Mediatization, polarization, and intolerance (between environments, media, and circulation)

Among Media: The place of mediatization 273 tive world. Although Anders referred to television, his discourse echoes the conception of a false experience, which would lead humanity to consider having reached the end of its complexity or its history. However, for this self-intelligent world, not to as- sume this belief is to be old-fashioned, but: “l´ uomo non é un essere fisso 5 ” (ANDERS, 2003, p. 315). Making the same tonic resonate, Lev Manovich asks himself: mi analisis de los nuevos medios los encuadra en la historia de los medios y culturas visuales moder- nos. De que manera se valen de los viejos lenguages y formas culturales? Hasta que punto ronpen con ellos? Que tiene de especifico el modo en que los objetos de los nuevos medios crean la impresión de realidad, se dirigen al expectador y representan el tiempo y el espacio? Como actúan las convenciones y técnicas de los viejos medios, como el encuadre rectangular, el punto de vista móvil y el montaje, en los nuevos? Si elaboramos una arqueologia que vincule las nuevas técnicas con las antiguas técnicas de representación y de simulación? Donde cabría situar las rupturas históricas fundamentales? (MA- NOVICH, 2006, p. 51-52)6 To overcome the comfortable recognition of a fixed and definitive world requires realizing that if the technology changes, man is also not fixed and unique; he does not become antiquity if he does not adhere to the effects of media. On the contrary, that interiorization requires the experience of life with the media, without being determined by them; it requires veri- 5 Man is not a fixed being. 6 “I analyze the language of new media by placing it within the history of modern visual media and media cultures. What are the ways in which new media relies on older cultural forms and languages, and what are the ways in which it breaks with them? What is unique about how new media objects create the illusion of reality, address the viewer, and represent space and time? How do conventions and techniques of old media – such as the rectangular frame, mobile viewpoint, and montage – operate in new media? If we construct an archeology connecting new computer-based techniques of media creation with previous techniques of representation and simulation, where should we locate the essential historical breaks?” (MANOVICH, 2006, p. 51-52)