I will give you a few examples of this pattern, these four phases or stages in the development of any artifact whatever. I have in front of me, in isolation from other things, a camera. By its snapshotting quality it enhances aggression and private power over people. It obsolesces privacy. It retrieves the past as present; it brings back the big-game hunter. Bringing him home alive means bringing people home alive: photographic journalism is very big-game hunting. It flips into the public domain.
关于这一模式、任何人造物开辟的这四个阶段或步调，我会举几个例子给你们。在我眼前有一台摄像机，离开于其他工具。靠着它拍快照的品格，它加强了敌对举动和小我私家对人们的影响力。它使隐私过期。它把已往再现为当下；它让人忆起大猎物猎人。把活生生的他清晰地展现出来，意味着清晰地表现在世的人们：拍照消息事情正是大猎物打猎运动。摄像机还扫瞄了大众范畴。
按：麦氏的前言四定律，务虚时很有说服力，务及时有大概流于肆辩。他将他要套用定律的那种人造物离开于其他工具，伶仃地阐发之。带返来，bring back，使被忆起，使规复本来状态，使回复复兴；清晰地表现，bring home，以夸大的情势清晰地表现（或证明），活生生地展现……以使痛感。
