McLuhan posits that " artists " are generally among the most adept in society when it comes to recognizing these subliminal environments, and I have attempted elsewhere (Rose, 2009) to illustrate how attuned the members of the British rock group EME_10.1&2_Rose_75-90.indd 75 EME_10.1&2_Rose_75-90.indd 75
" In other words, given the constant flux in how our experience of the world is mediated, we require the ability to map and give shape to the environments our media create, so that we are best able to optimize our interface with them at both the individual and collective levels. It was clear for McLuhan that essential for psychic and social survival in the contemporary age would be the successful navigation of the continuously accelerating bully-blow of technological change, what economist Joseph Schumpeter (1966) characterizes as advanced capitalism's extraordinary powers of " creative destruction. In his groundbreaking book Understanding Media: The Extensions of Man, Marshall McLuhan (1964/1994) notes that we will eventually have to recognize education as " civil defense against media fallout " (p. This adaptive response consisted of a vast effort to recreate and reidentify themselves, by way of a recon-figuration of both their artistic and commercial technological extensions, in an exis-tential struggle to maintain an ongoing sense of authenticity.
This article explores the response of the British rock group Radiohead to the almost fatal creative paralysis that resulted from the enormous success and critical attention generated by their 1997 landmark recording Ok Computer.
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