Marshall McLuhan

Social media can be perceived as forging one’s relationships and influencing one’s world view, but has it always allowed individuals to connect meaningfully? It mesmerises and grips the mind of its users. It fascinates, yet does not allow users to see how some of the content spread on these networks is being reduced or magnified in a way that blinds most individuals into disregarding the reality it represents. Users scroll vigorously, compulsively and intensely and yet desire without ‘seeing’. Individuals are engrossed in this virtual world, yet feel as if they are onlookers. This is how social media tend to operate; it is a form of allurement. These networks succeed in making users hysterical, attracting them with what initially repelled them. The influence these networks have on users is evident: individuals are mesmerised and kept entranced but they cannot move beyond this. In other words, users are entombed in a ‘scandalous’ relationship with social media. Users look inquisitively or voyeuristically into others’ lives as they become frenzied or hysterical. They desire to peek into the lives of the ‘sacred’ or at sacred content, and this content tends to be formulated in a manner that distorts reality. To interpret the reality, it is necessary to look beyond the surface-level and interact with this content in a more meaningful way. However, social media are constructed in such a manner that inhibits meaningful dialogue. This echoes McLuhan’s (1994:22) idea that electronic media are essentially without perspective because of the deep involvement of the senses.

From these observations, I have therefore dedicated my study to exploring what a Girardian hermeneutic reveals about social media as a medium, in essence the environment engendered on social media, in order to illustrate the mimetic and scandalous dimensions of these networks. Mimetic theory becomes a method of analysis through which we may interpret the significance of how social media effect the ways that individuals interact on these networks. Moreover, this study demonstrates how these networks are an efficient channel of mimetic desire. Thus, its value lies in the amalgamation of mimetic theory and media theory to formulate a better understanding of the inner-workings of these thriving platforms.

This PDF includes Chapters 1 and 2 of the innovative text anthology, designed for use in Media Studies courses, especially large lecture courses like "Media and Society."
-- The book combines movies and texts to introduce students to critical media studies. Accessible and readable, the book is well-liked by students. Topics include the Spectacle, Hyperreality, the Global Village, Social/Mobile Media, Capitalism and Counterculture, Surveillance and Privacy, Ecology and the Anthropocene, Media and Science, Media Futures, the Meme (original version from Dawkins), and many others.
-- Upon adoption, I will provide handouts, syllabus, PPTs.
-- Published by Cognella.  https://titles.cognella.com/media-environments-9781516521104

Öz Bireysel toplumda bir kitle düşünürü, McLuhan, tipografik teknolojinin batı toplumlarındaki düşünsel değişimi nasıl etkilediğini tanımlamaya çalışmıştır. "Elektronik medya" olarak tanımlanan kavramın çıkış noktasını tartışmaya açan McLuhan, düşünsel süreçlerde veya yeni teknolojinin başlangıcında meydana gelen kültürel değişimlerin kavranmasında önemli hale gelen tarihsel akımları nasıl değerlendirdiğini ele alınmıştır. Gutenberg'in matbaayı bulmasıyla birlikte toplumda bazı değişimlerin söz konusu olduğunu savunan McLuhan, dünyanın sözlü kültürden yazılı kültüre doğru evrim gösterdiğini haber medyasının da aynı durumda yazılı kültürden elektronik kültüre evrildiğini savunmuştur. Çalışmalarında hem kendi görüşlerine hem de diğer görüşlere yer veren McLuhan, ortaya yeni karma bir düşünce ortaya koymuştur. Gutenberg Galaksisi'nde belirttiği üzere mekanik teknolojinin, matbaada harflerin kağıda basılmasından günümüze nasıl geldiğinden bahsetmiştir. Çalışmada; McLuhan ve günümüzde hala etkili olan kavram ve kuramları literatür taraması sonucu yeniden incelenmiş, geleneksel ve yeni nesil kitle iletişim araçlarıyla birlikte günümüz için oldukça yaygın kullanılan yeni medya araçları dahilinde güncel değerlendirmeler yapılmıştır. Ayrıca, Marshall McLuhan'ın teknoloji ve medya eleştirileri yeniden tartışılarak, yeni medya teknolojileri ekseninde bir değerlendirme yapılmıştır. Betimleyici

Former President of the Media Ecology Association, Dr Phil Rose, ran for
office in the 2015 Canadian federal election. This article presents an interview with Rose in the wake of his defeat. To stimulate and organize the flow of the interview, and to guide our interrogation of Rose in an exciting way that is in accord with McLuhan’s media ecological approach, this article uses probes derived from reflections on McLuhan’s life-long study of politics and the political.

