Medium Theory

In a world increasingly sculpted by the invisible hand of artificial intelligence, Marshall McLuhan's visionary words echo with a new and profound urgency. His famous dictum, "the medium is the message," argued that a technology's true impact lies not in the content it delivers, but in the fundamental ways it alters the scale, pace, and patterns of human affairs (McLuhan, 1964). Viewing AI through this lens, we see not a neutral tool but a total environment-a new, algorithmic "other" whose logic fundamentally reshapes our perception, our relationships, and our very capacity for deliberate action.

Modern physics rests on a fundamental contradiction: space is described as "nothing" yet possesses measurable properties including wave propagation, curvature, energy density, and field support. This paper examines the logical inconsistency of attributing properties to "nothingness" and argues that observed phenomena require a physical medium. We demonstrate that experimental evidence from molecular spectroscopy, electromagnetic propagation, quantum field effects, and gravitational waves consistently supports the existence of a structured substrate medium rather than empty space.

The historical rejection of the aether concept stemmed from assumptions of a static medium, but observable evidence suggests space behaves as a dynamic, reactive, mechanical substrate. Recognizing space as "something with properties" rather than "nothing with properties" resolves action-at-a-distance paradoxes and provides a foundation for understanding forces, fields, and quantum behavior as mechanical manifestations of substrate dynamics.

Recent research not only confirms the existence of substantial psychological variation around the globe but also highlights the peculiarity of populations that are Western, Educated, Industrialized, Rich and Democratic (WEIRD). We propose that much of this variation arose as people psychologically adapted to differing kin-based institutions—the set of social norms governing descent, marriage, residence and related domains. We further propose that part of the variation in these institutions arose historically from the Catholic Church’s marriage and family policies, which contributed to the dissolution of Europe’s traditional kin-based institutions, leading eventually to the predominance of nuclear families and impersonal institutions. By combining data on 20 psychological outcomes with historical measures of both kinship and Church exposure, we find support for these ideas in a comprehensive array of analyses across countries, among European regions and between individuals with diffe...

This paper argues that the systemic nature of contemporary consumer surveillance undermines the most fundamental principle of free market economics: consumer sovereignty. Specifically, this paper argues that the rise of an ‘information’ or ‘knowledge’ society in conjunction with neoliberal capitalism has entrenched routine forms of surveillance within commercial strategies by employing networked databases as a primary medium for the articulation of consumer sovereignty (choice/demand). The communicative relationship between consumers and producers within the market involves effectively ‘listening’ (and then responding) to consumer needs and wants in a timely manner. Surveillance is therefore not only necessary for the operation of globalized consumer capitalism, it is also the primary means by which consumer communicate their sovereignty within the marketplace. By turning to the work of Harold Innis and the intellectual tradition known as medium theory, this paper will theorize how ...

Dissertation Submitted by Massimo Gabella (33228817) in partial requirement for the degree of MA Media & Communications in the Programme in Contemporary Cultural Processes, Goldsmiths College, University of London, 2012. Supervised by Julian Henriques.

For full text: . Opinion Papers (120) Speeches/Meeting Papers (150) MF01/PC01 Plus Postage. *Communication (Thought Transfer); Higher Education; *Mass Media; Teaching Methods; Technological Advancement; *Theories At the 2000 International Communication Association convention, a panel discussed nominees for a communications canon. Fully one-third of these were examples of medium theory, yet the only living author of the three medium theorists listed argues that this branch of thought is misunderstood and under-addressed (Meyrowitz, 1996). This paper includes a brief overview of medium theory and its key theorists and an analysis of a month-long focus on medium theory in a communications class at a midwestern college. The paper concludes with recommendations for teaching medium theory in the college classroom. (Contains 4 notes and 20 references. An appendix contains a medium theory reading list.) (Author/RS) Reproductions supplied by EDRS are the best that can be made from the original document. MEYROWITZ, MCLUHAN, MEDIUM THEORY AND ME: Why medium theory needs to be taught alongside techniques for new communication technologies U.S. DEPARTMENT OF EDUCATION Office of Educational Research and Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) This document has been reproduced as eceived from the person or organization originating it. 0 Minor changes have been made to improve reproduction quality. Points of view or opinions stated in this document do not necessarily represent official OERI position or policy.

