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THE FUTURE 357
these I described the actual, the existent, as I know it. Yet even there some detail still in process sent me flying forward into conjecture; and above all, I knew while I wrote that my words were less for present operators than for others still to come.
Of Part III, surely, the statement is doubly true. At every point in the consideration of the studio (chapter VIII) and of production generally (chapter IX) we are in a world of still-to-be. As for our knowledge of the fundamentals of speech, music, and hearing (chapter X), we admittedly have much to learn.
The same air of expectancy held throughout the discussion of auxiliary elements. I am sure that the reader felt, as I did, the electric tingle of change that has made itself evident in advertising (chapter XI) in the employment of music (chapter XII) and in the complete overhauling of the short subject (chapter XIII).
And this, the concluding section, is compact of that conjecture and speculation which is the very breath of novelty. When we are totally without precedent in action, prophecy ceases to be mere gossip and becomes the closest approximation we can find to fact. I therefore make no more apology for what I have written here than if I were throwing a searchlight into dark uncharted places on a voyage of discovery. Guided by experience and reading I have summoned imagination and common sense to peer on as far as the eye can penetrate; for I know how much, at this stage of the game, people are interested in possibilities rather than performance. If I have succeeded at all I have lent steadying reassurance to the prospect. As I said in the fourteenth chapter, sound seems to me to have commercial potentialities yet undreamed of. Even in two connections where some threat of difficulty arises to trade abroad (chapter XV) and from television (chapter XVI) I cannot admit that the road is in any