El escenario de la comunicación humana, basado en las interrelaciones que realizamos entre personas que manejamos un mismo código, sea este lingüístico, social o sensacional, ha transmutado en una carrera acelerada. La revolución de la comunicación en la era digital se asemeja solo a aquella suscitada con la llegada de la imprenta. Lo crucial en el análisis de este fenómeno es su rapidez y variabilidad.
La única constante es muchos cambios en pocos años. Fijémonos en los primeros usuarios de dicha aceleración tecnológica: la llamada "Generación Y", nacidos entre 1981 y 1995, escu- charon su música favorita en un discman, pero, además, fueron partícipes de un evento sin precedentes, la masificación de las llamadas vía celular. Así, pasadas 3 generaciones, llegan quienes pudieran ser sus hijos, la "Generación Z" o también llamados centennials, que, en cambio, nacieron literalmente con un smartphone en la mano y con absoluta comodidad se han acostumbrado a una sobrecarga de estímulos visuales y sonoros, por su capacidad indiscutible de manejar dispositivos tecnológicos.

Resumen
Introducción: En este estudio se establece un paralelismo entre el pensamiento de Marshall McLuhan, uno de los primeros en explorar el fenómeno del prosumidor, y los llamados nuevos medios. Y por la otra, se analizan dos dimensiones vinculadas al prosumidor, estudiadas en un amplio proyecto sobre competencia mediática a nivel nacional. Uno de los principales objetivos residía en conocer las competencias mediáticas que realmente tiene el ciudadano español como productor de contenidos y consumidor de los mismos como parte de una audiencia activa. Metodología: Para la realización de esta investigación se aplicó una técnica de muestreo no probabilístico por cuotas y se utilizó el cuestionario como principal herramienta metodológica aplicado a una muestra representativa del estado español formada por un total de 6.626 individuos. Resultados: Presentamos un desglose de los mismos por dos tipos de dimensiones analizadas: la producción y programación, y la recepción y audiencia. Conclusiones: Dentro de los resultados obtenidos destacamos que la población española posee graves carencias en cuanto al grado de conocimiento y capacidad para interpretar mensajes audiovisuales de manera reflexiva y crítica y para expresarse a través del audiovisual con unos mínimos de corrección y de creatividad.
Palabras clave: audiencia, competencia mediática, España, McLuhan, producción audiovisual, prosumidor.

This essay deals with the “Information” exhibition of 1970 at MoMA, one of the more significant exhibitions of Conceptual and related art of the period. The role of the curator as a type of artist is discussed, as is the importance of Marshall McLuhan’s writing to the exhibition.

The monograph Media and Culture (https://eshop.vsfs.cz/mainform.aspx?rowfilter=true&search=Maiello&page=1) deal with the development of human communication – from the simply interpersonal communication up to the digital systems of the
late modernity age. The first part of the monograph is presented in a diachronic form
and follows communication and media development as defined by the Toronto School
of communication theory.
It extends into ten chapters dedicated to the primary oral cultures; to the age of ideograms and letters; the age of printed media; the age of electricity; the age of television;
and the digital age. The first part also deals with the themes of changes in the human
psyche derived from the circulation of printed books; with the world view served by the
media; with their influence on the process of socialization and with the concept of global
culture. The second part, divided into seven chapters, is conceived as a synchronic analysis of the technetronic society. The technetronic society is analyzed considering other
contemporary social theories that arise in parallel with the emergence of new technological processes aimed at the development of newer and newer media. The second part
is completed by other chapters dealing with the digital age and globalization; the difference between slow and fast time; the relationship between work and entertainment;
between self-confidence and self-image; with the virtual collectivity of digital worlds and
with the construction of identities in the actor-network theory.
The book is methodologically built on a theoretical platform of reflections, insights,
critical views, opinions and a series of original questions and hypotheses – initiating further research into the deepening of media culture discourse.

