The rapid advancement of digital technology has catalyzed a profound transformation in media art, enabling its expansion across sensory, spatial, interactive, economic, and social dimensions in ways that challenge longstanding assumptions about artistic form, audience engagement, and cultural value. This article employs Marshall McLuhan's media theory — particularly the propositions that 'the medium is the message' and that media constitute extensions of the human sensorium — as an analytical framework to examine the multidimensional scalability of contemporary media art. Drawing on TeamLab Borderless Shanghai as a primary case study, the analysis proceeds through four interrelated dimensions: technology integration and sensory extension; interactivity and the reconfiguration of creative agency; spatio-temporal reconstruction; and economic and social transformation. The article argues that media art, understood through a McLuhanesque lens, does not merely deploy digital technology as a neutral vehicle for aesthetic content; rather, the technological medium itself is the constitutive message, actively reshaping perceptual ratios, reconfiguring the ontological boundary between artwork and audience, and generating systemic socio-economic effects. As generative artificial intelligence and extended reality technologies deepen their integration with artistic practice, the scalable boundaries of media art will continue to expand, warranting sustained theoretical and empirical attention from scholars of media, culture, and the arts.

ABSTRACT This article recovers a neglected intellectual lineage connecting interwar literary criticism to mid-twentieth-century developments in machine translation and new media theory. I.A. Richards's lectures are known to have shaped the thinking of Marshall McLuhan but Richards's 1930s work on Coleridge's ‘semasiology’ also had a less well-known line of influence: on the philosophy and practice of Margaret Masterman, founder of the Cambridge Language Research Unit, a seed bed for much early work in computational linguistics, cognitive science and artificial intelligence. Masterman carried forward from her reading of Richards and Empson, alongside her work with Wittgenstein, an understanding of language as irreducibly poetic, ideographic, combinatorial, and unamenable to disambiguation. It was this conception of language she sought to actualise in her pioneering work in machine translation during the 1950s. In parallel with Masterman's ‘Mechanical Pidgin Translation' experiments with Virgil's Aeneid, Richards was also experimenting with multiform remediations of Homer's Iliad: their experimental translations of classical epic poems probed what it meant to encounter, judge and compute language in the mid-century. While Richards's noisy remediations and Masterman's abandoned pidgin programs were perhaps generative failures, they offer salient reminders that language cannot be adequately computed without strenuously imaginative experiments at the intersection of philosophy, criticism and literature.

Abstract Artist Piotr Kowalski not only used electric light as an artistic medium in his Mesures à prendre (1969) but also enabled visitors to touch and manipulate it. The author demonstrates how electric light, in the context of Kowalski’s work, functions as a mediator between the public, technology, art, and science. She reflects on the combination of electric light and tactility, citing the ideas of philosopher Marshall McLuhan, and scrutinizes how visitors’ handling of Kowalski’s fluorescent tubes affected their level of participation, experimentation, and illumination (literally and figuratively).

This study critically updates Marshall McLuhan’s media theory to analyze the mental, sociological, and artistic effects of generative artificial intelligence, understood as a radical cognitive extension that reconfigures perception, identity, and cultural production. A qualitative approach based on comparative conceptual analysis is employed. Foundational texts by McLuhan are examined in dialogue with recent scholarship in neuroscience, algorithmic sociology, and computational creativity studies. McLuhan’s tetrad is systematically applied as an interpretative framework. Findings indicate that AI externalizes cognitive processes such as synthesis and writing, enhancing efficiency while activating the Law of Reversal. Risks of digital amnesia, cognitive sedentarism, and the erosion of deep reading are identified. Sociologically, the “global village” evolves into algorithmic fragmentation and a surveillance capitalism model. In the artistic domain, authorship becomes decentralized and creativity is redefined in terms of statistical recombination. AI emerges as a structural media environment whose efficiency may reverse into intellectual dependency and conformism. The study underscores the need for anticipatory governance and renewed critical media literacy to safeguard human agency.

Abstract The idea that technical objects result from the projection of organs or, more generally, the extension of the human body, has been central to media theory since Marshall McLuhan (1911–1980). From the perspective of recent history of science, this paper argues that this idea cannot exclusively be traced back to Ernst Kapp’s (1808–1896) philosophy of technology, as is often assumed in media studies and related fields. Rather, it should be understood as a manifestation of a discourse that goes back much further, which understands scientific instruments—prototypically telescopes and microscopes—as “external,” “artificial” or simply “new organs” with which the “internal” and “natural,” i.e. the already existing sensory organs of humans are “supplemented” and/or “enhanced” in order to “extend” human cognition and knowledge. This discourse is traced back via the physiologist Claude Bernard (1813–1878), the sociologist Herbert Spencer (1820–1903) and the naturalist Alexander von Humboldt (1769–1859) to Robert Hooke (1635–1703) and René Descartes (1596–1650). On this basis, the topicality of a historically oriented and theoretically reflected “organology” is discussed, which critically examines the ways in which media and instruments contribute to extending human knowledge.