In the "Gutembergian Closed Logic," the golden age of book development as a medium, the book was entirely under the protection of the monarch as an institution. The absolute regime had its series and hierarchies, where divine law prevailed (a person is born and dies within their series, titles, economic privileges). Alongside censorship, books were

Joshua Meyrowitz's No Sense of Place (1985) must be counted among the few works in the media field that come close to reaching their ambitious scope of purpose. His ambition is no less than to explain how the rise of electronic media in modern society has blurred the traditionally distinct domains of private and public behavior. In his view, the speed, ubiquity, and ease of use of electronic media have dissolved the physical and social distances between people. Who we are no longer depends on where we live, or on the status ascribed to us by institutions, but on our styles of mediated communication. Moreover, there are few "secrets" left, and the concept of secrecy itself is in jeopardy, since the electronic media (especially television) now bring authority figures directly to us, up close and more or less personal. Mystification depends on the ability to segregate information, and weakens its hold when new media release and redirect the flow of information. This conceptualization is then used to account for far-reaching changes in such areas as architecture, fashion, work, gender roles, child development, family relations, social movements, and politics. No Sense of Place advances our understanding of the unintended consequences of electronic media by suggesting that the key change invoked by media is a widespread blurring of social roles and identities. Rejecting the types of research that focus on people's responses to elements of media content, Meyrowitz argues for a holistic study of "information systems."…

William Blaken kaunokirjallis-kuvataiteellisen tuotannon huipentumana voidaan pitää nk. Albionin näyt-trilogiaa, johon lukeutuvat hänen luovuutensa keski- ja myöhäiskauden laajat eeppiset runoelmat: Vala, or The Four Zoas(1797-1804), Milton (1804-1808) ja Jerusalem - The Emanation of The Giant Albion (1804-1820). Tämän tutkielmani kirjoittamisen matkaa taittaessani olen keskittynyt pohtimaan muiden muassa seuraavia kysymyksiä: Mitä ovat Blaken Albionin näyt-trilogian syntyyn ja sisältöön vaikuttaneet intellektuaaliset lähteet ja miten hän käyttää/tulkitsee niitä? Miten Blaken Albionin näyt-trilogia heijastelee hänen oman aikakautensa ajankohtaisia yhteiskunnallisia olosuhteita 1800-luvun alkuvuosien Englannissa? Millainen on Blaken Albionin näyt-trilogian käsitys yksilön sielun ja koko yhteiskunnan pelastuksesta? Sivumennen vertailen tässä kirjoituksessani myös William Blaken Albionin näyt-trilogian runollisia ideoita Karl Marxin sosiologisiin ja filosofisiin oivalluksiin.  Tutkimusmetodini on aatehistoriallinen.

2024.

An excerpt from Nicholas Carr's 2025 SUPERBLOOM (Norton), where Carr looks at "the fate of the self in a world where everything is mediated."

“The separation of social situations in time and space acted as ‘a psycho-social shock absorber,’ explained the communication scholar Joshua Meyrowitz in No Sense of Place…. By allowing us to be selective in ‘exposing ourselves to events and other people,’ it gave us the power to ‘control the flow of our actions and emotions.’ We weren’t called upon to respond to many different situations with many different sets of people all at once. The well-defined boundaries between social events exerted a deep if often unrecognized influence on the quality of our emotional and moral lives, Meyrowitz argued. ‘Compassion, empathy, and even ethics may be much more situationally bound than we often care to think.’ Our sense of ourselves and others might be drawn from mental images, but those images were situated in a concrete reality. Being together with others in a place, face to face, gave a richness to our sympathetic and emotional attachments…. ‘Electronic media destroy the specialness of place and time,’ he wrote. ‘What is happening almost anywhere can be happening wherever we are.’

“Society, he sensed, was entering a time of profound dislocation, when ‘social reality’ would be defined not by physical interactions in discrete places but by crisscrossing ‘patterns of information flow.’ Messages and other social stimuli would ‘flow constantly and indiscriminately.’ The psycho-social shock absorber would be gone….

“Or, as Meyrowitz put it years ago, ‘when we are everywhere, we are also no place.’…

In this article, we investigate the attitudes expressed by members of
the Czech electronic music and hip-hop scenes (musicians and
music producers) regarding copyright and how copyright affects
their work in terms of sampling or remixing third-party recordings.
We present their opinions on what measures would help improve
the situation regarding the complex settlement of rights. Lastly, we
investigate the ethical standards upheld by producers when sampling
or remixing third-party material vis-à-vis the use of copyrighted
music recordings and related rights.

The Anthropocene, a term encapsulating humanity's significant impact on Earth's geology, is analysed from a media and socioevolutionary lens. The exploration investigates the correlation between human socio-evolution, media, technology, and the inception and progression of the Anthropocene era. By employing a systems theoretical perspective, this research heavily draws on the theories of German sociologist Niklas Luhmann. Insights from the American philosopher Levi Bryant are also integrated to elucidate the relationship between humans, technology and the Earth's geological state. It is posited that society, as we understand it, emerged with the advent of spoken language. This language-based communication system shaped cooperation within the human populace. Over time, the interplay between biology, consciousness and social structures, driven by languagebased communication in different communication media, has deeply influenced Earth's climate. The evolution of communication media has continuously expanded humanity's capacity to influence its environment. The article provides a comprehensive explanatory model, suggesting that the social structures formed by these media profoundly impact Earth's geology, challenging conventional notions surrounding the origins and implications of the Anthropocene era.