The delivery of news on Twitter and social media to an increasing majority of people has replaced the attempt to disseminate facts and truth on traditional news media, with the new goal of massive engagement via likes, retweets, and shares, with the result that an informed public, however imperfectly constructed, is being shoved aside by a polarized populace seething with anger.

The media-rich cityscapes of North America have raised new questions about public space and private space. How can we create and sustain cultural and economic spaces? What new images can we use to understand the city and what it might become? I want to introduce an insight on these questions, which Marshall McLuhan expresses clearly and repeatedly and that has become a cliché. Nonetheless, it is an insight that can be used as a heuristic for examining the relationship between culture, nature, and technology. We must revisit it whenever we encounter a contradictory or paradoxical phenomenon in the cultural or natural worlds. It is that technology changes an environment immediately. As a consequence, media innovation drives social change over space and time in ways that we do not immediately comprehend. Significantly , we often misunderstand, ignore, or fail to see these changes. His university studies in English literature gave McLuhan a deep sense of the power of deploying metaphor in communication. His system of ideas thus begins with a metaphor, which is that media are like extensions of the human senses. We use media to increase our reach and power. The camera is an extension of the eye, the shoe an extension of the foot. McLuhan used the metaphor of " numbness " to demonstrate the effects of these extensions. The implications of our relationship with technology are deep in our culture but often only vaguely visible. Even as we use technology to experience the world more intensely, we become more separated from it. Using another metaphor, McLuhan argues that new media can be imagined as " punctuations " in history, since a media innovation introduces these immediate, and apparently irreversible, cultural , social, and economic changes at a particular historical moment. An elision of media into the broader category of technology follows the practice of medium theorists such as Innis (1951), Marshall McLuhan (1964), and, more recently, Ronald Deibert (1997). The category of media for McLuhan includes both codes and channels. Similarly, the category of probes takes in metaphors , rockets, satellites, clichés, archetypes, jokes, and advertising slogans, collectively constituting what McLuhan scholar Josh Meyrowitz (1997) calls a " sense of global familiarity. " McLuhan's epistemology is characterized by a continual stretching and adaptation of taken-for-granted categories. This fluidity constitutes part of the utility of his work. It also helps to explain the bemusement expressed by critics. His heuristic method is to uncover or reveal the unseen. This heuristic is drawn from his conviction that the environment is largely invisible. As Douglas Coupland (2010) notes in his new biography, McLuhan's religious experience helps to explain this preoccupation with the unseen. But the unseen is not only a characteristic of the divine. By environment, McLuhan refers to what sociologists call social structure. One way of T

O futuro do livro impresso vem sendo objeto de interesse de filósofos e outros estudiosos, pelo menos, desde o início do século XX. Walter Benjamin e Marshall McLuhan escreveram páginas memoráveis sobre esse tema. Como pensar esse futuro, hoje, no Brasil?

Téma:Analýza rozdílnosti divácké recepce filmového díla a umění
Abstract:
Nejen v diskurzech z oblastí: filmových věd a teorií pohyblivých obrazů, ale rovněž prakticky v každé otázce spjaté s el. médii, se až příliš často setkáváme s tendencí porovnávat média současná s těmi, jež jim předcházela.
Tato komparativní metoda a analýza médií dává vzniknout genealogiím a příběhům, které pro nás nadále utváří relativně pevný svazek zásadních vědeckých či uměleckých objevů a dějinných událostí ze světa médií.