The Origins of Printed Man: Ian Watt, Marshall McLuhan and Rise of the Literacy Thesis

This essay is a personal reflection as an artist living and engaging with a derelict plant nursery and the various opportunities for artistic practice that have arisen from this post-industrial site which is being returned to nature. It uses the context of the derelict greenhouse complex, past and present, to consider seasons as polyrhythmic and how the fluid seasonalities inside and outside have affected one another and in turn influenced the production of artwork over one and a half decades. The essay draws on inspiration from the writings of the architect Richard Neutra , philosopher Vilém Flusser , the media theorist Marshall McLuhan, the artist Robert Smithson, the anthropologist Viveiros de Castro and the theorist Nathalie Loveless . Through exploring seasonality, multinaturalism and biorealism, I try to show a way forward for artistic practice to bridge the gap that is developing between society and nature.

This article offers an interpretation of urban artificial intelligence based on the concept of media and more specifically on Marshall McLuhan’s media theory. The Canadian scholar’s legacy, imbued with humanistic values, can inform an understanding of contemporary intelligent media that transcends the efficiency-focused discourses on the smart city. The article also argues that it is unnecessary to make a conclusive choice between artificial and collective intelligence as the term ‘collective’ can be given a wider meaning so as to encompass, beyond humans, sociotechnical communication systems.

An Epi-Phenomenological Series in Thrice A Quantum Junkies' RiddleOur Garden A Meta-Structural Synthesis of the Our Gods Trilogy

ABSTRACT According to Kuskis and Logan (2013), one of Marshall McLuhan’s main concerns was education, although he is not widely recognized for his studies in this field. Despite having published only two books specifically on the subject, his ideas can be accessed through lectures, interviews, and other media appearances. Based on detailed research conducted in libraries in Canada, McLuhan’s home country, this paper aims to identify possible connections between the ideas of Freire and McLuhan, as well as to explore the aspects that distinguish them. By applying the Laws of Media (McLuhan, M.; McLuhan, E., 1988) to Freirean and McLuhanian thought, considering the classroom as a medium, it is concluded that McLuhan can be seen as an educommunicator and that his studies offer significant contributions to the field of Educommunication.

The object of the study is the work of Piet Mondrian, canonized as the apotheosis of "cold" geometric abstraction. The subject of the research consists of the dialectical relationship between "hot" and "cold" elements in his artistic system – from the ideological genesis to cultural metamorphoses. Special attention is paid to the operationalization of the dichotomy "hot/cold," borrowed from the media theory of Marshall McLuhan and enhanced by the concept of "uncertainty" by Wolfgang Iser. The study traces how the "hot" theosophical-utopian content evolves and is "sublated" (in the Hegelian sense) into the formally rational structure of neoplasticism. Key aspects are analyzed: the genesis of the "cold" form from "hot" spiritual searches, its place in the triad of European abstraction (Kandinsky, Malevich, Mondrian), as well as the sociocultural "biography" of Mondrian's works, during which their "temperature regime" is redefined in the processes of canonization, commodification, and vulgarization. The methodological foundation is a synthesis of phenomenological, dialectical-philosophical, and sociocultural approaches that allows for the disclosure of the multidimensionality and dynamic nature of his artistic project. The scientific novelty of the research lies in the development and testing of an original three-level analytical model that synthesizes the media logic dichotomy of "hot/cold" (M. McLuhan), the philosophical concept of sublation (G.W.F. Hegel), and the tools of sociocultural analysis (I. Kopytoff, P. Bourdieu, J. Baudrillard). This synthesis enables the overcoming of the limitations of purely formalist or sociological approaches to Mondrian's work. For the first time, the dialectic of "temperatures" is systematically applied not only to analyze the internal evolution of his style but also to trace the external "biography" of his forms, revealing the dynamic nature of seemingly static abstraction. The main conclusions of the study confirm that the mature "cold" system of neoplasticism is the result of the dialectical sublimation of "hot" theosophical-utopian content, rather than its negation. Mondrian's work occupies a unique place in the European avant-garde as a project of constructive synthesis, in contrast to Kandinsky's "hot" expression and Malevich's "cold" negation. The analysis of the cultural metamorphoses of the artist's legacy demonstrates that the "temperature regime" of his works is not an inherent property but is historically changeable, determined by the logic of their reception field – from museum canonization to commercial appropriation.