La question du plan souffre d’un déficit de définition réduisant bien souvent la nature de cet élément constituant l’unité de base du langage cinématographique, à une prise de vue comprise entre la mise en marche de la caméra et son arrêt. Le passage d’un plan à l’autre crée un intervalle spatial qui dépend tout autant de phénomènes psychologiques et perceptifs – la différence empirique entre leurs valences spatiales respectives – que du caractère plus ou moins tranchant de la coupe ou de la plus grande suture du raccord. Cette articulation entre les deux plans, nous ne l’éprouvons pas de manière objective mais selon notre habitus de spectateur ou de notre culture visuelle. Comme le souligne Emmanuel Siety « lorsqu’un plan survient, il raccorde avec toute l’expérience du film qui l’a précédé, et qui nous as fait accumuler un savoir sur le récit et sur l’espace » . Pourtant, le plan ne doit pas en rester à cette simple mise en situation. Au contraire, par le jeu d’un système de relation à l’espace qu’il structure par son cadrage – fixe ou en mouvement – le plan amène à construire des espaces et des temporalités malléables à souhait selon différents procédés. Ces remarques prisent à minima montrent que le plan est moins un paramètre relevant d’une définition stable qu’un aspect de l’image cinématographique qu’il nous faut conceptualiser de façon plus précise, à partir d’un système d’occurrences taxinomiques. L’idée d’une temporalité suspendue à l’image en mouvement, renvoie généralement au dispositif du plan-séquence en tant que forme filmique usitée comme moyen de servir le réalisme en respectant la durée réelle – certes relative – des événements. Le plan-séquence peut ainsi se faire « baroque », lorsqu’il atteste, par un degré de sophistication extrême de rendre sensible la métamorphose du monde à travers des mouvements de caméra bien précis (voir les exemples bien connus chez Orson Welles ou de façon plus expérimentale chez Peter Greenaway) . À l’opposé du plan-séquence, rien de plus éloigné qu’un plan fonctionnant sur de brèves durées. Prenant distance de cette opposition quelque peu dichotomique, j’aimerai revenir sur quelques exemples ambigus où la breveté du plan dans sa durée objectale est ressentie comme un espace expansif d’une temporalité autrement plus intense. 
C’est le cas avec certains films de Terrence Malick et notamment Song to Song (2017), lequel marque la synthèse d’un cinéma davantage porté vers la sensation impressionniste des mouvements qui parcourent l’espace qu’un cinéma de l’action physique ou d’une physicalité incarnée. Dans un bel équilibre entre fluidité du mouvement et fragmentation du montage, le film invente – par le caractère systématique de ses procédés – un type de raccord « cut » tout à fait singulier. Contrairement à ce que l’on ressent généralement, la contemplation des images ne passe plus par la longueur des plans – lesquels ne durent parfois que quelques secondes – mais par un subtil travail de montage. De façon plus précise, le raccord « cut » fonctionne selon un principe de coupe non plus régi par une dramaturgie scénarisée mais par la caméra en tant que mouvement autonome vecteur de sensibilité. En effectuant quelques relevés visuels dans Song to Song, nous verrons une première occurrence s’établir devant cette logique du plan suspendu : le « raccord creusé ». L’ancrage des événements en présence vient à s’engouffrer dans une abstraction en puissance, éloignant le concret des matières en présence. Dans un prolongement sur l’espace filmique entendu comme paysage physique à explorer, le travail de la cinéaste expérimentale Emily Richardson interroge le plan suspendu à travers la nature spécifique de la pellicule 16mm et la prise de vue en accélérée comme dans Cobra Mist (2008). Ce film explore le paysage d’Orford Ness et les traces de son histoire militaire. Par l’entremise du time-lapse, le plan suspendu évanouit toute possibilité de construire durablement l’expérience de ce paysage dans ce que j’appelle le « raccord allusif ». Enfin, le plan suspendu se fait expérience physique et immersive aux propriétés hallucinatoires chez le plasticien Bruce McClure. Dans son installation A Leak in the Thatch (2014) , l’artiste crée des images à partir du son amplifié des projecteurs venant interférer avec l’architecture du lieu dans ce qui constitue ici ma dernière occurrence : le « raccord architectonique ». Cette performance travaille l’intensité de la lumière et du son dans une expérience qui transporte le spectateur au cœur du dispositif de projection. Par-là, le plan suspendu s’inscrit moins dans les images réfléchies par la lumière que par la capacité à créer de la « pensée visuelle » . Ces trois occurrences du plan suspendu comme territoire d’exploration proposé à partir de ce corpus, sont un moyen d’interroger la relation du plan et son raccordement à l’espace dans la succession photogrammique du temps. Au lieu et place du plan en tant que fragment visuel, la question du plan suspendu étudié à partir de ses raccords doit permettre de dépasser l’idée de réconciliation des éléments après la séparation de la coupe. Par conséquent, il s’agira moins ici de relever les procédés qui font association et ressemblance d’un plan à l’autre que les processus de répétition mais aussi d’opposition. À rebours du raccord regard, de geste ou de mouvement, les extraits qui vont suivre s’engagent dans une vectorisation plastique et graphique du plan qui doit nous permettre de repenser le plan dans sa durée. Le plan-suspendu deviendrait-il l’espace mental d’une conscientisation de phénomènes visuels marqués par la rémanence d’événements d’images ressenties comme réelles ou non ? Situé entre la temporalité étendue du plan-séquence et le morcellement abrupt du plan bref, je chercherai à préciser les contours du plan suspendu à partir des trois occurrences de raccords évoquées plus haut, lesquels viennent questionner dans le corps du film une mise en situation de vide, d’errance et de regard hypnotique.

