close association to it, and addressing a less restricted pool of readers, the New Wave was reversing the standard hero's attitude toward action and science. It illustrated egotism - often by depriving the plot of motivation toward a rational explanation.:87 In 1962 Ballard wrote: I've often wondered why s-f shows so little of the experimental enthusiasm which has characterized painting, music and the cinema during the last four or five decades, particularly as these have become wholeheartedly speculative, more and more concerned with the creation of new states of mind, constructing fresh symbols and languages where the old cease to be valid... The biggest developments of the immediate future will take place, not on the Moon or Mars, but on Earth, and it is inner space, not outer, that need to be explored. The only truly alien planet is Earth. In the past the scientific bias of s-f has been towards the physical sciences – rocketry, electronics, cybernetics – and the emphasis should switch to the biological sciences. Accuracy, that last refuge of the unimaginative, doesn't matter a hoot... It is that inner space-suit which is still needed, and it is up to science fiction to build it! In 1963 Moorcock wrote, "Let's have a quick look at what a lot of science fiction lacks. Briefly, these are some of the qualities I miss on the whole – passion, subtlety, irony, original characterization, original and good style, a sense of involvement in human affairs, colour, density, depth, and, on the whole, real feeling from the writer..." Roger Luckhurst pointed out that J. G. Ballard's essay of the same year, Which Way to Inner Space? "showed the influence of media theorist Marshall McLuhan and the 'anti-psychiatry' of R. D. Laing." Luckhurst traces the influence of both these thinkers in Ballard's fiction, in particular The Atrocity Exhibition (1970). After Ellison's Dangerous Visions, Judith Merril contributed to this fiction in the United States by editing the anthology England Swings SF: Stories of Speculative Fiction (Doubleday 1968). The New Wave also had political associations: {{quote|Most of the 'classic' writers had begun writing before the Second World War, and were reaching middle age by the early 1960s; the writers of the so-called New Wave were mostly born during or after the war, and were not only reacting against the sf writers of the past, but playing their part in the general youth revolution of the