1. McLuhanism is an approach to the integrative study of the modern human condition via the lens of technology. It takes its inspiration from the writings of Marshall McLuhan, but its ambitions reach beyond them, just as 20th century Western Marxism sought to go beyond the writings of Marx. Like Marxism, McLuhanism tells a story that is distinctively Western in origin, although global in eventual scope. McLuhanism enjoys over Marxism an advantage in the wealth of conceptual distinctiveness inherent in its object. In Marxism the primary object and lens of inquiry is capital, whose chief effect is the erasure of distinctiveness. The purpose of capital is to make all things equivalent, and this liquidation of use-values into the uniform medium of exchange-value is a primary object of Marxist critique. But capital is also the critical lens of Marxism, and this lens is by its very nature unsuited to the recovery of the conceptual distinctiveness of use-value. Thus Western Marxism's chronic failure to conceive of positive, emancipatory change. McLuhanism does not have this problem. Capital erases distinctiveness; technology does not. Capital is universal-indeed, the purpose of capital is to be universal. Technology, on the contrary, is indelibly particular. One may speak in general of "technology," but in truth there are only "technolog ies ." In contrast, one may speak only of "capital," as it is inherent in the concept of capital to be irreducibly singular. There is only one "capital," whose purpose is to erase all distinctions and make all things fungible. But "technology" is a category that comprises a whole cosmos of concepts, each of which is irreducibly distinctive and complex. Just as the project of Marxism is the exposition of the concept of capital, the project of McLuhanism is the exposition of the various interrelated concepts of technology. 2. The founding conceptual move of McLuhanism is the subsumption of the concept of "media" into the concept of "technology." This move places it in opposition to the mainstream of academic media studies, which tends to posit axiomatically a strong distinction between "media" technologies-i.e. technologies of communication or representation-and "non-media" technologies, and then directs its focus exclusively on the former. McLuhanism weakens this distinction. Whereas mainstream media studies draws a distinction between "media" and "non-media" technologies, McLuhanism situates that distinction within the category of technology. It thereby avoids one of the great conceptual pitfalls of mainstream media studies: viz., by positing a strong distinction between technologies of representation and communication and other technologies, and then focusing on the former at the expense of the latter, mainstream media studies puts itself in danger of taking for granted the concepts of representation and communication, of positing them as given when they are, on the contrary,

Para entendermos a gênese da rede mundial de computadores, a world wide web, dedicaremos, antes de tudo, um breve momento ao estudo das tecnologias que a precederam em termos históricos. Compreendemos que a internet é uma tecnolo- gia, e como toda tecnologia, uma extensão do homem1, no sentido que McLuhan concebe em "Os meios de Comunicação".

En la medida en que la «aldea global» continúe organizándose de acuerdo a los principios de eficiencia y practicalidad dictados por la mano invisible del mercado, el cambio hacia lo virtual será progresivo y cada vez más presente en el ocio, el trabajo, la educación y en otros muchos entornos. Esta tendencia, iniciada con la llegada de Internet, fue recibida con aplausos en el nombre del progreso, pero poco se ha dicho de sus desventajas. Este trabajo examina las desventajas del formato on-line en el campo de la educación en general, y al ámbito universitario en particular.

Since the birth of modernity, Western thought has been at war with clichés. The association of philosophical and cultural integrity with originality, and the corresponding need for invention and novelty, has been a distinct concern of a whole spectrum of ideas and movements, from Nietzsche’s polemics against the ‘herd’, the ‘shock of the new’ of the artistic avant-garde, the Frankfurt School’s critique of mass culture, to Orwell’s defence of political dialogue from ‘dying metaphors’.

This book is the first examination of the cliché as a philosophical concept. Challenging the idea that clichés are lazy or spurious opposites to genuine thinking, it instead locates them as a dynamic and contestable boundary between ‘thought’ and ‘non-thought’. It unpacks the constituent phenomena of clichés – repetition, the readymade, same-ness – through readings of ‘anti-philosophical’ thinkers such as Nietzsche, Kierkegaard, Sloterdijk, and Groys, within sites of the cliché in practice: memorial poppies, cinematic reboots, art installations and more.

Rejecting the idea that clichés should be dismissed out of hand on normative frameworks of ‘good’ and ‘bad’ thinking, or ‘new’ and ‘old’ ideas, it instead interrogates the material, cultural and archival ground on which these frameworks are built.

Inspired by the growing attention to the politics of comedy in the United States and elsewhere, this paper asks what it would mean to think critically about relations of power mobilized through cheerfulness, humor, and laughter. The paper shows that existing answers to this question are tainted by skepticism about the enduring contributions of comic acts, and it then goes on to suggest that we turn to an alternative trajectory in democratic theory, one that encourages us to focus on the empowering and pluralizing potential embedded in what the paper names  “comic power.” The wager is that attention to the potential embedded in this power can give us new traction on the conditions of democracy more broadly understood. To show this, the paper draws on two rarely paired resources—Spinoza’s philosophy of immanence and Dave Chappelle’s critique of racial discrimination—placing both of them in conversation with discussions about the mediations embedded in new media technologies.