Matrix-free, polymer-grafted nanoparticle (PGN) assemblies show promise for a wide array of structural, photonic, and electrical applications. We examine the modulus, yield strength, and crazing of assemblies of polystyrene grafted Fe 3 O 4 (Fe 3 O 4 -PS) at low graft density (Σ < 0.15 chains/nm 2 ) where chain entanglements are maximized. From the wrinkling-cracking method (WCM) we show that modulus (E) and yield stress (σ y ) are independent of nanoscale film thickness (70 < h f < 250 nm) and graft molecular weight (30 kDa < MW < 370 kDa) and in good agreement with predictions from effective medium theory. Furthermore, thin film craze observations from TEM imply two critical length scales for maximum deformability of matrix-free PGN assemblies: (1) PGN core size should be less than the critical length scale of the craze microstructure, and (2) near-neighbor entanglements are optimized for the lowest graft length (N) where the PGN architecture exhibit intermediate graft densities (r 0 Σ 0.5 ∼ 3-6 and N/N e ∼ 4-6). These findings provide a foundation for optimizing designs that simultaneously maximize inorganic volume fraction, processability, and mechanical robustness for PGN thin film assemblies.

A magyarországi fiatalok túlnyomó többsége rendszeres felhasználója a közösségimédiafelületeknek, amely egyúttal azt is jelenti, hogy a digitális nyelvhasználati szokásaikra a
közösségimédia-felületek erős hatást gyakorolnak. A digitális kommunikációban a vizualitás
előretörését a közösségi oldalalak elindulása segítette elő, alapvető változást hozva a képekhez
való viszonyunkban. A digitális nyelvhasználat, valamint az online térben megvalósuló
magatartásmódok társadalmilag meghatározottak, a szocializáció során alakulnak ki.
Tekintettel tehát arra, hogy a szocializáció során más és más hatás éri a fiatalokat, mint a
korábbi nemzedékeket, ezért feltételezhető, hogy a digitális nyelvhasználati szokásaik
generációs sajátosságokat is mutatnak. Ennek eredményeképpen válik a kérdés
társadalomtudományi értelemben is vizsgálhatóvá. Az Ifjúságkutató Intézet 2024-ben a
magyarországi 15 és 29 év közöttiek online kommunikációs szokásait vizsgálva arra jutott,
hogy az emoji-használat nemcsak kultúraspecifikus, hanem generációspecifikus is.

This paper introduces the notion of witnessed presence arguing that the performative act of witnessing presence is fundamental to dynamics of negotiating trust and truth. As the agency of witnessed presence in mediated presence differs from natural presence orchestration between natural and mediated presences is needed. The YUTPA framework, introduced in this paper, depicts 4 dimensions to define witnessed presence: time, place, action and relation. This framework also provides a context for design of trust in products and services, as illustrated for a number of illustrative scenarios.

This paper introduces the notion of witnessed presence arguing that the performative act of witnessing presence is fundamental to dynamics of negotiating trust and truth. As the agency of witnessed presence in mediated presence differs from natural presence orchestration between natural and mediated presences is needed. The YUTPA framework, introduced in this paper, depicts 4 dimensions to define witnessed presence: time, place, action and relation. This framework also provides a context for design of trust in products and services, as illustrated for a number of illustrative scenarios.

El derecho al olvido, base de tutela de la intimidad Gestión de los datos personales en la Red The Right to be Forgotten, Basic of Safeguarding Privacy Personal Data Management over the Network RESUMEN: El derecho al olvido significa autodeterminación informativa para decidir sobre la cancelación de datos personales y episodios de vida en los motores de búsquedas y en las redes sociales. Este nuevo derecho es necesario para la tutela de la intimidad.

