Concerning Media Sensate

Indirect association – Experiential Processing (Psycho-biological)
Non-accessible Direct association – Expressed through an awe of dislocation
Context of Participator – Participator of Content

To ask whether something is a ‘valid’ media sensate is not the question, media sensate activity is inherent to that function. It is valid in its creation.
What dialogue is needed when approaching works termed as media sensate experiences are their intent through social and/or art historic references, Only then can a work be experienced. Now one can say that the impulse of emotion are elements of discourse and one would be correct in this. Yet what must be remembered is that emotion is contextualized through sociological processing.

Seeing not the art but what it creates
Perceive self perceiving
Shape of perceptions
Interaction – Transformation Emergence
Non-Location Observer

Media Sensate as Memento of Capitalistic Thymos

Content and object become banal through a conformity of consumption. These abstract values are dictated by the machine of accumulation. This conformity stagnates its numinous value and renders it obsolete. These idea tokens are not entities based on an idea of conception but are ideas based on objects for consumption.
Paraphernalia which are reminders of commerce in a structure of ideas through a media sensate philosophy. These intellectual ready-mades are neutral towards the pleasure of seeing.

Implicit Mass
Plurality Participation
Contextual in Totality

Integrating meaning bridging the Obsolete

Consumer Fanaticism
Collection of Bits
Paraphernalia

Our emphasis on certain aspects of media sensate philosophy and their correlation to the social conditions in which it had propagated are the only changes it has taken throughout its practice.

‘street art’ or graffiti is something in a repressed ( of expression ) culture can be justified for the masses. In a more ‘developed’ culture it is a sign of degradation and vandalism…

Its irony in a westernised culture is that while done outside the avenues of ‘mediated culture’ it is absorbed and filtered through it thus not making it a break through expression of oppression.

Graffiti will always be considered a repressed form of expression because of its inherent structure. Fundamentally the modernization of defacing private properties makes it vandalism but as it is absorbed by traditional means of cultural display, it becomes merely a graphic expression to be consumed like any other. Throughout history its sophistication has morphed into what today has become advertising and corporate branding, filtered through a transnational capitalist culture.

Urban support used as its venue to reach an even undesired spectator, the defacing of private property outside the established transnational capitalist means is a lure of the rebellious spirit which finds its voice and ideas repressed by that system. yet once illuminated by that very system as a justified cultural expression , its very voice is subdued.

An example of popular visual political activism in art can be demonstrated with Krysztof Wodiczko

The discussion of the monetary value intrinsic in media sensate is trivial. The only merited value upon which media sensate should be measured is the cultural embrace of its recognizable self knowledge and the definition therein. The privileged space outside history is validated by the combined efforts of its initiates for quality of meaning not market. Those works which address distinctions of market value, function as objective transactions in the ritualistic rite of capitalist culture. Their place is outside of social history until they are transvalued as distinctions of experience in the testimony of cultural value. Definitions will always be cultic in form and ritual acts of culture needing to be deciphered by external participants.

Media sensate are the props in the socio-political theater of culture.
The expression of a market itself is not the image but the act. Market is expressed through transaction. Shifting and augmenting of value of these transaction markers serve only as secondary elements to exchange.

Examples of the crafters of props and theater in the capitalist polity under the ageis of an ‘art’ history:
Picasso
Duchamp
Warhol
Mark Kostabi
Jeff Koons
Damien Hirst
Takashi Murakami

( In comparison , Warhol’s syntax was a stylistic syntax taken from graphic culture. While Murakami takes a cultural syntax and iconizes the distrabution. )