Since the rise of radio and television, we have lived in an era defined increasingly by the electronic circulation of images and sounds. But the flood of new computing technologies known as haptic interfaces—which use electricity, vibration, and force feedback to stimulate the sense of touch—are promising to change this situation, offering an alternative way of mediating and experiencing reality.

In Archaeologies of Touch, David Parisi offers the first full history of these increasingly vital technologies, showing how the efforts of scientists and engineers over the past 300 years have gradually remade and redefined our sense of touch. Through lively analyses of electrical machines, videogames, sex toys, sensory substitution systems, robotics, and human-computer interfaces, Parisi shows how the materiality of touch technologies has been shaped by attempts to transform humans into more efficient processors of information.

With haptics becoming ever more central to emerging virtual reality platforms (immersive bodysuits loaded with touch stimulating actuators), wearable computers (haptic messaging systems like the Apple Watch’s Taptic Engine), and smartphones (vibrations that emulate the feel of buttons and onscreen objects), Archaeologies of Touch offers a timely and provocative engagement with the long history of touch technology that helps us confront and question the power relations of giving touch its own set of technical media.

Here, I follow one of the more exciting and under-explored consequences of grounding media as metaphor - the (not so) sudden compatibility of media ecology with the claim that fictional objects are real. This paper explores what ontological repercussions can be brought to bear on McLuhan's long-evolving media concept in light of some contemporary continental theories concerning the reality-fiction divide. While McLuhan's message has resonated with many since the publication of Understanding Media (1964), some recent criticism has challenged this tradition by suggesting that McLuhan's concept of 'media as metaphor' rests on a pluralistic ontology of media forms. In my view, the creative interplay between figure and ground that marks mediums as sites of causal events blurs without effacing the distinction between actuality and possibility and suggests that the constant extension and remediation of media forms that emerge from consciousness plays an active role in perceptual awareness of objective reality. I argue that this alternative approach to media ontology rehabilitates Aristotle's formal cause by extending the concept to include a form of poiesis. McLuhan's media, therefore, signal that media forms achieve a fictional status through an inexhaustible process of mediation as interpretation. It is in this sense that I read McLuhan as a thinker of the new and a philosopher of fiction.