Ezév aug. 24-ikén Nyíri Kristóf e-mail üzenetet küldött, „Mobiltelefonhasználat az iskolákban” címmel, az MTA II. Filozófiai- és Történettudományi Osztálya elnökének, osztálytitkárának, és osztályüléstagjainak. Az üzenet így szólt: „Miközben Isten mentsen minket attól, hogy belpolitikai vitákba keveredjünk, a legutóbbi órákban idehaza felmerült – sőt immár mondhatni felizzott – egy kérdés, amely úgy érzem hogy Osztályunkat tudományosan érinti. Az iskolai mobilhasználat betiltásáról van szó. Osztályunkhoz neveléstudósok, pszichológusok, filozófusok és kivált kommunikációkutatók is tartoznak, helytelen volna, ha ezzel az igencsak összetett és ellentmondásos kérdéssel nem néznénk szembe.” Az Osztály az üzenet nyomán konferencia megrendezését határozta el, a szervezést Szécsi Gábor és Nyíri Kristóf vállalta.

The evolution of the scientific views of N. Negroponte and D. Tapscott regarding the conceptual foundations of digital economy development is revealed in the paper. The concept of "digital being", based on the release and sale of a personalized digital product in the form of bits of information, is analyzed. It is determined that for the effective development of the digital world it is important to assure the development of the following components: the means of creating and distributing a digital product; devices for receiving and processing content; network bandwidth for content transmission; easy and intuitive interface of devices for digital product consumption. It is analyzed the Don Tapscott theory of the "new economy" as a "network intelligence phenomenon", which develops as a result of the convergence of three traditional sectors: communications, computer technology and content. It is justified that an integral part of the "new economy" in the era of "network intelligence" is the process of creation and use of "digital capital" as a result of the interaction of human, consumer and structural capital of the company. The basis for the formation of the digital economy is business webs (b-webs), which act as the heirs of industrial corporations and are represented by a system of suppliers, distributors, intermediaries, infrastructure providers and customers which use the Internet for their core business communications and transactions. The paper describes the main types of b-web companies. Among them are Agora, Aggregator, Value Chain, Alliance, Distribution Network. The emphasis is on the growth of a new generation of "digital people" who use the Internet not only as a way of communication, but also as an opportunity to create digital business using new business models. The theory of the formation of "Wikinomics" is also analyzed, as the idea of self-organized mass collaboration of people in order to unite efforts to create new dynamic products and services. It is determined that "Wikinomics" is based on four basic principles: openness, peering; granting for access, global character of activity. It is noted that mass collaboration is the basis for the emergence of "platforms for participation", which arise with the development of prosumerism as a social movement to transform digital resource products and services into a common space for innovation. The logical result of the development of "Wikinomics" is the emergence of open Internet platforms, which will become a place to create innovations, values and new areas of business for a wide number of partners.

This introduction revises our understanding of Jacob Burckhardt's  conception of the state as a work of art, reframing it in terms of Petrarch's "national" epic, "Africa"; of 20th-century theories of the nation as aesthetic artefact; and of the origins of aesthetic nationalism in Virgil's Roman "Aeneid." But I also point to a fatal weakness in Burckhardt's conception of the state as a work of art: the inability of "national" humanists to divert the political power of Christian sacramentalism. It's not that I question the value of Burckhardt's political intuition, but to realize it in ways that he could not.

Multi-agent system (MAS) design focuses primarily on design of functionality, structure and (emergent) behaviour. Very little research focuses on the design of interaction between MASs and human users (multiactor systems), and in particular on the design of trust. Based on the YUPTA framework and exploratory research, this paper argues, that temporal engagement between human beings and multi-agent systems must be explicitly designed and implemented for trust in multi-actor systems, including MAS, to be acquired

Since its emergence at the international scene in the 1970s, installation has been one of the artforms central to the contemporary art system. Yet at the theoretical level the issue of its categorial framework remains unresolved, which in turn reflects the situation within contemporary art's categoriality in general. Concepts and terms such as "genre", "medium", "intermediality", "post-medium" and "postconceptual" condition have all been applied to installation art. This article attempts to analyze whether these labels are appropriate to the installation art phenomenon, especially with regard to the recent developments within genre, literary and media studies. Hence, the article provides the historical and modern definitions of the terms, while special attention is paid to their usage within art history and installation art discourse. The resulting conclusions are intended to situate installation art within a viable categorial framework and to shed light on several areas of contemporary art categoriality at large.

The articles that make up this Sociological Inquiry feature emerged from the 1995 meetings of the American Sociological Association. The authors included in this issue were expressly solicited for a special session on “Technologically Generated Communities.” The authors were asked to individually provide their own perspectives on the intersection of technology, community, and social action. My essay attempts to crystallize several key changes that the new communication technologies demand of conceptual frames long embraced by sociologists. In particular, the pages that follow propose some necessary adjustments to the ways in which sociologists formulate and apply three key analytic concepts: social interaction, social bonding, and empirical experience.