This study explores how Indonesian Instagram users construct and negotiate their digital identities through the use of two accounts commonly known as the first account and the second account. Using Kenneth Burke's dramatism and Marshall McLuhan's media ecology as theoretical frameworks, the study investigates the symbolic and environmental dimensions of online self-presentation. The study adopts a qualitative approach combining content analysis and semi-structured interviews with five active Instagram users who maintain public and private accounts. The findings reveal that users perform distinct identities in these two spaces: the first account serves as a stage for curated, professional, and aesthetically controlled self-representation, while the second account serves as a more intimate and expressive arena for personal narratives and emotional disclosure among a trusted audience. Through Burke's pentadic analysis, these practices are understood as symbolic acts shaped by social expectations and platform affordances. From a media ecology perspective, Instagram's visual and interactive architecture reinforces distinct modes of communication that shape users' identity performances. This study contributes to broader discussions on digital identity and self-presentation by demonstrating how technological environments mediate symbolic expression and the negotiation of privacy in everyday social media practices. This study also highlights the growing importance of multiple account culture as a coping mechanism for navigating authenticity, visibility, and social pressures in digital society.

The aim of this article is to analytically compare two academic perspectives – the philosophical and the media-theoretical – specifically the aesthetics of Władysław Stróżewski and Marshall McLuhan’s concept of art. Stróżewski emphasizes the mediating function of the artwork as a carrier of values and meanings, while McLuhan sees works of art as specific forms of communicative media. Do these thinkers, rooted in different academic traditions, define the concept of art as a medium in a similar way? How does art as a medium affect the individual and culture? The methodology employed in this article is a comparative analysis of available literary sources. Despite their differing sources of inspiration, both scholars regard the artwork as a medium not only of meanings, but also of values and cultural messages. They also highlight the communicative, interactive, and transcendent character of art. A comparison of both approaches reveals a complementarity between their seemingly distant conceptions of art as a bearer of meaning and a medium of culture.

The article examines the phenomenon of quadrobing as a new socio-cultural phenomenon in Russian society. The study is based on data from a sociological survey of Russian citizens aimed at studying their attitude to quadrobing, identifying key factors of perception and assessing its social risks. The analysis uses classical sociological theories: Marshall McLuhan's theory of communication, Ulrich Beck's concept of a "risk society" and Walter Lippmann's theory of stereotypes. Special attention is paid to two key research issues: (1) the distribution of quadrobing perception depending on the socio-demographic characteristics of respondents, and (2) the role of mass media in shaping public opinion about this phenomenon. The empirical part is based on the results of a survey of 146 Russian Internet users, which included 21 questions about quadrobing. An analysis of the data obtained showed polar assessments of the phenomenon: from its perception as a harmless hobby to a dangerous subcultural phenomenon that destabilizes traditional social norms. In conclusion, conclusions are drawn about the dynamics of public opinion and it is noted that quadrobing is perceived as risky practices, which corresponds to Beck's concept of uncertainty in modern society. Recommendations are offered on the development of a balanced information policy aimed at the correct coverage of quadrobing in the media and minimizing its possible social risks.

The study presented in this article aims to identify systemic threats to political stability and digital sovereignty in the Republic of Uzbekistan caused by fragmented legal regulation in the field of artificial intelligence (AI). A comparative analysis of regulatory models in Uzbekistan, Russia and Kazakhstan revealed critical gaps in legal frameworks for AI, specifically, there is a lack of specialized legislation on use of AI, ethical standards, and a direct prohibition on manipulative techniques such as deepfakes, mechanisms for risk assessment, clear delineation of responsibility for harm, and the development of national infrastructure with effective training tools. In the context of Marshall McLuhan’s media ecological theory, which views AI as an “external brain,” these gaps create a vicious cycle of interrelated political risks. The population’s cognitive vulnerability, known as “brain rot,” combined with unregulated synthetic media (deepfakes), creates the conditions for mass manipulation. Technological dependence on foreign platforms and the exodus of specialists lead to the loss of digital sovereignty. The uncritical implementation of AI in the public sector without accountability mechanisms undermines institutional trust. The article provides evidence that maintaining the current regulatory approach turns AI from a tool for development into a source of systemic vulnerability. In order to minimize these risks, it is necessary to immediately adopt comprehensive legislation that takes into account best practices from neighboring countries and addresses current challenges in the legal regulation of AI.

