| Contrast: Advertising and the American Dream by Roland Marchand |
| Tools for understanding practical thinking/experience in electracy |
| ADVERTISING | THEORY |
| Uses Commerce. | Keep commerce. |
| Everything advertising executives do are instructions for how to create a conceptual persona. | Accept conceptual persona because it mediates between abstractness and the problem through a vital anecdote (a story) that “shows” thought as an image of thought. |
| Advertisements are images of opinion (clichéd, everyday life opinions). | Make opinion “see” the unthought by thinking what has not yet been thought. |
| Pop culture, the culture of spectacle, the image, truth, and falsehood are the native languages of electracy. | The philosophy of the concept of electracy will “speak” these native languages. |
| Advertisers appropriated the native language of the populace (their need for guidance and consolation) and turned them into image concepts. | The philosophical concept will appropriate these native languages and turn them into real concepts. This process, in its very nature, is thinking the unthought. |
| Commerce appropriated formal techniques of modern art. | Philosophy will not use modern art for ornament but for thinking the unthought in electracy . |
| Commerce took the identity of the real world and attached it to products (sophistry). | In philosophy, "if art preserves it does not do so like industry, by adding a substance to make the thing last" (163). Philosophy will not add a subtance or a technique but articulate "what is preserved--the thing or the work of art--[as] a bloc of sensations, that is to say, a compound of percepts and affects" (164). |
| Concerned with representation | Not concerned with representation. The form and medium are part of the content. |
| Vital anecdote is separate from product. | Vital anecdote is integral; it is involved in the formal properties which characterize the image of thought. |
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