Frames /sing

kvond

Is the Medium the Message? Avatar’s Avatar

Box 3, Spool 5 has some commentary up in response to my own take on Avatar, emphasizing the contradictory nature of a big-budget Hollywood film and its proposed criticism of Capitalism. First though I want to address his thought that not all of the message is found in the medium (which leads to his larger point):

The technical feats Kvond explains are interesting, but only in the sense that here the most ‘natural’ is reached by way of the most artificial, an irony which mirrors deep ecology’s unavowed projections onto nature. It is on one level impressive what the capitalist spectacle can do with (or perhaps as) technology, though the film’s implicit reflections on subjectivity are to me less intriguing than the political message the film tries to convey; not all message is medium.

Just to be clear as to the reading I was making of Avatar, it is not strictly that the medium is the message so much as the modes of communication enact the very relationships (and values) that the film was attempting to forward in a very specific fashion. This is to say, there is, or can be, an enactment of avatarship in the very experience of watching a film on Avatar ethics, really almost a Brechtian involution. One need only take your glasses off for a minute during the film to realize the differences brought to bear. That this is accomplished through a new severing of affect from space, and then its restitching, yes, this is a powerful metaphor or even mode of analysis for society and personhood, but the medium is not the message to the degree that the message is dis-associated from the medium in a manner that leaves Box 3, Spool 5s point untouched.

If one is looking for performative contradictions that disqualify the ideologically critical position Cameron takes, one might ask as well whether Box 3s own participative purchase of 3D glasses and expensive movie, and her/his use of the commercially simulative blogged medium also disqualifies a critical engagement with the all-encompassing thread of Capitalist relations (the octopus arms are everywhere!). I rather take a different position. Capitalism is not “the enemy”, huge spectacle productions are not simply or reductively pacifications. The location of critical change does not really come outside of relations, but is immanent within them. Oppositional thinking is often weak and relatively impoverished, fueled by counterproductive angers, fears and projections. The idea that “Copenhagen debating hall” was something more than Avatar the movie, more than a spectacle of specific device…yes, from where are our freedoms to spring? In a certain regard I find “hegemony” boring.  That is not because I don’t believe that hegemonies exists, but rather that I believe that questions of hegemony are more complex than is often appreciated. It just is too easy a word. The importation of hegemonic values is always integral to the exaption of those human forms for new and different uses, and the concept of radical break is, frankly, over-rated.

If there was a “radical break” in Cameron’s message, it was the innovation of new aesthetic experiences of some very old themes, it was the affective way that the (political) consciousness of the viewer was regrafted onto her or his very skin, engaging the verities of space itself. It was Kantian from the inside out, where the categories become twisted and externalized through performative construction. Does this mean that Real 3D is inherently liberal, or even ecological? No, though I have argued that there are suspensions that were accomplished in that film that do have strong ecological content or possibility. It may very well be that this is because Real 3D, as we in a historically contingent fashion experience it, is metaphysical. And from that displacement into metaphysics, an ecology of persons and planet can be argued. And because aesthetically expressed, felt.

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