This article examines how Internet technologies reconfigure human sensory experience and induce decorporation—the experiential dissociation of consciousness from the physical body. Drawing on Marshall McLuhan’s media theory and theological anthropology, the study demonstrates that digital immersion amplifies certain senses (vision, hearing) while anesthetizing others (touch, kinesthesia), disrupting the sensory balance essential to integrated human perception. This sensory reconfiguration, combined with prolonged physical stasis before screens, produces a dualistic self-experience wherein consciousness appears detached from bodily existence. The analysis identifies ideological support for this phenomenon in transhumanist philosophies that reconceptualize personhood as information rather than embodied reality. Against these neo-gnostic visions, the article proposes a techno-realist framework grounded in Christian theological anthropology that affirms both technology’s formative power and the irreducible significance of embodied existence, calling for technological asceticism and practices preserving psychosomatic unity.

Aim: The research and cognitive objective of this paper is to characterise the methods and forms through which the theories and work of Marshall McLuhan are popularised by The Marshall McLuhan Initiative, an organisation based in Winnipeg, Canada. Methods: To achieve this aim, the following methods were employed: content analysis; a literature review as understood, among others, by Hannah Snyder; and the qualitative interview method (individual in-depth interviews). The research material consisted of literature concerning The Marshall McLuhan Initiative and a report on the conducted in-depth interviews. Results and Cognitive Value: The principal forms of popularising the theories and work of Marshall McLuhan, as practised by The Marshall McLuhan Initiative, include seminars and conferences, systematic participation in the Media Ecology Association Convention, and The Medium and the Light Award – a special distinction granted to researchers, writers, and thinkers who particularly advance the religious ideas of Marshall McLuhan, the Canadian media visionary who revolutionised the way we perceive the impact of technology on society, culture, and religion.

This study examines the transformative impact of business digitalization on contemporary enterprises, focusing on how digital technologies reshape organizational structures, cultures, and value creation processes. In the era of the Fourth Industrial Revolution, companies increasingly rely on artificial intelligence, big data, automation, and cloud computing to enhance efficiency and remain competitive. Yet, the transition to digital systems introduces challenges such as cybersecurity risks, data management complexities, and organizational resistance to change. Drawing on the insights of Adam Smith and Marshall McLuhan, this research connects classical economic theories of labor division and competition with modern digital innovation, while also highlighting how digital media alter business models and customer engagement. Using a qualitative research design supported by an extensive literature review, the study identifies key themes including decentralized organizational structures, innovation-driven cultures, enhanced personalization, and the emergence of new digital value streams. The findings indicate that successful digital transformation requires a clear strategic vision, agile leadership, investment in digital talent, and robust cybersecurity measures. Overall, this research emphasizes that while digitalization offers immense opportunities, its benefits can only be fully realized when organizations address its challenges proactively and adapt continuously to technological change.

The study examines the challenges of Artificial Intelligence on public perception of communication disorder among youths of Nekede. The concept of artificial intelligence (AI) on communication disorder has continued to generate controversy and attention globally. Artificial Intelligence is known as machine intelligence capable of mimicking human cognitive functions such as learning, understanding and solving problems. The study objectives include identifying challenges posed by artificial intelligence on communication disorder, and to know if artificial intelligence has the ability to cause emotional intelligence or communication disorder. The study is anchored on technological determinism theory as propounded by Marshal McLuhan and Charles Spearman g-factor theory of intelligence. The study adopts a survey method using questionnaire and interview as a research instruments for data collection. The population for the study is 15,548. The sample size is 400 according to Taro Yamane’s formula. The technique for the study is simple random sampling. The data is presented in tables and simple percentage. Findings revealed that respondents have an understanding of the new technology and its functions ability. Other findings showed that AI can be used to solve learning and hearing problems. Consequently, the researchers concluded that the youths should embrace the nouveau technology and utilize it for improvement of communication disorder.

This study examines the phenomenon of increased em dash usage in AI-generated text and its subsequent influence on human writing practices through the lens of technological determinism and social construction of technology (SCOT). Through analysis of recent empirical research, this paper addresses two primary research questions: (1) What computational and data-driven factors explain the prevalence of em dashes in major LLM outputs? and (2) How are educational institutions and writers responding to this phenomenon? The research reveals a complex dialectical relationship where computational factors including training data composition, tokenization processes, and reinforcement learning from human feedback—create distinctive punctuation patterns that subsequently influence human writing behavior. Educational institutions are adapting through comprehensive policy frameworks while writers are modifying their practices in response to AI-generated text characteristics. The findings support Marshall McLuhan's concept that "we shape our tools, and thereafter our tools shape us,"[11] demonstrating that AI writing tools represent neither pure technological determinism nor complete social construction, but rather an ongoing co-evolutionary process reshaping the fundamental nature of written communication.