Baudrillard believes that object is a sign with meaning, and it has the mirror status of the subject which turns into an imaginary depth of scene, so that the object shows how it subject to function from look of its form. By the Authors assertion television transfers our own body and the surrounding universe into a control screen, which is the perfect example of the new media object in this era. The television becomes less about what we are and what we are doing and more about a projection of independent information The user and the television relationship have change to a consultant and partner in the general negotiation of life style. Similar to McLuhan’s arguments, the media becomes the message. Reality television has begun to blur this boundary once again, and the human has started to appropriate this new media to reflect something about himself once again.
Hypermediacy
Baudrillard’s new media has each person seeing himself at the controls of his own universe. It is the projection of man psychologically and mentally into reality without any metaphor, into an absolute space which is also the simulation, a space of the man’s own making by the use of media. The private sphere itself is no longer a scene where the individual is engaged with his environment. Man manipulates his environment to suit his will rather than being satisfied with that which is provided by reality. The mutation of objects in the modern era has the tendency towards to greater abstraction of elements and function in a single virtual process, electronic commands, and the miniaturization of time and space.
By the removal of our perception of mediation the completeness of our understanding of our environment is reduced to the notion of simulation. This is immediacy.
The public space has changed greatly in the last few years. The power of advertising has re-organized architecture and caused the loss identity of the public and private relationship. This caused a sense of obscenity where the most intimate processes of our life become the virtual feeding ground of the media.
The interplay of hypermediacy and immediacy leaves us with a broader picture of the world at the expense of a complete understanding of any of it, in essence we lose an integrated understanding of our immediate environment in favour of a simulated experience of our global environment.
Has media progressed beyond the understanding presented in these discussions?
With the loss, or rather the shifting nature of public space and private space with the inclusion of the electronic realm, what are the implications on architecture? How does the architect plan for privacy and public?
