Work
His earliest interest lay in the study of rhetorical symbols of democracy. The source of his work was the analysis of speechmakers of totalitarian regimes around the world. His desire was to decipher the power and influence of words. However, he would always return to his fascination with technology and communications.
De Sola Pool eventually became the leading authority on the social and political effects of communications. In 1973, his name appeared in The Communications Handbook, which he defined the social and political effects of technological advances in a chapter called "Public Opinion." In 1983, Pool proved to be at the forefront of technological movement with his publications, such as "Forecasting Telephone and Communication Flows."
Pool was reunited with his former mentors Roger Hurwitz and Hirshue Inose to co-author the work A Census of Japan and the US. This would become one of his last forays into the literary world. He once again defined demand toward a global information society.
De Sola Pool was the chair and founder of the MIT political science department. He was often pulled away from MIT to advise the United States and other governments on various matters. In 1965, he wrote "The Kaiser, the Tsar, and the Computer," an essay about a computer-simulated international crisis. Later, his interest in quantitative analysis and communications would contribute to computer models to study human behavior.
The idea of freedom in all forms was extremely important to Pool. As a young man, Pool was a devout Trotskyite, though he quickly became disillusioned with this form of politics after seeing people's ideals used to take away the freedom for which they had initially fought.
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Famous quotes containing the word work:
“Most of our platitudes notwithstanding, self-deception remains the most difficult deception. The tricks that work on others count for nothing in that very well-lit back alley where one keeps assignations with oneself: no winning smiles will do here, no prettily drawn lists of good intentions.”
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“Lazybones, sleepin’ in the sun, how you ‘spec’ to get your day’s work done?”
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“There is only one art, whose sole criterion is the power, the authenticity, the revelatory insight, the courage and suggestiveness with which it seeks its truth.... Thus, from the standpoint of the work and its worth it is irrelevant to which political ideas the artist as a citizen claims allegiance, which ideas he would like to serve with his work or whether he holds any such ideas at all.”
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