Concerning Media Sensate

Magdalenian hand print – Action of automation
Perspectivism – Projection of presence
Abstract expressionism – Projective automation

Hybridization of suggestion and immersion, distractions and transformations
To prolong intensifying experience.

While music seems timeless, it is a matter of the re-interpretation through cultural lenses. It is a bit of an absurdity to paint another Guernica but not one to play another Beethoven’s 5th. If one were to re-paint Guernica, it’s social impact and expressiveness would not create much emotion to the contemporary individual. Yet even today, an execution of Beethoven’s 5th has power to move that a reproduction of an image seems to lack. This statement misses the point.
Guernica represents human war and its atrocities as an archetype, much like a last supper of Leonardo and Emile Nolde represent a confrontation of betrayal. Archetypes are expressed through cultural lenses as are musical compilations. Their original fabrications are interpretations of their socio-political times. This frames the archetype’s structure of expression and every subsequent reproduction is a temporal variant. The 5th symphony can never be played as it were just as Guernica can never be painted as it once was.

Media sensate to simulation
Filtered media sensate a ‘treachery of images’
A relation of linguistic environment and consciousness
Definitions through the language of the map

Mass media is the container of a participative act.
Mass media as media sensate: as mass media definitions converge and participation defined by social context, they begin to work within the realm of active media sensate rites. These registrations of time/history are mimicked through diverse media sensate in a cultural archeology.
Their physical (terminal) and social (spatial) context are regenerated through the proceeding context.
Creating auras of participation.
Through an ideology of a classless capitalism in the triumph of a militarized peace and enforced through an internet mediated interaction. Relations satisfy an immediate concept of sociality without being confined to it. A sociality of virtual relations which an individualistic culture craves.
This translation in media sensate which denies the truth of their immediate medium, reproduces the effects of literature. Becoming something imagined rather then seen or experienced.
Much like the prehistoric, this container within the realm of Media Sensate is a living space.
The delivery technology appropriating the spectator performance is seductive because of the ‘immediate exposure’ it offers.

Media has become an ubiquitous reality… an infinite cultural state of syncretic cultural imperialism.

Media Sensate’s cultic status is established between Aesthetic and Experiential value.
Whether placing ones self on a ritual standing stone or gazing fixed upon an illuminated rectangle,
Participation and Interpretation has been gilded by socio-political constructs

The Simultaneous Existence of Physical Space and the Space of Representation

Labyrinth – Virtual Reality
Installation – Initiation ceremony

While digital is not inherit to only the visual and being solely an information container, most digital media is binded to pictoralism of the past in the fact that it is exclusively a visually induced sensate. The spatial aspect is implied and it’s construct is the formulated restricted view established during the final days of perspectivism to mimic a reality. This cartesian way of seeing has hence been established as a reality unto its own. What individuals interpret from experiencing these techniques can perhaps parallel that of early cinema and the digital virtual terrain. Today the reality reflected through this optic has become more diffused and immediate, liberating it from the temporal constraints of the window’s view. Human sensational experience is multifaceted and digital media containers which focalize solely on this aspect of ‘visual reality’ are bifurcations of realities which depend upon the pre-established foundation. This media sensate’s context is derived from filters in which cultural definitions reinforce it as a concrete reality. The fact that an experience is primarily made for a digital reality sphere makes it a site specific work. Gestural interfacing will perhaps try to incorporate a ‘human’ interaction, (though lacking always objectification integrity through tactile processing) to add more senses to its reality and break the bind of the windows eye view. This is why we see so many works of digital media as installations.

Approach:
Software – Mark Napier
>Jeff Shaw
Hardware – Starlac

Philos – Roy Ascott

Form is a representation of idea through a complex of line, color and symbol. In creating untraditional form ( ie. The interpretation of recognizable symbols ) new definitions of form are established, thus building upon the inventory of a unified representation.
Uses of form become obsolete through an inability to unify the representation of idea
Each individual form does not cease to function when assimilated but modify through their incorporation in inventory becoming conditions of the new definition of form.