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具有历史意义的技术革新不仅决定着现实世界中人与人之间的社会经济、政治关系，同时决定着人类感觉器官和人类自身本体性的改变。正如马克思指出的，技术形象地阐释了人与自然之间的相互作用，同时改变了人类在具体化时被历史性建构和发展的方式。麦克卢汉认为，由技术扩张带来的感官延伸会在所有的感官中产生新的感官比例。他还强调，多感官、多能力的延伸同属于一个经验范畴，因而必须协同一致。针对所谓的新媒体艺术的议题，笔者的目标是在当下后福特主义的情境中检测“解放性的新事物”。如果说，(新)媒体的影响力只能在能够改变人与人之间个体相互作用的方式中进行检验，联系麦克卢汉的相关理论，那么，不用考虑任何新“技术”，艺术解放力即被看作是消解共通感的变革力量。“,”The historical technological transformation conditions the socio-economic and political relations between individuals in the given world, as well as, ontological changing of the human sensorium and of the human being itself. As Marx already pointed out, the technology exemplifies the interaction between human beings and nature and changes the way in which human embodiment is historically constructed and experienced. According to McLuhan, the extension of the sensorium by technological dilatation produces new ratios or proportions among all the senses. McLuhan highlighted that the extended faculties and senses constitute a single field of experience, which demands that they become collectively conscious. My aim is to examine this asser-tion in the context of thinking the“emancipatory new” in a so-called New Media Art in the present, post-Fordist state of affairs. If the power of the ( new) media is to be found in the very possibility to change the way individuals interact with one another, according to the theoretical point of departure by Marshall McLuhan, the artistic emancipatory change should be thought as the singular change towards materialisation of the dis-sensus communis regardless any new“technology”.