Concerning Media Sensate

Media sensate and technology have always resided side by side. One cannot exist without the other. When photography substituted painting as visual registration, the technology of perspectivism became embedded in the hardware of optic machinery. Through a short deviation, subject matter within painting explored the physical impact of industrialization upon the human psyche, while media sensate as a whole began to utilize the new technology and its processes as forms of expression. Primitive works used cultural conceptions expressed through the most advance technology available at the time of their creation. Today we have an interpretation of high-technology which doesn’t seem to fit our old definitions of a transparent media sensate experience. High-technology has become predominant in the dialogue between psyche and hardware. Science as a shamanistic fetish has made hardware a scintillating amulet. Those blinking machines project our intellect and superiority, enthralling our ego as the harbingers to utopian civility.
Transparency of that hardware throughout everyday life supersedes the dilemma of aura which is receptive to the sensitivity of cultural baggage in a form of nostalgia. Culturally conceptual referents, once interpreted as idolatrous, blend amongst rituals of transnational exchange.
Modes of exchange and interaction translate through technology to the cultural initiate.
In a consented reality, the object of creation and medium through which it is construed are contextualized temporally through culture. Object shown outside a particular social contextualization, would have a diverse impact, fundamentally altering its definition of ‘breath’.
If aura is the ‘life’ (breath) given to a particular object through its cultural context, wouldn’t then the aura of a completely visual digital form be at the moment of its conception. The cultural state embedded as all elements coalesced to form the media experience. Aura is not subversive to the cultural impediment. That is why physical replicas can be made to try and trick the individual into a false contextualization while distinguishable by highly sensitive ‘technicians’. So the totality of the medium and the cultural it is embedded at the moment becomes it’s aura, a concept, which does not rely upon a physicality. In formats such as the digital, the expression is no longer centered upon the object, nor the medium itself which reproduces a visuality of object referring to cultural context. These are the auras of quantum teleportation. The reconstruction of presence without apparent mediation.
Digital technology evokes aura through reference which is a mix of transparency and hypermedia.
Once indoctrinated, conceptual mythology bridges the near/far relation of aura which serves to disengage the temporal impediment of culture and illude to an ubiquitous state.
Because of digital medium’s non-physicality and vicissitudinous hardware, its ubiquitous state is immediate without being confined to it. The digital aura the effect of participation whose temporality is momentary.