'Media' is coming to mean not the discrete, dedicated devices of old but functionalities that are increasingly available through non-media objects. The interface remains the form of access, inviting the use of media affordances, but its design grows more natural, demanding less of the user -especially because behind the interface are intelligent information machines that are able to anticipate the user's desires. These conditions in turn allow people to experience greater emotional and imaginative relations with media; together they form 'assemblages' of embodied and extended cognition. The automobile is used as a case study of this transformation, which poses difficult challenges for a material approach to media studies.Keywords: New media; interface; material analysis of media; mediatization of the automobile Patrick Joyce and Tony Bennett (2010, 7) celebrate, ' a material turn' in history and the social sciences, claiming it to 'be the most important of all the recent intellectual turns.' The earlier ones -cultural, linguistic, literary, textual -all share, as Dan Hicks and Mary Beaudry (2010, 1-2) put it, a 'representational logic'. In contrast, materially oriented analysis examines how the affordances of material things translate human intentions and shape human uses; human persons shape themselves in constant, active or passive interaction with a world of humanized things; and persons, too, operate in part as things in a world formed of things, texts, codes, regulations, spatial environments, institutions, frames of understanding and action, bodies, reflexive knowledges and the accumulated weight of the interaction over time of all these materials of the world (Frow 2010, 86).Applied to media studies, a material approach attends necessarily to the physicality of media. One large-scale example is recent investigations of media buildings. Lynn Spigel examines the influence of 1950s modernism on the construction of TV network production centers in Los Angeles, which employed well-known architects to produce award-winning designs in the service of CBS's and NBC's corporate image. Spigel (2008, 112) says that these futuristic buildings forced audiences and sponsors alike to view nascent television as ' a distinctly new media site.' The Swedish Media Houses project (Ericson and Riegert 2010) studies broadcasting and