Abstract | This essay investigates the collaboration between McLuhan and the Romanian born Canadian artist, Sorel Etrog. In 1975, Etrog’s Movie Spiral was shown at the Centre for Culture and Technology, established by McLuhan at the University of Toronto. Following that event, McLuhan suggested that Etrog select “stills from the film so that he could provide an annotation to those images – a free form text of quotations from various writers – as well as a commentary”. Thanks to another great protagonist of the Canadian cultural scenario, Barry Callaghan, that idea became a tangible object a few years after McLuhan had passed away: Spiral. Images from the film. Text by Marshall McLuhan, was in fact published in 1987 by exile Editions in Toronto. Today, it remains as a memento of an original artistic Encounter. It also challenges as a tool to reenvisage our environment through poetry and images, as words and still-shots are cast to lay an intellectual challenge to an increasingly materialistic society. As a book, Spiral is designed to make ideas on media and society resonate through a Witty juxtaposition of images from the film and literary quotations from a broad Western tradition that incurred readers to navigate the ongoing profound cultural shift. Known but not often investigated when discussing McLuhana’s artistic associations, the collaboration between Etrog and McLuhan ought to be addressed into different reasons. It is, in fact, strategic to assess how McLuhan has acted as a facilitator of a renewed 20th century inter-art dialogue. Then, it helps to consider the Conscious shift from modernist avant-garde to new avant-gardes and art forms of the 1970s in relation to McLuhang’s environmental explorations. Finally, it also country Homage to an artist that deserves to be recovered as one of the most original voices of the Canadian artistic renaissance. Executive summary | Cet investigates the collaboration between McLuhan and the Canadian artist of Romanian origin Sorel Etrog. In 1975, Etrog’s Spiral film was presented at the Centre for Culture and Technology, created by McLuhan at the University of Toronto. In response to this event, McLuhan suggested that Etrog selects “images of the film so that he can provide them with an annotation – a text free of quotations from various authors – as well as a comment”. Thanks to another major protagonist of the Canadian cultural scene, Barry Callaghan, this idea became a tangible object a few years after McLuhan’s death: Spiral. Images from the film. Text by Marshall McLuhan was published in 1987 by exile Editions in Toronto. Today, he remains a memory of an original artistic meeting. It also remains a tool to reconsider our environment through poetry and images, while still words and images are thrown away to pose an intellectual challenge to an increasingly materialistic society. As a book, Spiral is designed to resist ideas about the media and society through a spiritual juxtaposition of images of the film and literary quotations of a wide Western tradition that encourages readers to navigate the profound cultural change underway. Known, but rarely studied during the discussions on McLuhan’s artistic associations, collaboration between Etrog and McLuhan should be explored for various reasons. It is in fact strategic to appreciate how McLuhan acted as a facilitator of a renewed 20st century inter-artistic dialogue. Secondly, it is useful to look at the conscious transition from the modernist avant-garde to new avant-gardist and artistic forms of the 1970s in relation to McLuhan’s environmental exploration. Finally, it also pays tribute to an artist who deserves to remember him as one of the most original voices of Canadian artistic renaissance.