The remediation of technology and society finds a perfect expression in the concept of "technosociality," a term initially used by Arturo Escobar and Rosanne Stone to point to the interconnection of nature and technology in our lives. And, of course, the notion of hybridity of such authors as Latour and Haraway is of the utmost importance in this respect.
I think that the attribution of a "networked" character to every technosocial formation is an efficacious way to escape the rhetoric of substitution as well as that of novelty concerning the "advent" of information society (or every newer technology), with all its fears and hopes.
The stress on the mediating operations of the networked space of technosocial assemblages also subverts the theological belief in a dualism between our reality and a reality beyond.
Talking of which, see the very interesting article of Reneé van de Vall (2002), "Immersion and Distance in Virtual Spaces." Thamyris/Intersecting(9): 141-154. (for those of you who are interested, I can give the pdf.)
Ciao,
Federica
---------- Initial Header -----------
>From : yasmin_discussions-bounces@estia.media.uoa.gr
To : "YASMIN DISCUSSIONS" yasmin_discussions@estia.media.uoa.gr
Cc :
Date : Sat, 23 Jan 2010 11:37:41 +0000
Subject : Re: [Yasmin_discussions] Simulation, remediation
> The concept of remediation doesn¹t just apply to obvious media, such as TV,
> cinema or computers. It also applies to how humans are humanly remediated.
> >From when we are born we begin to learn language and other social signifiers
> and processes of exchange. The process of social mediation is initiated from
> birth (it might even be possible to identify this process earlier in the
> life cycle). Social mediation is not static, just as other media are not
> static. The conventions around what things mean, and what their value might
> be, change - as do their processes and structures. This is a process of
> remediation. In this sense human is media.
>
> The idea that it is possible to experience anything directly, as the
> phenomenologists argued, is simply unsustainable.
>
> Best
>
> Simon
>
>
> Simon Biggs
>
> Research Professor
> edinburgh college of art
> s.biggs@eca.ac.uk
> www.eca.ac.uk
>
> Creative Interdisciplinary Research into CoLlaborative Environments
> CIRCLE research group
> www.eca.ac.uk/circle/
>
> simon@littlepig.org.uk
> www.littlepig.org.uk
> AIM/Skype: simonbiggsuk
>
>
>
> From: Pier Luigi Capucci <plc@noemalab.org>
> Reply-To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Date: Fri, 22 Jan 2010 22:42:33 +0100
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Subject: Re: [Yasmin_discussions] Simulation, remediation
>
> Dear Federica,
>
> thank you so much for posting Bolter and Grusin's ideas in "Remediation"...
> the so called "immediacy" seems pervading the content of some media, like
> for instance, cinema, the metaverses, and to some extent the videogames
> (less television, which seems closer to hypermediacy), Anyway mediation is
> unavoidable, both in immediacy and in hypermediacy. And far beyond the bare
> images' realm.
>
> Best!
>
> Pier Luigi
>
> Il giorno 21/gen/2010, alle ore 15.52, fmarineo@libero.it ha scritto:
>
> > Hi everybody,
> > I would like to add something to the issue of representation and its relation
> to the logic of immediacy that it very often presupposes, one which does not
> either leave space for mediation or, maybe worse from a political perspective,
> to that ³historical intermediacy²- to use an Homi Bhabha's expression - where
> the performative nature of differences, included those btw. real/virtual, or
> real/representation, can emerge.
> >
> >
> > Bolter and Grusin (1999) date the faith in an ³Ointerfaceless¹ interface² of
> digital media back to Renaissance, where they locate the origin of the aesthetic
> of transparency, manifest in the metaphor of the window used to describe
> monolinear perspective, which incidentally also accompanies the initial
> applications of the graphical user interface. In this regard, they quote the
> example that Norman Bryson makes about oil paint and its use as an ³erasive
> medium². Postulating a correspondence between the medium and what it represents,
> rather than, more naively, between representation and the thing represented, the
> illusion of immediacy belongs to those who assert that we now live an
> unprecendented moment in the history of technologies, given that new
> technologies will eventually do without mediation. The historical counterpart of
> this desire for immediacy is the logic of hypermediacy that, rather than seeing
> representation as a window open toward the world, sees representation as itself
> ³windowed², as a coexistence of multiple points of view. The logic of
> hypermediacy is not only aware of, but also extremely fascinated by mediation,
> with which it plays, as we can see from the Medieval manuscripts, the Baroque
> cabinets of curiosities, the trompe-l¹oeil paintings and the collages and
> photomontages of the the twentieth century, among the several artistic
> expressions of hypermediacy.
> >
> > Bolter and Grusin, by the way, point at the interdependence between immediacy
> and hypermediacy: ³just as hypermedia strive for immediacy, transparent digital
> technologies always end up being remediations, even as, indeed precisely
> because, they appear to deny mediation² (Ibid., p. 54). Their notion of
> ³remediation² shows precisely how reality and mediation cannot be separately
> conceived nor practiced, and how digital technologies do not changes the status
> quo more than they remediate the previous mediations. That is: neither the
> medium nor the real exist in a pure form, independently from their reciprocal
> mediation (of their already mediated natures).
> >
> > Sorry for the long post!
> >
> > Federica Timeto
>
> --
> Pier Luigi Capucci
> e-mail: plc@noemalab.org
> web: http://www.noemalab.org/plc/plc.html
> skype: plcapucci
>
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