KEYNOTES:
Hito STEYERL - Common Sensing and World Models  |
Alva NOE - Rage Against the Machine. Entanglement, substitution, resistance
|  Alexander KLUGE - Bilder im Konjunktiv. In Conversation with Christiane Voss & Emmanuel Alloa |  Lukas BAERFUSS - Die Bilder der Vorstellung

This paper discards the very idea of dark matter and reveals the illogical and inconsistent consensus hypothesis of gravity. Astrophysicists hypothesized dark matter because of discrepancies between the mass of large astronomical objects determined from their gravitational effects and the mass calculated from the "luminous matter" they contain: stars, gas, and dust. Dark matter was first postulated by Jan Oort in 1932 to account for the orbital velocities of stars in the Milky Way and by Fritz Zwicky in 1933 to account for evidence of "missing mass" in the orbital velocities of galaxies in clusters. Subsequently, many other observations have indicated the presence of dark matter in the universe, including the rotational speeds of galaxies by Vera Rubin. Remarks: Cosmological scientist assume that when finally finding and with any doubts proving "dark matter", this will solve one of the biggest problems in modern cosmology.

Background This article builds on McLuhan's medium theory to address the undertheorized role of animals as mediators in network cultures. Analysis McLuhan's medium theory aligns with and to some extent anticipates contemporary discussion about posthumanist thought that recognizes that human perception and experience are shaped by and extended through non-human tools and connections. Both digital culture and the endangered status of the natural world now call upon us to elaborate less anthropocentric concepts of mediation to understand our interdependence with the non-human world. Conclusion and implications Using as illustration various moments of media change, including early coins and the first cat videos, this article argues that the proliferation of animal imagery is significant not only in the affective management of digital practices and investments, but more broadly in the management of cultural and ecological risk.

RESUMO: O artigo apresenta reflexões sobre o livro de Sherry Turkle, Life on the screen: identity in the age of the Internet. (1996). Realiza a análise interna da obra considerando o uso dos conceitos antropológicos, a metodologia e o alcance da generalização. Analisa criticamente as conclusões do livro, lançando mão de alguns autores que assumem posições diferentes da de Turkle quanto ao papel das novas tecnologias para a transformação da sociedade ocidental.

The paper aims at clarifying the meanings of Conscience and Guilt in Heidegger's "Being and Time". It is divided into four sections. After a brief introduction to the leading question of the paper (section one), we discuss the meaning of Heidegger's existential death (section two). Heidegger's explication is framed under the perspective of Dasein's whole-being (Ganzsein), which is understood by him as Dasein's between birth and death. Then (section three) I discuss his existential conscience and guilt. Conscience calls us away from our inauthentic self and towards authentic self. Guilt reveals our existential nothingness. Heidegger's explication of the nature of conscious and guilt is according to my observation still under the perspective of his existential solipsism. Finally in the last section (section four) I conclude Heidegger's insight and discuss some possible problems, especially about the problems of absolut other and dialects of Dasein, that imply in Heidegger's existential solipsismus.

Cadeias sem fio: a crise do sujeito e "ordo amoris" na cultura digital 1 Wireless chains: the crisis of the subject and "ordo amoris" in digital culture Cadenas inalámbricas: la crisis del sujeto y "ordo amoris" en la cultura digital Vincenzo Susca 2 Resumo Susca considera, neste artigo, que a partilha nesse meio efêmero que são as redes sociais estabelece um vínculo afetivo entre os membros da tribo, da própria rede ou da comunidade no geral. E que essa união carrega, como uma de suas características, uma intensa carga emocional. A relação, a partir desse momento, não se origina mais do com-partilhamento de princípios só abstratos ou só das instâncias racionais, mas é delineada por meio de uma comunhão de destino que são os múltiplos fragmentos superficiais. Assim, estabelece-se uma relação virtuosa de consequências na qual a reversibilidade entre natureza e cultura é atuante, nessa dialética complexa entre órgãos biológicos e instrumentos tecnológicos.

Ubiquitous networks which can be accessed at any time form any place and using a range of devices are base of new kind of commerce. Commerce that offers unique and personalized service to every customer individually using ubiquitous networks is called u-commerce. U- commerce is abbreviation that stands for ubiquitous commerce, also called ubicomp or ultimate commerce or pervasive computing. U-commerce is combination of e-commerce, m-commerce, television, voice and silent commerce. It can be seen as extension of current types of commerce, but not as their replacement. Main u-commerce characteristics are described using the four u-constructs: ubiquity, universality, uniqueness, and unison. Although u- commerce brings many benefits the principal obstacl e to u-commerce development and adoption are customer concerns for their privacy protection.

