It was not until the emergence, in the 19th century, of new technical devices – such as the telegraph and the phonograph – that the term medius came to serve as a collective noun (media) for advanced communication technologies. Although mediation is extensively theorized in philosophy and sociology, and is approached by medium theory and media studies, the concept remains undertheorized in the field of communication theory.By exploring the problem of mediation and by challenging its representationalist and transmissive accounts, this (...) paper posits mediation beyond the medium. It traces mediation as a relational principle which can be best understood as modulation involving inherent translation, inflection and movement. Mediation is not a simple transportation of meaning through a passive intermediary. It is not just something which stands or comes between things otherwise separated or opposed. Mediation is neither a middle-thing linking separate entities, nor do things get mediated: They are already forms of mediation. Mediation is, foremost, a connecting mean that generates modified experiences and relations, a modulating process that re-connects at the moment it separates. (shrink)

The Fold is a book of practical philosophy that takes a radical new approach to aesthetics. Laura U. Marks calls this philosophy "enfolding-unfolding aesthetics," based in ideas derived from Gilles Deleuze and others (G.F.W. Leibniz, David Bohm, and Édouard Glissant) that the universe is folded in on itself. She proposes a theory of mediation as contact and connection across the folds and a set of embodied methods for detecting such cosmic connections. In drawing out this aesthetics, Marks considers the embodied (...) and sensuous dimensions of engaging with audiovisual works and works of art-dimensions that Marks suggests are composed of the very folds that compose everything and everyone: all living beings, from humans to particles, sandwiches to stars, technologies, thoughts and images, in the present, the past, and the future. Making use of art and film, with a focus on African diaspora and Arab cinema, Marks opens ways to strengthen connections to the cosmos and to better trace processes of becoming that are immanent within the fold. (shrink)

The screen is not a pre established object: it becomes a screen—and that screen—when it interacts with a group of elements and relates to a set of practices that produce it as a screen. In this process of becoming screen, a crucial step is played by the space in which the screen is located and where spectators gather. The confluence of screen and space changes our perception of both: the screen displays the situatedness of its action, and the space its (...) nature of medium. The landscape becomes a screenscape, in which individuals access images through which they negotiate with reality and others. Eventually, the insistence on becoming screen highlights the role of contingency and conjuncture in the process of mediation: screenscapes emerge according opportunities, conflicts, and potentialities. Hence a media archeology that, far from being linear and teleological, follows unpredicted paths and creates surprising links—a rhizomatic media archeology. (shrink)

The tradition of Kant’s critical philosophy developed the concept of imagination rigorously and productively. In this article, I shall defend the suitability of placing this concept in a paleoanthropological frame and linking it to the cognitive practices – predominantly sensorimotor, interactive and those directed at the emergence of technologies – which preceded and prepared for the advent of articulated speech. Special attention will be paid to the internalization processes of these practices and their effects on human conduct. On the basis (...) of this discussion, I shall defend the theory by which the advent of denotative articulated speech entailed a profound reorganization of the technical performances attributable to the imagination and the relative internalization processes. Moreover, the origin of articulated speech inaugurated a singular story, that of the relationship between word and image. In my conclusions, I shall describe a major outcome of this within the framework of the new electronic technologies. (shrink)

In the current social and technological scenario, the term digital is abundantly used with an apparently transparent and unambiguous meaning. This article aims to unveil the complexity of this concept, retracing its historical and cultural origin. This genealogical overview allows to understand the reason why an instrumental conception of digital media has prevailed, considering the digital as a mere tool to convey a message, as opposed to a constitutive conception. The constitutive conception places the digital phenomenon in the broader ground (...) of media studies, and it considers digital technologies as an interface between the subject and the world. In this perspective, the media is not added to the experience of the person, but it shapes it from within on a cognitive, expressive and communicative level. The article makes use of two powerful examples to show the shortcomings of an instrumental conception of the digital, and to affirm the value of a constitutive conception for current media studies regarding digital interfaces. (shrink)

For several hundred thousand years, the genus homo deployed a characteristic technical creativity, communicating and transmitting its outcomes, together with its operative protocols, without the available recourse to articulated language. The thesis proposed here is that the aforementioned functions should be attributed to a complex intertwining of embodied abilities, which can in turn be ascribed to the classic philosophical concept of imagination. It is through imagination that the human becomes involved in material engagement, by virtue of which its extended mind (...) takes part in the processes of producing artifacts and is in turn shaped by them. The main issue of this article consists in investigating how this involvement occurs and the part that articulated language plays in it, following the invention of the latter. The latter’s emergence can indeed be traced back to the transformation and specialization of a recursive element, already present in the pre-linguistic work of imagination, whose ability to implement a denotative semantics is discussed in particular. (shrink)

In our everyday life, we have the genuine feeling that when something we use works very well, we forget that we are doing something that is mediated by something else. It happens when we read through our glasses, or when we drive home, or when we play guitar. In all those cases, it can be said that the device becomes an extension of our body, or that we have incorporated it. In this paper I want to discuss the extension/incorporation dichotomy (...) as presented in contemporary cognitive sciences. I will present the state of the art in the debate in order to promote a methodological shift, namely to adopt two concept borrowed from Material Engagement Theory developed by Lambros Malafouris. By advocating the concepts of temporality and metaplasticity, I will argue for two different but related things: 1) extension and incorporation don’t have to be conceived only spatially, but temporally. This shift leads to two distinctive implications: first, the sooner two entities establish a prosthetic contact, the higher the chances to reach incorporation; second, extension temporally precedes incorporation; the former being an early-staged phenomenon of – a condition of possibility for – the latter. 2) Such a temporal perspective is at the base of metaplasticity, which describes, in the context of MET, the constant, co-constitutive loop between humans and things: metaplasticity deflates the privileged role traditionally attributed to the subject in the making of phenomenal experience. Finally, I will discuss extension and incorporation in media theory, relying on the concept of radical mediation. (shrink)