Las prácticas culturales en su conjunto están enmarcadas en y atravesadas por un contexto informacional que traza el camino por el que transita el siglo XXI. Pero ¿cuál es la entidad de este ser al que llamamos información? ¿Bajo qué rostros se muestra? Pensar la información hoy es pensar en las tecnologías digitales y el lugar que ocupan en la organización de las sociedades actuales, pero también es pensar en el sentido común que la asocia a las noticias, transmitidas diariamente por los medios de comunicación, e incluso en las implicancias que se desprenden de su propio nombre: in-formación, proceso que in-forma o que da forma.
Nosotros comenzaremos con el que creemos el primer aporte teórico/práctico de peso para comprender la sociedad de la segunda mitad del siglo XX, lo que se conoce como la Teoría Cibernética de la Información. Weiner y Shannon constituyen los primeros investigadores que elaboran un plan en el que el ser humano funciona como una variable regulatoria de los medios de información y comunicación, y no como el actor de peso en el espectro mediático. El filósofo Marshall McLuhan tomará la posta y construirá, a su manera ecléctica, la primera Teoría Auténtica de los Medios de Vinculación de Masas.
Aquí, en este punto de partida, se abren una gran cantidad de sendas por donde recorrer el devenir mediático de la sociedad postmoderna (la llamamos postmoderna, pero podríamos denominarla de diferentes maneras: tardocapitalista, postdisciplinaria, postfordista o postindustrial, de la comunicación, de la información, líquida, etcétera). Nosotros elegimos la que creemos central, porque su “objeto” había sido el Objeto privilegiado del siglo XX: el sexo y la sexualidad. La liberación de la representación de la sexualidad —que no es lo mismo que la liberación del sexo: más bien podría interpretarse como la inauguración de un nuevo tipo de sexualidad, y con él de un nuevo tipo de ser humano, de un ser post o transhumano— da cuenta de la transformación social y política radical que estaba viviendo en esos años. Nosotros consideramos a todas estas transformaciones o liberaciones como signos de un acontecimiento incluso más importante. Hace más de un siglo Friedrich Nietzsche sentenciaba en una famosa fórmula “la muerte de dios”. Para nosotros el fin de la era metafísica, que él también anunció y tantos otros tomaron la antorcha, recién se concretó con el traspaso del código de registro analógico al digital. El siglo XX fue el siglo del programa de desmontaje no sólo de la metafísica sino de la sociedad y la estructura mental que la metafísica traía consigo. La trampa reside en que todavía debemos recurrir a esa estructura para poder reflexionar sobre las condiciones de existencia en la sociedad de masas postmetafísica.
Con el fin de la metafísica termina una era demasiada humana de por lo menos dos mil quinientos años, pero no termina el régimen capitalista. Termina una estructura mental cuyo medio hegemónico era el libro, pero no termina ni la producción masiva de libros (más bien ésta se multiplica exponencialmente) ni las condiciones económicas y sociales que la producción de libros en particular, y la producción de cualquier mercancía en general, implican. Sólo que esas condiciones de producción, circulación y consumo también cambian. A este estadio del capitalismo nosotros le damos el nombre de Capitalismo Afectivo, porque hace del afecto la última mercancía a producirse masivamente. La afectación del capital toma formas diversas, siendo la mediación audiovisual uno de los modos más efectivos de pregnancia. Si bien la lógica de lo audio-visual está atravesada de pantallas, no es sólo el sentido de la vista el que se afecta ni la percepción visual la que se trastoca; también el entorno sonoro y la percepción auditiva entran hoy en manifiesto disloque: desde el sonido móvil de los reproductores portátiles hasta la ubicuidad del uso de la música como fondo de un sinfín de actividades cotidianas, el escenario info-comunicacional forja un nuevo mapa de la cultura sonora, re-estructurando el sentido -del oído en particular y del cuerpo en general.
El Capitalismo Afectivo o postmetafísico, cuyo modo de vincularse es a través de alguna modalidad del código digital, conoce un despliegue de vinculación y registro sólo limitado por la capacidad tecnológica, es decir ninguna ética ni ninguna intencionalidad humana parecen jugar algún rol más o menos relevante a la hora de decidir el destino de la deriva tecnológica. En este sentido habría que considerar al ser humano una plataforma de despegue o de aceleración de la vinculación mediática que se está llevando adelante. Ésta es la hipótesis que de algún modo el presente Seminario tratará de poner a prueba y someter a discusión.

Este texto comprende seis apartados y la conclusión. En el primero, explicamos qué es la ecología de los medios. En el segundo, señalamos cómo las tecnologías han observado a través de la historia un rol protagónico en la transformación cultural de las sociedades. En el tercero, destacamos que los nuevos medios digitales no únicamente se desempeñan como extensiones de los medios precedentes, además operan como amplificadores. En el cuarto apartado centramos nuestra atención en las remediaciones y las hipermediaciones. En el quinto, destacamos que la nueva ecología digital abre retos y oportunidades a personas, empresas e instituciones. En el sexto apartado presentamos una tipología relativa a la adopción de innovaciones, destacamos la discontinuidad que se presenta en productos innovadores, y concluimos introduciendo el término sabiduría digital, del cual, en buena medida podría depender el devenir de la especie humana en el imaginario de la cuarta revolución industrial.