Este trabalho discute o mais recente e, provavelmente, o mais bem-sucedido filme hollywoodiano até o momento, Avatar, em relação ao conceito de "cultura" e seus significados básicos. São questionados a idéia da civilização apresentada no filme, a sua forte crítica ecológica e antiimperialista, o problema da identidade cultural e a questão da indústria cultural, da qual o filme é um produto exemplar. Finalmente, defende-se a idéia de um ensino universitário integrativo de literatura e cultura, abrangendo também o campo dos estudos audiovisuais. Palavras-chave: estudos culturais; indústria cultural; cinema; ensino de cultura Em seu ensaio A Idéia de Cultura (The Idea of Culture), o teórico britânico Terry Eagleton levanta a questão da transformação histórica da palavra "cultura" e de seus usos contemporâneos. Diante do pressuposto "Se existe cultura como civilidade, cultura como identidade e cultura como comercialização, há também a cultura como protesto radical" (EAGLETON, 2000, p. 181), o autor toma as medidas do amplo campo conceitual e diferencia os significados mais básicos do conceito: cultura como civilização e civilidade, cultura como modo de vida, cultura como mercadoria (fenômeno relativamente novo na história da humanidade) e cultura como crítica. Tais noções podem nos servir de ponto de partida para uma tentativa de avaliação do último filme de James Cameron, Avatar, sob o ângulo dos estudos culturais e vice-versa, considerando também os aspectos que os estudos culturais podem apreender do mais recente blockbuster produzido por Hollywood.

The complexity and range of contemporary media culture was simply beyond the imaginative capabilities of any mid-twentieth century thinker. The seeming prescience of Jules Verne or George Orwell is notable because of the myriad writers and thinkers who missed the mark entirely when trying to predict what the world would look like in the future. Today there are avenues of communication that go beyond the wildest dreams of science-fiction writers from the last century and the ways in which these new technologies alter the way we interact were simply unforeseeable when Marshall McLuhan was writing his seminal works on media. The challenge of making McLuhan relevant to new generations is, as a result, not a small one. The seeming prescience of arguments like the extension of the central nervous system via electronic media or the emergence of the global village are interesting enough on their own, but the original writings may now feel like they are ruminations of a media landscape we have long since left behind.

The term "in-store media" refers to displays in retail establishments as diverse as supermarkets, department stores, and specialty clothing boutiques. In many countries these displays are becoming digital and interactive. They tie into people's hand-held mobile lives, transforming the ways retailers relate to one another and their customers. Yet despite these displays' longstanding and growing importance, media researchers have neglected in-store phenomena. Indeed, researchers' scant attention to this type of media has led them to miss out on fascinating developments with potentially important social implications. This paper aims to encourage research on retailing by suggesting the utility of a media industries perspective. The framework points to the value of studying the production and circulation of digital and physical marketing materials that merchants use to target shoppers. Preliminary work from this viewpoint reveals new data-led approaches to customer relationships that raise questions about when and how retail-based media reinforce, extend, and shape anti-pluralistic, even anti-democratic, processes and perceptions.

Egy letűnt műfaj? A fantasy izometrikus szerepjátékok eltűnésének lehetséges okai a 2000-es évek elején A dolgozat az ezredforduló környékén megjelent mainstream izometrikus szerepjátékokat vizsgálja. A kutatás kiindulópontja az a megfigyelés, miszerint a 2010-es évtized végére a fantasy témájú, izometrikus szerepjáték alműfaja a szerepjátékok és az indie játékfejlesztés egyfajta reneszánszát elhozó Kickstarter-mint alternatív finanszírozási forma-, illetve más mediális folyamatok hatására képes volt részlegesen visszanyerni az ezredfordulón létező mainstream státuszát. Ennek tükrében válik izgalmas kérdéssé, hogy eleve mi okozta ennek az alműfajnak az eltűnését az ezredfordulón. A tanulmány egyrészt ez utóbbira keresi a választ, másrészt amellett érvel, hogy e műfajtörténeti folyamat nem értelmezhető egyszerű törésként, eltűnésként, inkább különböző videojáték-ipari folyamatok (mint például a cinematizáció) hatására bekövetkező műfaji átlényegülésként.

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Dans ce texte nous abordons la dimension répétitive et mémorielle des images
de stock dans les médias audiovisuels. D’abord nous proposons une problémati-
sation théorique de ces questions et tentons une définition de la notion d’image
de stock. On présente ensuite un cas d’étude issu du projet ANR CROBORA. À
partir d’un corpus d’environ 22 500 séquences audiovisuelles réutilisées dans les JT
de cinq chaînes françaises et italiennes, nous analysons la représentation visuelle des
migrants en relation avec la thématique Européenne et constatons le renforcement
d’un stéréotype visuel lié à la clandestinité et au voyage en mer. Cela fait suite aux
flux migratoires de 2015 et contribue à la consolidation d’une figure iconique du
migrant exploitée dans d’autres contextes par les actualités télévisuelles.

