斯在15世纪把这描绘成恐怖——在我们的时代也表现为恐怖，不过方向恰恰相反。现在的画面被人以相反的形式布置。
　　按： 电子时代与中世纪一样相互作用无所不在，这样的类似，不在于怪力乱神，而在于听觉模式的思想方法。视觉模式的思想方法与听觉模式的思想方法，性质完全不同且不相容。
　　博斯的恐怖是由听觉转入视觉，我们时代的恐怖是由视觉转入听觉。15世纪的博斯相当于20世纪的毕加索。