Using perhaps the most famous science fiction film ever made, what does it mean that we are determined by space? That the human individual was created by controlling its spatial environment(s)? Complicating matters further, that same control that defines us limits our understanding and the spaces themselves, to the extent that the individual itself is under command. space/self/world is a critical examination of a certain philosophical approach to space via Stanley Kubrick's 2001: A Space Odyssey. As bookends to a chronology of the human selfspecifically its spatial relationship(s)-that encompasses Kubrick's whole body of work, 2001 provides an account of human existence from "beginning" to "end." That existence is deeply informed by spatial negotiations involving all people and things. Theodor Adorno's essay "Odysseus of Myth and Enlightenment" explains how the modern self (and reason) came to be, in terms of power relationships and self-domination. Seen together, the film and theories articulated by the Frankfurt School icon give an account of spatial identities that, when brought up against theories of acoustic space put forth by communications theorists Marshall McLuhan and J. Macgregor Wise, demonstrate human identity as largely the outcome of spatial negotiations that have resulted in instrumentalization of spaces, and, in turn, ourselves. This book travels 2001's narrative arc, critically analyzing it by providing a nuanced-at times abstract and metaphorical-account of space, instrumentalization, and power relationships that all intersect as building blocks of the contemporary self. Originally written 15 years ago, its concepts and concerns are as apt and urgent as ever.

https://www.diopress.com/space-self-world

Internet es un elemento complejo de establecer, las variaciones en forma y contenido que ha sufrido a lo largo de su creación y la intervención pública, han fundado un espacio caótico y lleno de posibilidades. Es así que este estudio es un intento por comprender a internet desde sus características más básicas, desde una perspectiva integral y a partir de una investigación profunda que desarrollaré en tres etapas.

A lo largo de tres etapas descriptivas retomaré conceptos vinculados a la explicación del fenómeno tecnológico, con lo cual delimitaré sus alcances descriptivos. Y, por lo tanto, formularé un marco que responda satisfactoriamente a las siguientes preguntas:

• ¿Qué clase de tecnología es internet?
• ¿Qué prácticas alberga ésta tecnología?
• ¿Qué consecuencias y posibilidades promueve?

Finalmente tendré una serie de características que describan a internet. De modo que todo aquello que pueda decirnos como tecnología, medio de comunicación y espacio en construcción, quede establecido y pueda servir como punto de partida dentro de las investigaciones filosóficas del siglo XXI.

The paper explores Tati's use of new film media in 'Playtime' in ways that reveal more fundamental modes of social, mimetic and situational mediation as performed in the film by architects, and architect-like characters, and by the architectural settings which Jacques Tati devised.

"ABSTRACT: This paper examines the theoretical and historical principles that shaped the development of Canadian communication studies. The analysis focuses on the University of Toronto as a historical site for the conception and development of seminal ideas regarding technologies of transportation and communication; ideas that have dominated Canadian thought of the twentieth century, and continue to exert an influence today.

KEYWORDS: Communication, Toronto, Havelock, Innis, McLuhan. PALABRAS CLAVE: Comunicación, Toronto, Havelock, Innis, McLuhan."

The famed Canadian media theorist Marshall McLuhan had an ambivalent relationship with the academia during his lifetime. Despite the renewed interest in his work prompted by the rise of the internet and digital technology, his media theory, due to the aphoristic or “mosaic” style of his prose and interdisciplinary focus, has been controversial in media theory and virtually excluded from philosophy of technology. Critics argue that McLuhan does not offer a comprehensive media theory and McLuhan himself agreed. Instead, he prefered to describe his work as probes and toolkit for studying the effects of media on our senzory perception and society. As the chapter shows, however, McLuhan’s body of work does consist of a coherent media theory that is analysed as two modes of McLuhan’s thinking and based on the assumption that all media extend human bodily and psychic features causing profound changes in humans at the personal and sociocultural level. The chapter analyses the phenomenologically inspired core concepts of “McLuhanite” media theory with the emphasis on his Tetrad, followed by a comparative analysis of his ties to postphenomenology as well as other contemporary theorists. The chapter argues that we should see beyond superficial aphorism and regard McLuhan as a (post)phenomenologically-minded theorist of effects of technology on humans. Following the postphenomenological emphasis on case studies, the chapter finishes with an analysis of an obstetric ultrasound where a possible synthesis of the Tetrad and postphenomenological concepts are applied.

In the recent elections in the US various views have been advanced about why mass media did not predict the rise of Donald Trump. This has led to a round of renewed critique of mass media and suggestions on what is wrong with the way people receive their information via the fifth estate of online social media and pundits. There is also a critique of how journalists gather information. This new research provides several paradigms for analyzing media failure and insights into truths about where media blindspots lead to narratives fed to the public. It looks at the industry as a whole, the twenty year shift to online media content, and how content is generated.