Humanities 61-1525 LB1050 CIP Williams, David. The communion of the book: Milton and the humanist revolution in reading. McGill-Queen's, 2022. 528p bibl index (McGill-Queen's studies in the history of ideas, 86) ISBN 9780228014690, $140.00; ISBN 9780228015864 ebook, contact publisher for price. Williams (emer., Univ. of Manitoba) immediately catches the reader's attention in this book's prolegomenon, in which he offers an alarming diagnosis of the present moment in history. Williams sees a new cultural wave of reading and brain circuitry-resulting from social media, hypertexts, and other technical advances-a wave shifting from deep reading (linear, immersive, reflective practices) to tabular reading (nonlinear and punctuated skimming, lacking meditative thought or thoughtful reflection). As a widespread cultural phenomenon, tabular reading spells doom for the monumental collections undergirding Western and Oriental traditions. Williams offers this as a shot across the bow. In the rest of this rich, complex, and remarkable book he examines an earlier cultural wave in reading-a shift from the static, indeed corrupt and crumbling, intellectual edifice of early medieval culture. Humanists such as Petrarch, Bruni, and Erasmus achieved a coalition of the Bible and ancient culture, ushering in a sacramental presence of the word in the pages of vernacular translations. This new way of reading is reflected in Foxe's Book of Martyrs (1563) and in the work of English revolutionaries Milton and John Lilburn. Williams's book should be read, and read carefully, not only by classicists and medieval and Renaissance scholars but also by all who care about modern culture and the present postreading, postmodern predicament. Summing Up: Essential. Upper-division undergraduates through faculty; general readers.-A. W. Lee,.

The chapter turns to three distinct episodes in literary and intellectual history which illustrate various approaches to language, in order to clarify the basic features of a philology of the esh: 1, The Humanism of Lorenzo Valla (15th century); 2, The Dialogism of Ferdinand Ebner (20th century); and 3, The "Grand Inquisitor" narrative from Dostoevksy's Brothers Karamazov. From all appearances, it was a profound love for language that drove Lorenzo Valla to subject ancient texts to the most severe philological scrutiny. Regardless of the consequences, he consistently applied his profound erudition and critical skills to improve the accuracy and authenticity of what tradition had bequeathed. With a keen awareness of historical usage, semantic nuance, and register, he proposed countless emendations, collating variants, correcting scribal errors, removing anachronisms, and-most notoriously, in the case of the Donation of Constantine-exposing forgeries. That his polemical air would

Este estudio se centra en la conocida publicación Explorations, coeditada por McLuhan y Edmund Carpenter en los años cincuenta. Tras los nueve primeros números y después de un período de reposo, la publicación vio de nuevo la luz en 1964 como anexo de la revista Varsity Graduate, publicada en el departamento de alumnado y relaciones públicas de la Universidad de Toronto. Esta 'revista dentro de otra revista' se publicó en papel a color durante nada menos que ocho años, hasta que cerró en 1972. Contaba con contribuciones como la del mismo McLuhan así como de sus fieles colaboradores Harley Parker, Edmund Carpenter, Barrington Nevitt, Wilfrid Watson, Derrick de Kerkhove y, al menos, uno de sus hijos, junto con su jefe de redacción. Palabras clave: Explorations, McLuhan, Carpenter, revista de comunicación, Varsity Graduate. This study focusses on the well-known journal Explorations, coedited by McLuhan and Edmund Carpenter in the 50s. After the first nine issues and a break, it was launched again in 1964 as a supplement of Varsity Graduate magazine, which was published by the Student and Public Relations Department of the University of Toronto. This 'magazine within a magazine' was published in colour for no less than eight years, until its final closure in 1972. It included contributions by McLuhan himself and his loyal collaborators

s from the Presentations at the PLATO Conference SESSION 1 “INFORMATION AND COGNITION” Walter Bisang On Knowledge Representation and Linguistic Variation – A View from Linguistic Typology This paper offers a programmatic view from Linguistic Typology on the relevance of structural differences between languages for learning research. Based on the experience of Linguistic Typology with regular patterns of cross-linguistic variation worldwide, the paper will focus on structures that may enhance or inhibit specific cognitive skills. It will start out from some known effects related to differences in the structural complexity of numeric expressions. More concretely, the paper will look at the U.S. Test of Understanding in College Economics and its Japanese translation from the perspective of informational density, i.e. from differences in the extent to which grammars force their speakers to explicitly mark grammatical information or to leave it to the pragmatic inference of the reader/li...