Mediology

What mediology wishes to bring to light is the way in which something serves as a medium, and the often unperceived complexities that go with it, looking back over the long term (from the birth of writing) without being overly concerned with present-day media (even if certain mediologists are prepared to consider these).

Against the background of the radically constructivist mediologies of Vilem Flusser and Niklas Luhmann, Berressem argues that Deleuze's radical philosophy allows for a fundamental realignment of the ecological notions of the environment and the medium.

Mediology is interdisciplinary by nature and, therefore, unstable and constantly defining new avenues of inquiry that reveal the mechanisms of history itself.

It would be, were it not for the powers attributed to mediology, which Debray defines as a battle against a marked Western tendency, 'la coupure de l'esthétique' [the split between aesthetics and technology] (ibid.: 163).

I do not believe any mass mediology can predict the effect of a mass media message.

There was no media research in the strict sense during this period. Mediology did not yet exist.

Throughout the chapters that follow, I focus on the centrality and significance of contemporary media theory to understanding nineteenth-century British literary, scientific, and technological production and thus concentrate my attention on Romantic mediologies as opposed to inspecting perhaps more eminent or familiar critical or theoretical paradigms like Romantic book history and print culture, studies of Romantic reading publics, investigations of nineteenth-century periodical culture, or Tomanticism and the digital humanities.

It is everywhere visible in hard data about four key elements of that culture: film. television, books, and theme parks. But it is not limited to such elements, for they are but pieces of a mesmerizing global mediology that suffuses consciousness everywhere.