Prompted by this post by The Reading Experience blog on John Dewey’s Art as Experience (1934) I started thinking about the concept of mediazation, a word to which one only finds 344 references on the web. A much more common word that denotes the same quality is mediated, of which there are 77 references on Jahsonic alone, most prominent of which are the references to mediated sex and mediated violence. Mediatedness and mediazation are key concepts in modernism and postmodernism. One might even argue that if modernity started after the Middle Ages and the arrival of print culture for the happy few, postmodernity started with the advent of the mediazation of mass society, with the replacement of aura and direct experience by the media (which coincides with the arrival of print culture for the masses). If one follows this through it would appear that the shift from modernity to postmodernity is only one of degree.
From the web:
For Shaviro, Cronenberg is not simply an illustration of postmodern media theory. Rather, “the brutally hilarious strategy of Videodrome is to take media theorists such as Marshall McLuhan and Jean Baudrillard completely at their word, to overliteralize their claims for the ubiquitous mediazation of the world.” Footnote But the difference between Cronenberg and (for example) Baudrillard is Cronenberg’s insistence on the palpability of mediated experience: –William Beard via http://iceberg.arts.ualberta.ca/filmstudies/Videodrome.htm [Nov 2006]
Experience, quipped Oscar Wilde, is the name one gives to one’s mistakes. Does aesthetic experience then name the central blunder of modern aesthetics? Though long considered the most essential of aesthetic concepts, as including but also surpassing the realm of art, aesthetic experience has in the last half-century come under increasing critique. Not only its value but its very existence has been questioned. How has this once vital concept lost its appeal? Does it still offer anything of value? The ambiguous title, “the end of aesthetic experience,” suggests my two goals: a reasoned account of its demise, and an argument for reconceiving and thus redeeming its purpose.
[…] Modernization and technology, Benjamin likewise argued, have eroded aesthetic experience’s identification with the distinctive, transcendent autonomy of art. Such experience once had what Benjamin called aura, a cultic quality resulting from the artwork’s uniqueness and distance from the ordinary world. But with the advent of mechanical modes of reproduction like photography, art’s distinctive aura has been lost, and aesthetic experience comes to pervade the everyday world of popular culture and even politics. Aesthetic experience can no longer be used to define and delimit the realm of high art. Unlike Adorno, Benjamin saw this loss of aura and differentiation as potentially emancipatory (although he condemned its deadly results in the aesthetics of fascist politics). In any case, Benjamin’s critique does not deny the continuing importance of aesthetic experience, only its romantic conceptualization as pure immediacy of meaning and isolation from the rest of life. –Richard Shusterman via http://www.artsandletters.fau.edu/humanitieschair/end-aesth-exp.html [Nov 2006]
See also: aura – live and mediated popular culture – experience
