Media today thrive on crisis, shock, and disaster. At the first sign of meteorological turmoil, social unrest, financial turbulence, or natural cataclysm, print, televisual, and networked news media shift into crisis mode, generating on-the-ground reports, live updates, multiple commentaries and breaking news. CNN pioneered the 24-7 crisis mode in global cable news as far back as the 1980s, but the media’s thirst for crisis, its obsession with remediating disaster and premediating shock, has intensified in the 21st century, jump-started by the events of 9/11 but escalating in the subsequent decade. More than a decade after 9/11, much of the networked world remains in an acute state of “mediashock.” In many respects this mediashock follows from the attacks on the World Trade Center and the Pentagon—and more crucially from the overwhelming media aftershocks that rumbled (and continue to rumble) through the global economic and securitization apparatuses and across print, televisual, and networked media. But mediashock preexisted 9/11 and has been intensified, transformed, and reinitiated many times in the 21st century.
This talk offers the concept of “mediashock,” as a way to try to make sense of the mood or atmosphere of shock or crisis which media in the 21st century work simultaneously to create and to contain. “Mediashock” can be understood as a form of what Nigel Thrift has characterized as “non-representational theory,” and as such participates in the critique of representationalism that has intensified in cultural, political, and media theory over the past couple of decades. Throughout the talk I emphasize the affectivity of our media themselves and how this is related to the affectivity of these natural/technical disasters or crises, these geotechnical media events which are produced neither by nature or society or technology but which emerge as complex assemblages, new kinds of events or objects or actants in the world that are related to but not finally reducible to the explosion of new information and media technologies in the past few decades. In this talk I will focus mainly on an exemplary case of the connection between the mediation of disasters or crises and the affectivity of disaster or shock that they produce, modulate, amplify, and shape—the remediation and premediation of the Japanese earthquake and tsunami in March 2011 and the still ongoing disaster at the Fukushima Daichii nuclear plant.
While “mediashock” names a specific condition of the 21st century, the concept also has its historical antecedents. Despite the intensification of media saturation, the unprecedented distribution of communication media and technical devices, and an everyday mediasphere that is much more complex, multiple, and contradictory than in previous centuries, the concept of “mediashock” itself has a genealogy that goes back at least to the beginning of the 20th century. One of the tasks of this initial foray into the concept of mediashock is to sketch out some pieces of this genealogy, to show how earlier theorists have articulated the way in which new technologies of mediation have entailed and brought about fundamental changes in what Walter Benjamin called the “human sensorium” or what Marshall McLuhan denoted as “sense ratios.”
Richard Grusin was named Center director starting with the 2010-11 academic year and is a Professor of English at University of Wisconsin–Milwaukee (UWM).
Professor Grusin received his Ph.D. from the University of California–Berkeley, and has held faculty appointments at the College of William and Mary, Georgia Institute of Technology, and Wayne State (where he chaired the Department of English from 2001 to 2008). He brings an outstanding record of institutional service and interdisciplinary scholarship to UWM, and is the author of four books:
Transcendentalist Hermeneutics: Institutional Authority and the Higher Criticism of the Bible (Duke, 1991), which concerns the influence of European (primarily German) theories of biblical interpretation on the New England Transcendentalists
Remediation: Understanding New Media (MIT, 1999), co-authored with Jay David Bolter, which sketches out a genealogy of new media, beginning with the contradictory visual logics underlying contemporary digital media
Culture, Technology, and the Creation of America’s National Parks (Cambridge, 2004), which focuses on the problematics of visual representation involved in the founding of America’s national parks
Premediation: Affect and Mediality After 9/11 (Palgrave Macmillan, 2010), which argues that in an era of heightened securitization, socially networked US and global media work to pre-mediate collective affects of anticipation and connectivity, while also perpetuating low levels of apprehension or fear.